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Middle: Raoul Dufy, Le Bouquet d'Arums, 193)
Right: Jean-Pierre Cassigneul, Bouquet de Fleurs, 1968
Larger images:
- Marc Chagall's Bouquet sur Fond Orange
- Raoul Dufy's Le Bouquet d'Arums
- Jean-Pierre Cassigneul's Bouquet de Fleurs
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I've found similarities between Chagall, Dufy and Cassigneul (see my posts on their paintings here, here and here). But, like everything in art, there is a hierarchy. It goes:
First: Chagall
Second: Dufy
Last: Cassigneul
1. Chagall's Bouquet sur Fond Orange is an explosion of colors. But his painting is much more organized and structured than it seems. For example, he has divided his color blocks into three: floral sections of violet/blue and red/pink, and green/yellow leaves. The orange, which is reflected in the brownish pot, is the glow of light which illuminates the forms. Being Chagall, he cannot help but add in his village/town life, a glance at civilization. This painting is about an arranged, designed vase of flowers, not flower growing in the wild. Homes line the painting's background, and a fruit tree, another form of civilization, stands next to the table with the flowers. His bouquet dwarfs other items on the table, and rightly so since it is the most important item in the painting. It dwarfs a bowl of fruit and what look like a bottle of wine and a glass filled with wine, and a salt or pepper shaker. A miniature women dressed in red stands by the table. Clearly, the subject of the painting is the bouquet, and not her.
2. Next in hierarchy are Dufy's whimsical flowers in Le Bouquet d'Arums. Dark red and black ink trace the forms of calla lilies, leaves and small floral shapes, which are covered with strokes of colors. These colors are suggested rather than filling the forms with exactitude. The red flower could be a carnation: the lilac and purple of small flowers, the yellow and white of the lilies, and dark green for leaves. Rather than result with an unfinished effect, this evokes whimsy and delicacy, where shapes float in colors, and colors never completely define, or constrain shapes.
3. Finally Cassigneul's Bouquet de Fleurs. I tried looking for flowers without the perennial silent woman that fills his works, but could find only a few. I couldn't find any of the joyful, colorful renditions of bouquets that Chagall and Dufy paint. Instead, this was the best I could find. As always with Cassigneul, there is a lack of form. The tulips and roses are a blurred and shapeless, and the leaves blend into the background wall. Dufy's quasi-unfinished forms give us whimsy; Cassigneul's just look unfinished. This is because Cassigneul doesn't draw, but rather paints spots of color to form his shapes. His pot is the most elaborate of the three paintings, but it distracts from the flowers. Chagall left his pot without patterns. Dufy's callas could be in a garden, or in a vase that is below the paintings frame. Cassingeul pot is covered with an unidentifiable pattern his pot, which add a further layer of confusion. As always with Cassigneul, I feel that he is a clever painter, but not a very talented one.
And when we put him alongside the other two, we can see his limitations even more.
Art these days lacks a critical approach, partly because of the attitude that "everyone is an artist, don't you know," and a disrespect for art history and all our predecessors. We seem intent on working with a clean memory slate.
And modern art is all about deconstructing, then reconstructing. This is great if you were born about seventy-five years ago, where there were great works to deconstruct (and reconstruct, in your fashion). What we have now is an already diluted, deconstructed art, several generations down the masterpiece line. What can we deconstruct? The deconstructed pieces? This, of course, resulted with the famous empty canvasses that hang on museum walls, to the amusement of the unsuspecting public. Now, we just works that are dredged from an empty imagination, since there is nothing left that is worthy enough to guide us.
