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About the artwork

Photographer Pan Yue chooses to pay homage to painting. He is particularly interested in the 19th century and in the artists that initiated the renaissance of subjects that inspired the avant-gardes of the early 20th century. Pan Yue cites here 'La maja desnuda' painted by Goya in 1805. Since Vélasquez's 'Rokeby Venus', Spanish painters had not painted Nudes for fear of retaliation from the Inquisition. While Goya was worried because of this canvas, he nonetheless retained his title of Painter to the Royal Court. The model is stretched out, with arms raised and looks the spectator directly in the eyes. It is not a mythological, historical or biblical Nude. It is a portrait of one of Goya's contemporaries, probably that of the mistress of the commissioning party. Pan Yue applied himself to reconstituting the luminosity of the female body and seeks to obtain lively oppositions and clear-cut forms. Nudes also provide the opportunity for Pan Yue to photograph skin, shadows and light that sculpt and accentuate the sensuality of this female form.

The artist

A graduate of the Beijing School of Fine Arts, Pan Yue spent six months at the Beaux-Arts de Paris to perfect his training. Like the art students of yesteryear, we imagine that Pan Yue paced the length and breadth of Parisian museums, contemplating masterpieces. He chooses to pay homage to painting and is particularly interested in the nineteenth century and in the artists that initiated the renaissance of subjects that inspired the avant-gardes of the early twentieth century. Having become a photographer, Pan Yue cites the "fire ships" of art, such as Goya's La maja desnuda (1805) and Manet's The Luncheon on the Grass (1862–1863), which were scandalous at the time.  ... See more See less

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