The landscape on a modern declared?
The landscape is the subject of an evolution of painting in the nineteenth century. The Impressionist revolution permanently inscribed in such a modern path. Paintings of Turner to neo-impressionism, the landscape is it yet the subject of a declared modernity?
Chateaubriand, in a short text written in 1795 and published in 1830 under the title Letter on landscape painting, clearly summarizes the state of this kind, held for minors, which the public was so fond: "the Landscape love not enough nature and know little about. [...] It seems that the study of landscape consists only in the study of strokes of the pen or brush, that all art is reduced to assemble some features [...] The result is the appearance of trees, houses, animals and other objects. The landscape that draws so hard to not look like a woman who makes lace [...] In talking or looking elsewhere, it follows from this structure of solids and voids that form a web of more or less varied: call it a profession, not an art. Students must deal first with the study of nature itself: it is in the midst of campaigns they have to take their first lessons. "
The landscape is historically derived from a painting and decorative topographical views that fall as combinatorial techniques. Thus these assemblies as a decoration theater was an art approval. At the revolution, tired of the official painting and historic public attention was now directed to this kind that allowed her to stay in Arcadia rectangle above his dresser. Recognition of the practice of landscape was the creation of a Rome Prize of the historic landscape. Pierre Henri de Valenciennes gave an academic quality to such minor when he took the guise of history and mythology. To make a "historic landscape", it was enough to animate the scene by a few figures taken at the same costume accessories store. It was officially dedicated a type that are already feeling the limits.
Valenciennes and his followers do not ignore the situation of the landscape, the Dutch have practiced forms of landscape, visible in large collections, known by some, and had no history. Valenciennes expressed on this: "Unlike the painting of a cow and some sheep grazing in the meadow at the funeral of Phocion; [...] On rainy days of the Flood Ruisdael chick! The former are painted with a sense of color, other color with feeling. "
The historic landscape is a studio work, composition and assembly, including the historical regime away necessarily an observation from nature. Chateaubriand in 1795 had already concluded: "Studies of Staff, copies of copies, never replace a work from nature. "
Within the museum's collections, the great exponent of this historic landscape is Duperre Millin and his large canvas Jeanne d'Arc in Loches. The painter makes a visit to the south of Touraine. On this occasion he is confronted with historical buildings and seems to be in the citadel of Loches a subject worthy of the name. As proof of this representation, the artist animates the terrace of the citadel by the announcement of the liberation of the city of Orleans to the King. In 1824, its historic landscape consists of two practices. Firstly it must be emphasized that the artist went on site for the representation of the citadel. This is a study that can be considered from nature. Other small paintings of Langeais or else the house of Agnes Sorel said, testify to this trip. Accuracy in representing the citadel can be analyzed or construed as a job from an observed object. The posture is part of a movement of a modern painter went there to find and identify the subject. But the characters accessorized us back to a shop work. We must first note that the scene represented by the painter does not happen in the citadel of Loches but Chinon. The artist made an academic composition, if the building appears to be well represented, the landscape is completely artificial. The invention and adaptation of a subject according to the will of the painter dramatizes the very appearance of the representation. In the notice of the first guide of the Museum of Fine Arts dates back to 1824, the story and the story take precedence over the landscape. In this lyrical author brought to recognize the young woman three-quarters back Agnes Sorel. This painting is not naturalistic, but ideal. Yet it is through this type of landscape paintings that gets recognition and legitimacy within the academy.
We can consider that further developments of the landscape that are due to academic reform in the early nineteenth century. Further analysis, hatching this topic is done with a modern academic principle.
The principle of an open-air painting changes its operation. Chateaubriand as requested at the end of the eighteenth century, the artist should not make a composition workshops but to confront the topic itself. This shift naturally encourages a change of subject. The campaign, peasants, daily activities, seem sufficient to justify the existence of a table. It should be noted that the paintings are at first small sized, playing on an intermediate format in comparison to the Great paint.
The English Romantic painting by looking on the landscape to clear the subject for a technical research. The desire is to lead romantic colors the world of ideas and feelings. This is important because these theories allow landscape painters to claim the same sentiment that the historic landscape. The chromatic treatment and composition to understand that the painter does not transcribed the world but the sublime.
Our table analysis of 1848 Eugene Delacroix Arab comedians or clowns concervé a screen between the cultural and intellectual nature and the painter. The landscape that serves as canvas background to the characters in the foreground is made from nature, it is a view off Tangier. This behavior might be perceived as evidence of a painting pleinairisme. However, the time between sketching and watercolor painting's composition is expressive of a will. The application of the law of simultaneous contrasts as the keystone of the composition of the painting shows a misuse of cultural and intellectual nature. The assembly principle is preserved. But justification is not history or even anecdotal. The composition is governed by a principle even more than painting the subject. Eugene Delacroix "uses" his studies to advocate the independence of the table from the subject.
This web culture is equally present in the Barbizon school. The rediscovery of Dutch seventeenth century, known by the engraving or the paintings in the Louvre engage artists in a dip in raw nature. The subjects of peasants or even animals in landscapes are reviving a tradition which has existed for centuries in the Netherlands. The Barbizon artists are not so marginal between Rousseau exhibition in 1848. It was then time for the artists of the official recognition and the village becomes as international as the city of Rome in 1825. The Barbizon artists are presented as the spiritual fathers of Impressionism. However, they remain linked to the latest romantic. Their patient work and pleasure of painting a forest or a sunset to bring them into communion with the masters of old. Then there is always a cultural and intellectual principle in practice.
Leon Belly with his painting titled Forest of Fontainebleau plays exactly that. At first glance, this picture seems to be a complete and absolute disposal of the painter in Nature. The forest of Fontainebleau has grown to feed the art and artists' eyes on the ground that gives them a rock, sand, it has more variations than any other and thus could be susceptible to multiple interpretations and above all be invested by a collective imagination that can sometimes see a remnant of the primeval chaos, sometimes a diminutive of the Alps, now the image of the savannah or the Sahara, now a preview of Judea or of ancient Greece or just a piece of Provence. This wooded square holds a privileged place in the history of painting. In 1890 a critic will ask "The renovation of the landscape accomplished from 1830 to 1850 would it occur if the forest of Fontainebleau not exist?"
His attendance by the artists are always a subject appropriate. It is the place for a unique dialogue between nature and art. We are witnessing a process artialization of a landscape. Even today the development of the forest are mainly or partially subordinated to the pictorial model.
Back to the table. The observation of nature seems to confront us with an enclosed space. The forest stands before us a wall. This frontal is not complete, as Leon Belly taking about a breakthrough based on a geometric perspective defined by trees. These brief information can then understand and design the structure of space. Defined by a perspective, the landscape switches from one character to a natural artistic nature. The white trees can think of colonnades natural structure and form a spatial artificial. The cultural filter is retained as the forest of Fontainebleau to be a subject that the artist appropriates. The phenomenon of transcription leads naturally to evoke an artistic subjectivity more than a natural objectivity. The picturesque landscape should be, that is to say, more beautiful than nature. Intellectualism that is in line with the recognition of the landscape since the late eighteenth century. The artistic direction change and vary but the landscape is of interest as a subject of painting. The assertion of subjectivity corresponds perfectly to a modern attitude. Yet it is not in resonance with this fantasy of a painting pleinairisme that defines our vision of these artists.
Road fields Lambinet, dating from 1855, is a perfect postcard an image of the French countryside. First the title informs us of the generic nature of the table and reliably reconstructed. The composition is organized around three agricultural activities: plowing, a shepherd and his flock, a young woman doing a pickup. Route field should allow us to go to the small wood below the bottom. Yet unlike the Fontainebleau forest, the path does not seem here to be an element of visual and spatial penetration. The uniformity of the composition tends to fall back on two-dimensional character of this landscape painting. The dominant yellow sky gives the impression of warmth and soft radiation. The thickness of the paint timber holding the upper right of the composition seems almost upset the dreamy effect of the sky on the left side. By balancing and weighting, the sky was still found to be lighter than the earth. The activities represented are not in keeping with the season. Plowing in the middle of August may seem surprising. By analyzing the color composition we find a subtle, where Lambinet "culturalisation landscape. Thus the young woman has three primary colors and white. Drowned in a green area, you will find a principle of the law of simultaneous contrasts. It is the same for the shepherd. Dressed in blue with a yellow hat on his right we find poppies and left white sheep. Here we have a balance again between the primary color and its complement and the presence of the other two primaries. The anecdotal is not the subject of the painting. Even if it seems to match this taste for the peasant image so dear to viewers of the show. We have an oscillation between two topics likely, the observed object (the road the fields) and the object represented (the color composition), which demonstrates the clear and modern painting. But this reflects a intellectualization shop work far from the image of a painting simply outdoors.
Claude Monet arm of the Seine near Vetheuil, 1878.
Impressionism marks a break with the landscape and its representation. Paul Valery tells how, while walking with Degas in the Grande Galerie of the Louvre, he stopped at an impressive array of Theodore Rousseau and commits the following dialogue:
"is superb, I say, but what a bore to all those leaves ... This should be roughly annoying ...
- Shut up, Degas said, if it was not annoying, it would not be fun. "
Careful observation and immersion in nature tend to eliminate the notion of feelings since the early nineteenth century is attached to the school landscape. Baudelaire in 1859 observed: "If such an assemblage of trees, mountains, water and houses, we call landscape is beautiful, it is not by itself, but by me, by my own grace, the idea or feeling that I attach. "
Impressionism is put in a position much more descriptive and emotional. Baudelaire himself considers this emergence of a painting purely descriptive as a kind of general lowering. According with the rules of naturalism, the Impressionists offer a painting where as pointed out there is very Zola acknowledges the modern campaign, that is to say genuine, "a simplicity, a heroic frankness." Odilon Redon say, "Mr. Pissarro simply see it has, in color, these sacrifices which show that more strongly the general impression, still strong because it is simple. "
This simplicity of the button, this very building materials of painting becomes the mark of a painting that is not meant as printing. The principle of sentiment, the Impressionist artists offer, with great delicacy of decomposing this key subject, treatment and feelings of vitality.
Impressionism retains the subjective nature of the representation of the subject and nature. In this how many of us went to see Claude Monet exhibition at the Grand Palace. The execution and ownership by the subjectivity of the model allows natural to make it a means of expression. But unlike previous movements, the painting is done on the ground, recoilless intellectual, simply by comparing sensory. The nature of outdoor impressionist, facilitated by the invention of paint tubes, defining a completely different behavior. The artist will now scour the country and carry on the ground and its observation table. This immediacy seems to bring the subject then painted the subject appears. The switch to a sensible phenomenon reinforces the purely sensory table.
Yet in this painting of 1878, some details appear on the contrary still play a perfect theatricality and a vocation of raising the subject by its pictorial representation. First, the characterization of the key natural elements (buttons for horizontal river keys curves for trees). But especially the two darkest trees of the canopy with their reflections form an X that black bar composition. At a certain distance, it allows the table to retain some illusion of depth. In approaching this X instead claims the flatness of the support, its artificiality.
In asking this question: Is landscape the subject said of modernity? I just wanted to draw your attention to a result of the construction and representation of landscape in painting. It is always a painter of historical landscape painters to the Impressionists a means of appropriating a common and identifiable subject in order to make a picture of a subjective term. Obviously the reasons for change between the early nineteenth century and the last quarter. But despite the terms of naturalism, realism, impressionism and even the schools of the nineteenth century landscape offer an adaptation by the painting of the representation Nature. This is by no means a fact only modern, on the contrary it is a basic principle of painting: it is a representation of any subject trying to evoke a feeling or sensation. It is not a simple transcription.
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