Personnages et Fleurs 1947

Curator: Andre Bauchant’s “Personnages et Fleurs,” painted in 1947, presents us with an intriguing blend of portraiture and landscape in oil on canvas. It’s quite captivating. Editor: Yes, initially, I am struck by the juxtaposition of scale; the figures almost seem like afterthoughts, dwarfed by this monumental floral arrangement, yet they establish the scale for us, and for their landscape. Curator: Bauchant, largely self-taught, spent much of his life farming, his artistic output emerging later. This is reflected in the very material of this work, particularly the use of readily accessible oil paints and simple techniques—he grounds his artistic process in familiar materials and themes of everyday rural life. We might look at the use of oils to tell us about the affordability of that material and also the ease with which this artwork may be sold in local markets. Editor: Right, and it brings to the fore questions about representation. Look at how he positions these figures— are they observing or participating in the scene? Given Bauchant's own relationship to the land, might the work be interrogating our connection to the natural world, particularly after World War II, as the traditional bonds between people and nature are being redefined by new industries? Also, notice their simple garments – this evokes their closeness to nature. Curator: Consider, too, how the composition directs our focus; the figures almost frame the vase of flowers. Perhaps he’s drawing parallels between cultivated beauty and the human presence within the natural landscape. It suggests something about his practice as a folk artist making his subjects in ways that represent people connected to the production of beautiful things, things like landscape paintings and cut flowers, perhaps. Editor: Absolutely. I think the naive rendering serves to disrupt traditional notions of skill and access to art-making within more mainstream channels. Bauchant makes choices to be representational, but in his own style that celebrates accessible images. In essence, “Personnages et Fleurs” prompts discussions about identity, class, labor, and rurality that are still urgent today. Curator: Looking again at how the materiality of “Personnages et Fleurs”, informs the theme; it certainly shifts how we can appreciate the composition within its broader societal framework, doesn't it? Editor: It definitely does. Thinking through these nuances, "Personnages et Fleurs" feels all the more relevant in exploring these topics of connection to labor.