Camille Claudel,
2018
Carmen Selma
Painting : oil
92 x 73 x 2 cm 36.2 x 28.7 x 0.8 inch
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About the artwork
Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the artist
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Dimensions cm • inch
92 x 73 x 2 cm 36.2 x 28.7 x 0.8 inch Height x Width x Depth
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Framing
Not framed
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Artwork sold in perfect condition
Artwork location: France
To the adults, the grateful Nation. It was while walking through the streets of Paris that I discovered the Pantheon, and I was intrigued by the inscription on its pediment: “To the great men, the grateful homeland”. They explained to me the meaning of this sentence, the pantheon project by which the French nation pays its greatest and ultimate tribute to its illustrious figures ... and the names make you dream: Victor Hugo, Zola, Rousseau, Jaurès ... But everything likewise, a word in the inscription bothered me: “men”. “To the great MEN the grateful Fatherland” ... So of course, we will not fail to explain to me that it is about “Man” with a capital h, “Man” as a synonym of humanity, and not “Man” as a male individual. Unfortunately the count of the pantheonized people contradicts this explanation a lot: 76 individuals, only 5 women (including Sophie Berthelot buried in the pantheon only to accompany her husband). Is it possible that in all the history of France, through the arts, literature, wars, revolutions, science, only 4 women deserve the pantheonization? The truth is that in France as elsewhere, societies have done everything to prevent women from being part of the destiny of nations and to confine them to their role of mother and wife (ban on education, teaching, studying medicine, painting nudes…). And those, numerous, who have, despite all the obstacles succeeded in rising in history, the national narrative effaces them, invibilizes them. Only about twenty female artists for the entire Louvre collection Only 296 at the Musée d'Orsay for 4463 men Only 5% of the streets in Paris bear the name of a woman Only 5 women in the pantheon Today we must bring back the truth in History, teach new generations, and everyone, that literature is also made up of authors, that art is made of women artists, that progress is also led by women (researcher, doctors), that wars are also waged by women, and they count their share of heroines. The history books, the museum rooms, the pantheon crypt, are incomplete, truncated, they will be so as long as we have not given women the place they deserve. We must bring women back into the light. This is what I want to participate in with my project “To the great, the Grateful Nation”. Hundreds of women deserve to enter the Pantheon, I chose to portray 10 of them: Olympe de Gouges, Solitude, Louise Michel, Madeleine Brès, Camille Claudel, Colette, Berty Albrecht, Paulette Nardal, Simone de Beauvoir and Joséphine Baker.
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About the seller
ArtEthic Galerie • France
Artsper seller since 2018
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Presentation
Carmen Selma was born in Valencia, Spain, in 1980. In 2004 she graduated from the School of Fine Arts in that city, then in 2005 she received the National Prize for Plastic Arts Art Nalon de Langreo from the Principality of Asturias (Spain). From 2005, she worked with many art galleries in Spain, Italy, Austria, England, Belgium and France. His works have won several painting prizes such as the Premio de la Real Academia de Bellas Artes de San Carlos in Valencia, the Certamen de Arte Joven in Madrid ... Several articles have been written about Carmen Selma, among which the one by the Austrian art historian Birgit Strasser-Huber, published on the occasion of her exhibition at the Cervantes Institute in Vienna in 2012 in the art magazine Vernissage n ° 314, as well as that of the French journalist Virginie Moureau for number 3013 of L'Hérault Juridique & économique, in 2014. For Carmen Selma, painting is a form of activism. His works are not decorative art; she wants them to be able to produce a real contact, a disturbance, a memory, a change, that they involve the spectator so that this one returns home with an emotion or a reflection. Many of his works show family scenes, celebrations and traditions that have always been repeated by society. Weddings, banal photographs of birthdays, trips, communions, baptisms ... Often, the characters give the impression of not knowing how to express their feelings or emotions in words. At first glance, the scenes in his paintings do not show drama: they look like mere celebrations immortalized by a camera. We are well aware that appearances are sometimes deceptive.
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