Patricia Cronin

Memorial to marriage

JGC: You seem to be re-discovering neglected sources. You give a nod, too, to Courbet’s painting The Sleep (1867) in Memorial to a Marriage.

PC: I love Courbet. I think he’s one of the most important French painters. The Sleep might be the first painting of two women depicted in post-coital bliss. I wanted that kind of intimacy in my piece, but coupled with good old 19th-century American Puritanism. So it exists within the 19th-century American tradition, which was never as sexy as the French or Italian.

Besides that, the major difference between my piece and Courbet’s is that mine is a portrait of two specific women in a particular relationship, and the work is made for those two women. Courbet hired two models to make a painting for a wealthy patron’s erotic enjoyment. Despite these differences, I love The Sleep because it was the closest thing I had to identify with.

JGC: In your Memorial, how did you develop the elaborate folds draping the women’s legs?

PC: I took the idea for the folds from Bernini’s The Ecstasy of Saint Teresa (1645–52). His drapery seems to have no relation to reality or gravity. I thought that what he was trying to convey about her body couldn’t be expressed with her body in the 1600s, so he let the surrounding fabric say it. Sadly, I still think that adult intimacy and the seriousness of a life commitment in same sex couples can’t be conveyed explicitly in the early 2000s, over 400 years later, so I also am letting the fabric say it. I’m trying to make an object that is as much about love as it is about politics.

Making the Personal Monumental : A Conversation with Patricia Cronin by Jan Garden Castro in Sculpture Jan/Feb 2003 Vol.22 No.1 – 1

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Patricia Cronin site officiel

Patricia Cronin – Memorial to a Marriage September 6 – October 19, 2002 David Frankel New York City, New York July 2002


  1. A publication of the International Sculpture Center – Jan Garden Castro is author/curator of Sonia Delaunay: La Moderne and author of The Last Frontier and The Art & Life of Georgia O’Keeffe [back]

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