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Melancholy exhibit draws crowds in Paris; artists include Picasso, Goya

Melancholy exhibit draws crowds in Paris; artists include Picasso, Goya
Jocelyn Gecker
Canadian Press

Friday, October 28, 2005

Artgoers look at sculpture , “Big Man” by Ron Mueck as part of the exhibition “Melancholy-Genius and Insanity in the Western World” at the Grand Palais. (AP Photo/Francois Mori)

PARIS (AP) – Do artists have to be miserable to produce great art? A new exhibition in France suggests that a little inner darkness helps.

Melancholy – Genius and Insanity in the Western World, which has visitors lining up around the block at Paris’s Grand Palais, is anything but depressing. “Long Live Melancholy!” one highbrow French magazine raved in its review.

The dazzlingly extensive look at art from antiquity to the 21st century shows how troubled thoughts have inspired great painters, sculptors, philosophers and writers.

“Melancholy is not only negative,” curator Gerard Regnier said in an interview. “On the contrary, it was a positive energy that gave strength and genius to great artists throughout western civilization.”

Among them: Picasso, Rodin, van Gogh, Edvard Munch, Edward Hopper, Goya, Delacroix, William Blake. Nearly 300 works are on display, including masterpieces on rare loan from dozens of museums and collectors.

“The goal is to show the public the complexity and variety and positiveness of melancholy,” said Regnier.

The show, which runs through Jan. 16 and then travels to Berlin’s Neue Nationalgalerie, was not initially an easy sell.

Paris’s art elite flatly rejected the exhibit when Regnier first proposed it a decade ago. Culture and museum officials deemed that nobody would pay to see art associated with depression.

But persistence paid off and times changed. Depression is now a constant subject of cover stories and talk shows in France. The government says French use of antidepressant drugs has doubled since 1990.

The show begins and ends with two sculptures – of men lost in thought, heads leaning on fists – that bear a striking resemblance but were created over 2,000 years apart.

The first is a magnificent first-century BC bronze of Ajax, the Greek hero who killed himself after the Trojan War. The last is Australian artist Ron Mueck’s Big Man From 2000, a larger-than-life fat naked bald man crouched glumly in a corner, on loan from Washington’s Hirshhorn Museum.

Touching on every period in between, the exhibit shows how perceptions of melancholy oscillated through the ages, changes reflected in art and writings.

Antiquity viewed it as positive inspiration. “Why is it that all those who have become eminent in philosophy or politics or poetry or the arts … are melancholic?” Aristotle asked.

It was regarded as a sin in the Middle Ages but rehabilitated by Renaissance astrologers who linked melancholy to the planets and felt it could produce genius or madness.

Albrecht Durer’s iconic Melancolia 1 from 1514 exemplifies the Renaissance view, with its pensive female figure surrounded by symbols of scientific research and wealth as a batlike creature flies through a night sky.

The exhibit winds its way through the late 19th and 20th centuries, when psychiatry deemed melancholy an illness and electric shock therapy was introduced. Particularly moving is a series of photographic sienna portraits taken in 1850 at an English asylum. The patients’ faces are visibly weighed down by troubled minds.

Taken together, the show presents melancholy as a normal part of the human experience – a frame of mind that travels like a wave. At its low, we call it depression but the mood can be transient and at its height inspire greatness.

“I think people are amazed by the variety and richness of all these works,” said Regnier. “It has nothing to do with sadness. It has to do with a moral of living, a moral of dealing with everyday life.”

SOURCE: The Canadian Press 2005

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