top of page

Camille Clovis - Painter

Camille Clovis Trouille was a French painter.


Anti-clerical and anti-militarist, he was traumatized by the First World War and defined himself as an anarchist. He expressed a universal eroticism, and contempt for the great ruling currents.


In 1925 in Paris he started working as a restorer and decorator of window mannequins. In his spare time he painted canvases in which he ridiculed power through eroticism and macabre humor, claiming anti-clericalism and anti-militarism. His painting, which also exalted color, approached him to surrealism; noted in 1930 by André Breton and Louis Aragon, Trouille became a sympathizer of the surrealist group, [4] while declaring himself independent of all movements and all schools, and proclaiming to follow only his own individuality. The surrealists did not deny him this right that the surrealists did, and they continued to uphold it. Breton, in particular, called him the "great master of ceremonies of all that is allowed".


Welcomed among the surrealists, Trouille shared the use of dream narration and drew on the same repertoire of iconoclastic and provocative images. However, the artist did not devote himself to the exploration of the subconscious but preferred a brusque and regrettable approach to the dark powers of sexuality, together with the exultant, flamboyant and almost propaganda critique of the Church.


Contempt for the Church as a corrupt institution provided Trouille with inspiration for many works, starting with Remembrance (1930): La Momie Somnambule (1942), Dialogue au Carmel (1944), Le Magicien (1944), Mon Tombe (1947) ). The initial painting, Remembrance, communicated the author's controversial intentions through the depiction of a cardinal in garters and black stockings, an academic hit in the face by the flatulence of an animal, skeletons in uniform with white rabbits in his arms. Furthermore, the wooden cross bearing the inscription 1914-1918 was a precise reference to the war in which soldiers were targeted "like rabbits", while the Republic above had to make complicated contortions to divert the gaze from the copiously bestowed medals.







Credits images: from web

bottom of page