Saturday, April 29, 2017

Raphaël Colin - Floréal (1886)

Raphaël Colin: Floréal

Floréal is a modern painting that combines elements of several trends then in vogue. Not resort to mythological or historical issues to justify the display naked body; brushwork used for solving landscape is indebted to the bill of the Impressionists. In turn, the languor of the girl is related to the Symbolist aesthetic of Pierre Puvis de Chavannes, Collin expanded academic teaching he received from Bouguereau and Alexandre Cabanel in his formative years. Thus, Floréal is exemplary of the exchanges that many artists practiced in the late nineteenth century to endure the academic tradition, especially bare living, gender and many considered exhausted in difficulty.  [Museo Nacional de Bellas Artes, Argentina]

Friday, April 28, 2017

La Part des Pauvres (1886)

Marius Roy: La Part des Pauvres

The urban population affected by poverty frequently gathered at the gate of the army barracks in the cities. The painting depicts an authentic scene: Sunday, cuirassiers at the door of their neighborhood, presumably located in the Rennes region, give leftover soup to beggars. The painter Marius Roy, appointed drawing master at the Ecole Polytechnique, specialized in the representation of military life in its simplest aspects. This painting, exhibited at the 1886 Salon and at the National and Regional Exhibition of Rennes in 1887, in which is felt the influence of naturalism, shows the bond of solidarity between the army and the population under the Third Republic. Ensuring the defense of the nation, the army is no longer cut off from the people as before, she also wants to be educator, and even charitable as seen here.

This propaganda scene seeks to renew the military’s image. This social vision of the army, very rare in painting, illustrates the egalitarian ideology of the Third Republic. Held responsible for the defeat of 1870-1871 in the Franco-Prussian War, the institution later came to embody social health and represents a bulwark against civil war. Moral recovery of the nation rests with them. [L’Histoire par L’Image]

Monday, April 24, 2017

The End of the Sitting (1886)

Jean-Léon Gérôme: The End of the Sitting

Jean-Léon Gérôme was one of the most famous French painters of his day. In the course of his long career, he was the subject of controversy and bitter criticism, in particular for defending the conventions of the waning genre of Academic painting, under attack by Realists and Impressionists.

Gérôme's fascination with the act of sculpting, with the sculptor's mastery of material and the ability to give it form, drew him to the myth of Pygmalion bringing life to Galatea. This was the image he used when portraying himself as a sculptor in The End of the Sitting, creating an interplay between the redundant presence of the living model and the statue that is taking shape. His works closely combine references from classical mythology with the contingent reality of his studio. [Gandalf’s Gallery]