Beatriz Simon; A Return Within

By three methods we may learn wisdom: First, by reflection, which is noblest; Second, by imitation, which is easiest; and third by experience, which is the bitterest. 

 Confucius 

Painting  a work can be good, acknowledgeable even. Sustaining it, being on a consistent trend with oneself is what separates chance from talent, apprentice from master.

Beatriz Simon, a Mexican artist having exhibited in the United States, as in Europe and Hong Kong, works with an interest of self fulfilment, of  one’s self search, introducing at the same time her very personal mix of techniques and mediums. 

Beatriz Simon works with different mediums in order to build her creations and strengthen her search.  Generally, she has trained as a painter. She has now expanded to include different mediums such as everyday objects transformed into sculptures, photography, plaster sculptures, performances, videos and graphic design. Beginning in 1992 to take flight by herself, she started to separate from artistic standards.  

Simon declares to us : “Stop and amaze yourself by who you really are and by what surrounds you”. This of course introduces the idea that you introspect into yourself, but also that you accept who you are, imperfections building humanly perfection.  A certain interest for the influence of the surroundings onto one self is apparent in her work.  Imaginary perfection created by society through expectations and myths is not something to look up to. All that quest for social acceptance has alienated the human being from real preoccupations such as basic interpersonal relations like family and friends and has oriented it towards himself and it’s own personal achievement in the eyes of others. Simon seeks to create a detachment from these alienating beliefs.

Her works, per se, invite to multiple interpretations, as abstraction usually does. Nevertheless, the presence of humans in it, give a clue to a general preoccupation of the artist. Simon, despite her visual and literary abstractions, give us a thread to follow by her somewhat elusive figurations. Elusive, yet clear. Her figurations are not buildings. They are not cars. They are not washing machines and vacuum cleaners. They are people. They are people together or alone, thus isolating the idea of human relations and of inner-self quest. Her movements do not relate to screeching tires on the floor. Her technique is not the one of a machine, repeating incessantly the same thing. They are human expressions, proofs of human presence, hands, dripping, handwriting, imperfection, scratching, improvisation. All telling that a person with feelings and thoughts did it. The materials used by her, though some of them might appear industry built, are there to make references to the act of constructing. How you build something, the processes required, a metaphor as to how a person builds himself too. 

Her works themselves are constructed on the basis of the complementarity just as the human being is constituted of various elements. She will mix mediums, layers and expressive powers in order to create works that are made of very different things that extracted one from another would not have the same sense of fullness and finish as the whole thing together. The elements used by her also represent her drive for human construction. For instance, her “mescal” (a type of mexican textile) bags go through a particular process. It lays for ten days in the sun in order to extract the best part of it. The inside becomes the outside. Humans can also introspect and take the best from the inside in order to ameliorate the outside.

A recurrent symbol in her works is that of creating life by the act of reborn. Mothers with her arms crossed as though carrying a baby; Paintings of developing up- to- come new borns in wombs. It makes a reference as well to the importance of this act itself, the one of becoming a parent. The act of nurturing, caring and protecting another human being, not out of interest or pride but of simple human genetic, it is a human and beautiful thing. An act that no exterior influence can take out of us. That is to be basically human, a true aspect of ourselves, the act of caring for one another. Circles are also part of her perennial aesthetical figurations.  A figure that allows liberty, numerous possibilities and which does not corner itself with precise angles, a symbol of union and of infinity. It is a radiant and energizing form, vibrant with energy because of the direct relation to the sun and its associated qualities. Present in her photographs, paintings and sculptures it shows the importance this symbol has for Beatriz Simon as something revitalizing, in constant movement, change and self-adaptation. As a movement itself, it is also very free and human, full of energy. The circle is, just as Simon’s point of views of humans, perfect in its imperfection. Even if the artist’s hand does not draw it as a compass, it still keeps its figurational strength and is thus not undiminished as other figures would. The circle is also the symbol of a womb, a cherished subject by the artist.

A recent and one of her most intriguing works is a shelf. A work destined to make a metaphor to the human mind. Opened and closed compartments parallel to used and forgotten memories by people. The negation and refusal of any of those drawers with what they contain is a refusal of self because they constitute that person. No matter the past, it is part of one, endlessly modifying and influencing the person. 

Embrace yourself and everything that constitutes you, because no matter what, it is you. That is what Beatriz Simon’s works are supposed to and effectively create in people. You are made of various elements from which you can gain experience and personality. Accept it. Rebuild it. Re-flourish it. And enjoy it. Can’t we, as Lennon might say, “Let It Be” or; let yourself be yourself. 

Wim Delvoy at Rodin's

It is always interesting to compare contemporary art to more modernist or even renaissance art. Trends, inspirations, critics and observations from today’s artist become more apparent. Placed next to their inspirations make the artist’s intentions clearer. Taking a walk through Paris with a particular person, whom it is important to say is not into art,  I convinced her to follow me to Rodin’s museum situated close to “Les Invalides”. In it there was a short, yet interesting expo on the belgian artist Wim Delvoye, renowned for his tattooed pigs and his digestive machines “Cloaca”. This exposition will last until August 22nd.

For me it was compelling to go to this expo because in it, I saw a chance to convert this person into contemporary art because of it’s perticular setting. Realy, I din’t want to go alone and it was a chance to make her not  leave the museum after 15 minutes. Though I regret the lack of certain works for the Delvoye expo, the way in which they interacted with the french sculptor's  was yet not to be discarded.  It was all about comparisons and contrasts in time and object. The objects were placed among the sculptor’s as a fish in a tank.

First, Delvoye’s “Tour” (tower), a nearly gothic, nearly dreamy/unreal 11 meter high metal tower  swept me off my feet. Particularly,  it’s peak paralleled with the Eiffel’s and the Invalides’s, made me think of a fantastic novel, something you read but never really see. Moving on. Delvoye had also a mini replica of his studio gate, the “Gate”. In it he created a direct comparison to Rodin’s “Porte de l’Enfer” based on Dante’s novel, la Divina Comedia. Delvoye shorcuts the relation schema by placing on his work:  “Lasciate ogne speranza voi ch’intrate” (He who enters must let go of any hope) which is exactly what Dante wrote on his. Nevertheless he added that typical capitalist references and sarcasm. It constitutes his own very Gates of Hell with Mr Clean and the Warner Brothers logo opening the way. 

Last, but definitely not least, in one of the rooms of the museum, the commissionaire decide to place on every side of the room two pairs of painted vases. One of the pairs was of ancient greek design by Rodin himself. The other side of the room presented Delvoye’s version of painted greek vases. His were on gas tanks. Compelling enough, the title of his works, “Gandagas” are the tank’s brand, it’s sign of commercial provenance. Very Duchamp. Opposed to the more ancient ones, it clearly demonstrated an inspiration on the artist’s part but also an opinion in the sense that the work of art is as much as the drawings on the vas as the vase itself. A part of the creation of a work of art is the material, the support itself and not only the work done on it.

So, in conclusion of this visit, the intention of the museum, to place works from these two different artists, separated by time and career, can nevertheless show that art is alive, taking from its sources and reinventing itself endlessly. Overall, an easy, fun and light expo to see and share with people you want to convert to art. While your at it, take a stroll in Rodin’s gardens, a simple way to relax after a museum visit.

                                          

Monica Guerrero; Time as A Storyteller

Ever laid your wondering eyes upon an old piece of furniture? Did you ask yourself how long had it been there without movement? You might have also started to think about the object's life.  Who had used, who had disposed of it. Ever stopped to look at a newborn infant. Did that make you think about the passing of time. Did you reminisce childhood memories, didn’t the time pass away so quickly? Some say time is like water; adaptable, ever-flowing, calm yet capable of powerful things. Have you ever tried to grasp water with your hands, doesn’t it slip trough your fingers quietly, without a sound, yet unstoppable.

Monica Guerro, a mexican painter and photographer, has set herself to capture time in photography. In order to visualize the totality of her accomplishment, it is better to view the whole serie, one after the other, gazing and pondering on each photograph at the time. You will see that Time has been given a new and fuller sense. Guerrero, in each photograph, analyses the different possibilities and relations man has given to it, but mostly how man has observed it. More than that, a general sense of melancholic awe for the passing of time is sensible in these photographs of the mexican landscape. A landscape riveted by the passing of time, it’s population having suffered poverty, spanish dominion, cultural crisises and now the ravages of the drug traffic war. 

While observing her pictures, many questions came to my mind. How many miles did these shoes run for? How long has the snail been sliming on that path, and how long does it still have to go? How are these two people of different generations spending their time together, are they telling each other memories from the past, talking about present stories or about their own particular futures. Truly, these photographs had me think about myself, how do I place myself in time, and others, how have they led their own lives.

Nevertheless, it is not as much as for the intention of grasping time, in what it means or what it does, that Guerrero presents too us these pictures, but of presenting it as a portrait. Just as a portrait tells one’s story, this series present’s time and his particular story depending on different sceneries. It can be young, old, slow, fast, lonely or collective.

These pictures go much farther than being simple photographs of people, animals or objects, they are stories being told. The story of a grandfather and his nephew, the story of a patiently struggling insect, the tale of an energetic city, the tale of an action, a movement. Each picture having a before a now and an after. These pictures fall into the profoundness of time, scratching in them in order to extract its essence. You might wonder if it is necessary, relevant or even useful to seek to understand Time. I believe, Guerrero teaches us that Time is not to  studied  and examined like scientist would. It is to be admired in its greatness and enjoyed as it passes by.

                                            

“We Want Miles” or more than that; We Want Good Memories.

Nevermind the music from today, surge into the music from your past, what you used to listen to when you were younger, wether that means that it was twenty, thirty or even forty years ago, doesn’t it bring something back, doesn’t it make you feel alive again?

Montreal’s Fine Arts Museum retrospective on Miles Davis, starting on April 30th up to August 29th, is quite something to go through, it is an experience of mixed medias. There is music and visual arts combined such as pictures of Miles Davis by Irving Penn or Anton Corbjin and paintings by famous Jean-Michel Basquiat. Though, a third ingredient is added to the pot by the spectators themselves. They include an element of remembrance. Good memories are added as to create something moving, filled with joy and energy. The whole exhibition space becomes a time machine.

At the beginning, I wasn’t sure what to expect from this retrospective. How is mixing music with visual arts going to be comprehensible and linkable for the viewers. As I walked from room to room, I realized that for most of them, truly understanding both influences on one another wasn’t the point. The whole point of going to see “We Want Miles” is because the did indeed want some Miles back in their lives. 

At one point, getting tired of walking around without a moment’s rest, I decided to sit for a bit. Next to me was a grown up couple. The husband was dark skinned and the wife white. I couldn’t help to overhear what they were saying. While listening to “Boplicity” from the album “The birth of the Cool”, the couple was talking about how they met in a café to this song. They were quietly singing the song together and smiling to each other, both filled with emotions and pleasing memories from their past. This scene truly moved me as I realized that these people were here to enjoy a bit of music, see a few pictures, learn a bit more about the man, and have a good time. Some people were singing. Others were dancing to the music. Some others were even mimicking as though they were playing the trumpet. It was a wonderful thing to see all these people, old and young alike, appreciate the music they used to listen to when they were young or that their grand father used to make them listen. Moreover, for anyone who didn’t know Miles Davis beforehand, he would get a sense of the greatness of the man for his power of inspiration in people and his ability to put generations together with his melody. At the oppening night, Marcus Miller, Davis’s ex-bass player himself was present. Walking for several hours in the museum’s retrospective, he demonstrated that the remembrance of the epoch was the important aspect of the exposition. Immersing oneself in what used to be the glorious days of jazz, blues and Miles Davis 

Furthermore, the general construction of the retrospective was well done. Categorizing all the different musical genres invented by Miles Davis was one of their well achieved tasks. It explains the going from blues to bepop to jazz cool up to his more rocky-electrical musical creations. This gave the amateur viewers a comprehension of the musical genius of the man, and to the more connoisseur viewers something to remember. A particular work in the retrospective that really impressed me was his musical creation for the French movie director Louis Malle. Indeed, for his movie of 1958 called “l’Ascensceur pour l’Échafaud” (Elevator to the Gallows), Malle asked Davis to create the music for his movie. The musician was placed in front of a screen with the movie rolling. He improvised the music in one shot, all based on his impression of the images. It may sound very easy to do, just play whatever and it will sound good. Not quite. It requires to be very sensitive and really understand the meaning of an image in order to extract it and transform it in sound. It is almost indescribably challenging. That whole improvisation by Davis made me think of Andy Warhol who somehow would do the same thing. In his “factory” he would put songs on replay like “Satisfaction” by the Rolling Stones and therefore get a general ambiance for the creation of his visual works. So, just as Warhol created images out of sound, Davis created music out of images. They both felt and expressed what they perceived from these mediums. As Miles Davis put it himself: “Music is a painting that we can hear, Painting is a music that we can see”.

If you plan on going to the retrospective, and I hope you will, I nevertheless recommend to go with a lot of time ahead of yourself. Take the time to really appreciate what the curators have built, but also how people around you react to the expo, hopefully, you will as well find an old couple remembering themselves of the times of the great Miles Davis with a big “we want some more Miles” expression on their faces.

Below is the video of Davis improvising the music for Malle’s movie “Ascensceur pour l’Échafaud” based on the images showed to him. Keep in mind it’s all improvised, no partition.

Emilia Sirrs: The Power of Art

What is it about an artist that will make us relate to their work? Is it a feeling of understanding? Maybe a feeling of déjà-vu?   Maybe we are even able to imagine the artist fighting with their feelings in order to create a work of art. Shockingly, more often than not, these abstract- or feeling centered- works will seem childish or even easy to duplicate for non-professional art observers. They are not. Art works hide many things within them, stories and inspirations, cries and laughters, sadness and happiness.

What role does art really fulfill? Are they there only to represent an idea? To communicate a message, wether political or social? Art can also be a way to express themselves, mend injuries and find a way to repair damages in one’s personal life. They can also transmit one’s  extreme happiness. They say Winston Churchill himself painted in order to relax. Usually, when I write an article about an artist, I try to gather as much information about them as possible, knowing that someone’s life, what happened to them, who they met, really influences their work. Merlau-Ponty, the French philosopher said that there wasn’t seeing without vision. This means that according to one’s life, what you see, and consequently what you think and do are a directly influenced by those events. 

Emilia Sirrs is a Mexican painter born in Cincinnati Ohio. She arrived to Mexico at six years old. A few years later, she started taking drawing and painting classes and eventually became a student of renowned painters Pascual Santillán , Francisco Salas y José Lazcarro. Overall, she has had more than 40 collective, and individual expositions nationwide and even internationally such as in Belgium and the United States.

Taking into account that I don’t know much more about Emilia Sirrs that can tell me these few facts, I do know though that her life influenced how she saw the world and how her painting was to develop through time.  Upon seeing Sirrs work for the first time, I was rejoiced by seeing these elements from daily life incorporate her work. I saw it as an explosion of creativity, leaving the classic and going for new mediums. Expanding from the canvas like a wave engulfing her surroundings.  Yet, I decided that criticizing a work of art as lightly as that, based solely on my first impression with no more thorough exploration was somewhat amateur. I then discovered how powerful a weapon art can be for some artists. How it is not to be taken lightly.  Art becomes one with the artists just as language is to a writer, without it they have no more tools to express themselves and to communicate their feelings and thoughts. Moreover, this part of them that art becomes will therefore evolve with the artist himself even if he doesn’t know. It will reflect their moods and states. The work of art might become independent from the artist, but the artist won’t become independent from it. As Edvar Munch, the famous Norwegian painter said: “Colours gain a life of their own once they have been applied on the canvas”. Though, the artist’s life does not end once the canvas has been laid by pigments, it goes on.

Emilia Sirrs proved to me this power of art. Having suffered a loss in her life, her painting, just as her, have changed.  One evolved with the other. Before the event, her art was vibrant, independent, as Munch would say.  One of her works, “La Pasion” has evidently a real strength to it. You could look at it for hours on end, just as you would a Rothko.  A passion was transmitted from the painter’s hand on to the canvas. Sincerely, it’s one of those works where the words are not enough to describe it. An image is mandatory to the comprehension.  Below is the image of this painting. 

After that point, her art changed.  The loss of someone transformed her, and thus her art. Having that possibility of using art as a tool of self-mending, she did so in a way where creativity, but more than that, a deep feeling, a need presented itself. Just as Joseph Beuy’s fat came as a healing object, these materials with inscribed memories on them came as part of her art in order to work on it, remember it and then pass it on, inscribing it forever on the canvas. She put those memories in a shoebox called art, never to be opened again. 

That is why Emilia Sirrs appealed to me as an artist. She exemplified beautifully this power art can have. Art is much more than a drawing. It is more than three lines of different colours put aside to one another. It is more than a painted sofa against the wall. It is a purifying exercise, and a very exhausting one too. It is a way to put down what is on our minds and our hearts, passing that energy, wether good or bad that lives in us, onto a final object, wether to be disposed off as a bad memory or to be kept as a remembrance of something good that happened to us, just as a picture on the wall.   

This combined work, named “Ausencia” (Absence), is the triggering one that will follow on a full series of works. Emilia Sirrs, as she told me, plans to recycle all these pieces of furniture and transform them into works of art in order to close an episode in her life. I honestly cannot wait to see the rest of the serie. If it is as intense and emotional as “Ausencia”, we can truly expect to see something extraordinary. It will disting  uish from mere Sunday painters from the ones that have made art a part of themselves. 

By clicking on the title, you will directly access to the artist's webpage.

Crime et Châtiment: A Historical Account on Artistic Perception of Crime

Last week, taking the opportunity that I'm now in Paris, I went to see the exposition "Crime et Châtiment", or Crime and Punishment, at the Orsay Museum.  Generally, it was an interesting exposition, though the extensive number of works presented, around 450, made it a heavy exposition to watch, particularly if you stop to look and wonder at every work like I do.

The show didn't have the objective of focusing on any particular artist, or artistic movement, but on the perception of crime and punishment by the artist, and the different mediums every epoch used to document or perceive these acts.  For example, around the 1870's, most artist through the main development of journalism and the spread of mass media, had to document their views in journals. They would draw or paint little crime scenes, either mockingly or shockingly, and that would be printed in high numbers. I mostly saw this exposition as an encyclopedic account of crime and punishment throughout history, going from the Bible, the French Revolution up to Bertillon's bases for photographic judicial identification.

The exposition starts by showing the first and most popular crime of history: the murder of Abel by his brother Caïn.  Follow images of the abouts of the French Revolution and their use of the guillotine. Documents and facts are plenty, they even have a real guillotine exposed, just in case you had no idea of the apparent violence and size of the machine.  I must admit it was my first live encounter with one and it's not like in the movies, especially this one who actually had a few hits of her own.  Then come the murder of Marat and Fualdes, the romanticist view on art with all the witches by Goya in his Caprices and ladies MacBeth by numerous artists. The exposition then presents  excerpts of journalist artists in Le Petit Journal of 1866, images of judges and lawyers from the judicial world, a view of the pain of death by Victor Hugo and Warhol. Finally, the exposition finishes with the scientific approach that the system took in order to document and investigate crime. This affected the artists imaginations particularly by the searches of Lambroso, Georget and Bertillon.

Putting aside the fact that there were a lot of people and that the documentation was sort of unnerving, Crime et Chatiment still clarified compelling aspects of the time, )articularly the subjective view of events by the artists. Indeed, just as political parties or even everyday people, artists would take sides and present the event in that way, or this way, putting an emphasis on different aspects.  The most appalling example, I must say, was the murder of French revolutionary Marat by Charlotte Corday in 1793. The most famous painting of this event belongs to Jacques-Louis David, turning the man into a revolutionary martyr. Yet, opinions on the murder and the murderer diverged.  Cunning criminal for the revolutionary and a hopeful Jeanne d'Arc for the royalists.  Some diversity also existed in the matter of the event; is Corday even important, is her presence relevant. Following are two works presenting the event. The first by Jacques-Louis David, and the second by Paul Baudry. These two works exemplify the pictorial diversity that existed regarding this event. Startring by the title, they both show what the important matter in the painting is. David's one is called "The Death of Marat" whereas Baudry's is simply called "Charlotte Corday". David, a sympathizer for the revolutionanry cause, choose not to show Corday. Nor is she mentionned in the title or even placed on the picture. By totally excluding her, he shows how irrlevant she is to the event, just as stray arrow is to the death of a king. Because of this, David tries to make people forget about Corday and her royalist cause. If she is nowhere to be seen or read, she will eventually be forgotten and Marat glorified as a martyr for the nation. In David's image, Marat's wound is present, and so is the murder weapon. Yet, his face is of someone not in pain, but in extausion. He keeps a smile on the corners of his lips. Generally, this image is not violent at all. It even has something solemn to it. The light on the right creates shadows that beautify his body and render his face younger and healthier. When delivered to the convention in November of the same year, a present critic said: "(...) the face expresses a supreme kindness and an exemplary revolutionary spirit carried to the point of sacrifice".  Even Baudelaire wrote in 1846 :"(...) by a strange feat, it has nothing trivial or vile". David succeed to really create an admirable and respectable figure for his contemporaries and for further generations. 

On the other hand, Baudry's painting puts Marat and his death to the left of the image, almost as a secondary plan, where they leave the man alone to his suffering. He concentrates in depicting the complexity of Corday's figure. She stands miliseconds afetr the act, her left hand still in the position of clutching the knife.  Baudry depicts her as a grave character, snuggling in the corner but still keeping a determined face, as though just realizing the graveness of her act yet accepting it proudly, knowing it is for the defense of France and the return to peace. This is shown by the map of Frane in the back of Corday.  Her vacant eyes, lifted up to the sky, seem to glaze and answer to someone from high above, thus the comparison to Jeanne d'Arc. Moreover, where David's painting idealised Marat's death, Baudry really gives us a crime scene. The violence involved in the act is quite apparent. The turned over chair, the fallen paper and the stumbled wooden plank show how Marat and Corday must have fought. Plus, the weapon is still tucked in the body. The grimacing face, the clinging hand and the half-opend mouth testify of Marat very soon to come death.

 

This diversification of opinions really interested me in the visit of this exposition because no matter what, painters remain human and will have point of views on things.  As Max Ernst said: Just as the poet who writes down what he hears in his head, the painter must clarify and try to paint what he sees in his head".  In "Crime et Chatiment" we also see Dehas opposing Lambroso's criminal anthropology by the creation of his "Little 14 years old dancer".

Finally, I must say that even if this exposition had apalling parts and an enormous amount of goodwill and work in order to research, compile and categorize the huge amount of information they had, it is precisly this vast amount of written and pictorial documentation that might have created an overload on the spactator and thus not integrating and wholy appreciating the exposition in its right valor. Sadly, I wished there had been less works in order to let the viewers truly concentrate on the core works and not diverging and deconcentrating by all the satellite ones.

Victor Spahn: The Beauty of Movement

A boat. A beautiful sailboat, storming through the sea, fighting it's way among the waves while the crew stood impatiently waiting to know what was to happen next. The whole scene was something to admire. The tilting movement of the boat, the snapping sound of the flapping sails, the crashing of the water along the boat's hull. All of that was my first impression of Victor Spahn's painting of "Régate Ameroca".  The impression of energy and the understanding of movement was stunning.  Not only did this painting from the French-born painter struck me because of my love for sailboats, but also because of his very particular technique. He somehow managed to render the whole scene something to marvel at. The energy and the movement involved was something of prowess.

Born from Russian parents, Spahn has had a productive career. Many of his paintings have served as posters for sportive events such as for Paris's first tennis open in 1986, in 1992 for France's F1 Grand Prix up to the Rugby poster for the French Stadium. In an article from 2009 by Patrice de la Perrière, Spahn said: "I try through my works to transmit to the public a certain concept of sportive life, favoring movement and precise motion in a determined context."  Upon reading this, I understood that my impression of "Régate America" was not a coincidence and that Victor Spahn was an artist of movement and energy.

On his website I discovered many paintings demonstrating the importance of speed and dynamism as a core subject for the artist. One of them was blatant and easily comparable.  Indeed, Spahn based one of his works on an old painting, but presenting it in a totally different way. It is the painting of Napoleon crossing the pass of St-Bernard in the Alpes around 1800.  The first version belongs to Jacques-Louis David, official painter of Napoleon Bonaparte, done between 1811 and 1815. The other one is done by our discussed painter almost two centuries later.  In the first version, David gives us a very still image of the emperor, where the important details are centered on Napoleon. The image is there to skyrocket Napoleon's popularity and thus magnify the persona. It represents how glorious and imposing, how richly decorated, how determined he is. Moreover, on the bottom left corner, Napoleon's name is placed next to Hannibal, the famous commander, as to place these two great men side by side.

On the other hand, Spahn's work is only centered on the action done by Napoleon and his horse. Indeed, he erases all traces of the Alpes, of the fellow soldiers, of the scribbled rocks. He places Napoleon in a total void. There are no hints of time or space, we don't even have details for his face or anything that might help us to replace him. If it wasn't for the title or general knowledge, we would have no idea  of who he is. This means Spahn concentrates himself much more on the action done by Napoleon and his horse than on details of richness and prowess in order to uplift the person's qualities. Spahn's version is realistic on the progression of movement, focusing on the importance of the strenght required for the accomplishement of the action. The kicking movement of the horse's legs and the forward thrusting movement of Napoleon's body are what Spanh want's us to see. He seeks to demonstrate to us the progression of movement involved in the action.  In David's version, Napoleon is painted very still, very naturalistically, as thus a photograph had been taken of him whereas in Saphn's version, we have a total loss of details in order to make the viewer center himself on the progressive dynamics of the image. As such, we perceive how it is the importance of motion as opposed to anything else that triumph in his paintings.

Clearly, Spahn's work is concentrated into the demonstration of movement, speed and dynamism. His work makes me think a lot of the futurist movement in visual arts. Started by an Italian poet, it centered itself on the beauty of speed and how they would be able to catch movement and it's progression on a still image. Filipo Marinetti, the creator and writer of the Futurist manifesto, once said as regards to the Futurist movement: "The splendor of the world has been enriched by a new beauty: The beauty of speed." I believe this quotation is at the center of Spahn's work, centering his art on the importance of movement.

Following are two other works of art that exemplify and relate to what Victor Spahn seeks to achieve. The first one is another work by Spahn.  The second one, a photograph by the futurist artist Bragaglia.  The similarity between these two works is strongly apparent. Both of them concentrate themselves on the movement done by the musicians and not who they are or any other personnal detail. Again, the fact that Spahn erased the face of the musician, just as he did with Napoleon, tip us on the idea that they are not important. In his work, Bragaglia sought to take photographs that would present movement and it's progression. He would keep the camera's shutter open for a long time in order to catch movement. In his painting, Spahn also tries to present the movement done by the musician. How his right hand goes up and down and his left arm back and forth.  It is only the musician's body movements that matter and on which we have to focus on. The instrument, compared to the body of the musician seems completely stable and solid. 

                                                                  

Many comparisons could follow between artists that center themselves on particular facial expressions or that go extensively on details and Victor Spahn's disinterest of it. Nevertheless, I believe these two comparisons exemplify and clarify Spahn's precocupations for movement by comparing him to his opposite (David) and highlighting the similarities with ressembling artists.  Interestingly enough, Spahn not only depicts music and horses but also paints many various sorts of sports such as Golf, Rugby, dancing and ice skating. This demonstrates a deep observation by the artist of how these different sports evolve in their movement, how they are executed.  Since 2006, Victor Spahn has been depicting cities and landscapes. For an artist that is used to paint sports and movement, this new aesthetical interest gives a quite fascinating result. By clicking on the article's title, you will be able to acces directly to his website and explore his art by yourselves.

Here is a slideshow of some of Spahn's work that I like the most.