Alexis de Chaunac
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
ART 3 PROGRAM SERIES ARTIST TALK
Raul Zamudio in conversation with Alexis de Chaunac, Saturday September 26, 6 - 7 PM
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
ART 3 PROGRAM SERIES ARTIST TALK
Raul Zamudio in conversation with Alexis de Chaunac, Saturday September 26, 6 - 7 PM
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
ALEXIS DE CHAUNAC
Mictlantecuhtli (Deity of Death) (Anthropology)
2015
Oil stick and acrylic on paper
25 x 19 in. (63.5 x 48.26 cm)
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
ALEXIS DE CHAUNAC
Divinity of the Underworld (Anthropology)
2015
Oil stick and acrylic on paper
43.5 x 29.5 in. (110.49 x 74.93 cm)
Divinity of the Underworld (Anthropology)
2015
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropology, Polyptych -The Last Supper
Polyptych – The Last Supper (2015)
13 oil stick works on paper
Polyptych -The Last Supper, de Chaunac’s reworking of the centuries-old Christian iconography, realizes something utterly contemporary that shades into the sacral. Portraying faces of the naturally mummified bodies of people who died in a cholera outbreak in 1833 in Guanajuato, Mexico, today known as The Mummies of Guanajuato, the artist refers to the form of a polyptych (a work of art composed of several connected painted or carved panels, often hinged for folding, with one “central” panel most commonly created to be altar pieces in churches and cathedrals in the Late Middle Ages and Early Renaissance).
The Mummies of Guanajuato were exhumed between 1865 and 1958 and show bodies that were preserved in very good condition due to the minerals in the soil in which they were laid. Many of them were entombed immediately after their death to control the spread of the epidemic and in some cases, the dying were buried alive by accident. As a result, we observe a diversity of ways of “being” at the threshold of death where each final expression is frozen forever. El Museo de las Momias in Guanajuato now exhibits the mummies and they are considered an important part of Mexican popular culture, echoing the celebratory Day of the Dead.
In his black-and-white polyptych composed of 13 works, the artist makes a strong reference to Christ and the 12 Apostles. The only presence of color is the heart of Jesus that radiates with a deep red from the Christ portrait, which is at the center of the work. Polyptych -The Last Supper reveals the last breath on each face, fixed in their final expression as the dying person nears oblivion.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropology, Polyptych -The Last Supper
Polyptych – The Last Supper (2015)
13 oil stick works on paper
25.5 x 260.5 inches (64.8 x 661.7 cm)
from left to right: Bartolomeo (Bartholomew); Giacomo Minore (James the Lesser); Andrea (Andrew)
Polyptych -The Last Supper, de Chaunac’s reworking of the centuries-old Christian iconography, realizes something utterly contemporary that shades into the sacral. Portraying faces of the naturally mummified bodies of people who died in a cholera outbreak in 1833 in Guanajuato, Mexico, today known as The Mummies of Guanajuato, the artist refers to the form of a polyptych (a work of art composed of several connected painted or carved panels, often hinged for folding, with one “central” panel most commonly created to be altar pieces in churches and cathedrals in the Late Middle Ages and Early Renaissance).
The Mummies of Guanajuato were exhumed between 1865 and 1958 and show bodies that were preserved in very good condition due to the minerals in the soil in which they were laid. Many of them were entombed immediately after their death to control the spread of the epidemic and in some cases, the dying were buried alive by accident. As a result, we observe a diversity of ways of “being” at the threshold of death where each final expression is frozen forever. El Museo de las Momias in Guanajuato now exhibits the mummies and they are considered an important part of Mexican popular culture, echoing the celebratory Day of the Dead.
In his black-and-white polyptych composed of 13 works, the artist makes a strong reference to Christ and the 12 Apostles. The only presence of color is the heart of Jesus that radiates with a deep red from the Christ portrait, which is at the center of the work. Polyptych -The Last Supper reveals the last breath on each face, fixed in their final expression as the dying person nears oblivion.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropology, Polyptych -The Last Supper
Polyptych – The Last Supper (2015)
13 oil stick works on paper
25.5 x 260.5 inches (64.8 x 661.7 cm)
from left to right: Giuda (Judas Iscariot) ; Simon Pietro (Simon Peter); Giovanni (John)
Polyptych -The Last Supper, de Chaunac’s reworking of the centuries-old Christian iconography, realizes something utterly contemporary that shades into the sacral. Portraying faces of the naturally mummified bodies of people who died in a cholera outbreak in 1833 in Guanajuato, Mexico, today known as The Mummies of Guanajuato, the artist refers to the form of a polyptych (a work of art composed of several connected painted or carved panels, often hinged for folding, with one “central” panel most commonly created to be altar pieces in churches and cathedrals in the Late Middle Ages and Early Renaissance).
The Mummies of Guanajuato were exhumed between 1865 and 1958 and show bodies that were preserved in very good condition due to the minerals in the soil in which they were laid. Many of them were entombed immediately after their death to control the spread of the epidemic and in some cases, the dying were buried alive by accident. As a result, we observe a diversity of ways of “being” at the threshold of death where each final expression is frozen forever. El Museo de las Momias in Guanajuato now exhibits the mummies and they are considered an important part of Mexican popular culture, echoing the celebratory Day of the Dead.
In his black-and-white polyptych composed of 13 works, the artist makes a strong reference to Christ and the 12 Apostles. The only presence of color is the heart of Jesus that radiates with a deep red from the Christ portrait, which is at the center of the work. Polyptych -The Last Supper reveals the last breath on each face, fixed in their final expression as the dying person nears oblivion.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropology, Polyptych -The Last Supper
Polyptych – The Last Supper (2015)
13 oil stick works on paper
25.5 x 260.5 inches (64.8 x 661.7 cm)
Center Figure: Gesu Cristo (Jesus Christ)
Polyptych -The Last Supper, de Chaunac’s reworking of the centuries-old Christian iconography, realizes something utterly contemporary that shades into the sacral. Portraying faces of the naturally mummified bodies of people who died in a cholera outbreak in 1833 in Guanajuato, Mexico, today known as The Mummies of Guanajuato, the artist refers to the form of a polyptych (a work of art composed of several connected painted or carved panels, often hinged for folding, with one “central” panel most commonly created to be altar pieces in churches and cathedrals in the Late Middle Ages and Early Renaissance).
The Mummies of Guanajuato were exhumed between 1865 and 1958 and show bodies that were preserved in very good condition due to the minerals in the soil in which they were laid. Many of them were entombed immediately after their death to control the spread of the epidemic and in some cases, the dying were buried alive by accident. As a result, we observe a diversity of ways of “being” at the threshold of death where each final expression is frozen forever. El Museo de las Momias in Guanajuato now exhibits the mummies and they are considered an important part of Mexican popular culture, echoing the celebratory Day of the Dead.
In his black-and-white polyptych composed of 13 works, the artist makes a strong reference to Christ and the 12 Apostles. The only presence of color is the heart of Jesus that radiates with a deep red from the Christ portrait, which is at the center of the work. Polyptych -The Last Supper reveals the last breath on each face, fixed in their final expression as the dying person nears oblivion.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropology, Polyptych -The Last Supper
Polyptych – The Last Supper (2015)
13 oil stick works on paper
25.5 x 260.5 inches (64.8 x 661.7 cm)
from left to right: Tommaso (Thomas); Giacomo Maggiore (James the Greater) ; Filippo (Philip)
Polyptych -The Last Supper, de Chaunac’s reworking of the centuries-old Christian iconography, realizes something utterly contemporary that shades into the sacral. Portraying faces of the naturally mummified bodies of people who died in a cholera outbreak in 1833 in Guanajuato, Mexico, today known as The Mummies of Guanajuato, the artist refers to the form of a polyptych (a work of art composed of several connected painted or carved panels, often hinged for folding, with one “central” panel most commonly created to be altar pieces in churches and cathedrals in the Late Middle Ages and Early Renaissance).
The Mummies of Guanajuato were exhumed between 1865 and 1958 and show bodies that were preserved in very good condition due to the minerals in the soil in which they were laid. Many of them were entombed immediately after their death to control the spread of the epidemic and in some cases, the dying were buried alive by accident. As a result, we observe a diversity of ways of “being” at the threshold of death where each final expression is frozen forever. El Museo de las Momias in Guanajuato now exhibits the mummies and they are considered an important part of Mexican popular culture, echoing the celebratory Day of the Dead.
In his black-and-white polyptych composed of 13 works, the artist makes a strong reference to Christ and the 12 Apostles. The only presence of color is the heart of Jesus that radiates with a deep red from the Christ portrait, which is at the center of the work. Polyptych -The Last Supper reveals the last breath on each face, fixed in their final expression as the dying person nears oblivion.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropology, Polyptych -The Last Supper
Polyptych – The Last Supper (2015)
13 oil stick works on paper
25.5 x 260.5 inches (64.8 x 661.7 cm)
from left to right: Matteo (Matthew); Giuda Taddeo (Judas Thaddaeus); Simon Zelota (Simon the Zealot)
Polyptych -The Last Supper, de Chaunac’s reworking of the centuries-old Christian iconography, realizes something utterly contemporary that shades into the sacral. Portraying faces of the naturally mummified bodies of people who died in a cholera outbreak in 1833 in Guanajuato, Mexico, today known as The Mummies of Guanajuato, the artist refers to the form of a polyptych (a work of art composed of several connected painted or carved panels, often hinged for folding, with one “central” panel most commonly created to be altar pieces in churches and cathedrals in the Late Middle Ages and Early Renaissance).
The Mummies of Guanajuato were exhumed between 1865 and 1958 and show bodies that were preserved in very good condition due to the minerals in the soil in which they were laid. Many of them were entombed immediately after their death to control the spread of the epidemic and in some cases, the dying were buried alive by accident. As a result, we observe a diversity of ways of “being” at the threshold of death where each final expression is frozen forever. El Museo de las Momias in Guanajuato now exhibits the mummies and they are considered an important part of Mexican popular culture, echoing the celebratory Day of the Dead.
In his black-and-white polyptych composed of 13 works, the artist makes a strong reference to Christ and the 12 Apostles. The only presence of color is the heart of Jesus that radiates with a deep red from the Christ portrait, which is at the center of the work. Polyptych -The Last Supper reveals the last breath on each face, fixed in their final expression as the dying person nears oblivion.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine
Embryonic Development (Keimesentwicklung)
2015
44h x 32.5w in (111.76h x 82.55w cm)
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine
objects: Embryological Study of the Fetus on Ostrich Egg; a wooden hand, the cover of the 1911 edition of Le Traite d'Anatomie Humaine by Charpy & Poirier
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine (page 1 of 4)
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine (page 2 of 4)
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine (page 3 of 4)
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine (page 4 of 4)
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
ALEXIS DE CHAUNAC
A Dance with Life and Death
September 16 – October 25, 2015
The exhibition is comprised of three bodies of work: Traité d’Anatomie Humaine, Anthropologie, Polyptych -The Last Supper
Traité d’Anatomie Humaine
50 watercolors drawn on original book pages from the 1911 edition of Le Traité d’Anatomie Humaine published by P. Poirirer and A. Charpy, Paris, France. The first edition of Le Traite d’Anatomie Humaine dates from 1899.
6 larger works: Embryonic Development, Traité d'Anatomie Humaine (Arabic), Embryological Study of the Fetus in Arabic wooden panel, Traité d'Anatomie Humaine on wooden panel, Chirurgie and Embryological Study of the Fetus on Ostrich Egg.
Le Traité d’Anatomie Humaine, is one of the very first medical studies that explores the origins of embryology by following the development process of the fetus from cell to embryo. Anatomist, A.Charpy wrote the Traité after studying half-dead fresh cadaver specimens. He confirmed anatomic variations, mainly according to age and sex, and described the detailed mechanisms of aging. His text is complemented by high quality anatomical drawings which were the starting points for De Chaunac renderings of each of his face portraits in the series. Working directly on the century-old book was an opportunity for De Chaunac to renew his interest with the origins of 20th century modern medicine, which produced new anatomic concepts that are still applied today in facial rejuvenating procedures and facelifts. Through the Traité d’Anatomie Humaine, De Chaunac tried to dissect the human face in all its variations and hues and come up with a theory of human physiology. In this body of work, the artist addresses the origins of life and the realization of our own finality.
