Between Cezanne’s still life and Gauguin’s Tahitian painting, Ingres’ “Mme. Moitessier” stands confident and serene. Her source of happiness is twofold: her portrait hangs in a museum, enchanting thousands; and she owns, within this frame of reference, two postimpressionist masterpieces. In linear time, this would be impossible, since both works were produced almost half a century after her death.
But the imagination does not recognize the boundaries of time and space. This intriguing arrangement playfully revises history and demonstrates the depth of possibility in the postmodernist art world.
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