The French Revolution had swept away the frivolous excesses of Rococo (see Dreams of Desire 64 (Boucher’s Odalisques) and two competing tendencies dominated French during the first half of the Nineteenth Century: the wild grandiose Romanticism of Delacroix and the somber, stately Neo-Classicism best personified by Jean Auguste Dominique Ingres.
Ingres painted a number of important erotic paintings including the Valpinçon Bather of 1808, La Grande Odalisque of 1814 and L’Odalisque à l’esclave from 1839, however his most famous painting is The Turkish Bath from 1862-1863, completed when Ingres was 83 years old.
Portraying a group of nude women in a bath at a harem, The Turkish Bath is suffused with a lush hothouse atmosphere that heightens the erotic charge of the painting. Ingres erotic works would have a major impact upon the Modernists including Picasso and Matisse while the Post Modernist German artist Gerhard Richter would base his painting Bathers upon Ingres’s masterpiece.
(Just a reminder to inform you that my book Motion No. 69 is available from November 30th 2017 from Amazon).
As I noted in my previous post on the extraordinary German artist Gerhard Richter (see The Reader) his constant re-invention, technical mastery and breath of subject matter has created a body of work without parallel in contemporary art.
He has also shown an constant engagement with and re-visioning of the work of the Old Masters, including Vermeer, Titian and Ingres. Badende, featured above, takes as its starting point Ingres’s The Turkish Bath, one of the most sensual and erotic paintings ever, while Kleine Badende below references the same artist’s The Small Bather. Grey is to Richter what blue was to Yves Klein (Dreams of Desire 48 (Blue), however the smudged obscurity of Badende actually accentuates the erotic possibilities inherent in the scene. Richter’s third wife Sabine Moritz is the model for Kleine Badende, painted in the blurry photo-realistic style that he is justifiably famous for.