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Up until a few days ago, I had no idea who William-Adolphe Bouguereau was and actually, I have trouble articulating his name properly.My encounter with Bourgereau began with suspicion when I read some information on the internet. From the high-sounding name and the dating of his works I instantly thought of some boring painter, some serviceable French academic, one of those who paint expensive portraits of nobles and hunting gatherings. Somewhere else in the past century, in short older and out of date.However, judging too fast I made a mistake.I quickly learned my lesson and I didn't need long to be captivated by the work of Bouguereau discovered on Open Art Images.Before I share with you the details of these beautiful things, I will reveal the fateful lesson learned, which is the reason that inspires me to write about art without being an art academic Art should be looked at and felt through the its emotions on our bodies. The body's senses and the instincts are the best guide to understand If an artist is able to penetrate our souls. I had no idea of the name Bouguereau If I had then it would be similar, as his paintings captivated me, touched the most ancestral archetypes that shaped my soul, and changed the things I thought I knew about art in academia.That's what art does, it sends us information that is not conscious that transports us to worlds that were once parallel, it lets us enter for a moment into the head of a stranger and has entered ours, without knowing us. We and he, individuals separated by time and space, are in the same room for a moment. Our worlds collide and blend into the world made by a piece of art.<img width="322" src="">Bouguereau is the one who was abused by modernistsMy mistake, however, was committed by many others before me, by those who, as they stepped into the modern age and following a long and acknowledged career, decided that Bouguereau wasn't sufficient, that he was not modern enough or prepared for the future, not "cool" enough and, in a matter of minutes, relegated his status to that of a basic academic artist, one among the Art Pompier (an expression that signifies the mastery of a technique, however it is often false and empty until it is bad taste), devoid of any genius.Bouguereau, the one of the Pieta.There was no greater error. It's enough to glance through Bouguereau's Pieta to understand the meaning, and to experience a feeling that goes straight to the internal organs. In Bouguereau's Pieta carries a universal message, where Christ is the symbol of the suffering of the world . The Madonna, a black and esoteric woman who is the bearer of the truth as well as Justice and conscience, all at once; she throws in our faces all the facts, both uncomfortable and hidden, about the ugliness that is ours. This dark, black Mary is in a crowded and nearly in prison by guilt, as shown by these lovable characters with a somewhat melodramatic look that have surrounded the dead body of Christ. The lady, who is regal and angry, truly desperate, appears to be a gypsy, a refugee who holds her dead son in her arms beneath the debris of bombings; it is an image of a war photo reporter, however, we see that image on the walls of an academic from the 19th century who, with no pleasantries is smacking us in the face.<iframe src="https://www.youtube.com/embed/oFYHLpd_cII" width="560" height="315" frameborder="0" allowfullscreen></iframe>The Pieta is just an additional chapter (the last and most funereal) of a story about a woman called Mary, but it could be a different one. This story begins with the drawing of the Madonna of the Roses in which Mary appears as a young girl and a young mother.https://dohnstephanse.livejournal.com/profileis with a round face and white hair. She doesn't look us in the eye, but instead looks upwards, to the sky, like someone seeking help by God or the universe, aware of the arduous job she's just started. That task is gathered in her arms, a little Jesus and from his gaze (he is, and he stares at us with his eyes) we sense the important destiny. She surrounds him in a maternal pose, one that is functional poses, not emotional. The two men, facing us, ask for understanding. In the Pieta the embrace transforms into an embrace for a mom who can't carry the burden of her son's murder and life slips away. This was a familiar feeling to Bouguereau who lost three children and his wife. In the painting Bouguereau screams in sadness, Mary declares her defeat and, in a way, the defeat of the world. Prayers to heaven, her doubts dictated by her realization of her mission, shatter into the certainty. Her black eyes, her hollowed out skin, look at the perpetrators directly in the face and hope for humanity is dissolved into the conviction that evil is real and we are responsible for it.Bouguereau The intense one of the AcademyAs? I said the major mistake that modernists made was to overlook the expressive potential of Bouguereau's painting. Certainly the style is academic: from the perfect technicalities with which he draws the naked bodies as well as the mythological and religious themes drawn from neoclassicism, and from the naturalistic backgrounds to the bucolic and somewhat romantic subjects. But Bouguereau isn't just that, and it's enough to linger on the eyes of the people in his paintings and the full human ferocity that he is in a position to perceive and convey onto the canvas is reflected.https://judojaw07.doodlekit.com/blog/entry/18431845/apply-any-of-those-five-secret-methods-to-enhance-william-adolphe-bouguereauunderstood this, and made him an one of the more well-known artists in the 1800s. Then, with the dawn of the century of 1900, the Damnatio Memoriae banned him. They accused him of not doing enough, and maybe they didn't realize that beneath the orderly technicality of his work, Bouguereau hid chaos, malice, pain and even seduction.His artworks are the perfect illustration of the bourgeoisie: gorgeous forms that conceal alarming secrets, darkness, and desires that he no longer wants to repress. The naked is among his methods to reconnect us to our primal instincts that the bodies are trying to seduce us and their brightness lets us believe in a fantasy, however, they also create a setting of a movie, where actors are illuminated and entice us with their. Simple gestures can be enthralling (like taking off a sock, for instance) as bodies stack up and pile up, touch and seek the other, it's an elaborate game of foreplay and Bouguereau is an artist who walks a tightrope between an education of bourgeois that is looked (and is looked) at as well as the need to speak to the human need for material. Both worlds are there and it's the observer who decides to see one rather than the other.It was another great artist, as beautiful, sensual, like Bouguereau, who, around the 1950s was able to save him from his obscurity and wrote about his achievements: Salvador Dali. Dali, like many artists who were adamantly attached to the bourgeois ideal, knew the secrets contained in the human unconscious and the fact that you don't have to make a choice between content and form, but you can fool the spectators with surrealist illusions.Bouguereau, the person who can determine the appropriate dosagesBouguereau's secret is in the right balance between sacred and profane, purity as well as sensuality. It is also about malice as well as innocence. If you think that you're looking at the standard shepherds, the usual Venus and angels, Bouguereau surpasses all stereotypes or commonplace in art. A woman defends herself from Eros and that irritable putto symbolizes the desires, the desires that aren't hers to be able to satisfy. A shepherdess possesses the look of an old woman, a bearer of the wisdom of the common and rural and of those who have learned life through practice and even some suffering. The Nymph who doesn't conceal her feelings, but instead makes clear, with one glance, the attraction she feels for Satyr. Satyr. The gay passion is carefully placed within Dante's underworld. There are a lot of young mothers who are feeling overwhelmed with the responsibility of taking charge of their children in an environment that doesn't accept them, where they are considered only functional personalities. The power of the expressions that his characters give us back and those that they exchange with each other is enormous. They resemble photographs, film scenes and gracefully tell real-life tales. Here is realism, packed into dreamlike and mythical scenes Here are the real world, in its complex simplicity.Bouguereau, the one who paints with human archetypesIt seems to me that Bouguereau is very clear about human archetypes, social patterns, and various identities of the human being. I wouldn't be shocked to discover that he is a member of an mysterious school. Certain of his pictures swept me to the surrealist world of Jodorosky where nakedness is a fundamental human trait as well as where virtues and vices are declaimed loudly, where all the unconscious springs out and is portrayed.There are many things I see in Bouguereau's painting, and in case you doubt my assertions, observe the gaze of these characters, the mirror of the souls of the world. Through my eyes in 2021 I see in him a deep awareness of the facts of life, a sense of intellectual responsibility, a desire to unmask social taboos. He does this in the simplest and most "formal" ways, with the language of his day and without pretense or snobbery, without judgment or presumption, and above all without violence, that at this point in both the text and human history, it's the modernists who appear outdated to me.