Light Blue Bed Skirt
The Pilgrimage to Cythera is a painting by Antoine Watteau, made in 1717, and presented by the painter as a piece of reception at the Royal Academy of Painting [1]. He is admitted to the Academy, who created especially for him the kind of fête galante. The painting is now on display at the Louvre. In 1718 Watteau made himself a replica significantly different, entitled Voyage to Cythera, which belonged to Frederick II of Prussia and exposed today in Charlottenburg Palace in Berlin. In antiquity, the island of Kythira, located in the Greek islands of the Aegean Sea, home to a temple dedicated to Aphrodite, goddess of love: its waters have born the goddess. The island represents the symbol of amorous pleasures. Can not be determined by analyzing pictorial if people come to land on the island or whether they are getting ready to leave, reluctantly. For the art historian Michael Levey English (en), the table represents the start of the island, not the start to the island [2]. Indeed, several erotic symbols suggests that the island of Kythira is:. The young woman left the couple in the foreground, turns around and looks with regret of his place of happiness. It is therefore possible that the island is already one of Cythera and not that of a departure for the island. There is no island in the distance, what could have been the avoidance of doubt, light blue bed skirt and low light blue bed skirt suggests the end of the day, all credibility to the hypothesis of a return. It would also explain the melancholy of the scene while the car-shaped bed, ensures that once left the island, the passion will not die. For Auguste Rodin, Watteau completed a representation of the three stages of seduction, expressed in the principles of simultaneity medieval, thanks to three couples in the foreground [2]. The table would then read as follows, from left to right. The gallant compliment: at the foot of the statue of Venus, an elegant young woman, sitting, listening to the words whispered by her admirer knees. She hesitates while sitting in his quiver love pulls the light blue bed skirt to encourage it. The embrace: the lovers descend on the beach in complete agreement (the couple is accompanied by a small dog, it has sometimes been interpreted as an erotic symbol or a symbol of fidelity). "What you see first (. . ) is a group of a young woman and her lover. The man is dressed in a cloak of love on which is embroidered a heart pierced, graceful insignia of the trip that would take. (. . ) It opposes a feigned indifference may be (. . ) the pilgrim's staff and the breviary of love still lie on the ground. To the left of the group I mentioned is another couple. The lover accepts the hand that gives him to help him get up. (. . ) Further, the third stage. The man takes his mistress in size to drive it. (. . ) Now the lovers descend on the beach, and (. . ) they push the boat into a laugh, and men no longer need to use prayer: it is the women s' hang them. Finally the pilgrims make up their friends in the boat on the water balance that the golden fantasy, its festoons of red flowers and silk scarves. The boatmen leaning on their oars are ready to use it. And, already carried by the breeze, fluttering cupids guiding travelers to the island of light blue bed skirt that emerges on the horizon [1]. . " The table does not lend itself to intellectual analysis as Watteau's will is above all a poetic representation. Watteau was a poet dreamer. For example, there is no commitment to social opposition in the parallel aristocrats and popular people, but a representation of the world of theater, inspired by the commedia dell'arte. Copyright: The text is available under Creative Commons attribution share alike, other conditions may apply. See Terms of Use for more details and credit graphics. If reuse of text on this page, see how to cite authors and include the license. Wikipedia ® is a registered trademark of the Wikimedia Foundation, Inc. . , Charitable organization governed by Section 501 (c) (3) of the Tax Code of the United States. . . .
