About The Work
Jan Van Imschoot drew inspiration for La beauté incessible from the films of Luis Buñuel. Like the great Surrealist filmmaker, Van Imschoot plays with the boundaries between reality, imagination, memory and fantasy. We find ourselves in a cosy, bourgeois interior. Yet it is a disconcerting space because of the huge portrait of Catherine Deneuve who plays the leading roles in Buñuel’s Belle de Jour and Tristana. The Spanish-oriental bed is a nod to Buñuel, while the flowers, the fruit and the coffee table refer to Flemish Baroque still lifes – compositions that simultaneously allude to wealth, eroticism and transience. The portrait on the wall shows Deneuve in all her humanity, but also at a moment in which she gives form to her character’s deepest feelings. La beauté incessible – ‘non-transferable beauty’ – is based on the 2008 painting The End.
Courtesy of Ludion
About Jan Van Imschoot
Screenprint
Sheet: 67,9 x 57 cm. Image: 55,9 x 51 cm.
Signed and numbered by the artist
About The Work
Jan Van Imschoot drew inspiration for La beauté incessible from the films of Luis Buñuel. Like the great Surrealist filmmaker, Van Imschoot plays with the boundaries between reality, imagination, memory and fantasy. We find ourselves in a cosy, bourgeois interior. Yet it is a disconcerting space because of the huge portrait of Catherine Deneuve who plays the leading roles in Buñuel’s Belle de Jour and Tristana. The Spanish-oriental bed is a nod to Buñuel, while the flowers, the fruit and the coffee table refer to Flemish Baroque still lifes – compositions that simultaneously allude to wealth, eroticism and transience. The portrait on the wall shows Deneuve in all her humanity, but also at a moment in which she gives form to her character’s deepest feelings. La beauté incessible – ‘non-transferable beauty’ – is based on the 2008 painting The End.
Courtesy of Ludion
About Jan Van Imschoot
Screenprint on Rives Arches 250 g. Printed in Antwerp, SERIART, under supervision of Roger Vandaele. Published by Ludion in 2017.
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