Page 155 - THELIN
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Diebenkorn, Auerbach, Baselitz. They the sublime mountain peak of Grünewald
all show, making all due allowance, my (Altarpiece of Issenheim) and Rubens (The
directions. Descent from the Cross). These works hit
me essentially just like the Dostoïevski’s
Why do I paint so many self-portraits ? Is it sentence “If someone proved to me that
due to narcissism? Certainly not, it is quite Christ is outside the truth, and that in reality
the contrary! But it is with the purpose of the truth were outside of Christ, then I should
introspection, in order to “auto-analyse” prefer to remain with Christ rather than with
what is hidden behind my face, what is the truth”.
in the therapy I confess to my easel. I
hamper self-portraits by interferences, I do not understand anything in the present
accessories, disguises, bandages, make up, trends of art-design, neither in the more
muzzles that all try to explain what happens or less computerized virtuosities of the
behind the face of mine. Why do I sign my rot-achievements. I stay with a brush, a
name Philippe? Because of a regression tube of colour and with the charcoal pencil,
to “archaism” though I was only that given expressions of my hand on the canvas,
name! expressions of central emotions to give to
the other one, to the one who will honour me
It is acknowledged that the Cross or brotherly by paying attention to my work.
crucifixion scenes, ultimate symbols of my
catholic faith, are very often depicted. This
so ancient and classical theme in occidental
paint affect me deeply, with for instance
PHILIPPE THÉLIN