collecting colours over a cup of coffee...

If you are a lover of printed words, you would know how much of your time is taken by books alone. Then one day, sooner or later, you discover a huge vacuum within that you know next to nothing about other art forms. This blog is an attempt to fulfil one such lacunae in the art of painting. We intend to look up a random painting and upload it with a link here every day whilst having our daily cuppa coffee. In this way at least we hope to be better acquainted with colours, colourers and the schools than what we are now.If you wish to be a part, you know where to shout.
Find lost art

Monday, June 07, 2010

Helene Fourment in a Fur Coat


Helene Fourment in a Fur Coat, Peter Paul Rubens

What did Paul Rubens have in mind when he thought of painting Helene such? Surely not the pleasure of a generic observer who might have been more pleased with a traditional rendering of the naked female body; in other words, the standard nude. Instead, Rubens has given this painting such a feeling of intimacy that one feels like an intruder to even look at Helene who is directing a meaningful glance elsewhere.

In writing about the difference between painting nakedness and nudity, John Berger opens a new way of looking at the nude in painting. Is she naked? Or is it another nude? Who is it intended for?

Helene Fourment in a Fur Coat is an 'exceptional painted image of nakedness', says Berger in Ways of Seeing.
Her body confronts us, not as an immediate sight, but as experience - the painter's experience. Why? There are superficial anecdotal reasons: her dishevelled hair, the expression of her eyes directed towards him, the tenderness with which the exaggerated susceptibility of her skin has been painted. But the profound reason is a formal one. Her appearance has been literally re-cast by the painter's subjectivity. Beneath the fur coat she holds across herself, the upper part of her body and her legs can never meet. There is a displacement sideways of about nine inches: her thighs, in order to join on to her hips, are at least nine inches too far to the left. 
Rubens probably did not plan this: the spectator may not consciously notice it. In itself it is unimportant. What matters is what it permits. It permits the body to become impossibly dynamic.

The structure of the naked body looks like a nod to Venus de'Medici says Wikipedia.

Curators |Finny| [ A ] | Sunil | [ S ] | Lavanya | [ L ]
Following the Rainbow | Louvre | | Tate |

Pigments


Followers