Hanjo's Description: mainly about the creamy color of skin
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This makes me think of a quirky rendition of a latter-day Arnolfini wedding.Though I can't help wondering what are the expressions on their faces.Hanjo, I presume you've not included them to avoid inclination to narrative?
Well, the faces. When painting the Skin Series it striked me that somehow the face is treated too prominent. In our clothed society every expression is encumbered with the face. So it is mainly over represented when it comes to reading a person. At the same time the body is gravely underrepresented. But I learned with the Skin Series that the body, and with this I do not only mean the so called body language but also its shape and structure as well, tells quite an interesting story. This is one thing. The other thing is that the face of naked people is favored taken as an alibi. So one looks at the nakedness, pleased, but pretends that the more interesting object is the face of course. That's hypocrisy, isn't it? So here with this painting it is about nakedness. It’s the theme. Not only nakedness by chance as in most of the so called nude paintings but as a purpose to enjoy what the body is to lovers. So everybody is allowed to freely just look at the naked bodies without having to comment about the interesting faces as an excuse.Well my dear John-Paul this painting unfoetunately is not a quotation or an allusion of the Arnolfini wedding or a wedding at all, smirking or not. I'm still pondering on the appropriate title but this painting could as well be called "Homesick".
Well if there is any rendition JP I couldn’t say whose is it, for both are holding their own pleasure in their hands.I don’t think it is a question of surrender, the image for me is a kind of homage to pleasure and honesty. Two bodies, not exactly from the Vogue, quite plain and normal in their “more than real” proportions, are seen in daylight. Each one is holding his/her lovers sexual charms, while they look at each other fascinated, in a mirror, or so I imagine.They adopt no flattering posture, no soft lights, they have no need for it.Her rotund body firmly planted in the earth, stands out in the daylight boldly, exposing a white skin that one can easily imagine fresh or even a bit cold. Boldly she holds her lovers sex in her hand, for the mirror or for us to see. She is direct and resolute. On the other hand, her partner, takes her breast in an unstable posture, and despite his sturdy body, seems to dissolve with the background , specially from his knees downwards, his connection to earth a bit faded. His presence a little cloudy compared to her brightness. He seems to hold on to her while she seems to lead him, by the only part of his body that is perfectly defined, his sex. Maybe faces would have told us the story more precisely. I prefer to imagine it as a playful intimate moment between two lovers enjoying each other’s body, fascinated by their reflected image and the mysterious force that lies in the lover’s sex. Who hasn't experienced that fascination?
Oh oh, I guess here we have a misunderstanding initiated by a so called „False Friend“.The English term rendition, according to my dictionary, means something like a performance, showing something, while the Spanish word rendición means submission.But nevertheless, thank you Karen, for having such a close look at this painting and finding such beautiful words for its description. And you are completely right in finding that it has nothing to do with any kind of submission or surrender exept to love and joy.
You're absolutely right, I should have realized it when using the word "surrender", anyway thanks for the correction. In case you're still pondering I vote for "Homesick"..
I too have to congratulate Karen on her critique of this work. She describes a situation where the woman is the active element in the painting, and the man, in shadow, seemingly left to be tugged along behind and providing "companionship". It's clearly a Hanjo feminist artwork. Chapeau! (to you both).
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