Jeff Koons’ Louis Vuitton purses: a joyous skill record exercise

In endorse the likes of Fragonard, Rubens and Titian, Jeff Koons line of Louis Vuitton accessories delivers high art to the high-pitched street and presents off his sincere passion for painting

High art needs all the friends it can get. Museum attendance is ceasing all over the world, and earnest was trying to court the young and identify with the new are clearly not working. Something more persuasive is necessary: definitive exuberance for great skill in different languages people in the 21 st century understand.

How about a Louis Vuitton suitcase with RUBENS written on it in big gold notes over a reproduction of that 17 th-century painters violent, exuberant and sumptuous toil Tiger, Lion and the Leopard Hunt?

I cant think of a simpler way to introduce great art at the forefront of modern psyches. This is not a cynic employ. The hunt covering is not a pop icon hitherto but a serious paint beloved by prowes connoisseurs. Jeff Koons, for instance.

Rubens is one of the great painters Koons has chosen to celebrate in a line of crates for Vuitton. Koons, a notorious appropriation artist, is notorious for turning kitsch likeness and objectives into art, but for his straddle of handbags, rucksacks and other expensive supplementaries he is turning great artistry back into favourite culture. Just as Andy Warhol caused Warholised versions of Renaissance art, Koons has turned the old masters into style must-haves( if you are able to yield them prices stray up to $4,000 ).

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Frills, foliage and flesh Jean-Honor Fragonards work adorns a Vuitton bag designed by Jeff Koons. Photo: Louis Vuitton

For from rubbing Rubens in the soil and reducing the exalted to the worthless, these indulgence objects look to me like sincere homages to enormous artistry. Koons clearly has an erudite and passionate love of oil painting, for while his luggage touting the Mona Lisa and Van Goghs Wheat Field With Cypresses may be easy on our brains, he is also bravely civilizing us by holding on the glamour of Rubens, Titian and Fragonard.

Frago-who? This 18 th-century French painter of flounces, foliage and body was the last practitioner of the precious and playful rococo mode that celebrated pleasure and came to be seen by revolutionary moralists as a decadent courtly aesthetic of escapism and indulging. Many of his patrons croaked for the purposes of the guillotine in the French revolution. He was unfashionable then and is unfashionable now, but Koons has put his sensual painterly genius into the heart of the pattern world-wide with a pocket embellished with his 1770 painting Girl With a Dog, again emblazoned with the refer FRAGONARD in gold.

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Jeff Koonss Dirty Jeff on Top( 1991) with Prepared in Heaven( 1989) behind it. Photograph: Christian Sinibaldi for the Guardian

This may not be such a surprising select for Koons after all. Fragonards provocative cover of a partly nude young woman playing with a fluffy hound in berth has at least two similarities with his own innovations. His giant floral bronzes of puppies are among his most bright subversions of what modern art is supposed to look like, and the paints voyeurism shares his appetite for blurring the line between art and pornography.

Notice this, and you investigate Jeff Koons in a different way. This is an artist who looks at and thinks about art from the past, and observes his most brilliant notions there. The 18 th-century rococo and the strange genius of Fragonard is not something he discovered yesterday. He has been attracting on the rococo for his sculptures for a very long time. Similarly, his flamboyant super-pop paintings are nothing less than attempts to revive the energy of Rubens. A subtle passion for prowes is concealed by his apparent sentiment in banality.

Now Koons is sharing the artwork he most desires. The ability of Rubens, the sensuality of Titian and the naughty painterly pastries of Fragonard clearly mesmerize him, and he misses other people to see what he interprets. This is not simply a line of luxury handbags. It is an artists meditation on the masters, in handbag structure. Picasso copied and reworked enormous paints in his later years. Koons is offering a different kind of prowes exercise, and it is a joyfulnes. I want to see the reputations FRAGONARD and RUBENS brightening on Oxford Street, on Fifth Avenue, their masterpieces walking out of the museum into modern lives.

Read more: www.theguardian.com


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