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The Captives; Les Captives, c. 1923-25 (oil on canvas)
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The Captives; Les Captives, c. 1923-25 (oil on canvas)
653172 The Captives; Les Captives, c.1923-25 (oil on canvas) by Pascin, Jules (1885-1930); 55x66 cm; Private Collection; (add.info.: The Captives; Les Captives. Jules Pascin (1885-1930). Oil on canvas. Painted circa 1923-25. 55 x 66cm.); Photo eChristies Images; Bulgarian, out of copyright
Media ID 23294562
© Christie's Images / Bridgeman Images
122011upload 1923 1925 Boredom Bulgarian Artist Captive Captivity Expressionism Expressionist Gray Grey Half Dressed Incarcerated Incarceration Jail Jules Pascin Julius Mordecai Pincas Large Group Modern Art Negative Concept Only Women Partly Dressed Pascin Pose Posed Posing Prison Punish Punishing Reclining Semi Clad Semi Dress Towel Women Only Punishment Semi Nude
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The Captives; Les Captives
EDITORS COMMENTS
is a captivating oil painting by Bulgarian artist Jules Pascin, created between 1923 and 1925. The artwork measures 55x66 cm and is currently held in a private collection. In this early twentieth-century masterpiece, Pascin depicts a large group of women who appear to be imprisoned or confined in some way. The somber gray tones and negative concept convey a sense of incarceration and punishment. Some of the women are standing, while others are seated or reclining on towels. Pascin's expressive style, influenced by expressionism, adds depth to the composition as he captures the boredom and resignation on the captives' faces. The semi-nude figures evoke vulnerability and emphasize their captivity. The artist's deliberate choice to portray only women further emphasizes the theme of confinement. Their partly dressed state suggests both physical restraint and psychological imprisonment. Through his skillful use of color, posture, and pose, Pascin invites viewers to contemplate themes such as power dynamics, societal constraints, and personal freedom. "The Captives; Les Captives" stands as an important example of modern art from the early twentieth century. Its thought-provoking imagery continues to resonate with audiences today as it raises questions about individual agency within oppressive systems.
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