#rouault

[postcard-from-the-past]

French vintage postcard, illustrated by Georges Rouault

[alwaysalwaysalwaysthesea]

Serge Lifar and Félia Dubrovska in George Balanchine's production of Le Fils prodigue for Diaghilev's Ballets Russes, costumes by Rouault. From the July 1929 French Vogue.

(source: Gallica)

[detournementsmineurs]

“Ensemble" de Popy Moreni en velours (1988-89) présenté à côté de "Clown" de Georges Rouault (1910-13) dans le parcours mode "La Traversée des Apparences" parmi les collections permanentes du Centre Pompidou , mars 2024.

[nicethingsthose]

The Italian Woman (1938) - Georges Rouault

[macrolit]

from ml.books

[philamuseum]

Patiently waiting for the final season of Game of Thrones.

"Skeleton at Window," 1927, by Georges Rouault © Artists Rights Society (ARS), New York / ADAGP, Paris 

[wetreesinart]

Georges Rouault (Français, 1871-1958), Arbre noir sur ciel bleu, 1929, huile sur papier, 17,5 x 24 cm, Paris, Centre Pompidou - Musée national d'art moderne

[4eternal-life]

Georges Rouault (French, 1871-1958)

Christ in the Suburbs,  c. 1920–24

Oil. 36 ¼ x 29 in 

Bridgestone Museum of Art, Tokyo, Japan

- Would you say Pop Art and minimalism buried Rouault for a while?

M. Fujimura: Yes, because he’s the opposite. His works are impossible to photograph. They are not going to translate well into virtual reality. So he’s automatically penalized for not being able to communicate in the flat visual language that Andy Warhol and Jeff Koons can today.

And yet, when you think about what a painting can give to the world, he’s providing exactly what the twenty-first century needs.

Image: Is that why his reputation has seen a resurgence in the last three years? Are we returning to Rouault’s aesthetic? And what specifically is it?

MF: Yes. Last week at Sotheby’s a work of his went for triple the asking price. That hadn’t happened in a long time. Rouault is getting attention today because we’re longing for an authentic reality. The human heart cannot bear to live in virtual reality for long.

Image: We’re disenchanted with gnosticism?

MF: Definitely. With gnosticism and its offspring, which to me involves the kind of existentialism that sees a “no exit” sort of closed reality. I love thinking about the time when Rouault and Picasso were painting, Brancusi was sculpting, and Sartre was writing. The shadowy figures of Brancusi (which I love) became thinner and thinner, and Picasso began to flatten and fragment everything almost mathematically, and Kandinsky also began to flatten his imagery and become more geometric. Sartre was writing No Exit. There was a movement toward ideology, but Rouault swam against the current. That’s why his art is not popular in academic circles...

https://imagejournal.org/article/conversation-makoto-fujimura-georges-rouault/