Ángel Zárraga - The Woman and the Puppet - 1909
The title (The Woman and the Romper), and most likely the very idea of the painting, derive from the novel by Pierre Louys, published in 1898. It narrates the calculated and implacable process of alienation and humiliation to which Don Mateo is subjected. , a rich Spanish nobleman, through the work of the seductive and always evasive and unobtainable Conchita. The Hispanic setting of the story is suggested by the sumptuous Manila shawl with which the beauty covers her forearms, and serves as a background for the splendor of her naked body. Around her neck she wears a pendant in the shape of a skull, and on each of the fingers of her hands she wears rings, thus multiplying the signs of artificiality with which she adorns and amplifies the power of her dominating beauty. In her hands she holds the threads that power the unkempt body of a puppet, kneeling next to her. He wears a carnivalesque pink flowered tunic, from which emerge the thick, flaccid fingers of a hand and arm made of puffed rag. But what impresses us most is the face that emerges from a kind of inverted canvas corolla, or ruff: a demon's face, stained with white, black and vermilion, in the manner of a Japanese theater mask, and whose features denote at the same time anger and pain. The intensity of this grotesque farce has as its contrasting setting a sunny southern landscape, perhaps more Italian than Spanish, with a row of cypresses that accentuate the verticality of the dominatrix and, by contrast, the subjugation of the wimp, and a hill with a small village resting on their skirts. Vine. Fausto Ramírez, Modern art of Mexico. Andrés Blaisten Collection, Mexico, National Autonomous University of Mexico, 2005. - Google Arts and Culture
Size: 4954px × 6149px
Photo credit: © steeve-x-art / Alamy / Afripics
License: Royalty Free
Model Released: No
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