HAPPY BIRTHDAY to Keith Haring (May 4, 1958), Salvador Dali (May 11, 1904), Frank Stella (May 12, 1936), Tamara de Lempicka (May 16, 1898), Mary Cassatt, May 22, 1844),
Georges Rouault (May 27, 1871).
An immense opening out and interpretation of these sources, McCahon's 'word paintings' reflect a highly selective reading of scripture--very much in the tradition of William Blake and
Georges Rouault.
Georges Rouault's series, 'Miserere et Guerre', consists of 58 prints here set in the context of the First World War and the period leading up to the Second.
So while Ramses Younan's Nature Loves a Vacuum, 1944, which shows a biomorphic construction in the foreground of a barren landscape with a diminutive naked figure in the distance, is clearly in conversation with Salvador Dali's Soft Construction with Boiled Beans (Premonition of Civil War), 1936, Kamel El-Telmissany's Untitled (Seated Nude), 1941, depicting a naked woman with a large metal peg driven into her lap, her right fingers severed, comes across as a more wickedly imagined and savagely painted
Georges Rouault. Among the more enigmatic paintings here was Inji Efflatoun's The Girl and the Beast, 1941, in which tentacular rocks and plants seem to compete with a large airborne raptor for a terrified, partially naked girl trapped high up on a mountainside.
James MacMillan's Le tombeau de
Georges Rouault, however, explored a much broader emotional canvas.
Where Lowry was interested in the work of the late Impressionists, Major's work has more in common with Van Gogh, Matisse or
Georges Rouault.
With a few exceptions, such as
Georges Rouault and Alfred Manessier, both French and Catholic, and Marc Chagall, a Jew, it seemed that spirituality and modern art were antithetical.
His name was Yves Les Dantec and he turned out to be the son-in-law of the great painter
Georges Rouault. Rouault was one of the greatest painters in the world, I think.
Hollywood's anti-modernist stance was self-consciously dealt with in The Big Knife (Robert Aldrich, 1955) by means of a painting by
Georges Rouault, which is often framed while looming behind one of the characters.
But his core pictorial language is a composite of Pablo Picasso's neoclassical period and the work of French Fauve painter
Georges Rouault. Souza probably felt a certain affinity and kinship towards Rouault's work due to its resonance with his own personal history as well as preoccupations.
Inspired by
Georges Rouault and Pieter Brueghel the Elder, the exhibition responds to the idea of Christianity being sidelined by society.