Painting and Dance
The problem of space, time and sensory leads us since the previous conference to address the dialogue between painting and other practices Art. The music has allowed us to design their merger valuing the painting. The representation of the human figure forms the basis of historical narrative and pictorial subject. The organization of the representation of man is between the fourteenth and twentieth century questioned its development space. Dancing will enable the arts a situational dynamics of figuration. The principles of idealization and questioning by the interaction between painting and dance. Remainder of the musical style, representing dancers and dancers allows artists to freeze movement and thus a sensory. Dance, in its fundamentals, is an artistic practice using the body and its displacement as a means of expression. For the plastic organization of groups, dance is a model for painting.
In this convocation of a body dynamics, we try to understand how once again we move from a body shown in a representative body. Since ancient times, the dynamic representation password regularly by the representation of dance scenes. These dances are to be considered in their actions and plastic suspended.
The few examples of ancient art presented at the Museum of Fine Arts Tours are not explicitly dance. Yet in the ceramic, the parades of dancers and dancers can visually look at a movement of a three dimensional object. Indeed, taken in the movement and the unity of all living bodies, the eyes naturally turn around the vase. This decorative principle figurative and allows to establish a homogeneous composition in agreement with the holder. The look into the dynamics of the frieze is spatially and temporally rotated around the object. This principle reflects the formal use of dance as a means of development and movement of light through body movements. This ancient origin illustrates the temporal nature of the representation of a dancing figure that nevertheless remain suspended in its movement.
representation of dance in painting problematizes image suspended and the phenomenon of internalizing his time projection. Indeed, the body being frozen, posture must lead the viewer to perceive a before and after. The balance or imbalance in the representation of movement created a temporality. The relationship between music and painting time to generate principles of composition and rhythm. The dialogue between dance and painting plays a sensory where the body of an animated expression, allows artists to build balances and imbalances playing with the viewer's own feelings.
These ballets choreographed organize groups of people to have a dynamic effect. Even if they are as musicians, angels occupying the upper part of the central panel by Lorenzo Veneziano, showing postures which individualization creates a natural rhythm in their comments. Through dance and rapprochement with expressive body, artists understand that the position allows the light to project. The man becomes the central subject of narrative and composition, posture taken by his suspended movement of the eye the beholder. Even if the report is not immediate, this questioning of dance and expressive body positioning in the composition can discuss this comparison between the painting and the arts.
Dance is an expression pattern and balance in body positioning. With the concept of grace that develops from the sixteenth century, the model of the dancer's body positioned and balanced complete the pleasant appearance of the table. Dance, art of time, based on the vitality of the body in space. Graceful body to the ends, we may note that the spacing of the little finger observable in mannerist paintings seems to be a finalization of a posture improvement and control. The Triumph of Silenus painted a contrast to that grace posture. Bodies flabby, collapsed seem to send us a picture of decay. Theatricality in the painting's composition does not develop only time the light on the principle of narrative story. Dance, silent expression, appears to be a model questioning and communicating a time and only sensory emprique. With the notion of pleasure that grows in the grounds of the reception of the work, grace or disgrace the positioning of the body brings the painting to dance. If the model that we discuss later sculptural evidence of a cultural principle, expressiveness instant positioning of a body charge is in harmony with the observation by the artists of the dancer's body.
consecration in France under the reign of Louis XIV danced great performances, where the King takes the stage, offering an extra character to the dance. In the eighteenth century, the dancers become autonomous subjects of interest.
In the landscape with ruins, the sound of the peasants dance musician and return the image of a united society. In fact, like music, dance visually represents unity within a group. The agreement highlighted by musical concert, finds its counterpart in the formal dance and visual.
In the preparatory sketch painted Apollo crowning the arts, Francois Boucher is below the literature and music and dance. This hierarchy of artistic expression raises the dance as an art fundamentally land. Indeed, if literature and music are based on clouds and seem ethereal, dancing bears and on earth. If music is an element from its origin divine or sublime, the dance is a purely earthly and analyzed some time even as pagan. Reassessing the eighteenth century, gives it a greater expressiveness reflecting a technical achievement in the mastery of the body. The pose of the dancer is expressive and even ideal. In revealing his divinity Apollo for tat Isse, god is a pose where the balance and imbalance does not correspond to a classical canon and sculptural, but rather that of a dance .. As highlighted at the previous conference, the link with the theatrical enables Francois Boucher to play with the feelings of the viewer. The dynamics of the body complete and does not freeze the geometric construction of the table. Like angels, the body of Apollo by his dynamism created an additional decoration. We can apply this interpretation to the canvas Sylvie fleeing wounded wolf. The dynamics of body position may reasonably be perceived as a movement frozen or suspended. The dancer's body by setting his action becomes an object of expression. With the emergence of gaze and the voluptuous pleasure that must generate the table, the historical regime fades, artists are turning to dance to find a replacement then postures to build a work where the projection of the viewer has to be troubled by the positioning of the body. Frozen, the body paint must be temporally projective. The suspension allows artists to create through the internalization of the spectator as a projection pursuit movement. Body control allows the dancers to make what is a pleasant, expressive functional movement.
The portrait of Mademoiselle Prevost Bacchante by Jean Raoux is one of the most famous dancers of the early eighteenth century. Indeed, Francoise Prevost was named "one dancer," highly prestigious position, thanks to his exceptional abilities and qualities. The artist is in one of his most famous roles is Philomela, performed in 1723 on stage at the Royal Academy of Music. Behind it grows a setting reminiscent of the palace Tereus, king of Thrace and lover of the Bacchante. The advent of great dancers reflects the quality and recognition of this art. This full-length portrait is staged, where the artist tries to show exceptional qualities of his model. To the forefront, Ms. Prevost is the star. Behind her we see a number of dancers, organized in the round they are referring to a collective principle of this practice Art. The dancer in the foreground is she in a single expression. Sensuality evoked by the play of transparency and not revealing to see the chest of the young woman seems to be one of the first elements of the composition of this picture. The second is the construction of the posture. The dancer is presented in extension, in effect as frozen in a moment of elevation does not touch the ground. The shadow of his left leg not touching the tip of his foot. We face an action in a moment frozen unstable is the elevation. Yet when we look at the wand she holds in her left hand we see that it is just tight. While the dancer provides a physical effort to rise to gravity, it does not contaminate his grace and posture. This elevation, almost ideal, yet is reduced to a given land by the bunch of grapes she holds in her right hand. The diagonal formed by the alignment of the two arms creates a pendulum where what is heaviest where the top and lighter bottom. This inversion of the weighting is symbolically demonstrate the virtuosity of the performer. In its composition, the artist exploits the fact of representing a character both real and fictional. Structurally this body is frozen in a position untenable. Yet the impassive face of Miss Prevost confirms turned to us and reflects the grace of posture and shows a total lack of physical effort. Dance by the expressiveness and restraint, allows John Raoux demonstrating its artificiality and its pictorial equivalent. The drapést forming a circle around the breast of Miss Prevost just soften the dynamic movement of the diagonal and vertical body. Component of ornamentation, they are nonetheless focus on femininity and the body of the young woman. In this approximation with dance, artists are real issues and concrete in their ideals to the paint flip interview a number of major questions pictorial. Weighting, likelihood, and anything that can be attached to a given terrestrial representation of a body are dissolved or arranged by the evocation of dance.
freezing a moment in a movement that wants originally expressive artists come to play on the projection of the viewer. For balances and imbalances, artists play in our understanding and misunderstanding of the construction of the body. If the divine body in paint could religious in nature "alien" to be unweighted, the real body of the dancer's posture becomes empirically unsettling image.
In approaching the subject or taking an art of spatial and temporal deployment, painting suspentatoire then question his character. The image is so frozen that moment, however, the movement can actually be sustained. By the suspension of temporal data, claims the painting as both an art of the moment but also as an image that can freeze a fleeting. This unreality that appears allows the paint to get rid constraints of reality. This artificiality challenges and destabilizes the viewer. The dance allows painters to represent a body that is only a moment before. By the dynamics of posture, this frozen moment becomes an invitation to project themselves temporally in the aftermath of the movement. Like the ancient farandoles activate a rotation of support to read the entire movement, the painting plays the dancing body to extend the observation time and create an interpretive effect and internalized.
In the nineteenth century, the artists will continue their investigation into the temporal observation of the table. Dance, but also the normal movement, will then become a matter decomposed at the surface of the canvas. With the Impressionists, time becomes an instant and work immediately. Yet if we can evoke the movement, then we must fully represent. Unfortunately absent from our collections, studies and representations of dancers by Edgar Degas show interest in the movement and its estate. The dancers are a recurring subjects of study of French painter. Fed a standard culture since a very young age, as evidenced by the copy after Mantegna's Calvary now in the collections, the artist will make a large number of studies of dancers where their movements are broken down. And treated in a frieze, the poses are inscribed one behind the other in a dynamic effect and reconstruct the entire movement. His compositions pre-movie playing on the additional principle of the eye. The latter being active at the surface of the table, it can follow moving from a posture causing it to reconstruct the whole. This dynamic is very close to the photographic studies of Muybridge and Marey. Its decompositions develop over time, but especially the character witness presentist painting. Temporality is sensory. It is the eye which in turn handing the different movements, one behind the other creates the dynamic effect. The difference with the eighteenth century is that the subject is more internalized but outsourced by physiological reasons, and eye. Degas Dancers will shock some of the contemporary public, because it does not dance in its staging, but rather in its preparation and its backstage. We emphasize that the dynamics of body, Edgar Degas adds dynamic colors. To link or create the impression of movement the artist do not rely solely on the study designed it also adds color becomes thus naturally linked to the dance.
The expressiveness of the body rocking dance artist. Indeed, with the decomposition of the key to the emergence of line and his own expressive quality, the movement of the brush can become a physical expression of the artist. Abstract expressionism and his first time painting labor, reflects a penetration of the body of the artist in the table. Jackson Pollock stopped painting easel, he laid his canvas horizontally to the ground and turns around. Squirting paint are testaments to the movement of the artist. As defined by Clement Greenberg, "the artist enters the arena." The body then switches shown in representative bodies. Activation of the painting's surface and its dynamics related to the body becomes the subject of the composition. The painting entitled Great Grey Olivier Debre, is made with the spreading of the paint with a broad knife. The movements of the hand, arm and body seem almost identifiable and reorganize their inclusion in plastic. The time table is that of its realization. It is always a moment, but not stretchable by a projection but a confrontation with the temporality of the distribution of paint to the surface.
Through its dialogue with dance, painting seeks to develop a space-time construction of body. Less than its structural relationship with music, dance questioning by the paint scheme is an expressive and figurative. The validity of a temporal and spatial development of sensory painting binds to dance by the genesis of the feeling. Activation of the human figure in the painting is choreography. In convening the body and its scenario, the painter is "dancing" these figures to strengthen the empirical their expressiveness.
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