Le Modéle Noir...
6:08 p.m.
24/06/19 - The Orsay Museum presents an exhibition that reclaims the role of the people of color in renown paintings by well-known artists, such as Théodore Géricault or Edouard Manet.
As we tour the exhibition, we can tell that it's not focus on the representation of black people as a social group, but as a sitting model, to be contemplated and depicted by an artist. The exhibition goes from the last years of the 18th Century to the second decade of the 20th Century.
It opens with a portrait by Marie Guillermine Benoist which, when it was first presented at the 1800 Salon, it was entitled "Portrait of a black woman". But time overcame prejudices and the beautiful model regained her name: the painting is now known as "Portrait of Madeleine".
Portrait of Madeleine, by Marie-Guillermine Benoist (1800)
In most of the paintings, the woman of color appears as a servant. In Manet's "Olympia" she even disappears behind the bouquet of flowers she is holding. The proximity of the bodies enhances the whiteness of Olympia's skin. Although Manet wanted this to be a depiction of the prostitution in Paris, many other artist imitated or idealized scenes of toilette in exotic settings. The presence of black servants can be interpreted as an indicator of higher classes.
Olympia, by Édouard Manet (1863)
Technique: oil on canvas
Copy of Femmes D’Alger Dans Leur Appartement de Delacroix, by Henri Fantin-Latour (1875)
Technique: oil on canvas
Esther, by Francois-Léon Benouville (1844)
Technique: oil on canvas
Bain Turc, by Jean-Léon Géröme (1870)
Technique: oil on canvas
La Toilette, by Frédéric Bazille (1870)
Technique: oil on canvas
Ten years after Manet's Olympia, Paul Cézanne creates "A Modern Olympia" and Edgar Degas paints a black artist in the circus. Although far from the abolition of slavery, the attitude towards models of color changes. There's a new dialogue between artist and sitter. In Degas' case, an artist portrays another artist in action: the acrobat Miss Lala, who hangs from the ceiling, holding herself from her teeth only.
Une Moderne Olympia, by Paul Cézanne (1873-1874)
Technique: oil on canvas
Miss Lala Au Cirque Fernando, by Edgar Degas (1879)
Technique: oil on canvas
The title of the portrait below does not state the name of the woman, but in a gesture of modernity, at least it makes no reference to the color of her skin: "Woman in white dress". The banner in the gallery explains that Elvire Van Hyfte, thus the name of the sitter, was a friend of Matisse and visited him frequently in his house Ville le Réve. She posed for many of his artworks, and they were both united by their passion for literature.
Dame à la Robe Blanche (Femme en Blanc), by Henri Matisse (1946)
Technique: oil on canvas
The exhibition helps us understand how the women of color went from secondary object to leading ladies. The museum also pays special attention to state the names of the sitters, to give them identity and visibility by sharing also details of their stories. It seems like a good way to start paying the debt Art History has towards black people.
0 comentarios