Le Théâtre des émotions

Le Théâtre des émotions : Guido Canlassi, dit Cagnacci, Allégorie de la « Vanitas » et de la Pénitence, 1640, Huile sur toile, 70 × 64 cm, Amiens, musée de Picardie © Marc Jeanneteau/Musée de Picardie    Le Théâtre des émotions : Maître de la Légende de Sainte Madeleine, Sainte Madeleine en pleurs, Vers 1525, Huile sur bois, 52, 7 x 38, 1 cm, Londres, National Gallery, legs Layard, 1916, © The National Gallery, London    Le Théâtre des émotions : Jean-Baptiste Greuze, Jeune Fille à la colombe, 2e moitié du XVIIIe siècle, Huile sur bois 64,4 x 53,3 cm, Douai, musée de la Chartreuse © Douai, musée de la Chartreuse : photographe : Daniel Lefebvre    Le Théâtre des émotions : André-Victor Devambez, Les Incompris, Vers 1904, Huile sur toile, 91,7 x 115 cm, Quimper, collection du musée des Beaux-Arts, legs Corentin-Guyho, 1936 © Collection du musée des beaux-arts de Quimper – Photo mbaq   

The exhibition

"A history of the way in which affect is staged in painting": it is with these words that Georges Vigarello, co-curator of the exhibition with Dominique Lobstein, sums up the aim of a display stretching from the 15th century to 1985. And indeed, intense affective states follow one another, which are characterized in the image by various disorders. There is the Mona Lisa (Italian school, after Leonardo da Vinci), whose modelling of the features creates a mixed emotion, indefinable. Also, the frozen expressions of the paintings of the Middle Ages, where accessories and significant attributes convey the emotion still absent on the physiognomies, as in a Saint Magdalene in tears (around 1525): relatively neutral face, but the additional elements of the handkerchief and the ointment bring back the sadness of the model. In many works, however, the face or body, or even both, are twisted in reaction to the feelings.

Extract from the article by Emma Noyant, published in the N°101 de la revue Art Absolument.


13/04/2022 - 21/08/2022
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