La Pisanella ou La Morte Parfumee 1913

Léon Bakst made La Pisanella, or La Morte Parfumee, with what looks like watercolour or gouache, building up layers of colour and tone with expressive brushwork. The paint is applied in washes, allowing the paper to show through in areas, whilst in other areas he has loaded the brush, so the marks are thick, congealed, almost sculptural. Look at the way the dark and light tones are contrasted, creating a sense of depth and drama. In places, the drawing is clear and precise, and elsewhere, Bakst uses loose, gestural marks to suggest form and movement, especially in the rigging of the ships. There’s a tension between surface and depth here, between representation and abstraction, which is very modern. Bakst was primarily a stage designer, so you can see how this composition shares the same characteristics as a stage set, with the figures arranged in a theatrical setting. You can see the influence of artists like Aubrey Beardsley, but also anticipate the work of someone like David Hockney. Ultimately, art is all just a conversation, right? It's never truly finished, and always open to new interpretations.