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拍品专文
May I? is a perfect example of Emile Munier's outstanding mastery of the Academic technique.
Excellent draughtsmanship and a close study of human anatomy were considered cornerstones of Academic tradition. Years were spent at the Academy studying and drawing the human figure, and the excellence of artists was judged based on their ability to accurately and naturally depict the human form and its many expressions. For even the most experienced and decorated artists the most difficult of all extremities to articulate in paint was considered to be human hands. Furthermore, the most challenging texture to reproduce, all the while keeping in true form with its appearance in nature, was the human hair. The very thin, almost translucent glazes of color that needed to be applied one on top of another was overwhelming to even the most patient of artists. Only a handful of the 19th Century painters have been able to truly replicate the shiny and silky surface of human hair all the while managing to give a sense of each individual strain, amongst these are the great William Bouguereu and Jean-Jacques Tissot. In May I?, Emile Munier's handling of the young sitter's hair as well as the very complicated composition of her clasped hands is a true testament to Munier's excellence over form and technique.
Excellent draughtsmanship and a close study of human anatomy were considered cornerstones of Academic tradition. Years were spent at the Academy studying and drawing the human figure, and the excellence of artists was judged based on their ability to accurately and naturally depict the human form and its many expressions. For even the most experienced and decorated artists the most difficult of all extremities to articulate in paint was considered to be human hands. Furthermore, the most challenging texture to reproduce, all the while keeping in true form with its appearance in nature, was the human hair. The very thin, almost translucent glazes of color that needed to be applied one on top of another was overwhelming to even the most patient of artists. Only a handful of the 19th Century painters have been able to truly replicate the shiny and silky surface of human hair all the while managing to give a sense of each individual strain, amongst these are the great William Bouguereu and Jean-Jacques Tissot. In May I?, Emile Munier's handling of the young sitter's hair as well as the very complicated composition of her clasped hands is a true testament to Munier's excellence over form and technique.