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Up until a few days ago, I had no idea who William-Adolphe Bouguereau was , and in fact, I still find it difficult to pronounce his name correctly.My encounter with Bourgereau began with distrust after reading some of the information available from the web. Based on the soaring name and the date of his works, I immediately thought of a boring painter and a unprofessional French academic among those who paint expensive portraits of nobles as well as hunting parties. Somewhere else in the past century, in short, old and dated.However, judging too fast, I fell into error.It was a quick lesson and I didn't need long to fall in love with the work of Bouguereau found through Open Art Images.Before I share with you the details of such beauty, however I will share the lesson I learned that is what drives my desire to talk about art, without being an art academic: art should be observed and felt through the its emotions in our bodies. Our senses and our instincts are the best guide to understand If an artist is able to connect with us. I had no idea of the name Bouguereau and, if I didn't then it would be similar, as his works bewitched me as they touched the most ancient archetypes that shaped my soul, and displaced all I believed I knew about academic art.It is the way art works and it is able to send us information that is unconscious and brings us back to parallel and past worlds, it lets us enter for a short time into the mind of someone else, who in turn has entered our world, and without knowing us. We and he, individuals who are separated in space and time together in the same space for a short time. Our worlds intersect and merge into the world that is created by a work art.Bouguereau, the one mistreated by modernistsMy error was made by many others before me in the same way, by those who in the midst of modernism and following a long, well-known career, concluded that Bouguereau was no longer good enough and that he wasn't modern enough or ready for the future, not "cool" enough and, in a matter of minutes, relegated his status to that of a basic academic artist, one from those who were Art Pompier (an expression that signifies an impressive technique, but often false and empty to the point of having bad taste) without any creativity.<iframe src="https://www.youtube.com/embed/oFYHLpd_cII" width="560" height="315" frameborder="0" allowfullscreen></iframe>Bouguereau, the one of the Pieta.No error was greater. It's enough to glance through his Pieta to comprehend it, to feel a feeling that goes straight to the insides.https://ludomanistudier.dk/konference/william-adolphe-bouguereau-secrets's Pieta carries a universal message that is universal in the sense that Christ represents the pain of the world and the Madonna, a black and esoteric woman is the symbol of truth, of Justice and conscience simultaneously; she throws in our faces the truths, painful and obscure, about the ugly that we all share. The dark and black Mary is in a crowded and nearly in prison by guilt, as shown by those good-natured characters, with a slightly too dramatic look, who are surrounded by the body of Christ. She, dignified and angry, truly desperate, appears to be a gypsy, a refugee who holds her son's body in her arms amid the debris of bombings. It's an image from an official war photographer however we can see that image on the walls of an academic of the 19th century who without too many pleasantries is smacking us with a slap in the face.The Pieta is only an additional chapter (the last and most funereal) of a story about a woman named Mary, but it could also be another one. This tale begins with the drawing "The Madonna of the Roses and where Mary appears as a girl and a mother of a child, with a round face and white hair. She does not look us in our eye, instead she looks upwards, to the sky, as if asking for support from God or fate, conscious of the daunting task she is about to begin. That task is gathered within her arms. a tiny Jesus and from his gaze (he is, and he stares at us) we sense the important fate. She surrounds him in a motherly pose, one that is functional poses, not emotional. The two of them, facing us, seek compassion. Then, in Pieta, that embrace becomes a handhold of a mother who can't take the burden of her son's murder as her life is slipping away. The feeling was familiar to Bouguereau, who lost three children along with his beloved wife. In the painting he expresses all his sadness, Mary declares her defeat, or rather, the defeat of the world. Prayers to heaven, her doubts dictated by her awareness of her mission, break into a certainty. Her black eyes, her hollowed-out skin, stare the culprits in the face, while the hope of humanity sank into the knowledge that evil is real and we are responsible for it.Bouguereau, the intense one of the AcademyAs? I said the biggest mistake made by the modernists was to overlook the expressive capacity of Bouguereau's painting. Certain the style is academic, From the precise technicalities which he paints naked bodies to the themes of mythology and religion that are derived from Neoclassicism, from naturalistic backgrounds to the bucolic and somewhat romantic subjects. However, Bouguereau is not only this, and it's enough to be able to focus on the looks of the people in his paintings, where all the human emotion he's in a position to perceive and convey on the canvas is manifested. His contemporaries recognized this, and made him an one of the more famous artists of the 1800s. However, at the beginning of the new century, the Damnatio Memoriae banned him. They accused him of not doing enough, and maybe they didn't realize that, beneath the technical structure of his paintings, Bouguereau hid chaos, malice, pain, and seduction.His paintings are the perfect example of the bourgeoisie: beautiful forms that hide disturbing dark secrets, dark and desires that the artist is no longer able to keep from being repressed. The naked is one of the means he uses to bring us back to our instinctual nature that the bodies are trying to lure us in and their brightness can make us feel like we're in a dream however, they also create a setting of a film, where actors are lit and bewitch us. Simple gestures can be enthralling (like taking off a sock, for instance) and bodies pile up and stack up, they touch and search each other, it's all an act of foreplay and Bouguereau is a tightrope walker who is balancing an education of bourgeois that is looked (and is looked) at, and the need to speak to human desires in a physical way. Both are present and it's the observer who decides to look at one over the other.It was another artist, equally emotional, sensual like Bouguereau who, during the 1950s was able to save him from his obscurity and wrote his praisesfor him: Salvador Dali. Dali, like many artists who were adamantly attached to the bourgeois formula, knew the secrets contained within the human subconscious and the fact that you don't have to make a choice between content and form but you can fool the audience with magical surrealist tricks.Bouguereau, the one who is aware of the proper dosesBouguereau's secret is in the right dosage between the sacred and profane. purity and sensuality, malice as well as innocence. If you think that you are seeing the usual shepherds, the usual Venus and angels, Bouguereau transcends all stereotypes, every commonplace of art. A woman defends herself from Eros and that irritable putto represents the cravings and desires that she doesn't really want to approach; a shepherdess is an old woman, a bearer of the wisdom of the common and rural, of those who know how to live their lives through practice and some suffering. The Nymph who doesn't hide her feelings, but instead makes clear, with one glance, the attraction she feels for a Satyr. The gay passion is carefully placed in Dante's slums. There are many young mothers, who are overwhelmed by the need to take charge of their children in a world that does not recognize them, and in which they are viewed as just functional individuals. The impact of the glances that his characters give us back and the looks they exchange with one another is immense. They appear like photos films, or movie scenes and gracefully share real-life tales. This is realist art, stuffed into mythical and dreamlike scenes This is the world in all its complexity.Bouguereau is the artist who paints with human archetypesMy impression is that Bouguereau is extremely aware of human archetypes social patterns, as well as many identities of the person. I wouldn't be too surprised if it turned out that he belongs to some obscure school.https://telegra.ph/Eventually-The-key-To-William-Adolphe-Bouguereau-Is-Revealed-10-23of his images catapulted me into the surrealist world of Jodorosky where nakedness is a human trait, where vices and virtues are exclaimed with a loud voice, where all the unconscious springs out and is portrayed.There are many things I see in Bouguereau's painting, and If you aren't convinced, observe the gaze of these characters. They are the mirror of the multitude of souls in the world. Through my eyes of the year 2021, I can see in him a great awareness of the truths of existence, intellectual accountability, a desire to unmask social taboos. He does all this in the simplest and most "formal" ways, with the language of his day and without pretense or snobbery with no pretension or judgement and most importantly, without violence, so much that, at this point in the text as well as in the history of humanity, it's the modernists who seem antiquated to me.<img width="496" src="">