(FR) "La famille à l'Hermine" Exposition temporaire à la salle d'exposition de Vendenesse.fr à la gagalerie.com .
(ENG) "The family with the ermine" Temporary exhibition at Vendenesse-les-charolles.info exhibition hall at la gagalerie.art .
(ENG) Visit a small village in Saone-et-Loire, France, from the comfort of your home 71120. No airport yet! but Vendenesse-les-Charolles.info is the place to be - smile, and surroundings as Charolles- click on to see how its is lovely frenchie place, worth to come to visit; welcome!
(FR) Exposition temporaire à la gagalerie.com à Vendenesse.fr, semaine culturelle. Échantillon.
"La famille à l'Hermine" feu Thierry Gruas 1962-2017. Acrylique sur toile 60x60cm.
(ENG) Temporary exhibition at gagalerie.fr in Vendenesse.fr, cultural week. Sample.
(ENG) (FR voir tableau ci-après) "The Family with the Ermine". Acrylic on canvas 60 x 60cm. Late Thierry Gruas. 1962-2017.
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.
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.
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.
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 time shared with the family, good spirits, chocolates, preferably white.
(Thanks to the excellent sources of inspiration :
***