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A revival of naturalism to impressionism by Caravaggio

A revival of naturalism to impressionism by Caravaggio

The great painting does not merely great mythological, historical and religious. Integration Image and shares owned daily testament to the return of genre scenes and lighter subjects at the heart of painting. The Raft of the Medusa by Théodore Géricault Romanticism was already paved the way for the anecdotal. These iconographic give birth to a movement that can qualify to 1875: Naturalism and well before that date may be extended to modernity from romanticism to impressionism.

Naturalism in painting is opposed to the principle of idealization. The Italian artist Caravaggio, taking as a model for people in small conditions had already introduced this everyday at the heart of his painting practice. In the seventeenth century the proliferation of scenes of daily activities or even the portrait in Dutch painting shows a passion for painting naturalistic witness of his time.

The reintroduction of such subjects in the painting of the nineteenth century shows new sources and especially another referencing historical practice of painting. The artists no longer seek only the models in Italy, it looks as northern schools. What was even removed from minus the history of painting by the supporters of the academy is back for its artists while offering a path between the academy and impressionism. The term naturalist appears in the salons of 1875 and brings together diverse artists as each other. Emile Zola incorporates under the name Manet, Impressionism, the French school of landscape and realistic. The common denominator of all these movements is a plein air painting, a reality seen and not imagined, the refusal of the workshop and academic conventions.

Naturalism differs from academic painting of the period. The confrontation takes place on two levels: iconographic and stylistics. The academy rejects naturalism that ideal that comes from the renaissance that has crossed the neoclassicism and offers the image of an ideal world where men behave like the Greek gods. The honor, great feelings, great virtue, in Greek mythology are inexhaustible sources of his subjects. It is therefore understandable that academic painting can not accept naturalism that draws about the daily lives of ordinary people. The opposition is also formal, but the front lines are less well established. Indeed we find in the naturalistic way of a plurality of paint. Some artists borrow from the great naturalist Gender his precise line, his own personal touch and lick her artificial light workshops. While other sensitive outdoor games sunlight visible and adopt the key synthetic and simplified forms.

To define naturalism we can agree that it depends on three criteria:

• first, it is defined by its iconography. The subject must be taken in an observable reality and observed by the painter, which excludes the ancient mythological or religious story.
• Second, treatment should be descriptive and not narrative. We always believed that even if there is nothing to tell, the most arid landscape has always a little bit something. Whatever the intentions of the painter, the scheduling of all the details we put in the presence of a narrative or description.
• Thirdly, naturalism implies a real effect, but subtle and subjective factor. The feeling of authenticity is not tied to a specific case. It is not enough to paint the lower button to reach the real. And paradoxically, the unfinished by its suggestive power, produces a powerful reality effect.

The term naturalism, I therefore comprises all of a piece of the painting from 1830 subjects considered less worthy of interest. The excesses of Romanticism and mythological paintings prompted some young painter back to more prosaic matters. Criticism is using the term naturalist until 1866, but the compositions can be attributed largely to the previous terminology.

To conclude this introduction, the emergence and strengthening of an appeal of reality are more analytical and descriptive linked to a political situation Social and different. The humiliating end of the empire, the lost war against Prussia, the siege of Paris, the insurrection of the Paris Commune, the civil war can not but call to reality. The quickening pace of society, the development of industry and mining are changing the landscape and cause the formation of a working class with its specific habitat. The railroad changes the appearance of the countryside and small distances. Science is a factor of progress, a source of well-being but also as an analysis of the company. This period of rationalization and analysis of scientific may have prompted the painters to more realistic description. The last element is the advent of photography, competing with the paint on his own land. The painting no longer has the monopoly of representation of the world. Even if photography is still imperfect it is perceived by painters as the rival assured of his victory.

Naturalism is not a new consideration of subject and composition in painting, motion picture to be reinvested in closer to his time and his audience.

The show retains its vital role as the academy, J. reward and painters. In the mid 70's it identifies 3300 active painters. These artistic products are not confined to academic painting actually becomes a minority. In 1876 the great room type only 10% of works exhibited. The landscape is most prevalent with 40% followed by 30% genre scenes and portraits 20%. The public taste is on her scenes, as it revels in that image sometimes humorous and sometimes critical of the company. The artists have developed specific strategies for living room, sometimes to the detriment of their own research to be seen.

Naturalism is therefore not a minority acts of a few artists and a few paintings, it is the willingness of artists to bring their audience and offer an alternative to more academic movements.

Still life

Adele Riche flowers, red and white grapes 1831.

This still life shows the commitment of the artist as inherited from the Dutch tradition meets the tastes of art lovers for a descriptive and detailed, this still life A smooth and clear, illusionist. The composition is carefully studied and many details. are reminders of the Nordic models. The key is perfectly transparent. Although an inferior composition that nevertheless retains the accuracy and Design of an academic commitment.

An antiques dealer Edward Ender 1849.

Immediately we notice the ambitious size of this table appeared to want to raise the still life at the forefront of history painting. This accumulation of objects of art seems to offer a profile of the antiquarian, amateur curiosity.

The play of light and precise rendering of contents in a bright, some charm, testify to a historical treatment of a still life. In a dialogue with the art lover and collector, it is possible to identify a number of items in this composition.

The two skulls found in the left side carry the same values of vanity. The drapery falling left and right frame this composition and seems to still offer a theme less real historical composition. The artist plays a mixture of genera, even if his subject is inanimate and non-historical, and anecdotal descriptiveness can evoke a moral.

Blaise Desgoffe helmet Circassian, powder flask Eastern Museum of Artillery, 1890.

Devoid of decoration, the dark background brings the elements of the composition into sharp focus. The cape engraved and gilded iron placed at the center, the profusion of ornamental pear powder gilt, enamel and precious stones are suspended in full light, while the sheath of the dagger and sheath boom appeared to be settling in the dark. The selected objects reveal a taste for rare and precious materials.

The beautiful effects of light accompanying a virtuoso performance of a near photographic accuracy. This table continues the tradition of still life set in the seventeenth century by the German and Dutch and participates in the worship of objects in the second half of the nineteenth century. Responding to the passion of the century for archaeological surveys, to taste for the classification and distribution of works of art in the public and private collections. This table "naturalistic" is an image of his time, and retains the will highlight the technical nature of the painter. The powerful chiaroscuro clouds part and the button shows the reverse of the bouquet of Adele Riche thickness and subjectivity in its treatment.

These three paintings of still lifes show next to the Grand kind of continuation and evolution of the plastic treatment of the subjects below. They may be of interest and capable of expressing the subjectivity of its creator.

Portrait

Louis Candide Boulanger

Honore de Balzac

famous picture of one of the great writers of the nineteenth century, it is the encounter between a painter and his subject. The posture of Balzac and his clothes reflect his desire to show as one of the foremost proponents of modernity. Portrait "official", the painter will accompany the stature of a dynamic brushed corresponding perfectly to the subject. So putting on shows a single expressive will. Once again we emphasize the use of chiaroscuro as a developer this penchant for naturalism. Fast printing performance due to the visibility of the material gives almost a snapshot in this portrait of Honore de Balzac.

Jules Bastien Lepage

Portrait of Andre Theuriet 1878.

Theuriet Andrew is a poet and novelist. The layout chosen by the artist vibrates with its extreme simplicity. The fine lines of character, the balding emphasizing the importance of the front is highlighted by the feature that helps out clearly the figure of the land on which the artist places his model. This economy of means its author attaches to the Nordic tradition of portraiture. Critics of the time comparing his material both smooth and sensual Fantin-Latour. Once again these are indeed the northern models that seem to form the basis of the actual development of this painting. The bottom structure of the tables, which highlights just some white parts and especially the work and the fineness of the complexion of the face.

Leon Bonnat Portrait of miss Denouille 1884.

This artist is strongly influenced by academic education and his familiarity with English art. He went to Italy in 1861 where he met Gustave Moreau, Degas Delaunay.

The young woman wearing an elegant evening gown whose tone is clear befitting its age. It stands out against a background of purple. The artist makes frequent use. According to its own way it uses the smear technique, modulated with small brush strokes, made evident by the use of two-tone brown with red and black. The dark halo that serves as a foil to the figure and the lighter area of the lower part gives its full depth to the composition. The artist devotes particular care treatment of the dress and the heavy satin fabric with a pearly sheen to it then give the opportunity to put forward one of his artistic brilliance. The material does not hide the more she reveals.

These three examples show that the modularity can take a picture, he flirts with the sentiment, the matter is the subject.

genre scenes and historical

Emile Signol madness of the bride of Lammermoor 1850

This work demonstrates the commitment of the artist vanguard of a revival. This diverting theological references, it tackles the historical novel. The Bride of Lammermoor by Walter Scott raises 1827 to 1861 twenty works.

Madness captivated romantics. The position of the young woman collapsed on itself, his hands showing a certain tension, evidenced by the artist of this capability to include a psychological problem. This theme of the madness accompanies a curiosity for the supernatural romance and fantasy. The look of the young woman and deformation of her body reflects a move away from large academic models. Narrow framing of the haggard face and modulations with the dark background that strengthens our feelings expression and passion.

Gaëtan old peasant Cathelineau 1848

This table portrays an old peasant in a generic way. The deformation features of the face and allow us to consider a similar picture of misery. Despite a clumsy treatment of the blouse for work, the expressiveness of the face and the careful execution and elegance the range of colors reflect the mastery of the artist. Scrupulous description of the physiognomy of the character reveals an attempt beyond a regional type of evoking a strong be characterized. Opposing the light background and a dark background on which the cutting profile, the artist renders a lightness of hair that looks almost floated around the head and especially accentuates the character of the weathered face.

Edouard Debat-Ponsan Before the Ball

We could parallel this table analysis presented some sketches in the same room as this painting entitled before the ball.

The sketches show a daily activity of the painter illustrating similar themes and emotional as his grand-son. The table entitled before the ball is a scene in a bourgeois interior dictated a mix of gothic and oriental style. This scene is handled with precision and an academic drawing and shows some intrusions by a palette that turns opaque.

In conclusion, the term defines a naturalistic painting that approximates a subject and its observation. Wider than realism, whose plurality is not to demonstrate, naturalism can understand how these artists will turn to the Nordic model, paint on the late eighteenth and early nineteenth century had been rejected. This is not simply in the art world, but a change in the whole society in which the artist if they want to participate must be in tune with the changing sociology of his time. This naturalism is not homogeneous, it runs from the academic to Impressionism. It is not an attack in good standing of modernity cons classical, but is a foundation stone for the establishment and the birth of his next move, to be impressed. It will include the East as subject movement that is itself heterogeneous.

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The logic of an academic, conservation of past models

The logic of an academic, retention of past models

The previous two conferences have demonstrated the function of state and doctrinaire neoclassical painting. The will of the reinvestment of antiquity to testify the size of an art of its time does not mean limiting the variation of subjects as well as invoices. Between the late eighteenth century and the first half of the nineteenth century, painters from the academic history are multiple references while appropriating them and claiming a singularity. Despite its dogmatic foundations, the neoclassical will constantly mutate, each artist can despite a system of precise rules to express their individuality.

Tymoléon the Syracusan who bring foreigners 1796 Jean Joseph Taillasson.

Taillasson account with Jean Joseph Jacques Louis David among the best of Vienna. He fails, however, repeatedly Rome Prize competition and must resign from his charges in Italy in 1774. He stayed four years before returning to Paris. Approved at the Royal Academy in 1782 he was received as a painter of history two years later. His work is strongly influenced by the lessons of Vienna and the classical tradition of Poussin that he is a fervent admirer.

This table is presented in 1796 at the show. In the libretto of the show we note the record much longer than the title given to him today, "Timoleon who leads the Syracusans foreigners. The grand master, retired to Syracuse, lost sight [...] Then the Syracusans redoubled attention to it. He ammen foreigners who came to them: that he said, our benefactor, Our Father [...] This table at his feet five feet wide by 10 inches tall. "

First, we note that the length of the instructions and explanations are elements of mediation. The aim of these large arrays is to have a moral and didactic function whose libretto the show is the support. This work is the best of the political détente between the dictatorship of Robespierre and of Bonaparte by a glorification of the fervent Republican in the fourth century Greek who had to emigrate to Corinth, after killing his own brother in which a tyrant and germinated Sicily came to expel the young Dionysius of Syracuse and established throughout the whole island the democratic order.

The subject has become fashionable since the 1794 tragedy Timoleon was played. The part is prohibited by the Committee of General Security and the author Chenier forced to burn his manuscript. At the fall of Robespierre the play was resumed.

The organization has a general composition of figures placed in a frieze, linked to each other by gestures marked with arms that reach towards Timoleon, index raised to the sky of the Greek hero. Taillasson the precise nature of the scene by the Sicilian architecture and a barren landscape dominated by Mount Etna. The architecture of the Doric order replaces the Tuscan columns that can be seen on the sketch now preserved in Montauban. The organization frieze near the bas-relief carving and attention to detail as for shoes or even the seat of the main character, show the recovery of ancient and mostly plastic an organization only tour in the valuation of Timoleon. The critics were severe enough for the fabric although its neoclassical character focuses on drawing more than the colors. This seems to have struck and it says: "... [...] Though this Timoleon designed and draped with a purity does merit icy, both for color as for the facts. "

It is true that the drawing is the basis and the general organization of the composition of this picture. The effects of light on various drapes do not offer them a warm color, or variations of matter but an almost cold. The reference to the support by carving a design, offers almost the same heat architecture, drapery and flesh tones.

Taillasson Jean Joseph is the author of several books on aesthetics, some of which are written in verse: Danger the rules in the arts 1785; Observations on a few major painters in which one seeks to establish the distinctness of their talent with a specific life , 1807.

The episode chosen by Taillasson this void and no dramatic sense. The only expression is the head slightly raised the index and accompanying movement of the left arm of the hero. In the sketch of Montauban, Timoleon presents a face in profile significantly cut back on the columns. This variation to the final bill can be a little less cold. It may be emphasized that the organization of the composition makes great and virtually unique in the body and history. Even the architecture seems to comply with the dimensions of the work. The role of learning and teaching neoclassical painting led these artists in more references academic to an image frozen on the cold dogmatic.

Joseph Benedict Suvée with his picture on the Vestal Tuccia the screen filled with water to prove his innocence presents a neoclassical slightly softened well before the canvas Taillasson.

Jean Benedict Suvée obtained in 1771 the first Grand Prix with 's fight against Mars Minerva, tables disappointed that David will keep him in a persistent grudge. He is resident at the Academy of France in Rome from 1772 to 1778, he then spent in Naples, Malta, Venice and Sicily. Back in France it is approved in 1779 and received as a painter of history a year later. He is among the most history painters of his generation and as such will be appointed director of the Academy of France in Rome in 1792. The hostility of David and political events make it really take that position until 1801. He will oversee the move to the Villa Medici.

The artist produced several versions of the vestal. The young woman has to prove his innocence was a screen of water under the anxious eyes of the crowd, here personified by two women behind her. In 1785 we note in the booklet of the exhibition the presentation of a similar description to that of Tours. The painting was admired for its beautiful arrangement in composition and painted figures of your marble. One critic points out: "Mr. Suvée rivaled for harmony, purity of style and drape; person no longer approaches the simple graces of the antique." Indeed when we look at the strength and calmness that emerge from the face of this young woman, the drama of the scene is softened by the subtlety of the chromatic scale revealing shades of beige and white. Traits designer are accompanied with a fine writing brush. The balance of the composition is made by an invoice smooth, almost transparent showing a composition designed and managed. By studying the preparatory drawings and other compositions of the same theme, the focus of the artist is on the face and head of vestal virgins. Facial features to perfection almost sculptural in the way of styling hair in a bun defeated demonstrates a mastery of color and line. The drama is a bit more present than in Taillasson, the two young women behind the heroine looking up show drama and narrative tension. We find it in his eyes reddened and moist Tuccia. Yet the solemnity of laying and the appearance of marble expressionless face short-circuits a little bit of tension. The tight framing offers a hand to the viewer's imagination by an off-field indicated by following the three eyes that seem to converge towards the same point. The dark background of the three figures and cut back again in ancient sculptural model. The strength of the line is softened by the variations of brown and gray with white veil and clothing of the vestal. To emphasize its sculptural aspect we will notice that the light on the vestal is much colder as the two young women from the left. The positioning of the head in profile to three quarters in a virtual system assumes control of the kinetic representation of the face. The lack of any decorative element shows once again focusing on the body and history.

Morality is obviously at the heart of this iconography. The drama is carried by the narrative, but the moral figure of the vestal design seems to fit perfectly freezing the composition. No emphasis, everything seems to be in the reservoir that is in the pose, the expression in the palette as in the drawing. Suvée offers plastic treatment corresponding to the image of the story.

These two examples show how neoclassical artists reinvest deeply ancient sculptural style in composition. Despite some warming of the pallet in Suvée, aesthetics remains deeply cold. The supremacy of the design reflects the very functioning of the formation of these artists. The viewer of the time as can be seen in the criticism positive or negative, is primarily the "purity" of the transcript of Antiquity Contemporary painting in this model. Everything is about balance, to freeze into poses. In Suvée, drapes keep this thickness and a certain dynamic. Instead, we observe in Taillasson aspect of mineral processing clothes. Contemporary artists, their differences demonstrate the ability and willingness of these artists subjectivise this quote from antiquity. By slight thickening of the material draped Suvée, we can glimpse the reasons for shelving by Jacques Louis David and his dogma.

The moral functions are both in content and in form. The gestures are static, the term is fully contained. The primacy of drawing over the late eighteenth century is increasingly in the development and construction of large compositions. Even for a medium size table, the moral premium on feeling. The fine is higher than the taste. Despite this, each artist is regarded as an autonomous individual and especially identifiable. The choice of compositions and equilibria in a system that allows almost seems dictatorial personal expression.

The "noble simplicity and calm grandeur" of Winkelmann is felt perfectly in this internal voltage controlled the point of taking the mask of coldness. The vestal Tuccia is a virtuous example to glorify. Timoleon a hero of democracy ready to kill his brother for the greater good. For the young artists of the early nineteenth century, these models are still extremely strong. Yet one fact is artistic and political change that.

At the end of the empire, as the marshals of Napoleon, students surrounded him David, but are ready to betray him to retain their titles. And Jean Gros, faithful to the teachings of David painted Louis XVIII. After the defeat of Waterloo In 1815, Jacques Louis David was exiled by Louis XVIII, the academy, more than ever, claim to his doctrine. David's school hundreds of students had extended the model of its dogma in Europe. We learned to draw and paint from the ancient and the living model, for the transparent key. Officially, David is an outlaw. The head of the French school has no right to call France. Yet the bill porcelainée and bold palette of the old master continuously. It will result in a change of fashion subject to ridicule from the critics. From the sublime to the ridiculous of grace for the one step there.

The painted sketches of the painter Émile Signol as Scene ancient testify to this preservation of earlier models. Admitted to the School of Fine Arts in 1820, he became a pupil of John Major. Trained in history painting, he won the Prix de Rome in 1829 and the first grand prix in 1830. Like many of his classmates, stay between 1831 and 1835 at the Villa Medici is the revelation of Italian art.

The small antique table Scene is a sketch belonging to the years training of the artist in the competitions of drawings. Depicting a scene of a dying warrior, he witnessed the impact of the antique in the subjects. Other small oil Meleager taking up arms again in the solicitation of his wife was drawn for the Prix de Rome of 1830 which is Signol winner. Despite this being a sketch, we can discern the Doric columns framing the bay in which Cleopatra refers to her husband burned the walls. The work will Signol unanimously recognized by critics. Yet some lament the theatricality of the main figures. The sketch does not have the defects of the final work such as clothing of the wife. Here on the contrary, the vivacity of gesture of Cleopatra is underlined by sails and uniformly bright light. The distribution of characters is in line with the volume part of the rhythm of openings. Again for a theatrical actual heroes are put under a light much stronger and whiter. This creates a break between the foreground and background.

These sketches show a gesture and expressiveness of color and lighting effects which seemed inadequate with the transparency regime intended by Jacques Louis David. Yet the move to table charges chromatic bends in the drawing. The expression contained in these small paintings will be minimized in the end. From a dying warrior heroes taking up arms for the city, the themes are basically the old enrolled in the training of artists and their moral function. Emile Signol a long career, he died in 1892. Despite his training and academic awards, he will cross the century changes in themes and technical variations. These small painted sketches show artists who are technically trained to answer all requirements of an institution plastics and the public.

This capability and flexibility to allow everyone to be able once again despite individualized training that appears to enshrine in a single system. Beware of these shortcuts too fast on an academic frozen. Each student leaving the school of fine arts should be for a successful career, a personal synthesis of his teachings and his subjects. The neoclassical is not a single mold but a means of acquired techniques to respond to all requests. These artists are technicians, and can continually meet the demands of a government in power which they are dependent.

Jean-Baptiste Auguste Vinchon is traditionally presented as a student of Jacques Louis David, although his name does not appear on the list. It follows an academic who goes to Rome in 1816, where it binds with Ingres. Academic training made him an official painter. Executed around 1848, Louis-Philippe and the royal family visit the galleries of Versailles historical, is the sketch of the painting now preserved at Versailles. It shows the royal family stopped before the statue of Joan of Arc during a nocturnal visit. Sculpted by Marie d'Orleans, second daughter of Louis-Philippe, the last work of the princess died in 1839 at the age of 26 years. The work is part of Vinchon a production of King and his family in private moments and intended to give a human face to the regime and balance of representation by imagery official familiar. The homage of the royal family gathered at an artist who has disappeared is impregnated with a filial love combined with the devotion of the king to the historical figure of Joan of Arc. Interest The Maid of Orleans has never wavered and in the nineteenth century in particular from the restoration is experiencing a significant development. Faithful servant of God and the embodiment of courage, French, Jeanne has loyally defended the monarchy against a foreign power. Louis-Philippe could not fail to exploit the attachment of the French in character, in a continuing effort to pose as heir to the throne. The lights are out and break the marble range is dominated by black and red that suggest an intimate atmosphere devoid of formalism. The very purpose of the composition and testify about Vinchon a reorientation of themes and a larger discount.

The academic painters have always referent as the antiquity, but the rapprochement between artists and power resulted in them having to apply to all subjects of the elements of composition variants. The political developments will result in changes themes. Artists have continued to be taught where antiquity is at the heart of questions, but to maintain a moral impact and official they will have to alter or to work outside of the themes more to the great classical subjects.

conservation patterns of the past is always in an update. Drawing and sculpture are the very foundation of any academic training of an artist. Only students graduating from the School of Fine Arts, led the early years of their training to a principle of competition can live and be recognized for painting. Rome trip keeps his weight in training and in the quality of the artist. What changes between the late eighteenth century and the mid-nineteenth century are the theme and not plastics data. By having subjects that are close increasingly an everyday, academic painters demonstrate a capacity to adapt, even if the virtuous will paint for Jacques Louis David was the image of a revolutionary and imperial political system, for it Vinchon can be totally royalist. The beau ideal will be a little bit perverted. Chiaroscuro Suvée present in, or Signol Vinchon shows a weakening of the dogma and questioning where naturalism and models rejected by Jacques Louis David penetrate the paint.

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Renoir twentieth century

In 2010, a hundred works of Renoir were exhibited at the Grand Palais,

in a beautiful exhibition of his paintings of the period of the early twentieth century.

Over 15 rooms devoted to him and when I first discovered, I met with

always a pleasure,

the two huge paintings of the dancers who are usually

presented at the Musée d'Orsay.

This first painting with warm colors for Dance in the Country (1897)

The second on cold tones for Dance in the City (1883 )

In this room, we found also "Girls at the Piano" (1892),

the first acquisition of museums in Paris is also famous

and this whole talent of the painter who began yet

already suffer from arthritis.

In another room, many tables scattered children exposure

including her own children.

I also liked the warm tones and gold that covers the canvas of "Landscape at Beaulieu"
where the colors are mixed, as in a dance.
Not clear, but the wind and the light changing every moment
landscape.

Further, it is the Renoir nudes are presented.

The body of bathers exposed
series offered in iridescent colors and warm clean to the artist.

The reference to antiquity is implied but Renoir revisits his own way. The anatomical accuracy

giving way to
monumentality and the painter's palette turns more quickly.

I also discovered that at the end of his life, Renoir
has made sculptures here are some examples.

There is also this wonderful picture of the woman with the guitar

The daughters of Henry Lerolle piano (1897)

Reading

paintings and many other equally beautiful than others.

The painter said he does not
"'there is no boundary between a designer and an artist."

Citations of Pierre-Auguste Renoir

"The painting is learned in museums."

"The pain passes, the beauty remains."

"One morning, one of us missing black, used the blue:

Impressionism was born."

And for those who want to know a little better painter

who devoted his life to painting, here is his biography.

painter, engraver and sculptor born in French Limoges

died at Cagnes (Alpes-Maritimes).

Renoir was born into a poor family.

His father was a humble tailor who entertained with great difficulty his family.

Renoir began painting on porcelain;

it was somehow learning.

To live, then he decorated fans and blinds.

Having saved some money by his work,

he could enter the studio and met Monet Gleyre 1862.

Gleyre probably did not think highly of his pupil

when he asked the young artist sitting in front of his canvas:

"This is probably fun as you paint?"

- "But certainly," Renoir,

and if that does not amuse me, I beg you to believe that I would not. "

Left to itself by Gleyre

- somewhat disdainfully -

Renoir took the opportunity to work according to his tastes

by copying great masters in the Louvre.

One day painting in the Fontainebleau forest,

he was attacked by

kids who made fun of his old coat porcelain.

It was rescued by the arrival of a vigorous man despite his wooden leg:

was Diaz

who befriended him and allowed him to source colors to their account.

Renoir's painting, initially influenced by Courbet,

found its first performance in 1867,

and Lise is a work that are already fixed the major issues dear to Renoir:

light and the female body.

It also remains true to his admiration for Delacroix and his Parisian

dressed in Algerian,

canvas refused at the Salon of 1872,

are directly inspired by the Women of Algiers,

Renoir and Monet often worked side by side,

performing works in the same spirit of research:

the Grenouillère (1869) (See biography of Monet)

and later, the duck pond (1873).

A strong friendship bound them, encouraging them to pool their technological discoveries.

At the outbreak of the war, Renoir was enrolled in Bordeaux.

He returned to Paris at the end of hostilities.

Recovering

to work immediately, it

then painted the lively street of Paris whose bill moves between Corot and Lepine:

Le Pont-Neuf (1872).

The

his stay with Monet at Argenteuil (1873-1874)

would allow him to divide the tone, lighten his palette,

study all transformations of the light.

In Monet, Manet he found ,

while the latter, at the urging of Berthe Morisot,

is converted to light paint.

These meetings in the garden of Monet at Argenteuil,

these working sessions on the banks of the Seine are memorable.

These are moments of intense activity.

the middle of a noisy and busy life,

in the lucid mind of all these painters,

technical discoveries succeed.

The new painting is accurate .

The first exhibition Group (1874), Renoir

organization to which he participated,

would put this new painting show to everyone.

If the auction of 1875 was a disaster

that Durand-Ruel attended powerless

at least it allowed Renoir to discover a new lover:

Chocquet. It offered him very quickly, as

his admiration for his painting was great,

to execute the portrait of his wife.

For Renoir, he later became an amateur active and generous support.

Renoir, continuing his research on the brightness of the atmosphere,

applies to the opportunity to translate different themes

and continues in settings as diverse

theater:

Lodge (1874), The First Release (1876); ;

Outdoors:

Le Moulin de la Galette (1876), Jeanne Samary (1877), and finally

he is not afraid to tackle society portraits by

ask Madame Charpentier and Her Children (1878), wife of the publisher.

While having participated in the Impressionist exhibitions from 1877 to 1879,

this last year he was admitted to the Salon.

In 1880, staying at Croissy, he began his famous composition:

The Luncheon of the Boating Party ,

where he once again evokes the sensual and happy life that he loves.

Theme difficult and complex that it can use all the resources of his hand,

where it can translate, in the bright light a summer day, all the subtleties

particularly acute sensations.

From 1881 to 1883, despite difficulties, he lived in Algeria.

Then he made a journey, determining the future of his work,

in Italy where he visited Florence, Venice, Rome, Naples and Pompeii.

In 1882 and 1883, he stayed and worked with Cezanne Estaque.

The year 1884 marked his detachment impressionistic designs.

Influenced still vibrating from the shock felt in Italy.

Renoir undertakes research that we called it linear.

The form has a greater tendency to be absorbed by light

the contrary, it is described by line;

contour narrows and then do more precise

"He produces works whose subject matter may vary,

sometimes thick and rough

but all have in common pure linear contour

atmosphere stripped (D. Rouart: Renoir).

Again in 1885,1888,1889,

he spent long periods with Cézanne in 1890 ,

he breaks with his recent style and Once a bill passed this creamy

soft, pearly, which will be of great importance in his work,

and set in the minds of many, the image of Renoir.

Now, the main elements of his style are fixed. There

until his death vary in the components, but

n'enregistera more abrupt in his work

or conflicting changes.

In 1891, again, he stayed in the south.

The following year he traveled to Spain,

and Durand-Ruel in Paris organized a major exhibition of his works.

in 1894 without fully achieving its goal

he struggles to accept the State's magnificent legacy of Caillebotte.

This was not until 1897 that this legacy, cut a large number of tables,

may enter the collections of the State.

is achieved for the first time in 1898

acute rheumatism, disease that should be the end of the ordeal of his life.

From 1905 to 1909

his illness worsens and he decided to settle permanently in the south.

He buys at Cagnes Field Collettes

where he built himself and his home studio.

In 1912, his illness is getting worse,

he tirelessly pursued his work,

can no longer paint brushes that by tying her wrists.

Despite

his health, surrounded by knowledgeable practitioners,

he managed to achieve an important work

which ranks among the leading sculptors of his time.

He died at Cagnes December 3, 1919.

(excerpted from the great painters)

That's it for today,

tomorrow is another day ....

Indian Village Women Boobs

Ruins of the Château de la Mothe-Chandenier (Les Trois-Moutiers, Vienna)

the mid-rise wood, like a fantastic appearance, the ruins of the magnificent chateau de la Mothe-Chandenier. Devastated during the French Revolution, this castle is the work of the very rich Francis Hennecart who rebuilt in the nineteenth century from the remnants of the old fortress that belonged to Rochechouart. He dug canals on each side and the "Grand Canal" behind the castle.
But in 1932, the sumptuous suffered a major fire after the installation of central heating, and survived for this day in ruins.

Where the place?

Una Scatenata Moglie Insaziabile Trailer

Ruins of the Tower of Villiers-Boivin (Vézières, Vienna)

Near the big wooden Villiers stands the Tour de Villiers Boivin. The feud

owes its name to Boivin, the lords who owned between 1329 and 1449. From the late seventeenth s uninhabited buildings were gradually dismantled. Apart from a leaking ruined sections of walls defining a mound, a large vaulted cellar, there is only a high and beautiful round tower. It consists of 4 parts superimposed topped by a parapet on battlements, each level being marked by a beaded headband. All rooms are equipped with fireplaces. The second level includes a latrine and has traces of painted decoration.

Where the place?

Hard Purple Skin On Inner Theigh

Ruins of the Collegiate and Castle Rocks-Tranchelion (The Roches Tranchelion, Indre-et-Loire)

The Collegiate Tranchelion Rocks was founded in 1527 by Lancelot La Touche. Ruins of the castle and the collegiate-Tranchelion Rocks were classified by H. arrested on 05/09/1914. In 1855 she was already in the state where we see it today. There is not much of the castle, but it is well known in history by King Charles VII assembled his council July 17, 1449 to prepare the final assault that pushed the English from France, ending the War of hundred years.

Where located?

Diane 35 Side Effects

Ruins of Castle Isoré Fontenay (St Bauld, Indre-et-Loire)

From the 15th century fortress rectangular , remaining elements. Limited by a moat, the castle had to be flanked by at least four corner towers. The entry above the moat would be in the middle of the south side. Center Is the enclosure, the tearing of intersecting arches on the north side of the buildings still exist, suggest that a large room would link them to the north-east tower. The south building retains a vaulted basement where the pillars are connected by arches characteristic of the 15th and 16th centuries.

Nearby, stands a small manor house abandoned.

Where the place?

Wodd Stove Blueprints

Ruins of the Castle Tourballière (La Celle St Front, Indre -et-Loire)

Tourballière the Castle, dating from the early nineteenth century, built by the Earl of Murat. A few yards away, still the ruins of the Manor and its extensive underground Tourballière unfortunately cluttered landfills.

Where the place?

Different Colour License Plates Ontario

Our resolutions for 2011

Do you know the book and the blog of Yves Roy which you can access
a click in the list of favorites.

One of these pages has the theme "Having a positive attitude"
This actually means to achieve

achieve its goals and realize their dreams.

I thought that at the beginning of the year where we're all good resolutions,
an excerpt from his blog might interest you.

He mentions in particular a few basic steps to improve our lives
and that is what we all want.

are listed below with my comments in blue.

(it's an excerpt, click on the theme mentioned above
to access the blog page for Yves)

1) MAKE YOUR LIFE IN THE DREAMING AND THE IMAGINING

To get something, you need
first to have dreamed and desired.

Without passion, is unlikely to have fun in life
and passion often takes its source in share our dream
"Be realistic: demand the impossible "Ernesto Che Guevara said

2) MAKE YOUR LIFE In writing

dream life is not enough.
The next step is to write in detail everything you want.

This is a command that you place yourself and your
unconscious somehow.

And the higher your "letter" will be clear and precise
more easily you get what you want.

This step is essential because you will
press this writing you will do well at THIS
to affirm your confidence to see the results materialize. That

well as a board Certainly few people practice
yet essential,
as already act of writing the project involves a more accomplished,
a need synthesis to better

understand his desire.

3) MAKE YOUR LIFE OFTEN THINKING YOU ARE THE RESULT

aware that only repetition can assure you the result, as if your
thought repeated over days, weeks and

months transformed the way
groove then off and finally highway leading to the goal.

Some will think like me it is a little method Coué
and certainly a little why we offer Yves Roy,
as it is necessary to have an ap positive close when you want lead.

4) MAKE YOUR LIFE OFTEN IN VIEWING THE DESIRED RESULT

thinking will not suffice,
visualize yourself as you will be obtaining the result. You see rich

eg
is to see you smile and the home of your dreams,
perhaps realizing another dream
probably helping your loved ones.
Itemize your
display the result and not the means to achieve it.

This perception will allow us to anchor our goal into reality
define better yet as we perceive it as if it was done.

5) MAKE YOUR LIFE OFTEN THE RESULT SENSORISANT

Feel So you joy invade
a sense of security or love you invade.

Feel your pride of having already succeeded.

FEEL your healing in your body and / or your happiness.

Be ready to jump for joy and gratitude!

It feels so nice it would be a shame to deny it.

6) MAKE YOUR LIFE IN ACTING AS IF YOU'VE GOT
WHAT YOU WANT

You must still act as if you EVER get what you want.
(Not in signing bad checks
or by stopping to take your medical course!)

Act as if you had already achieved the desired result
is to behave as if, with so
and even joy, the same serenity, the same kindness etc..

This means that you will now SMILE,
other and to life, no longer to complain of course

and walk with confidence towards success.

So then you say, he is delusional ...
Well, for having practiced sometimes, I can tell you my life ;
my daily decisions were made processed;
less pressure, more fun on the way to my goal
and finally a very nice feeling of calm.

7) MAKE YOUR LIFE IS POSITIVE AND ENTHUSIASTIC

ABSOLUTELY SURE OF THE RESULT

You'll feel highly confident that
everything you wish for
you (do not mix other such creation of YOUR life)
will be realized,
is already underway demonstration,
even if you do not see it yet. Like the peasant
welcomes winter wheat
which will necessarily go out and push
give abundant grain since he sowed in the fall!

We can never achieve the results that we do not believe
and especially we not a good attitude
and we do not take decisions necessary if we do not see
our goal as a result that will be achieved.
must banish the word TRY.

We apply these simple rules in our lives, sometimes
naturally because our goal seems obvious .
But other times, we doubt ,
we are not effective because we do not believe enough
our goals,
we look only as vague desires but not

AS A PROJECT SPECIFIC TO ACHIEVE

AS ESSENTIAL OUR LIFE.

I think this imaginative approach, voluntary, organized, positive
can have the tenacity necessary to achieve its projects
but we're not always in a moral and intellectual
to apply these steps in our lives.

However, it is really good to know and practice them
on small projects to get your feet
and we would hope that this year 2011
either the opportunity to implement this method step.

Tenacity
I can tell you that in is sometimes even on seemingly simple things.

Do not let go sometimes is really essential.

What do you think?