La coulure. Histoire(s) de la peinture en mouvement. XIe-XXIe siècles
Guillaume Cassegrain
The attention Daniel Arasse gave details in painting had made him famous. In the same line of thought, one of his former students looks closely at a bizarre motif, drippings. While it is easy to detect in Pollock’s "dripping", a piercing eye is sometimes needed to unveil them. Who noticed the blood that delicately stains the neck of saint Stephen in Jean Fouquet’s diptych in Melun and kept at the Gemäldegalerie of Berlin? Sweeping wide, through the primitive painters from Siena to Cy Tombly or to photographer Bernard Plossu – the art historian shows the status of this accessory, which is not limited to the blood highly valued by religious paintings. What does it mean? Is it the affirmation of the supreme power of the artist when he amuses himself by leaving incongruent grease stains, censured by the academy? Or is it rather the proof of his extreme technical virtuosity (in the transparent portrayal of the tears for example)?
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Review published in the newsletter #386 - from 30 April 2015 to 6 May 2015
