{"id":566,"date":"2019-05-26T12:19:59","date_gmt":"2019-05-26T06:49:59","guid":{"rendered":"http:\/\/www.suriyakantha.org\/blog\/?p=566"},"modified":"2019-07-27T10:24:23","modified_gmt":"2019-07-27T04:54:23","slug":"__trashed","status":"publish","type":"post","link":"http:\/\/www.suriyakantha.org\/blog\/2019\/05\/26\/__trashed\/","title":{"rendered":"Souvenirs d’Alliance #2"},"content":{"rendered":"\n

\u00ab\u00a0L’orient des peintres\u00a0\u00bb- Mus\u00e9e Marmottan Monet – Paris<\/strong><\/h3>\n\n\n\n

du 7 mars au 21 juillet 2019<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Me revient en m\u00e9moire…<\/h4>\n\n\n\n\n\n\n\n

L\u2019appel de l’ailleurs<\/h2>\n\n\n\n

From the East of fantasy to that true East, encountered and imbibed\u2026
Sailing on the clouds, out there, those floating clouds, those wondrous clouds\u2026
Following the footsteps of Delacroix<\/strong>, intoxicated by sun kissed Morocco,
after having wept over the tragic fate of slaughtered Greeks\u2026
To have a sweet vision of going out there to live together\u2026
To dream with Monet<\/strong> of his Lady of Japan\u2026
Like Van Gogh<\/strong>, set aflame with fever by the riot of the colours of the East\u2026Transforming his canvas in pure sunshine, as did Gauguin, under the skies of the Pacific\u2026<\/p>\n\n\n\n

This is the Call of Exoticism !<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Following the footsteps of  DELACROIX, intoxicated by sun-kissed Morocco, after having wept over the tragic fate of slaughtered Greeks\u2026<\/strong><\/p>\n\n\n\n

\"\"
La Gr\u00e8ce sur les ruines de Missolonghi (1826)<\/figcaption><\/figure>\n\n\n\n

\u00ab \u2026 Nous n\u2019aimons pas les all\u00e9gories ; mais celle-l\u00e0 est d\u2019un profond int\u00e9r\u00eat. Cette femme, qui est la Gr\u00e8ce, est si belle d\u2019attitude et d\u2019expression. Cet Egyptien qui triomphe, cette t\u00eate coup\u00e9e, ces pierres teint\u00e9es de sang, tout cet ensemble a quelque chose de si path\u00e9tique ! Et puis il y a tant de science et d\u2019art dans les hardiesses de M. Delacroix ! Son pinceau est si large, si fier et surtout si vrai. \u00bb (Victor Hugo) 
We usually condemn alleg<\/em>ories; but this particular one is of a vital importance. This woman, who is Greece itself, is noble by her expression and attitude. This triumphant Egyptian that decapitated head, those blood-stained stones\u2026 this whole setting has something so pathetic! Besides, there is science and art in the boldness of Mr. Delacroix! His brush is so large, so proud and above all so real.\u201d (Victor Hugo)<\/em><\/p>\n\n\n\n

Eug\u00e8ne Delacroix <\/strong>(1798-1863)\u2019s Orient was Morocco. The astonishment he received in 1832 while discovering the dazzling sunlight in Northern Africa is translated in his drawings as intense use of colours and new blends of light and shade which prefigure the \u2018pre-Impressionism\u2019. Delacroix was literally shocked by the Orient.<\/strong> With Morocco\u2019s sun-drenched scenery, he captured the expressive and symbolical potential of light which is now liberated from its sole function of imitation.<\/p>\n\n\n\n

To dream with MONET of his Lady of Japan\u2026<\/strong><\/h2>\n\n\n\n
\"\"
La Japonaise (Camille Monet in Japanese Costume) 1876<\/em><\/figcaption><\/figure>\n\n\n\n

Monet n\u2019a pas r\u00e9sist\u00e9 \u00e0 la tentation de peindre sa femme, dans un kimono au rouge vif, un \u00e9ventail d\u00e9ploy\u00e9 pr\u00e8s du visage, \u00e0 la mani\u00e8re des beaut\u00e9s d\u2019Utamaro<\/strong>.
Monet could not resist the temptation of painting his wife in a kimono, with a fan in her hand, and a face similar to those drawn by Utamaro<\/strong>. The surrounding evokes also a Japanese interior: floor covered by a tatami-like mat and the wall with bamboo fans and printed paper containing Japanese motifs.<\/p>\n\n\n\n

Like VAN GOGH, set aflame with fever by the riot of the colours of the East\u2026<\/strong><\/h2>\n\n\n\n
\"\"
Le Pont sous la pluie (1887)<\/figcaption><\/figure>\n\n\n\n

During his stay in Arles, Van Gogh wrote to his sister : \u00ab Theo wrote that he offered you Japanese woodblock prints. That is certainly the best way to understand which direction the light and colourful painting has taken. Here I need no Japanese woodblock prints, because I am here in Japan. This is why I only have to open my eyes and paint the impressions that I receive.\u201d<\/p>\n\n\n\n

Speech by M. Yves-Alain Corporeau, Conseiller de Coop\u00e9ration et d\u2019Action Culturelle, at the Opening Ceremony on the 26th of August 2005  (Kandy Alliance Bulletin, 14, oct.-dec. 2005).<\/strong><\/p>\n\n\n\n

All life begins with a separation, because one day, our body was separated from our mother\u2019s, where life came into being. Also, it is at this moment, the dream of a body that was lost for us for ever, becomes \u00ab somewhere else \u00bb, something out of reach, untouchable.<\/em>
The Romantics who dreamt of finding again the mother Nature, from whom they felt separated for ever, knew this well.<\/em>
Since we have lost the original body of our mother, we, the eternally exiled, are in search of this \u00ab elsewhere \u00bb, which eludes us always.<\/em>
The theme of \u00ab exoticism \u00bb appears therefore among the romantic writers. Chateaubriand<\/strong>, for an example, saw himself as naturally exiled before becoming one in reality at the time of the French Revolution, which banished him from his country.<\/em>
Also, it is at this same moment that \u00ab exoticism \u00bb takes two sides : the ordinary or the general side is of the nature to which the Romantics desired to adhere, and the other side is the more specific \u00ab Orient \u00bb.<\/em>
This theme of Orient appears at first among the writers after the translation of the \u00ab Arabian nights \u00bb, in the course if the 18th Century.<\/em>
So, for Nerval<\/strong> or for Chateaubriand<\/strong>, the Orient  was Jerusalem of the Holy Land of the Christians, and we start to talk about \u00ab orientalism \u00bb. Biblical, Arab or Muslim expressions then became, for the Europeans, this dream of \u00ab somewhere else \u00bb.<\/em>
The images become directly inspired from the countries of shadows and light :<\/em>
light of the sun drenched sceneries that we find with Delacroix<\/strong>, and that we continue to find among French painters until Matisse<\/strong>.<\/em>
But also, the shadows of interiors, whether palaces or houses, these mysterious and intimate places were always inhabited by women wearing fabrics and jewellery on whom the maddest dreams of paintings and literature will focus (Baudelaire<\/strong>).<\/em>
This exhibition invites us to follow this journey towards exoticism which is a part of ourselves. And I, European among you in this island of Sri Lanka, , in the Indian Ocean, I am perhaps in search of \u00ab my elsewhere \u00bb.<\/em>
(Translation : Jayalakshmi Madapatha)<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00ab\u00a0L’orient des peintres\u00a0\u00bb- Mus\u00e9e Marmottan Monet – Paris du 7 mars au 21 juillet 2019 Me revient en m\u00e9moire…<\/p>\n","protected":false},"author":1,"featured_media":398,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","footnotes":""},"categories":[9],"tags":[],"class_list":["post-566","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-et-culture"],"_links":{"self":[{"href":"http:\/\/www.suriyakantha.org\/blog\/wp-json\/wp\/v2\/posts\/566","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.suriyakantha.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.suriyakantha.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.suriyakantha.org\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.suriyakantha.org\/blog\/wp-json\/wp\/v2\/comments?post=566"}],"version-history":[{"count":3,"href":"http:\/\/www.suriyakantha.org\/blog\/wp-json\/wp\/v2\/posts\/566\/revisions"}],"predecessor-version":[{"id":627,"href":"http:\/\/www.suriyakantha.org\/blog\/wp-json\/wp\/v2\/posts\/566\/revisions\/627"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/www.suriyakantha.org\/blog\/wp-json\/wp\/v2\/media\/398"}],"wp:attachment":[{"href":"http:\/\/www.suriyakantha.org\/blog\/wp-json\/wp\/v2\/media?parent=566"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.suriyakantha.org\/blog\/wp-json\/wp\/v2\/categories?post=566"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.suriyakantha.org\/blog\/wp-json\/wp\/v2\/tags?post=566"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}