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For a while, up until a few days ago I was unsure of the name of William-Adolphe-Bouguereau and, actually, I struggle to pronounce his name accurately.My encounter with Bourgereau started with a sense of skepticism, reading some information on the internet. From the high-sounding name and the dating of his work, I immediately imagined a boring artist and a unprofessional French academic, one of those who paint lavish portraits of nobles and hunting events. Something from the other century, in short older and out of date.But I was too quick to judge I made a mistake.I quickly learned my lesson and it didn't take me long to fall in love with the works of Bouguereau discovered through Open Art Images.Before I tell you about such beauty, however I will share the fateful lesson learned, which is the reason that motivates me to write about art, without being an art scholar the art must be observed and felt through the impact of the emotions it produces in our bodies. The senses and instincts are the best guide to determine if an artist can penetrate us. I barely knew Bouguereau's name and, if I didn't I would have felt similar, as his paintings captivated me and touched the oldest archetypes of my soul and changed everything I thought I knew about art in academia.It is the way art works, it sends us information that is not conscious and takes us back to worlds that were once parallel as well as allowing us to enter for a moment into the mind of someone else, who in turn has entered our world, and without knowing us. We and him, two people who are separated in space and time, are in the same room for a moment. Our worlds collide and blend in the territory created by a work of art.Bouguereau, the one mistreated by modernistsMy error was made by a lot of others before me, by those who, at the gates of modernism and after a long and well-known career, concluded that Bouguereau was no longer sufficient and that he wasn't modern enough or modern enough or "cool" enough and, in a matter of minutes, relegated his status to that of a basic academic artist, one among those who were Art Pompier (an expression that indicates a masterful technique but often false and empty to the point of bad taste) without any talent.Bouguereau, the one of the Pieta.No error was greater. It is enough to look through Bouguereau's Pieta to understand it, and feel the sensation that goes into the internal organs. Bouguereau's Pieta carries a universal message which is that Christ represents the pain of this world. Madonna, a black and esoteric woman, is the bearer of the truth, of Justice and conscience, all at once; she throws in our faces the facts, both uncomfortable and concealed, about the ugly that is ours. That black dark Mary is enveloped and trapped by guilt, depicted by the jolly characters with a somewhat dramatic appearance, who have surrounded the dead body of Christ. The woman, smug and angry, really desperate, appears to be someone who is a refugee, a gypsy who holds her son's body in her arms beneath the wreckage of the bombings; it is an image of a war photo reporter, however, we see this on the wall of an academic from the 19th century who, without much aplomb, slaps us in the face.<img width="458" src="">Pieta Pieta is only the second chapter (the final and funereal one) of a story about a woman, Mary however, it could be a different one. This tale begins with the painting of the Madonna of the Roses and where Mary appears as a young girl, a young mother, with a round face and white hair. She does not look us in the eye, but instead looks upwards, to the sky, like someone looking for help in the direction of God or destiny, conscious of the difficult task she is about to begin. That task is gathered within her arms. and she holds a small Jesus, from whose gaze (he does, he stares at us) we can sense the significance of future. She surrounds him in a motherly pose, one that is functional, rather than emotional. The two of them, standing in front of us, seek acceptance. In the Pieta this embrace, it becomes a handhold that of the mother who can't take the burden of her son's death and life slips away. This feeling was very familiar to Bouguereau, who lost three children along with his beloved wife. In the painting, while Bouguereau expresses his complete sadness, Mary declares her defeat and, in a way she declares the end of the world. Her prayers to heaven as well as her doubts, prompted by her awareness of her mission, break into an absolute certainty. Her dark eyes, her hollowed-out skin, look the culprits in the face and the faith of humanity is dissolved into the conviction that evil is present and we are accountable for it.Bouguereau is the most intense of the AcademyAs? I said the biggest mistake that modernists made was to undervalue the expressive capacity of Bouguereau's painting. Certain all of his work is academic: from the flawless technicalities which he creates naked body to the mythological and religious themes taken from neoclassicism, from the naturalistic backgrounds to the romantic and bucolic subjects. However, Bouguereau is not just this, and it's enough to keep looking at the looks of certain characters in his artworks, where all the human intensity that he is able to see and transport onto the canvas is reflected. His peers understood this, and made him among the top well-known artists in the 1800s. But then, with the beginning of the new century the Damnatio Memoriae banned him. They accused him of being too doing enough, and maybe they were unaware that beneath the orderly technicality of his artworks, Bouguereau hid chaos, malice, pain and seduction.<img width="409" src="">His work is the ideal example of the bourgeoisie: gorgeous forms that conceal alarming secrets, darkness and desires are no longer his desire to keep from being repressed. The naked is among the means he uses to bring us back to our primal instincts: the bodies want to seduce us and their brightness lets us feel like we're in a dream as well as in the setting of a film, where the actors are brightly illuminated and entice us with their. Simple gestures are transformed into something extraordinary (like removing a sock for instance) as bodies stack up and pile together, and they play with one another, it's all a game of foreplay, and Bouguereau is an artist who walks a tightrope between bourgeois education that looks (and is looked) at and the desire to communicate human desires in a physical way. Both worlds are there but it's the viewer who decides whether to focus on one or the other.It was another artist who was as expressive, sensual, like Bouguereau who, in the 1950s and 1960s, saved him from the ashes and wrote his praises: Salvador Dali. He too, so attached to the bourgeois ideal was aware of the hidden secrets in the unconscious of humans and also that you don't need to choose between content and form, however, you could fool the spectators with surrealist illusions.Bouguereau The person who can determine the appropriate dosesBouguereau's trick is in the right balance between the sacred and profane. purity and sensuality. He also demonstrates malice and innocence. Even if you believe you are seeing the usual shepherds, the typical Venus and angels, Bouguereau transcends all stereotypes or commonplace in art. A woman defends herself from Eros and that irritable putto is a symbol of the desire, the desires that she isn't willing to approach; a shepherdess possesses the look of an old woman who is a symbol of popular and rural wisdom and of those who have learned the way of life through experience and some suffering.https://www.click4r.com/posts/g/2745694/the-secret-of-william-adolphe-bouguereauwho does not conceal and instead makes visible, with just one glance, the attraction she feels for a Satyr. The sexual passion that is carefully placed in Dante's underworld. There are many young mothers, feeling overwhelmed with the responsibility of taking the care of their children within a world that does not accept them, in which they are viewed as just functional individuals. The power of the expressions that his characters give us back and the looks they exchange with each other is awe-inspiring. They resemble photographs films, or movie scenes and gracefully tell the real life stories. Here is realism, packed into dreamlike and mythical scenes, here are the real world, in its complexity.Bouguereau is the artist who paints with human archetypesMy impression is that Bouguereau is very aware of human archetypes, social patterns, and multiple identities of the being. I wouldn't be too surprised if it turned out that he was a member of some mysterious school. Certain of his pictures swept me right into the surrealist universe of Jodorosky, where the nude is a human trait, where vices and virtues are proclaimed loudly, and in which the unconscious sprang forth and finds a representation.These are the many things I observe in his painting. And if you don't believe me look into his eyes. They are the mirror of the many souls of the world. Through my eyes of 2021 I can see in him a deep awareness of the facts of life, a sense of intellectual responsibility as well as a desire to dispel social taboos. All of this is done in the most simple and "formal" ways, with the language of his time, without pretension or snobbishness and without presumption or judgment and, most importantly, with no violence, that, at this moment in the text and in human history, it is the modernists that seem outdated to me.<iframe src="https://www.youtube.com/embed/oFYHLpd_cII" width="560" height="315" frameborder="0" allowfullscreen></iframe>