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Picasso Ingres: Face to Face

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发表于 5-28-2022 12:31:45 | 显示全部楼层 |阅读模式
(1) Picasso Ingres: Face to Face. National Gallery, June 3 - Oct 9, 2022.
https://www.nationalgallery.org. ... ingres-face-to-face

Note:
(a) National Gallery
https://en.wikipedia.org/wiki/National_Gallery
(1824- )

Not to be confused with National Gallery of Art
https://en.wikipedia.org/wiki/National_Gallery_of_Art
(1937- ; Washington, DC)
(b) Jean-Auguste-Dominique Ingres, Madame Moitessier. National Gallery
(i) The same painter has another (earlier) painting of the same title (National Gallery of Art Accession Number  1946.7.18):
https://www.nga.gov/collection/art-object-page.32696.html
(ii) Jean-Auguste-Dominique Ingres
https://en.wikipedia.org/wiki/Jean-Auguste-Dominique_Ingres
(1780 – 1867)

(c) Pablo Picasso, Woman with a Book. 1932. Norton Simon Museum, 1932 (accession number: F.1969.38.10.P)
https://www.nortonsimon.org/art/detail/F.1969.38.10.P
("Among Picasso's most celebrated likenesses of his lover Marie-Thérèse Walter, Woman with a Book balances sensuality and restraint, enclosing exuberant, thickly applied color in a network of sinuous black lines. The composition pays homage to the Neoclassical master of line, Jean-Auguste-Dominique Ingres, whose work Picasso had admired since his youth, and whose Portrait of Madame Moitessier the Spanish painter had first encountered in 1921. Resting his model’s head on her hand, and replacing Madame Moitessier’s fan with the fluttering pages of a book, Picasso tapped into the eroticism latent beneath Ingres’s image of bourgeois respectability. The serene profile reflected in a mirror at right in Picasso's portrait likewise references its Neoclassical precedent but may also constitute an abstract self-portrait")
(i) Norton Simon
https://en.wikipedia.org/wiki/Norton_Simon  
(1907 – 1993)
(ii) Norton Simon Museum (1969-  ; located at Pasadena, California)
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 楼主| 发表于 5-28-2022 12:36:17 | 显示全部楼层
(2) Tobias Grey, A Borrowed Pose; Picasso found inspiration in the strangeness of an Ingres portrait. Wall Street Journal, May 28, 2022, at page C20 (under the heading "Icon"/ section C every Saturday is titled "Review").
https://www.wsj.com/articles/picassos-borrowed-pose-11653679577

Excerpt in the window of print: Picasso was drawn to Ingres's propensity to exaggerate.

Note:
(a) Picasso "frequently visited the Louvre to study his masterpieces, such as 'La Grande Odalisque' (1814) and 'The Turkish Bath' (1862-63). He also traveled to the Musée Ingres in the French artist's hometown of Montauban to see his celebrated drawings. * * * After marrying the Russian ballet dancer Olga Khokhlova in 1918 * * * "
(i) Grande Odalisque
https://en.wikipedia.org/wiki/Grande_Odalisque
(A) French-English dictionary:
* grand (adjective masculine; feminine: grande)
https://en.wiktionary.org/wiki/grand
(B) French grammar
https://en.wikipedia.org/wiki/French_grammar
(section 4 Adjectives: "Most adjectives, when used attributively, appear after their nouns: le vin rouge ('the red wine'). A number of adjectives (often having to do with beauty, age, goodness, or size, a tendency summarized by the acronym "BAGS"), come before their nouns: une belle femme ('a beautiful woman')" )

adjective
https://en.wikipedia.org/wiki/Adjective
, whose introduction tells you that there are two main categories of adjective positions: attributive and predicate (after a be verb).
(ii) The Turkish Bath
https://en.wikipedia.org/wiki/The_Turkish_Bath
(iii) Montauban
https://en.wikipedia.org/wiki/Montauban
(iv) Olga Khokhlova
https://en.wikipedia.org/wiki/Olga_Khokhlova   
(1891 – 1955; born in present-day Ukraine; died in Cannes, France; first and only (official) wife of Picasso (1918- ) )

(b) Portrait of Madame Moitessier
https://en.wikipedia.org/wiki/Portrait_of_Madame_Moitessier
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 楼主| 发表于 5-28-2022 12:37:01 | 显示全部楼层
------------------------WSJ text
In the first few years of the 20th century, no artist seems to have fired Pablo Picasso's imagination quite so much as Jean-Auguste-Dominique Ingres. Picasso attended retrospectives of Ingres's work and frequently visited the Louvre to study his masterpieces, such as "La Grande Odalisque" (1814) and "The Turkish Bath" (1862-63). He also traveled to the Musée Ingres in the French artist's hometown of Montauban to see his celebrated drawings.

Picasso's fascination with Ingres’s highly detailed portraits culminated with his 1932 oil painting "Woman With a Book," which borrowed many of its themes from Ingres’s high-society portrait "Madame Moitessier" (1844-56). "Picasso Ingres: Face to Face," opening June 3 at London’s National Gallery, will put these two paintings together for the first time. The exhibition is a collaboration between the National Gallery, which owns "Madame Moitessier," and the Norton Simon Museum in Pasadena, Calif., which is lending "Woman With a Book."

"What struck me immediately is the absolute difference of the surfaces of each painting," says Christopher Riopelle, the National Gallery's curator of post-1800 paintings. "Ingres's portrait is absolutely enamel-like without any sign of a brushstroke, whereas you can see Picasso has really poured on the paint and manipulated it to create something that is life a bas-relief."

Picasso first discovered "Madame Moitessier" at an exhibition in Paris in 1921. His artistic response wasn't immediate but ripened over a decade. "Picasso was a contemporary of surrealism and Freudian psychology," Mr Riopelle says. "He knew that things lay latent in your mind and that you had to be ready to just use them when they came roaring to the surface."

The Spanish artist had turned to Ingres for inspiration before. After marrying the Russian ballet dancer Olga Khokhlova in 1918, Picasso began making neoclassical paintings that placed a premium on gestural expressiveness, having elegant women pose for him in chalky drapery. This style "was something that Olga did her very best to encourage," Mr Riopelle says. "She wanted to live as a high society figure, but this conventional side of Picasso soon ran it course [ie, ended]."

Picasso's work became more colorful and sexually overt in 1927, after he began a clandestine affair with 17-year-old Marie-Thérèse Walter. The artist made numerous paintings of Walter, including "Woman with a Book," the last in a series of large-scale portraits created for his first major Parisian retrospective in June 1932.

Walter's pose, seated in an armchair with her head resting on her hand, is an almost exact copy of Ingres's "Madame Moitessier," whose subject, Marie-Clotilde-Inès Moitessier, was a rich banker's wife. But Picasso has amplified the figure so as to underline the original's strangeness. Mr Riopelle suggests that Picasso was drawn to Ingres because of his propensity to "to exaggerate physiognomy and exaggerate clothing, which was something quite new and startling in 19th-century portrait painting."

In "Madame Moitessier," the subject's raised left hand looks curiously boneless, with fingers resembling a floppy starfish.During Ingres's lifetime, some critics noted the physical inconsistencies in his paintings, with one critic complaining that the woman's back in "La Grande Odalisque" was three vertebrae too long. But Ingres's unapologetic quest for a sinuous arabesque overturned rules of anatomy, which he called a "dreadful silence that I cannot think of without disgust."

Picasso's own corporeal distortions were legion, and he certainly appears to have been entranced by Ingres's boneless-seeming hand. His 1932 depiction of Walter as tentacled sea creature in "Naked Woman Reclining," which was sold by Sotheby's in New York earlier this month for $67.5 million, displays similar elasticity.

"Woman with a Book" went on display for the first time in 1936. In the same year, the National Gallery in London acquired "Madame Moitessier" for its collection. The coincidence did not escape the attention of the French critic Georges Duthuit, the first writer to observe that Ingres's painting was Picasso's source for the subject's distinctive pose.

"It seems to me that one of the things that Picasso was doing here with Ingres was allowing his subconscious feelings about Marie-Thérèse to come through." Mr Riopelle says. "This change to much more colorful and exaggerated figures coincides with both embracing surrealism and this organicism, which comes out of the voluptuousness of Marie-Thérèse herself"
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