Dillon Gallery

FOR IMMEDIATE RELEASE


GEORGES ROUAULT -- MAKOTO FUJIMURA: SOLILOQUIES
November 12 – December 24, 2009
Opening Reception: November 12, 6-8pm

 “Soliloquies” is an exhibition featuring the art of Georges Rouault (1871-1958) and Makoto Fujimura (b 1960). It comprises a collection of original works by the renowned Rouault paired with Fujimura's large scale paintings created in homage. While Rouault, a contemporary of Matisse, Picasso, and Chagall, has been associated with many artistic movements, he remains in his own category. Stylistically and thematically Rouault has always been difficult to classify. The juxtaposition of Rouault’s work with that of a contemporary artist of Japanese descent, who claims him as an influence, presents this great painter in a contemporary global dialogue.

Nowhere outside of France has Rouault’s artwork been more appreciated and exhibited than in Japan. Although Fujimura uses the ancient Japanese technique of mineral pigment painting, while Rouault was more engaged in the Western tradition of painting, both artists have discerned ways in which the neglected traditions could be aesthetically employed. Rouault’s initial training was in classical stained glass with its heavy black outlines layered in jewel tones, as found in medieval paintings, cathedral windows and classical icons. This approach is paralleled by Fujimura’s training in traditional Nihonga, using pigments made from malachite, azurite, cinnabar and vermillion; precious minerals the artist applies on top of a black surface, gradually building from dark to light. Each artist employs methods combining centuries old traditions of craftsmen and the progressive elements of expressionism.

The scale of Fujimura’s art is much larger than Rouault’s and is considerably more abstracted. Nevertheless, an approach to painting with a meditative and spiritual purpose is their shared vision. Both Rouault and Fujimura bridge the past and the contemporary, taking inspiration from spiritual beliefs and everyday life. Rouault believed, as Fujimura does, that art is more than an artist’s personal expression. “True influence is catalytic, using the language of a secular age to explain a sacred calling.” Fujimura further states that “Art can also be a part of spiritual service to others.” This exhibition presents the paintings of two outsiders who create at the margins of the mainstream movements. Rouault’s traditionalism conflicted with Expressionism, his religion with enlightenment. A spiritual calling with a focus on transcendent beauty places Fujimura in direct conflict with the postmodern era.