« The artist mannequin’s a poetic drift»
On the occasion of the release of Marin Montagut’s book on collections: “extraordinary collections” in which my collection of artist models appears, I would like to write you a few words on the subject…
The manikins, weird, did you say weird ?
Essential for artists who study the drapery, light and composition of works thanks to its silent and still presence, it is the ideal companion! always docile, enduring and silent… he turns a blind eye to weaknesses and mood swings…
Here we touch on the intimacy of the artists, and the strange relationship that can develop between them becomes obvious. Favorite accessory of a creative life.
Could it be the reminiscences of this link that reach us?… Few of them have withstood the time and the numerous manipulations linked to their use, they are par excellence collector’s items. Already very expensive at the time of their creation, artists exchange them, before using them unceremoniously.
Until the 19th century, it was frowned upon to detect its use in a work that “smells like a manikin”
Later the artist will deliberately highlight his manikin, from a tool it becomes a subject and a work of art in itself.
It is found in numerous compositions, it lends itself to all extravagances, to all poses, as evidenced by the numerous silver prints kept at the Musée d’Orsay.
The myth of Pygmalion is never far away, zany poetic or erotic obviously, He is the partner of all inspirations.
Eijiro Ito is a Japanese artist who lives and works in France in photoengraving. He often comes to Yveline to take and give “visions”.
The way he looks at the manikin in the store reveals this artist-model relationship. They come to life in his work, they are subjects in their own right, with their history, their past and what they show of their mysterious presence. Like a model living in his imagination and the memory of this moment of life left on the photoengraving.