Carrier - Untitled

The iconography of motherhood is closely linked to the subject of the Madonna and Child. It is probably one of the most popular iconographies in the history of both Western and Eastern art. The Madonna and Child appears since the dawn of medieval painting and remained a constant subject as long as religious themes dominated artistic production (that is, until the 19th century, when themes inspired by everyday life began to be introduced). It is quite common for contemporary artists to treat the iconography of motherhood without directly linking it to the Christian religion.

From this work, we can see how Carrier is a perfect interpreter of the academic artistic practice of the late 19th and early 20th centuries, in all its codified rules. A style that can be considered an illustrious testament to the pompier culture that, in late 19th-century France, proudly opposed the innovations of Impressionism, while maintaining its tradition. All this is resolved through a focus on form and a naturalistic rendering of classicism, yet with a sensual elegance and refinement that already foreshadow the languor of the Art Nouveau style. Indeed, while the drapery and volumes of the group are exalted in their plasticity, the rhythm of the composition is fluid, and great importance is given to the floral element, a fundamental element in Art Nouveau dress.

As emerges from the analysis of this work, Carrier is an illustrious representative of an academic production between classical tradition and Liberty innovation.

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