The Strabismus of the painting

This essay focuses on several portraits in which strabismus light or accentuated characters extends to the painting itself, to its composition and its motives. If we can speak of a "strabismus" in the painting, it is the place of the viewer himself who finds himself modified. A form of pictorial modernity. Which is looked at by characters whose eyes squint or trouble? Why does this look contradict the posture of the body in the space of the painting? In addition to a droll or disturbing corpus, when the strabismus is not fully evident, very aesthetic elements interesting are becoming clearer, leading to an original rereading of certain known paintings (Manet, Botticelli). This is therefore an innovative test, both entertaining and disturbing. Color illustrations will come to highlight the particularly stimulating connections that are made by the author.