A progress so we decided on Saturday morning to visit the exhibition " Chardin (1699-1779) "," concise and accurate title, currently residing in the Museo del Prado. He also communicate progress to a friend (should you wish to join the visit): let me know if you see to be able to enter, because I do not walk and so little time on Saturday ...
- No problem, I say. Not with Chardin.
An hour later we were watching the first difficult paintings in the exhibition: still lifes, dead animals: how light and color of death?. It is not death. Chardin is a bourgeois French painter. The French bourgeoisie was never Calvinist. Then, the exhibition focuses on life (as his own work of Chardin still life vital): scenes of everyday life, attitudes without more eloquently than the gesture immersed in time, almost photographic faces (the picture is not realistic), compositions ordered, approximate space. And light, capturing the light: the only true light, as understood decades later the Impressionists.
not up passions in the public Chardin. Again the media. Even in the very direction of the Prado Museum which seems to have put so much enthusiasm in promoting this "Chardin (1699-1779)" as it does in other samples. I do not resent the absence of large audiences in theaters. I appreciate it. You can look. Stop. Thinking. Retrace your steps, if necessary. But I feel sorry for Chardin. I think this lack of popular success has largely blamed his themes (still life, dead animals, still lifes sober, Pictures rigorous uncompromising gesture or expression easy).
And yet, paradoxically, the commitment of Chardin was exactly that: to show that the art of painting were not the topics essential and foundational theory of the evolution of contemporary painting. Hence the repetition of motifs and scenes, almost identical, differentiated only by small details and especially the lighting, the shades of color: there lies the transformation of reality.
for today's audiences probably understand this argument is relatively easy. Perceive through the paint issues Chardin might cost. Because it is true that the issue matters. But so is that we can not develop the same willingness contemplative and sympathetic to a strictly contemporary work that to an already historic. We must arm ourselves for precise gear and must be interpreted in each case the meaning and coherence of the issues.
"Chardin (1699-1779)." Painting. No matter the issue. If the language.
Luisa Miñana 
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