Anne Vallayer-Coster fue una pintora rococó que vivió en París entre 1744 y 1818. La joven realizó esta obra, una de las más conocidas que posee, a la edad de 25 años. Hija de pintores, podría decirse que buena parte de su talento lo adquirió ya desde niña. Ingresa en la Real Academia de Pintura y Escultura en 1770. Unánimemente fue admitida por los académicos, y a partir de ahí su carrera se colma de éxito durante toda su vida. En 1785 sufre una desgarrada crítica a su pintura de retrato, por lo que se volcará en las naturalezas muertas; aquellas que la hicieron tan famosa. En su vida resultó trascendental el amparo que recibió por parte de la Reina María Antonieta de Austria, esposa de Luis XVI. La introdujo como pintora oficial de la Corte, hecho que propició con otras mujeres de la misma categoría. Pero cuando la Reina es ejecutada en 1793, las turbulencias llegan a la trayectoria de la artista, aunque pudo seguir pintando hasta producirse su muerte natural en 1818.
Anne Vallayer-Coster was a rococo painter who lived in Paris between 1744 and 1818. The young realize esta work, one of the most known it has, to the age of 25 years. Daughter of painters, arguably much of his talent took her young life. Member of the Royal Academy of Painting and Sculpture in 1770 was unanimously accepted by scholars, and since then his career is filled with success during his entire life. In 1785 suffers torn a critique of his portrait painting, here's why dump in still lifes; those who made famous the the tan. In his life he turned transcendental amparo received by Queen Marie Antoinette, wife of Louis XVI. The introduced as official painter of the Court, a fact that led to other women in the same category. But when the Queen is executed in 1793, turbulence arrive at the trajectory of the artist, although he could continue painting until natural death occur in 1818.
Este bodegón en concreto, al que se le da como título ''Penachos de mar, litófitos y conchas'', es una pintura cuya temática se centra en la representación naturalista idealizada de productos venidos del océano. Las naturalezas muertas de esta clase se hicieron particularmente recurrentes a partir del siglo XVII; momento que equivale al creciente interés por la malacología (ciencia que estudia los moluscos).
This still life in particular, to which it is given the title ''Still life with tuft of marine plants, shells and corals'' is a painting whose theme centers on the idealized naturalistic representation of products coming from the ocean. The still lifes of this class became particularly recurrent in the seventeenth century; time equivalent to growing interest malacology (science that studies mollusks).
Vallayer-Coster plantea la recogida de estos penachos y conchas como una composición vertical cuyo eje son las gorgonias de color ocre. El fondo negro resalta la tonalidad de los moluscos, los cuales transmiten una poderosa luminosidad y viveza. Son especialmente llamativos los que figuran en primer plano. Aquí la variedad de especies queda patente con la representación de murex, mejillones, ostras, nautilus, esponjas, nácares, etc.
Vallayer-Coster posed by the collection of these plumes and shells as a vertical composition whose axis are gorgonians ocher. The black background highlights the key of molluscs, which transmit a powerful brightness and vividness. They are especially striking those in the foreground. Here the variety of species is reflected by the representation of murex, mussels, oysters, nautilus, sponges, pearlescent agents...
De todos ellos, el que más llama la atención es el caracol de pala. Debido a los tonos rosáceos, la cavidad estrecha y alargada, así como a la apariencia húmeda de la concha, tiempo después se la quiso vincular a la imagen sexual de la vulva.
Of these, the most striking is the queen conch. Because pinkish tones, the narrow and elongated cavity, as well as the wet appearance of the shell, then the time would link the sexual image of the vulva.
Pese a esta hipótesis, la intención de Vallayer-Coster fue dejar presente la riqueza de los mares, y también la belleza y curiosa forma de cada uno de sus insólitos elementos.
Despite this hypothesis, intended to leave Vallayer-Coster was present wealth of the seas, and also the beauty and unusual form of each of its unusual elements.
Anne Vallayer-Coster was a rococo painter who lived in Paris between 1744 and 1818. The young realize esta work, one of the most known it has, to the age of 25 years. Daughter of painters, arguably much of his talent took her young life. Member of the Royal Academy of Painting and Sculpture in 1770 was unanimously accepted by scholars, and since then his career is filled with success during his entire life. In 1785 suffers torn a critique of his portrait painting, here's why dump in still lifes; those who made famous the the tan. In his life he turned transcendental amparo received by Queen Marie Antoinette, wife of Louis XVI. The introduced as official painter of the Court, a fact that led to other women in the same category. But when the Queen is executed in 1793, turbulence arrive at the trajectory of the artist, although he could continue painting until natural death occur in 1818.
Este bodegón en concreto, al que se le da como título ''Penachos de mar, litófitos y conchas'', es una pintura cuya temática se centra en la representación naturalista idealizada de productos venidos del océano. Las naturalezas muertas de esta clase se hicieron particularmente recurrentes a partir del siglo XVII; momento que equivale al creciente interés por la malacología (ciencia que estudia los moluscos).
This still life in particular, to which it is given the title ''Still life with tuft of marine plants, shells and corals'' is a painting whose theme centers on the idealized naturalistic representation of products coming from the ocean. The still lifes of this class became particularly recurrent in the seventeenth century; time equivalent to growing interest malacology (science that studies mollusks).
Vallayer-Coster plantea la recogida de estos penachos y conchas como una composición vertical cuyo eje son las gorgonias de color ocre. El fondo negro resalta la tonalidad de los moluscos, los cuales transmiten una poderosa luminosidad y viveza. Son especialmente llamativos los que figuran en primer plano. Aquí la variedad de especies queda patente con la representación de murex, mejillones, ostras, nautilus, esponjas, nácares, etc.
Vallayer-Coster posed by the collection of these plumes and shells as a vertical composition whose axis are gorgonians ocher. The black background highlights the key of molluscs, which transmit a powerful brightness and vividness. They are especially striking those in the foreground. Here the variety of species is reflected by the representation of murex, mussels, oysters, nautilus, sponges, pearlescent agents...
Of these, the most striking is the queen conch. Because pinkish tones, the narrow and elongated cavity, as well as the wet appearance of the shell, then the time would link the sexual image of the vulva.
Pese a esta hipótesis, la intención de Vallayer-Coster fue dejar presente la riqueza de los mares, y también la belleza y curiosa forma de cada uno de sus insólitos elementos.
Despite this hypothesis, intended to leave Vallayer-Coster was present wealth of the seas, and also the beauty and unusual form of each of its unusual elements.
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