{"id":6211,"date":"2022-06-23T13:51:54","date_gmt":"2022-06-23T11:51:54","guid":{"rendered":"https:\/\/gillisgoldman.com\/georges-rouault\/"},"modified":"2024-05-23T12:07:22","modified_gmt":"2024-05-23T10:07:22","slug":"georges-rouault","status":"publish","type":"post","link":"https:\/\/gillisgoldman.com\/fr\/georges-rouault\/","title":{"rendered":"Georges Rouault"},"content":{"rendered":"


\n\u201cAucuns t’appelleront une caricature,
\nQui ne comprennent pas, amants ivres de chair,
\nL’\u00e9l\u00e9gance sans nom de l’humaine armature.
\nTu r\u00e9ponds, grand squelette, \u00e0 mon go\u00fbt le plus cher !\u201d<\/em>
\n Charles Baudelaire, \u00ab Danse Macabre \u00bb in Fleurs du Mal<\/p>\n

This is a wonderful piece of Georges Rouault\u2019s series dedicated to the illustration of the Fleurs du Mal<\/em> by Charles Baudelaire. The Squelette<\/em> was originally one of the fourteen black and white aquatints printed in 1927 to be published by Ambroise Vollard. But the project was never finished, and it is only in 1966, after the artist\u2019s death, that the book came out. Rouault obviously received a few copies of the prints in 1926, and he must have painted a few copies by hand with oil, such like Danse Macabre I<\/em>. It is now considered as a painting, in the catalogue raisonn\u00e9 of Bernard and Isabelle Rouault Dorival. The palette here is restricted but powerful: strong black and white, pink, green and ochre. In the 1930\u2019s, the artist published books with prints with a similar brunch of colors. However, the gorgeous pink, which contrasts here with the green and grey of the composition, has been rarely used elsewhere by the artist.<\/p>\n

Rouault had a long-time fascination for Baudelaire and thought about illustrating his poetry collection very early in his career. Certainly, the acquaintance between his teacher Gustave Moreau and Baudelaire played a key role in this. His interpretation of the poem Danse Macabre<\/em> shows how he created a dialogue between Baudelaire\u2019s imagery and his own expressive vision. The artist, by his own words explained his position towards the poet\u2019s work : \u201cJe m\u2019estimerais heureux, \u00e9crit Rouault, si l\u2019on peut dire de ces gravures que je suis un peu dans l\u2019atmosph\u00e8re du po\u00e8me, non comme serviteur trop scrupuleux, d\u00e9sireux de commenter le texte mais comme un fr\u00e8re modeste et compr\u00e9hensif.\u201d<\/p>\n

Close to the Fauves \u2013 Rouault studied at the Acad\u00e9mie des Beaux-Arts, pupil of Gustave Moreau, with Matisse and exhibited with the group at the Salon d\u2019Automne<\/em> in 1905 \u2013 the artist emphasized his subjects with expressionist colors and features. Furthermore, Rouault had been an apprentice in a glazier\u2019s studio, from 1885 to 1890. This experience made him familiar with the medieval art of stained-glass windows, which had a significant impact on his aesthetic style. In the present Danse Macabre<\/em>, this influence of gothic art is visible, with the large and expressive black outlines, and the transparent colors, adding some expressivity and dynamism to the skeleton movement.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cAucuns t’appelleront une caricature, Qui ne comprennent pas, amants ivres de chair, L’\u00e9l\u00e9gance sans nom de l’humaine armature. Tu r\u00e9ponds, grand squelette, \u00e0 mon go\u00fbt le plus cher !\u201d Charles Baudelaire, \u00ab Danse Macabre \u00bb in Fleurs du Mal This is a wonderful piece of Georges Rouault\u2019s series dedicated to the illustration of the Fleurs … Continue reading \u00ab\u00a0Georges Rouault\u00a0\u00bb<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":6129,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[4],"tags":[],"_links":{"self":[{"href":"https:\/\/gillisgoldman.com\/fr\/wp-json\/wp\/v2\/posts\/6211\/"}],"collection":[{"href":"https:\/\/gillisgoldman.com\/fr\/wp-json\/wp\/v2\/posts\/"}],"about":[{"href":"https:\/\/gillisgoldman.com\/fr\/wp-json\/wp\/v2\/types\/post\/"}],"author":[{"embeddable":true,"href":"https:\/\/gillisgoldman.com\/fr\/wp-json\/wp\/v2\/users\/2\/"}],"replies":[{"embeddable":true,"href":"https:\/\/gillisgoldman.com\/fr\/wp-json\/wp\/v2\/comments\/?post=6211"}],"version-history":[{"count":1,"href":"https:\/\/gillisgoldman.com\/fr\/wp-json\/wp\/v2\/posts\/6211\/revisions\/"}],"predecessor-version":[{"id":6213,"href":"https:\/\/gillisgoldman.com\/fr\/wp-json\/wp\/v2\/posts\/6211\/revisions\/6213\/"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gillisgoldman.com\/fr\/wp-json\/wp\/v2\/media\/6129\/"}],"wp:attachment":[{"href":"https:\/\/gillisgoldman.com\/fr\/wp-json\/wp\/v2\/media\/?parent=6211"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gillisgoldman.com\/fr\/wp-json\/wp\/v2\/categories\/?post=6211"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gillisgoldman.com\/fr\/wp-json\/wp\/v2\/tags\/?post=6211"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}