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Illustrating a sensuality that's as much an
homage to pre-modern sensibilities as it is a lively contemporary international
art movement, "Post-Romanticism: The Art of Passion" celebrates aesthetic
virtues largely abandoned by late-19th and 20th century art.
A special art fairs presentation at Don Jorge's Arte de Mexico Galeria in
Nickels Arcade, "Post-Romanticism" is unabashed about the work it champions.
Indeed, it wouldn't be incorrect to say that post-romanticism enthusiastically
endorses a mature frankness that is meant to be a large part of its appeal.
Its focus on the idealized feminine is not accidental, according to University
of Michigan philosophy professor Claudia Moscovici, who is involved with the
movement: "A logical way to explain what post-romantic art is about is to start
with its name. Surely with a name like post-romanticism, this art has something
to do with romantic art; yet since we put the 'post-' in there, it must also
come after romanticism and be contemporary in some way." As Moscovici adds, "Like
romantic artists, the post-romantics capture human passion, sensuality, and
beauty in their works in a way that mirrors and at the same time idealizes
visual reality.
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"In retaining so much of the Neoclassical and Romantic traditions," she writes,
"Post-Romanticism makes a statement against much of modern and contemporary art."
Ever since modern art has taken its conceptual turn, according to Moscovici,
it's "lost sight of the technical skill, visible talent, appreciable beauty and
sensibility that have characterized art for 400 years." Above all else,
Moscovici implies, three aesthetic categories - passion, sensuality and beauty -
so decidedly mark this startling post-romantic art.
The display consists of artwork by four artists from around the world:
Thierry Bonnaffe of Belgium; Jeff Cornell from
Florida; Edson Campos of Brazil; and Leonardo Pereznieto of Mexico. Each artist
is preoccupied with modeling, but each offers a personal interpretation of
post-romanticism.
Campos is interested in crafting an art that reflects the romantic tradition
through portraiture. His three prints of acrylic paintings have the uncanny
resonance of a post-modern Pre-Raphaelite in their subtle attention to
atmospheric detail.
Cornell focuses more on his model's form in the two pastel paintings and single
graphite drawing he's contributed to the exhibit. His "Warm Up IV" depicts a
dancer stretching deliberately on a studio bench. "Pillow I," by contrast,
features his model stretching lazily across a bed.
Pereznieto's sculpture is strongly influenced by Auguste Rodin's preoccupation
with idealized human muscularity. His miniature bronzes in this exhibit are
sensual without being explicitly erotic. As such, and like Rodin, Pereznieto
crafts both masculine and feminine intimacy without slipping into pure
physicality.
Finally, Bonnaffe seems most preoccupied with exploring the artistic imperative
of post-romantic modeling. His eight nude drawings (including two stunning
conte-on-canvas drawings taken from his "Cindy" series) study the eternal
feminine in all her guises. Bonnaffe's artistic gift lies in arresting his
model's precise emotional state and transforming her into a universalized
idealization of woman.
"Post-Romanticism: The Art of Passion" will continue through Aug. 31 at Don
Jorge's Arte de Mexico Galeria, 8 Nickels Arcade. Art fair gallery hours are 9
a.m.-6 p.m. today. Regular gallery hours 11 a.m.-7 p.m. Tuesday-Friday and 10
a.m.-6 p.m. Saturday. For information, call (734) 662-9770.
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