Michel Henry <Coquelicot by the Water> Oil painting No. 20F

2007 work

The trees on the shore of a lake (not a river or sea, as the water surface is still) are turning red, and in front of them is a poppy in a clear glass vase. Deep wine-colored cherries are scattered on both sides of the flower. On the opposite side of the lake, a mountain is drawn in a dull light blue. Its outline is unclear, so it looks like a continuation of the sky and water, but the water near the opposite shore is painted whitish with the red of the sunset as a reflection of land, and you can tell that this is the boundary between the land and the lake. In other words, if you think about it like that, everything makes sense. Poppies are flowers of early summer, but the trees are turning red and the leaves are sparse, so it must be late autumn. Both the leaves and the water are affected by the red light of the sunset. The poppy flowers, which are originally transparent like dragonfly wings, are painted in a deep red that seems to be burning, reflecting the red of the sunset. The poppies, a vestige of summer, are vividly depicted in a slightly lonely autumn evening. I feel a farewell to the fleeting moments of time and the fleeting life of poppies, which wither and die quickly when arranged in a flower arrangement. It is a very poetic work. It reminds me of a poem by the French symbolist poet Rimbaud that begins with "Ah, the castle, ah, the season." He feels the passing of time from an old castle, and Michel Henry paints autumn lakeside trees burning in the setting sun and early summer poppies at the same time, giving a sense of the fleeting moments of time. It is a poetic work, but at the same time, the composition, spatial expression, and colors make it an undeniably beautiful painting.

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