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Adam et Eve paradieux cliquer pour acceder aux détails du tableau

Le potager des déboires
76x76 Huile sur bois


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L'enfer du peintre cliquer pour acceder aux détails du tableau

Here is an allusion to Jérôme Bosch. This triptych, with Adam et Eve and L'Enfer du Peintre, heralds the emergence of a new technique.
This practice introduces in the traditional technique of oil painting – with its transparent layers of paint and its subtle relieves – the gesture and the work tool of the engraver. Thin lines dig the painted layer to reach the white of the background or intermediate layers. As a consequence, the brushwork is made up of bright tones, tight and angular lines, particularly fit to the harshness of L'Enfer du peintre.

One cannot be sure whether or not the garden is constituted of feeding or poisonous plants. The plants of the garden bloom and give fruits. Trimmed, they now grow up in bushes, all separated by a smooth, luminous and perhaps liquid soil, which, from time to time, rises up to form rocks, plants, animals… and uncertainty.
The chest of a young woman emerges at the foot of a white rock, that goes on as a tree of which branches end up as human arms, necks and birds' beaks. In the holes of a cliff, finely wrought as a rock's veil, a gold nymph is talking to a flower.
In the middle of the painting, an animal, through its back, is ingesting a man, whose legs are raised towards the sky while his arms are used as legs. The chimera is not fully realized. The sighs of the man are turning into two faces wearing calves and feet. Lower, a horn player has gone down from the Sistine Chapel, not to announce doomsday but to blow up Mona Lisa's head as if it were a balloon.
In the foreground, as an allusion to the school of Fontainebleau, one can note Diane De Poitiers in a case made of leaves and flowers. Going up the edge of the painting, an open hand is concealed, blurred by the volutes of the ivy and a cherry tree's foliage. Its palm is collecting Titian's shepherd and nymph.
Next to the spherical face of Mona Lisa, a naked woman is having a washing and, contemplating her reflection in a circular mirror, she may be trying to comb her hair. Her head is covered with a hood that reminds the one falconers arrange on birds' heads. A pupil, suspended from the pit of a leave, echoes this blindness. A languid man, leaning on the woman's side, sticks out his tongue to a toad.
Fame, vanity, hidden beauty, blindness, narcissism, distortion of a work, inflation of language, artifice, vacuity ...