Dumas, for her half, admires amongst others Edvard Munch, Francis Bacon, and the US portraitist Alice Neel (1900-1984), who additionally options in Shut Up on the Beyeler Basis. Neel’s expressed need “to catch life because it goes by, scorching off the griddle”, and to color “folks” – physique and soul – fairly than fashions, made a mark on her, and he or she acknowledges in hindsight The Painter’s debt to Neels’s Andy Warhol (1970).
Because the Musée d’Orsay exhibition prepares to open, Grau can not emphasise sufficient Dumas’s affect on “each younger painter”. “She belongs to that nice technology of artists who’re ladies and who’ve utterly formed the best way of artwork historical past,” he says.
Sensuous however cerebral, merciless however tender – Dumas’s work has overturned the aesthetic of portraiture, stripping again the veneer to disclose one thing loathsome and visceral but in addition chic.
“There isn’t a magnificence if it would not present a few of the terribleness of life,” Dumas writes. “Artwork is there to remind us that each one legal guidelines about what is gorgeous and invaluable had been made by people and might be modified by them.”
Shut Up is working on the Beyeler Basis, Basel till 2 January 2022.
Marlene Dumas, The Paris Spleen and Marlene Dumas, Conversations are displaying on the Musée d’Orsay, Paris till 30 January 2022.
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