Still Life: An Ongoing Story

Still Life: An Ongoing Story

The theme of Still life, from Antiquity to the present, which involves intensifying their symbolic meanings. This symbolic dimension of objects was first religious in the Middle Ages, then became philosophical, secular and cultural when the genre was developed in the 17th century in the Netherlands, in the pomp of the time and the accumulation of decorative objects. At that time, it reflects the abundance and prosperity of this period.

Religious morality has been progressively diluted in the evolution of morals, progress and enthusiasm for science, discoveries (especially botanical) from overseas exploration and their scientific illustrations. Artists became reconciled with Nature and objects in themselves, and then the aesthetic preoccupation gradually took over. Nevertheless, the genre has long been considered a minor one. According to Margit Rowell *, the content of this article is similar to that of women because of the fact that it is sufficient for it to be judged unworthy of interest. This gives special meaning to how women artists revisited the genre in the race of history. Despite these reductive considerations, the still life of the world is highly specific and highly specific to the subject. objects.

" The process of selection is traditionally influenced by the role of certain objects in the context of a given society." Although the objects are relatively generic, they are not timeless; (...) These works (not all of them) are not necessarily the same, but they are not spontaneously invented and reinvented but ideologically determined. the artist intended Strategically symbolic of the Priorities and desires of a society at a Given Given time. " *

This can be seen clearly from the genre of beginnings, when artists worked mainly on the bourgeoisie. From the 20th century, the avant-gardes complicated this relationship to the object by distancing themselves from bourgeois values ​​and sponsors, by introducing their own narrative and their personal relationship to objects. It was still a reflection of a social structure, but the place of artists in this structure and their viewpoint had changed. Since it has not been conceived as a genre of portraiture, it has become the perfect tool for contemporary expression of these avant-gardes in search of freedom.

" This narrowly circumscribed kind Has to this day-been locked into a definition (or Rather's perception) person based on icts lowest common denominator, the inanimate commonplace object, and yet, PRECISELY Because of this consistent and presumably unadventurous subject matter, the still life HAS slow itself to all manner of adventurous visual interpretation. " *

Since the still life is achieved, it seems that its classic and respectable aspect, a reflection of a past time, arouses the interest of artists who can revisit it today carrying the baggage of the 20th century's formal deconstruction.

While integrating the works of these different periods, however, we have a feeling of time that we have. Rather, we are able to visualize this secular genre and retrace it as a path without discontinuities, as an ideal and natural way of reading history. A history of objects, but more than anything, a history of economic, political and aesthetic issues that underpin them.

* Margit Rowell , " Objects of Desire: The Modern Still Life " The Museum of Modern Art, 1997.

Still Life: An Ongoing Story

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