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
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.
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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