Ingres, Raphael and the Fornarina발음듣기
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Ingres, Raphael and the Fornarina
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Woman: It's a strange painting but Ingres paintings often are a kind of strange mixture of coldness and distance and simultaneously intense sensuality. You don't see that?발음듣기
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Woman: Everything is painted with an amazing degree of precision so that green velvet is just perfect and there is no sign of a brush stroke so it just seems like it is truly green velvet.발음듣기
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Man: Even the way the drapery folds has been absolutely idealized, so even the aspects of the painting where we expect the artist to allow for a degree of informality, even that is the most formal.발음듣기
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Woman: This is actually a genre that emerges in the 19th century of artists depicting other artists in their studio with their model.발음듣기
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Man: Which is sort of appropriate for the 19th century, especially as we enter into the academic realm where even the quality of the paint, the style of the paint is very often a kind of quotation of an earlier period.발음듣기
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Woman: Also in this period of romanticism where we have a kind of emerging self-consciousness on the part of the artist.발음듣기
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He's still got his brush in his hand and wraps his arms around his mistress who sits on his lap but instead of looking at the real woman, he turns his head to look back at his unfinished creation.발음듣기
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Man: And he has her look at us from the portrait that he has depicted himself, having just painted.발음듣기
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Woman: The third is in the painting on the back wall, which is a famous painting by Raphael called the Madonna della sedia, the Madonna of the chair, which Raphael's mistress was said to have posed for.발음듣기
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Because we have Ingres depicting Raphael looking at his depiction of his mistress, who in turn looks out at us as we look back at her and catch her gaze.발음듣기
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Woman: To me it's about Ingres himself and his need to paint that feeling of being in the middle of something and even when your mistress comes to you and insists on you taking a break and sitting on your lap, you keep the brush in your hand and you turn back to look.발음듣기
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The act of painting is so engaging and so wonderful, and the process of creation is so wonderful that nothing can and should disturb it.발음듣기
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Man: Because I think it's not about the act of painting although that's really close by, and so actually I agree with a lot of what you're saying.발음듣기
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Man: I think what really trumps it is the act of seeing because it's Raphael's seeing what he has rendered.발음듣기
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And it's us seeing and it's in a sense Ingres trying to create in a sense the world of Raphael for us.발음듣기
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Woman: It's a funny thing because we're looking at a painting of a painter looking at his painting.발음듣기
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