Bekännelsen
Konstnär/Tillverkare
DateringUtförd: Utf. 1829
Material / Teknik
Måtth x b: Ram 55,5 x 46 cm
InventarienummerNM 7443
FörvärvInventarieföring 2018 (Inköp 2017 med Hedda och N.D. Qvists donationsmedel)
Andra titlarTitel (sv): Bekännelsen Titel (en): The Confession
BeskrivningBeskrivning: Vafflards målningar handlar om förbjuden kärlek. Den unga kvinnan bekänner sin stora åtrå till en älskare i brevet, som hon håller mot bröstet. Troligen har förhållandet konfirmerats med en kärleksakt. När kvinnan i nästa målning avvisats blir katastrofen desto större. Vafflard var inte främst känd för moraliserande genremåleri utan medeltidsromantiska ämnen. Kanske är det skälet till att målningarna förblev I konstnärens ägo. Beskrivning: Vafflard’s paintings are about forbidden love. The young woman confesses her immense desire for a lover in the letter she holds to her chest. The relationship has probably been confirmed in an act of love. When the woman in the next painting is rejected, it is a great disaster. Vafflard was not primarily known for moralising genre painting without medieval romantic themes. Perhaps this is why the painting stayed in the artist’s possession. The somewhat risqué subject matter of these two paintings by Pierre-Auguste Vafflard, contrasting with his production of history paintings in the troubadour style, may account for the fact that they remained in the artist’s home until his death in 1837, when they were sold at auction by his heirs. The two canvases present two moments of a love story, a before and an after, both involving a letter. They were exhibited in 1829 at the Salon in Douai with the titles L’aveu and L’adieu, with the first scene showing the young woman not only confessing her love, prompted by the letter in her hand, but also, presumably, conceding to a sexual union suggested by her baring of one her breasts to the viewer, who takes the place of the lover. In the second scene, the lover, whose crumpled farewell letter lies on the column-shaped bedside table, has jilted her, with, one can assume, dire consequences for the young woman. The two paintings are good examples of a kind of genre painting with a moralizing and at the same time titillating content that flourished in the second quarter of the 19th century.
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