honestly, I dont think it's her size or shape you are finding objectionable so much as it is the prissy style and possibly the head that seems inappropriately small. and maybe the tired old pose. also those arms seem super long.
No, no, I don't mind her size or shape at all. All shapes and sizes are fine with me, although if you go through my work, you'll find I am partial to models of this build myself. It's the insipid, vacuous, gauzily pornographic portrayal of a cow-like non-individual that bothers me.
But ... it's so rosy!
How many times do I have to tell you, Pengo? Your experience of art is not legitimate.
& just how do you feel about warm fuzzy puppies? ;-)
I think the top girl is Clea DuVall. Was this painting done around the time 'Identity' came out?http://tinyurl.com/33nmsdj
Jim - I hate them too. "F*ck a puppy," we say in Brooklyn. I don't know how y'all handle these things in Alaska.Ed - I have totally thought that about that painting as well. The model's name is Carmen Gaudin (aka Clea DuVall the First - the current Clea DuVall is actually Clea DuVall the Sixth). Here's an interesting, if somewhat overwrought, account of Gaudin's relationship with Lautrec (she's in a lot of his paintings):http://blogs.princeton.edu/wri152-3/f05/negoescu/the_menace_of_bohemia.htmlAnonymous - hi there! :)
ok, yeah, rosy, insipid, non-individual I will give you. I would also add pointless. but be careful about moo. (*I'm just saying* cause that's pretty much my shape.)in contrast, the toulouse-lautrec piece (which I have never seen) is fucking awesome. it expresses an emotion, a personality, almost an action. I can see the painter has respect for this woman. and may I point out -- she is completely clothed! again, just sayin...whistles while walking away...
also: look at the clear, bold, well thought-out decisions that were made on the Lautrec, both in line and color. by contrast the bathing lady looks indecisive and maybe too sentimental. I know it's a style difference, but it is also a personality difference.
Hi Jade! First things first: you know that photograph of a street that you took? There's a lot of detail in that photograph.In re moo: you know, my wife pointed out that this could be taken as derogatory toward women with that shape. The other caption I was considering was "I feel pretty, oh so pretty." But it was too many words, so I went with "moo." As I said, I really like that shape in women. I went with moo because I think that's how Renoir depicts women: as brainless soft-porn cows. There's a point to the painting, just not the one you're looking for.I'm glad you liked the Toulouse-Lautrec! Check the link in my comment above; there are more paintings of her, and they're all good, although perhaps not as good.Whistle and scold all you like; I will go on cheerfully painting nudes.With regard to your last comment - thanks for making my point for me!
I guess that last bit was superfluous, huh? okay.
No, no, I encourage you to take my side when you're arguing against some idea of mine. Writing a blog takes time! Anything you can do to save me work is really appreciated. :)
Always remembered these quotes from Renior:1. Sexist“When I've painted a woman's bottom so that I want to touch it, then [the painting] is finished.”2. Misogynist “I consider women who are authors, lawyers and politicians are monsters”Perhaps being a pornographer means that one must take on these attitudes (I would call them disorders). Granted, some of his works may pull the strings of titillation, but they are so empty (and his treatment of his subject as vapid) that real seduction and sexiness is never attained. Seduction and sexiness does not mean being sexist and misogynist, something that Renior was unaware of. In the end, I like to think of Renior as a painter of confectionary box lids. Once you are done, you can throw them away. I have always thought of Modigliani as his polar opposite. Much like Toulouse Lautrec, he was able to offer incredibly seductive women that have depth and personality, complex and interesting.
I didn't know those quotations, but they seem implicit in the work - thanks for sharing. I like Modigliani a great deal; you look at his paintings and you think, "Man, your personal life must be a melodramatic mess, but for all that, it is clear you love and admire the women you know."
I learned the Top Painting was of a prostitute that liked to kill men.
Seriously? Wow. Post a link if one is available - I'd love to read more about that.