ALLEGORIE DE LA VANITE

Description par Philomène Wolf 

Bruno Pezon defines his representation of the world of dreams and fantasy in an explicit demonstration and in obsessive attention to creation with a Michelangelo-like talent. The artist suggests other modes of analysis of volume by and through the use of light and validates this on his motifs as in this large male nude.

This is added to his desire to surprise and to disorientate the viewer and the expectations. As was said by André Breton, leader of the surrealist mode, a painting should be “a window that opens on to the interior model” thus signifying that the introspective and relative elements of the artist must be visible and present on the canvas. In l’Allégorie de la Vanité (Allegory of vanity) Bruno Pezon retranscribes his life, his experiences, his ‘lost innocence’, his internal turmoil, in order to present a ‘torn’ being, physically (as in this painting) but also morally. This artwork represents a “personal mythology” by transposing his existence in the same way as certain artists of the ‘70s such as Annette Messager or Sophie Calle.

The visible paradox of this work, this disturbing, nude male body, the physical and spiritual tension, the emanation, the fictitious atmosphere of the scene, the pure luminosity, the resonance, the balance, the ‘personal mythologies’, the first truly personal assimilation of art and painting by Bruno Pezon make this work, a unprecedented work of art. In Michelangelo’s neo-platonic logic, the ideal beauty of the work makes for a direct access to the divine by the delight that it procures. In this way, as Paul Cezanne wrote at the end of the 19^th century, Bruno Pezon has succeeded in making “the painting of his works, a teaching”.

Philomène WOLF

Graduate of the First cycle of the Ecole du Louvre, the specialist in XXth century Art.

Second cycle Diploma of the Ecole du Louvre, specialist in the art market.

Student in 3rd year of Law degree(Bachelor's degree)

Traduction réalisée par Christopher Ellison