Joseph-Benoit
Suvee
always gets a verdict
correspondence. The word connotes the result that leads to a definition elsewhere, sometimes unknown. No talk of correlation, which has more to do with the issue of cause and effect. The correspondence
may require contradictions, parallels, reinterpretations, searching hidden and a non-stop maneuvers to define ontological being. Life has its counterpart in the death, but the ways that we could reach this result provides endless outlets. This is written as a coda, because it to prevail as the main text is not written yet. May never be written. Do not write. The coda continues the theme of the shadow, conceptual gimmick that has served both psychology and art to trace the correlation 
who crowd to the motivations, actions and human desires. A concept that explains the turmoil of modernity and its drift. Prior to this period was the optical
, even though their evolutionary heritage could be aimed at creating an atmosphere, that is, the attempt to objectify a psychological state. There are precedents in the Renaissance and Baroque. Rembrandt takes possession of that effect and will it one of the painters who prepare for a more oblique and the principles of modernity. But until then no longer a projection, the mouth
who crowd to the motivations, actions and human desires. A concept that explains the turmoil of modernity and its drift. Prior to this period was the optical , even though their evolutionary heritage could be aimed at creating an atmosphere, that is, the attempt to objectify a psychological state. There are precedents in the Renaissance and Baroque. Rembrandt takes possession of that effect and will it one of the painters who prepare for a more oblique and the principles of modernity. But until then no longer a projection, the mouth
still occurs in the interplay of light and an object that interferes.
Joseph Wright
In the eighteenth century a shift occurs: the shadow goes beyond the state to build projection maps. The paradigmatic case of the Invention
art of drawing, painting by Joseph-Benoit Suvee in 1791, or variation on that theme created by Joseph Wright of Derby between 1782 and 1784 under the title of
The Corinthian Maid
, Challenged the law. A woman, with the imminent departure of his lover on the battlefield, he paints his shadow to stop him. The pictorial motif could focus on retention, but the correspondence related to the shadow takes shape in the anguish caused by the absence of the desired subject.
Impressionism shadow covers the site, but the grass is agitated strokes years later with the advent of the avant-garde. To make the leap, we could say that what occurs is the subjective perception shift (outside the scope of realism) to the radical subjectivity. The avant-garde camp. German expressionism plays with the form giving it a value beyond the aesthetic and merge doing theater and psychology in a cultural apparatus that does not happen again unless we think of movies well into the twentieth century as 
Night of the Hunter (Charles Laughton, 1955) and 
Eraserhead (David Lynch , 1976).
Nosferatu (FW Murnau, 1922) or The Cabinet of Dr. Caligari (Robert Wiener, 1920), milestones of expressionism, are based on the deformity to describe the correspondence of the shadow like a bad socio-schizoid product of an era doomed to failure. At this point it should target the critical and sociological constraints because both films give the shade an archetypal screen (located in the unconscious collective) that anticipates the theory of the shadow of Carl Gustav Jung, which designates the unconscious aspect of personality traits and attitudes characterized by the conscious ego can not take. An earlier precedent in the literature we find, at the precise moment in which Robert Louis Stevenson publishes The Strange Case of Dr. Jekyll and Mr. Hyde (1886) Nosferatu / Dr. Caligari / Paul Delvaux / Christian Schad Christian Schad
incident on the scale
a disturbing picture of 1928: Portrait of Dr. Haustein
works precisely to the paradigm shift initiated by the shadow expressionism. Correspondence is in the place of hidden personality. In a sense, the sitter is a transposition of all of us. We looked straight ahead to make us understand that each carries its own darkness. But who will be congenial to surrealism art discourse of the unconscious, and this is the side where the shadow begins to take on new meanings. Max Ernst, Dali and Paul Delvaux prints the reason for the shadow transgressive capacity by placing surface oneiric and repressed by the subconscious. The latter, driven by the influx surreal and metaphysical de Chirico art, enters crowded stands for the dream: the shadow battle with the enigmatic figures creating a relationship. Your correspondence proliferates in the interpretation of the picture. art shows the compound. The shadow slips by other paintings. We must assume then that the coda continues until the pop-art and other post-avant-garde movements. Also assume that a line would have to guess the ontological and psychological function of the shadow, so that in implementing some key staff to meet our challenges, complex and inner fears. The shadow is not a threat. What threat to humans is the ignorance of himself.
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