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De profundis clamavi - hommage à Baudelaire

One of a kind work | Ready to Hang
63 W x 134 H cm
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Acrylic painting
One of a kind work
Mounted Canvas
63 W x 134 H cm
Quality Guarantee
Sold with a certificate of authenticity

De profundis clamavi - tribute to Baudelaire. Inspired by a classic drawing by Jusepe de Ribera, the Martyrdom of San Sebastian, the work of Joan Mitchell and Beaudelaire's poem De profundis clamavi. Baudelaire's poem "I cried from the depths" is that of a psalm of hope from the Bible. The poet made it a song of despair in resonance with my favourite theme (!) The Fall of Man. I reused a painting whose title was Gaia. The filigree above the figure implores the circle symbolizing the earth and perfection, unreachable ... " I implore your pity, You, the only one I love, From the depths of the dark abyss where my heart has fallen. It is a dreary world with a dark horizon, Where horror and blasphemy swim in the night; A sun without heat hovers above six months, And the other six months the night covers the earth; It is a land more bare than the polar land - No beasts, no streams, no greenery, no woods! Now there is no horror in the world that surpasses the cold cruelty of this icy sun And this immense night like old Chaos; I envy the fate of the vilest animals Who can plunge themselves into a stupid sleep, So slowly the skein of time is unravelling! »

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Philippe Marlats


KAZoART artist since 2018

Emerging artist Emerging artist

An artist from an early age, Philippe MARLATS is a member of the ATELIERS AQUITAINE association, the oldest artistic association in Bordeaux. Philippe MARLATS studied painting in workshops from the age of 12, then at high school (where he obtained a baccalaureate in Literature and Visual Arts) and finally, more recently in academic drawing where he was introduced to the living model. inspired in his formal language by the figurative and abstract expressionists of the 20th century, he developed a research on two archetypal subjects in counterpoint and complementarity, the Fall of Man on the one hand, and Women as illustration of Nature on the other hand. The Fall of Man resonates with the episode of Genesis. But beyond the biblical allegory, the semantics of the Fall of Man go beyond it and make it possible to illustrate an intimate questioning of the artist on his place in the universe, his relationship to a world inevitably subjected to evil. A reference to the theme of the Fall of Man, the theme of the Feminine Nude, more soothed, responds to the Fall with a female archetype located in a universe very close to the beneficial forces of Nature.

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