Hidden self-portraits.
Threshold| N° d'inventaire | 23182 |
| Format | 25 x 29 |
| Détails | 240 p., publisher's hardcover. |
| Publication | Paris, 2020 |
| Etat | Nine |
| ISBN | 9782021438857 |
The displayed titles of certain works do not say everything about the subject. They ignore the fact that, sometimes, the painter has slipped into the scene he has depicted. Hidden within the canvas is a self-portrait. Thus, for example, Botticelli "attends" The Adoration of the Magi, El Greco is present during The Burial of Count Orgaz, as Velázquez is in Breda on June 5, 1625 when the city capitulates... Ingres, for his part, depicts himself behind Joan of Arc in Reims Cathedral during the coronation of Charles VII. However, this coronation took place on July 17, 1429. Ingres completed his canvas in 1854... A singular and very anachronistic game of hide-and-seek. Bringing together works by Michelangelo and James Ensor, Memling and Veronese, Rembrandt and Masaccio, Dürer and Raphael, Ghirlandaio and Dali, means constantly questioning the reasons that led each of them to want to represent themselves in this way. Why, for example, did Michelangelo choose to represent himself in the Last Judgment in the Sistine Chapel as the flayed skin of Saint Bartholomew? Why did Van Eyck choose to be only a reflection in the convex mirror hanging behind the Arnolfini and another reflection on the shield of Saint George in The Virgin of Canon Van der Paele? Did Max Ernst in the 20th century, like Rubens in the 15th, have the same reasons for representing themselves surrounded by friends? Why does Rembrandt depict himself among the executioners erecting the cross to which Christ has just been nailed? A fascinating, illuminating, and unprecedented invitation that highlights the dreams and ambitions of the greatest painters in the history of art.
The displayed titles of certain works do not say everything about the subject. They ignore the fact that, sometimes, the painter has slipped into the scene he has depicted. Hidden within the canvas is a self-portrait. Thus, for example, Botticelli "attends" The Adoration of the Magi, El Greco is present during The Burial of Count Orgaz, as Velázquez is in Breda on June 5, 1625 when the city capitulates... Ingres, for his part, depicts himself behind Joan of Arc in Reims Cathedral during the coronation of Charles VII. However, this coronation took place on July 17, 1429. Ingres completed his canvas in 1854... A singular and very anachronistic game of hide-and-seek. Bringing together works by Michelangelo and James Ensor, Memling and Veronese, Rembrandt and Masaccio, Dürer and Raphael, Ghirlandaio and Dali, means constantly questioning the reasons that led each of them to want to represent themselves in this way. Why, for example, did Michelangelo choose to represent himself in the Last Judgment in the Sistine Chapel as the flayed skin of Saint Bartholomew? Why did Van Eyck choose to be only a reflection in the convex mirror hanging behind the Arnolfini and another reflection on the shield of Saint George in The Virgin of Canon Van der Paele? Did Max Ernst in the 20th century, like Rubens in the 15th, have the same reasons for representing themselves surrounded by friends? Why does Rembrandt depict himself among the executioners erecting the cross to which Christ has just been nailed? A fascinating, illuminating, and unprecedented invitation that highlights the dreams and ambitions of the greatest painters in the history of art.