He actively participates in coffee but never participates in any of the Impressionist exhibitions because he seeks success in the salons. At the age of 40 he began to paint outdoors and his brushstroke, which was not flat but vibrant, was modified and we find it in the painting “Claude Monet painting in his bateau atelier”. Manet said that when you paint a bunch of grapes you don’t count the berries but you paint the stain.
“Breakfast on the grass”: it causes scandal because of the subject, it is rejected by the official salon and then exhibited in the salon des refuses. In it there are depicted in the foreground a completely naked woman who converses with two men dressed while in the background there is a woman who is bathing in a pond it is not so much the woman’s nude that scandalizes, but its too realistic representation in a seemingly everyday but unusual situation. What basically strikes is that the nakedness of the woman makes a conversation between ordinary bourgeois vulgar. This one probably looks like she stripped off by the time the men arrived. It takes as its inspiration the rural concert by Giorgione or Tiziano where there are men and women dancing, but this one, on the contrary, has a mythological theme. There are no half tones and the shape is obtained thanks to the overlapping of warm and cold colors that give three-dimensionality. The background is ancient with scenographic wings. The color quality of men and women is the same as the color quality of the background, there is no difference between content and containing.
“Olympià”: olimpià is the name attributed to the prostitutes of the upper village, it is a subject that is repeatedly portrayed; this also causes a lot of scandal. It represents a naked woman with a flower in her hair who looks at the viewer with a bewitching gaze. The pink flesh stands out against the cold blue tint of the mattress. In the background we see a black man who brings her a bouquet of flowers from a probable admirer.
“Bar delle folies Bergere”: it is her most beautiful work, we see a woman absorbed in her thoughts listening to a gentleman, whose presence is reflected in the mirror. The light is refracted in the mirror, where we notice the chandeliers represented as incandescent globes, and we notice the cinematic cut in the feet of a dancer on a trapeze. The maximum luminous expression refracts on the bottle and oranges, but reaches higher levels on the woman’s blouse.
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