Samedi 31 décembre 2022. Saturday december 31, 2022.
& Dimanche 1ier janvier 2023. Sunday january 1st, 2023.
Meilleurs vœux 2023. Best wishes 2023.
(ENG) (FR voir tableau ci-après) "The Family with an ermine". Acrylic on canvas 60 x 60cm. Late Thierry Gruas. 1962-2017.
First what is the best wishes of this family in mind?
For this big D-Day, I invite you to say goodbye to the year with "La Famille à l'ermine" and find her right away by listening to her best wishes.
The family with the knotted ermine shouts in chorus: "Best wishes for Health, Happiness, and Prosperity." She whispers to us: "May the year 2023 give you the opportunity to achieve, according to your hopes, what you desire, both for yourself and for your 'hated' loved ones."
Welcome rituals that flood us all on the web blablabla, blancblancblanc... (WhiteWhiteWhite...)
Some more serious fasting thoughts! If you have time to read!
What is the meaning of this fabulous scene from "The Family with an ermine"? Does the painting represent an observed reality, a dream or a rethought reality?
Is the family the real target of this almost black and white painting, or is it the ermine? Beyond the denunciation of the many culprits, the creator puts the family on the grill in a more or less precise or repressed way.
The family for this D-day is the hypersensitive J-point of a whole life, the place of passions, happiness, anxieties and repressions. My family home to "this family of madmen, to "this family of conformists who made me mad, a prisoner of the gaze of others.
Extraordinary premonitory portrait of the Neige family. Portrait painted by late Thierry Gruas ùùùùùù
Part One "Ode to the Family after my death" or psychological, polemical and satirical portrait or why not simply a desperate proof of love? A choice.
This ode to the family does not at first sight celebrate intimate and passionate feelings, no enthusiasm, love or joy on the smooth snow-headed balls, but seeks to account for the personality of late creator . Wouldn't it rather be a painting of evil? of the malaise of the creative fire, the seal of gruassic spleen?
This portrait of an idealized 'hated' white group responds in this way to the expectations of himself, a sponsor in search of official post-mortem representation. Late creator seeks to leave to prosperity the image not only of its family, economic and social isolation, but of its affective isolation. The misunderstood has been carrying out his premeditated suicide for decades. Point of failure, point of success, in-fine, everything is snowy. White, everywhere, it says purity and innocence. Late crator endeavors to transmit the psychological qualities of its person just before its departure, not that of its envisioned family.
His Snow family portrait becomes a pretext, a means like any other to determine the painter's attitude not only vis-à-vis the real world, society and art, but his choice of life, his intimacy, of his spleen. It is that photography now makes it possible to record a faithful image of the subject and, on the contrary, profoundly upsets the art of figuration. This "Family with an ermine" is not a photograph.
In the middle of the 19th century, the upper middle class, both actor and beneficiary of the industrial revolution, sought to leave to posterity the image of its economic and social success. At a time when photography was only a nascent technique and art, the family portrait was particularly fashionable in painting and did not escape the onslaught of modernity.
Precisely, "the Family with an ermine" breaks with the traditional illustration of the triumphant bourgeois family where the artist strives to reproduce or interpret their characteristic features and expressions, where he can question the role of the image and representation, where he can render the physical features of the family model, testify to his social belonging and his success.
None of this. To evoke his drama, his chaotic place in his family, to sum up his tumultuous life as an artist of doubts, by the brilliant expression of this anti-family opposition, this audacious painting, about seemingly simple, becomes a masterpiece. work of the end-of-life years of late rebel Gruas.
Late Gruas shows the full extent of his talent, especially in the absence of clothes worn by the bare characters, three are naked snowmen or snow children, all snow white. The definition of round shapes wanting to be heads is a source of light, stars that light up the blackboard.
Far from the bright colors, precious fabrics and laces of those depicted in the refined portraits of city dwellers, the figures are treated bare in white and black, perfectly restoring the psychological condition, the simplicity and the solidity of late snowy creator .
The round white faces of all the characters from children to the oldest evoked, the small size for the children, the cane for the seated grandpa, the evocation of grandma standing in a long gray dress, the only two ancestors dressed in black signifying that they have already left, but that he will join them through his orchestrated suicide.
This "ode to his family" which participates in his book of the dead is worth millions of bravos.
Masterpiece, yes; Ode to his family, not only! Do you see "the man with the ermine"? Do you see the white ermine? The ordinary animal is recognizable on the knees of its seated grandpa. What iconographic interpretations of the ermine which casually makes it the main element of the painting can be approached?
Ermine is white and confirms winter; it is very cold. The tip of his tail keeps a black brush regardless of the season, where then is the head of a second ermine or grandpa's pants?
The ermine suffers; isn't she hurt in the head by the purple cane?
For all art lovers, the ermine is no ordinary animal. The shamanic ermine manifests itself to us in its spiritual dimension. It is up to us to imperatively pay attention to the messages carried by this totem animal which holds the power of communication; if these contributed to the Gruas suicide, now these can contribute to our personal development.
As the white color, symbol of purity and innocence of the ermine, our fire spiritual guide Gruas is ready to do anything to preserve this symbol even if it means devoting his life to it. HE, Gruas, is the ermine who decided to sacrifice his life rather than defile himself in front of his hunters. The personality and psychology of the painter, and not of the model painted as usual, must show through in his representation.
Putting the ermine in the middle of the boilerplate family means that she will face changes in her life. They will intervene at cycles where it will be necessary to show flexibility of spirit.
Indeed, the ermine is itself subject to fur metamorphoses. In autumn, its coat becomes completely white, except for its tail which keeps its black color. During the spring season, its dorsal coat turns brown. Like the ermine, we must therefore accept that life changes us, but we must remember to always keep our originality, which must be respected.
Moreover, the ermine informs us that the creator may have been a particularly rigid person with others. She then asks us to reflect on the subject, so as not to paint a bad image of ourselves.
Like famous French writter late Gide, doesn't Gruas above all invite his generation to get rid of what alienates them, starting with the family? When a painter is born into a family, that family is finished. Oh, the family! Nest of jealousies, of things left unsaid, of disagreements, where the mediocre majority incapable of expressing themselves for life constantly govern the group by maintaining their banal existences of conformism as the only possible triumphant way, excluding all originality, seeking in the group the fault exploitable to destroy by all means the eccentric creator, because jealous of his freedom and his success. The ends of the fragmented family are lamentable.
The family painted in black and white! Grandpa and grandma are dressed only in black. The majority black in the background is a negation of life. Black is the color of evil and opposition, magic and bad omen. The majority black is very popular with the rebel Gruas. The will-o'-the-wisps appear again here as a faint bluish-colored glow, sparks floating in the air at a low height above the ground. If the light comes from snow white, it is also more or less diffused in the dark, flickering and brief and comes from the phosphorescent violet cane, a magic wand to pass into its beyond. To die in the dark absence of light and under the white sum of all colors or color in its own right: monochrome snow white. Only the snow suggests purity, and by extension, innocence and virginity, serenity and peace ... The angels, its messengers, are also in white ... The white of death and the shroud thus joins the white of innocence and the cradle.
The Celts present the spirit animal as an anthropomorph, a creature that behaves like humans. The ermine lives in society and would even organize burials in the form of rituals when one of their members dies. Wouldn't this then be the premonitory representation of the day of the burial of the creative fire who buried himself under the snow on December 08, 2017 at Mont D'Arbois, taking with him his beloved family of snowmen?
From another angle of other peoples, the ermine was also painted as a harmful species with poisonous saliva capable of paralyzing a human. Some legends say that she also brought bad luck to people who met her during a trip; this mythology still befits the creator preparing before his suicide the departure of his long eternal journey. Fire Gruas takes his family beyond the grave with him.
Happy end-hunger: Now let's get down to more serious business. All this “Family with an ermine” is ultimately just a bunch of ghosts demanding justice, but above all to drink and laugh happily.
These returns souls also wish us a good New Year's Eve and a well-watered January 1st with the family, good spirits, oysters, Christmas logs and chocolates, preferably white.
(Thanks to the excellent sources of inspiration
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