Carnivals and parties

Martial Raysse uses the carnival, memory of medieval festivals, as a pretext for a large allegory of painting. His frieze of figures from the series Loco Bello (1976), like the large compositions he produced from the 1990s, are elements of a complex performance in which different narrative registers are used, according to the schemes of great classics UNCLEAR. L’Enfance de Bacchus (1991), Le Carnaval à Périgueux (1992), Poisson d’avril (2007), Heureux Rivages (2007), Le Jour des roses sur le toit (2001-2003) are as much theatres of mystery, grand bachanals, popular farces and macabre dances replete with complex allusions and historic or ethnographic iconographic references (echoes of the landscape of Périgord) as they are intimately linked to the artist’s biography.