Our emotions are neither immortal nor fixed by human nature. They have been built and are the subject of a story. Thus the Marmottan-Monet discovers the extent and richness of this painting of sentiments from the fourteenth century.And Century through 1985, in a polished gallery, curated by art historian Dominic Lobstein and philosopher Georges Figarello. Where we discover, at the end of a compressed journey that combines masterpieces alongside more personal choices, how this emotional universe, represented by the arts, is enriched. « feelings, George Figarello notes, Immersed in a culture, they follow customs and mores and marry their own dynamics, like their own transformations. Their classes themselves are reinventing themselves. » The scientist cites, for example, B Message in the emotions of the soul From Descartes, who in 1649 studied the primary sentiments and aroused interest in the subject in Europe … But their list has since expanded and changed. “The references of the emotional universe change as do its meaning and manifestations.” Based on an encrypted world of symbolic objects – as in medieval images and vanities – emotions even contain icons, a catalog that can « To serve poets, painters, and sculptors to represent human virtues, vices, feelings and emotions. » However, the frozen faces gradually light up. New emotional things emerge, bodies transform, new poses introduce and gain expression. lock By Fragonard marks a turning point: in the eighteenthAnd Century, the effect enters the sphere of intimacy, which distinguishes between the outside and the inside. Feelings become feelings that emerge from the simple moral record; They are assimilated. The painter Louis-Leopold Boilly also appears sharply (Photo), Divergent physiognomy. The uniqueness of individuals becomes a subject for the artist, as well as their inscription in the universe with the rise of romance that raises the inner immensity and everything that happens. Behind the front. The tale continues and extends, and the influences become a subject of science and interpretation … and then a subject of psychoanalysis. After the war, artists are no longer content with showing feelings: they evoke them, sometimes without representing them, like Christian Boltansky in the installation that concludes the exhibition. All that remains is to applaud the scripts and scenography for that theater of emotions Subtly presented by Dominic Lobstein and Jorge Figarello!
theater of emotions / Éditions Hazan exhibition catalog / 35 €.
theater of emotions / Marmottan Monet Museum (2, rue Louis-Boilly, 75016 Paris) / until August 21