1 00:00:00,660 --> 00:00:10,990 Good evening, ladies and gentlemen. The schools may close, the pond may fall against the euro, but the slide lectures go on. 2 00:00:10,990 --> 00:00:19,410 You. Thank you for turning out in these blizzard conditions. 3 00:00:19,410 --> 00:00:29,760 Naturalism may have mapped conveniently onto many of the ideological coordinates of the Third Republic and so benefited from state support. 4 00:00:29,760 --> 00:00:39,360 As my previous lecture suggested. But by the 1980s and 1990s, its cultural position, although dominant, was not unchallenged. 5 00:00:39,360 --> 00:00:51,840 It was a matter of style and ideology. The two inevitably intertwined naturalism had to compete with both the traditions and assumptions of the past, 6 00:00:51,840 --> 00:01:01,620 as well as with new initiatives and expectations generated often enough by the Republic's own forward momentum or lack of it. 7 00:01:01,620 --> 00:01:07,590 France's cultural past offered manifold examples of different cultural styles. 8 00:01:07,590 --> 00:01:12,420 Collectively, these formed France's identity as Europe's cultural arbiter, 9 00:01:12,420 --> 00:01:17,910 a position the Third Republic strove to sustain via such systems as the Exposition 10 00:01:17,910 --> 00:01:26,370 Universelle separately period styles carried with them associations of period politics, 11 00:01:26,370 --> 00:01:36,570 the sense U.S. arabesques of the rococo echoing the Assad regime or the severe authority of neoclassicism, the Napoleonic era. 12 00:01:36,570 --> 00:01:41,530 These were both styles and histories that could be read variously. 13 00:01:41,530 --> 00:01:45,390 The OCR regime as monarchies, political and economic failure, 14 00:01:45,390 --> 00:01:53,630 or as a flowering of intellectual enlightenment, the empire as glory and order or despotism of disaster. 15 00:01:53,630 --> 00:01:58,980 But past styles continued to have present roles in our period. 16 00:01:58,980 --> 00:02:03,730 Indeed, they could be employed by the Republic. 17 00:02:03,730 --> 00:02:10,410 Pierre Poovey to Chapin's Pro Patrie, A Ludus commissioned by the States for the museum at Achmea in 1880, 18 00:02:10,410 --> 00:02:16,110 exhibited at the Salon of 1887 and finally installed the following year. 19 00:02:16,110 --> 00:02:27,750 Maybe broadly classical in its balance to design and freeze like grouping's, but it nevertheless conveys apte civic values, family continuity, 20 00:02:27,750 --> 00:02:39,950 community, national defence and infiltrates the Truecaller in the centre there as definit as deftly as any Matthew Decoration. 21 00:02:39,950 --> 00:02:44,910 Post style could also appeal to the Republic's opponents. 22 00:02:44,910 --> 00:02:55,110 Jovani Bodine's 1894 Postell of the reactionary comic writer Gipp macht soft virtuoso touch and a Purley tonality in a rococo pastiche. 23 00:02:55,110 --> 00:03:04,590 APT for the sitter, aristocratic, elitist and anti Republican naturalism didn't just have to compete against other stylistic 24 00:03:04,590 --> 00:03:10,620 vocabularies with their multivalent cultural associations and claims on Frenchness. 25 00:03:10,620 --> 00:03:17,340 It also had to deal with the pressures of the present. The Republic's commitment to structural and social reform, 26 00:03:17,340 --> 00:03:25,080 its promotion of science and technology all gave rise to new expectations as well as to disappointments. 27 00:03:25,080 --> 00:03:32,310 Could visual culture adapt to the scientific mortality or to the burgeoning of the political left? 28 00:03:32,310 --> 00:03:43,620 Didn't natural ism's emphasis on the material ally of secular Republicanism neglect the spiritual in all these broad inheritances? 29 00:03:43,620 --> 00:03:51,420 Assumptions and questions, style and ideology intertwine. 30 00:03:51,420 --> 00:03:58,260 One of the issues that haunted naturalism was whether it was a style at all. 31 00:03:58,260 --> 00:04:03,220 This was a consistent beef of more conservative critics reviewing the 1894 salad. 32 00:04:03,220 --> 00:04:11,670 These artists wholesale as Juliet adores nationalist nouvelle her view only Dashan of year devoted a dozen pages to the religious and history 33 00:04:11,670 --> 00:04:20,310 paintings before skimming through the scenes of everyday life in a page and half asking if such realism was appropriate in the fine arts. 34 00:04:20,310 --> 00:04:25,050 But more sympathetic commentators had been weighing up the question for some time. 35 00:04:25,050 --> 00:04:29,130 Andre Michel writing in 1885 because it did Bouzar. 36 00:04:29,130 --> 00:04:31,050 The art review of Record, 37 00:04:31,050 --> 00:04:41,820 argued that if the secret of emotion for a painting or a statue lies in the exact itude of its imitation and in its precision as a document, 38 00:04:41,820 --> 00:04:49,890 nothing would be more beautiful than a photograph or a cast from life. Real artists transform what they see. 39 00:04:49,890 --> 00:05:00,360 He went on. Modernity does not lie simply in contemporary subjects, and an artist like Gustaaf Moho is modern because of his stylistic individuality. 40 00:05:00,360 --> 00:05:10,770 This was a warning, but naturalism could appear style, less lessa art than the evidently sui generous. 41 00:05:10,770 --> 00:05:17,620 In this passage, Michelle twice used the word leap out to emphasise artists freedom of choice. 42 00:05:17,620 --> 00:05:24,610 Perhaps consciously and ironically, adopting this political term, the republic advocates liberty. 43 00:05:24,610 --> 00:05:32,280 Yet impels artists towards an only quasi consensual naturalism. 44 00:05:32,280 --> 00:05:38,800 That's the soul of 1887. Christmas was faced with a number of medical subjects, 45 00:05:38,800 --> 00:05:44,280 including Dr. Shockoe giving his course in front of Monsieur NRK and massive clackety 46 00:05:44,280 --> 00:05:51,330 by all they believe the right and people working at the obiter salary by Jove acts. 47 00:05:51,330 --> 00:05:56,020 Chris, most complained that these canvases were impersonal in style. 48 00:05:56,020 --> 00:06:03,910 Either artist could have painted the other picture. But he also made a point of naming the leading figures. 49 00:06:03,910 --> 00:06:09,470 I suggest that this identification went beyond expected accuracy. 50 00:06:09,470 --> 00:06:19,120 Chako, the doctor in the image on the right of his chair in maladies of the nervous system to go better's parliamentary support. 51 00:06:19,120 --> 00:06:25,440 The anticlerical deputy, NRK, had been the prime mover of the new divorce legislation in 1884. 52 00:06:25,440 --> 00:06:30,160 Clarity directed the state to comedy for says and wrote for the moderate Republican. 53 00:06:30,160 --> 00:06:39,080 Little Paul was a pioneering abdominal surgeon elected to the Academy Dimmit scene in 1887. 54 00:06:39,080 --> 00:06:51,150 Smalls was a listing Republican stalwarts, and when he called such a painting Orthodox well-behaved, he was implying more than styled wiseness. 55 00:06:51,150 --> 00:06:57,580 The young intellectuals, reading his critique in the Hebrew and despondent, would have picked up the Orthodox equation. 56 00:06:57,580 --> 00:07:05,680 Republicans staff edge Republican style Urgo naturalism from the late 1980s. 57 00:07:05,680 --> 00:07:10,960 This kind of painting increasingly came under attack from the generation in their 20s, 58 00:07:10,960 --> 00:07:18,000 critical for the republic and thus its dominant aesthetic, sympathetic to innovative currents such as symbolism. 59 00:07:18,000 --> 00:07:25,270 Félix Finials Review of the 1889 CELAL again from the heavyhanded Paul d'Hondt can stand for this position damning. 60 00:07:25,270 --> 00:07:34,630 Painters such as Emil, Phil and Pascale Daniel Bouvier as statistician's and cataloguers anxious to leave to the future. 61 00:07:34,630 --> 00:07:41,620 Documents on a plenipotentiary minister, an actor or a heating workshop, I might add here. 62 00:07:41,620 --> 00:07:51,050 The unemployed and the churchgoers. All of which, Vanney or said look the same and seem effectively photographic. 63 00:07:51,050 --> 00:07:53,530 But how well do these criticisms stand up? 64 00:07:53,530 --> 00:07:59,710 Certainly the condemnation of naturalist's painting is photographic was a commonplace as early as eight in 83, 65 00:07:59,710 --> 00:08:07,600 the reactionary Catholic critic Joseph Peladon had pronounced that of the two thousand four hundred eighty eight paintings at the salon, 66 00:08:07,600 --> 00:08:15,160 2300 would have been better realised using colour photography by the first year of the 80s 90s, 67 00:08:15,160 --> 00:08:20,680 symbolist critics such as Alfonso JAMA puffed their preferred artists in Jamelske 68 00:08:20,680 --> 00:08:27,140 case and exhort a sale by praising the distinctly on photographic styles. 69 00:08:27,140 --> 00:08:36,700 And even a civil servant like George Latinist, aloof curator, was complaining that photographic exactitude made for desiccated painting, 70 00:08:36,700 --> 00:08:46,090 accusations that paintings were photographic bandied about to criticise any kind of descriptive painting inapposite by Christmas. 71 00:08:46,090 --> 00:08:47,440 In the case of roles, 72 00:08:47,440 --> 00:08:57,640 huge la by the figures in which had in fact been crafted from many drawings from life and the picture was broadly and robustly painted. 73 00:08:57,640 --> 00:09:01,630 Paintings could also be defended from the photographic slur. 74 00:09:01,630 --> 00:09:13,030 In 1887, George Ohlendorf reckoned that Eduardo Tolle's The Cast from Life had been saved from being a motif from pornographic photography. 75 00:09:13,030 --> 00:09:22,720 By the quality of its painterly tonalities. While two years later, Paul Months admiring the almost scientific accuracy of Creoles All Saints, 76 00:09:22,720 --> 00:09:26,800 they found the way the painter and evoked a sense of movement. Excellent. 77 00:09:26,800 --> 00:09:36,250 At a time when instantaneous photography was beginning to clarify the mysteries of locomotion, Flello in fact, had gone out of his way. 78 00:09:36,250 --> 00:09:43,090 In this large canvas to prove his Pinta leanness, the road and the wall, for instance, 79 00:09:43,090 --> 00:09:49,390 are visibly and scribbly brushed and critics and cartoonists determination to deal with this picture one way or the other. 80 00:09:49,390 --> 00:09:55,570 In photographic terms only goes to show the persistence of this up to the minute cliché. 81 00:09:55,570 --> 00:10:00,850 On occasion, a picture could even be praised for surpassing a photograph. 82 00:10:00,850 --> 00:10:09,730 Mixing his journalistic metaphors promiscuously, Louis Enno thought that Gilberto's 1890 casino scene of, quote, 83 00:10:09,730 --> 00:10:17,310 the Moorish room where the Roulet Fairy holds grand assizes at the moment when the croupier pronounces the sucker. 84 00:10:17,310 --> 00:10:28,630 Mental Ohio Novar opinion was so superior to the most and instantaneous have cameras in its ability to catch the gambler's fever, 85 00:10:28,630 --> 00:10:32,950 the idea of the photographic coloured contemporary criticism. 86 00:10:32,950 --> 00:10:36,610 This was less because paintings actually looked like photographs. 87 00:10:36,610 --> 00:10:41,740 Most artists were keen to show their graphic and painterly skills and not to be merely mimetic, 88 00:10:41,740 --> 00:10:46,240 but rather because the photograph was a useful metaphor. 89 00:10:46,240 --> 00:10:53,050 Apparently, as legible as a naturalist painting, the photographic analogy was similarly polyvalent. 90 00:10:53,050 --> 00:11:05,320 It could summarise paintings, vises, imminent, imitative and imaginative style less, or its virtue's precise, spontaneous model. 91 00:11:05,320 --> 00:11:12,170 It is important to remember that at this period, photography itself was in a state of constant technological development. 92 00:11:12,170 --> 00:11:17,740 The colour photography about which Peladon are Ani's was still only of an experimental stage. 93 00:11:17,740 --> 00:11:23,590 But photography was making greater inroads into public experience and practise. 94 00:11:23,590 --> 00:11:27,100 It was gradually being used in books and periodicals. 95 00:11:27,100 --> 00:11:36,130 George Holdbacks novel Bush Lamore, published in 1892, was one of the very first novels to be illustrated with photographs. 96 00:11:36,130 --> 00:11:42,700 But that innovatory character was mitigated by Rowden Black's deliberately anti modern attitudes, 97 00:11:42,700 --> 00:11:47,860 first in selecting photographs only of mediaeval Brugge to suit the text. 98 00:11:47,860 --> 00:11:53,410 And second, in preferring old fashioned collodion photographs. 99 00:11:53,410 --> 00:11:59,050 Edgar Dagar, who took up photography with enthusiasm in the 80s 90s, 100 00:11:59,050 --> 00:12:06,370 used outdated equipment which required his sisters to endure painfully slow exposure times. 101 00:12:06,370 --> 00:12:12,250 This is Mallat may not Anwar and I show it small because these photographs are very small. 102 00:12:12,250 --> 00:12:16,390 This goes some way to explaining both the self supporting poses as cities frequently 103 00:12:16,390 --> 00:12:23,140 adopted and also the somewhat meditative character of his subtlely lit interiors. 104 00:12:23,140 --> 00:12:32,340 A generation younger while we are brought, HM's bought himself a new Kodak in the late 80s 90s with its fast shutter speed, 105 00:12:32,340 --> 00:12:41,290 the Kodak made snapshots still SportsNet, hitherto possible only for the expert available to the amateur public. 106 00:12:41,290 --> 00:12:45,690 The technological advance, however, was offset by disadvantages. 107 00:12:45,690 --> 00:12:55,870 The Kodak had no viewer and could only be printed, hopefully in the direction of the subject, and its fixed focus might catch the central motif. 108 00:12:55,870 --> 00:13:05,890 But the pull of periphery would likely be blurred. We are appreciated the Kodak's accidental results using it enthusiastically as an aid memoir. 109 00:13:05,890 --> 00:13:12,130 But he only rarely used his photographs as foundations for a painting. 110 00:13:12,130 --> 00:13:21,650 The same seems to have been true for Dagar. If we are undergo photography was a stimulating new media medium allied to looking, 111 00:13:21,650 --> 00:13:25,630 fixing things seen, prompting possibilities for posies and grouping's, 112 00:13:25,630 --> 00:13:34,150 but never challenging the business of making that truculent crafting of an image from intractable materials by the 113 00:13:34,150 --> 00:13:45,400 alliance of eye and hand style came first innovations in photography into played with naturalist art throughout the 18th, 114 00:13:45,400 --> 00:13:50,770 80s, 90s. But in ways that linked painting to wider patterns. 115 00:13:50,770 --> 00:13:55,540 During the eighteen eighties they asked for more time. They allowed amateurs their fun. 116 00:13:55,540 --> 00:13:59,410 But it also had specific engagement with picture making. 117 00:13:59,410 --> 00:14:05,740 The celebrated painter Alice met Sonja expected that the sequential photographs of equine movements 118 00:14:05,740 --> 00:14:13,150 taken in California by Edward May Bridge reprove the validity of his own pictorials solutions. 119 00:14:13,150 --> 00:14:15,630 When my bridge visited Paris in 1881, 120 00:14:15,630 --> 00:14:23,860 Mussolini acted as translator when the photographer's work was presented at the South Pole de Loonier Artistic that December. 121 00:14:23,860 --> 00:14:32,890 But whereas the photographs in attitudes of animals in motion sustained May the previous treatment of the horses walk, 122 00:14:32,890 --> 00:14:37,390 they showed him at fault with cropped canter and gallop. 123 00:14:37,390 --> 00:14:48,490 Subsequent paintings such as General Short Yohei on the Seashore, show how the humbled May Sonja anxiously retouched the animal's gait. 124 00:14:48,490 --> 00:14:53,740 Apparently, his own copy of May Sonis photographic album is hardly touched, 125 00:14:53,740 --> 00:15:03,940 as it may Sonis flinched from the scientific evidence that had not certified the accuracy by which he set so much store. 126 00:15:03,940 --> 00:15:13,440 This kind of interdisciplinary exchange was not uncommon at the period in his 1889 book, Leesburg to Do Silk. 127 00:15:13,440 --> 00:15:17,290 It's a lovely shorthand itself. A documentary account of forsook. 128 00:15:17,290 --> 00:15:22,190 World, who described how in June of the previous year, 129 00:15:22,190 --> 00:15:31,340 a clown and a gymnast who performed privately at the Hippodrome in front of 50 photographers organised by the president of the society, 130 00:15:31,340 --> 00:15:35,510 Dick Scuffs, your host says the photography. 131 00:15:35,510 --> 00:15:49,550 Each cameraman took a dozen plates, 600 in all, a mere 10 of which were judged worth printing as precise records of the acrobats in as low who put it. 132 00:15:49,550 --> 00:15:53,630 Those intermediary paint poses which the eye can never sees. 133 00:15:53,630 --> 00:15:59,960 And the quickest into instantaneous photography has not fixed until now. 134 00:15:59,960 --> 00:16:04,970 Nine of those 10 photographs were then drawn by Xu Galani. 135 00:16:04,970 --> 00:16:13,580 To illustrate Lohaus book the images photographic provenance matching the accuracy of the texts detailed account. 136 00:16:13,580 --> 00:16:22,850 Those 10 photographs had been selected by Albir Lawned Director of the Photographic Section at the Salpetriere Mental Hospital, 137 00:16:22,850 --> 00:16:28,460 whose day job was recording the faces of hysterical fits and other conditions as a 138 00:16:28,460 --> 00:16:34,830 scientific archive for the researchers of CHAKO and his psychologist colleagues. 139 00:16:34,830 --> 00:16:42,920 If the collaboration is between May Sonia and My Bridge or Lulu Lawned and Gunya or semi public the accurate fruit of the storm, 140 00:16:42,920 --> 00:16:46,610 Tony could also be picked on the sly. 141 00:16:46,610 --> 00:16:55,350 Working with Alfred Stiffness, Jovanka led a team of artists who painted the Panorama do Sechler long strips of which I showed in my first lecture. 142 00:16:55,350 --> 00:17:01,040 And this is a a more Life-Size section now in the news they can overlay. 143 00:17:01,040 --> 00:17:04,970 It was a vast survey of major figures in French history and culture since the French 144 00:17:04,970 --> 00:17:10,820 Revolution and formed one of the attractions of the 1889 expertise sealed into that cell. 145 00:17:10,820 --> 00:17:16,460 Prestigious visitors were welcomed to the studio where this huge enterprise was underway, 146 00:17:16,460 --> 00:17:21,500 and Eubanks took these opportunities surreptitiously to photograph individuals 147 00:17:21,500 --> 00:17:27,740 seising a spontaneous pose for inclusion in the Panorama section of the panorama, 148 00:17:27,740 --> 00:17:32,960 including President Covino has some figures who appeared grouped into the group, 149 00:17:32,960 --> 00:17:39,590 suggesting that the composition was a Burri collage of portraits painted from life and from photographs. 150 00:17:39,590 --> 00:17:44,660 If this was the creative use of the new technology for the benefit of painting, 151 00:17:44,660 --> 00:17:49,760 it seems that painters might also appropriate the forms of photography. 152 00:17:49,760 --> 00:17:56,870 The Paris prefecture of police had not been slow to introduce scientific aides of various kinds and 153 00:17:56,870 --> 00:18:06,830 by 1882 had some 66000 photographs of criminals in their archives to help identify recidivists. 154 00:18:06,830 --> 00:18:10,310 The system was becoming more sophisticated under the aegis of our force. 155 00:18:10,310 --> 00:18:14,330 Back to you. The head of the statistical section. 156 00:18:14,330 --> 00:18:26,120 Back to your introduced profile photographs to supplement frontal ones, wittily submitting himself to the process and developed unflappable metric, 157 00:18:26,120 --> 00:18:38,380 the measurement of the head and its features to supplement photography as an aide to ID and more and more jaw's portrait of 1882 of the poet Paul. 158 00:18:38,380 --> 00:18:45,080 There, LAN seems to echo the formalised from Talenti of criminal photography. 159 00:18:45,080 --> 00:18:54,060 The portraits institutionalised character was entirely appropriate given that the painting was made, if not at a police station, then at the hospital. 160 00:18:54,060 --> 00:19:06,350 Goussis, where President Shupe, the professor shofar, treated Verlaine syphilis and ammos or represented him gruff and constrained. 161 00:19:06,350 --> 00:19:10,010 It is wrong to suggest, as some recent historians have, 162 00:19:10,010 --> 00:19:16,460 that photo realism was a clandestine strategy employed by certain artists as a means 163 00:19:16,460 --> 00:19:21,890 of generating a sophisticated form of Naturaliste painting during the 1980s and 90s. 164 00:19:21,890 --> 00:19:24,620 Many artists had recourse to photographs. 165 00:19:24,620 --> 00:19:32,930 Amongst them, painters such as Gustaaf Mohle, a modest Dinni, whose work was emphatically on naturalistic photography, 166 00:19:32,930 --> 00:19:37,160 simply provided the artist with another tool towards the creation of a work, 167 00:19:37,160 --> 00:19:44,530 adding to more time honoured means, such as the life drawing oil sketch, lay figure or plaster model. 168 00:19:44,530 --> 00:19:53,330 On occasion, using a photograph as unavoidable as when Joseph Piner commissioned a commemorative portrait of Gambetta from Bonnar in 1888, 169 00:19:53,330 --> 00:20:03,470 five years after the politicians death at the summer of 1885, Jaheim exhibited the Barth's at Bursa, which critics liked. 170 00:20:03,470 --> 00:20:09,350 Ohlendorf described as photographic. Having no access to a harem, 171 00:20:09,350 --> 00:20:17,160 Jaheim would have been obliged to concoct his composition using photographs of the architecture to which he added the figures which were. 172 00:20:17,160 --> 00:20:27,210 Oldendorf were very exactly painted. But then nudity is not respectable, even though photography was used as a necessary expedient. 173 00:20:27,210 --> 00:20:35,560 It nevertheless served to validate the ethnographic validity of such a painting jobs. 174 00:20:35,560 --> 00:20:43,550 Former pupils certainly used photographs. Jurel Alexis Meneer, who lived in his Masters old house near Visual, 175 00:20:43,550 --> 00:20:50,280 had his own photographic studio that details like the plants in the 1890 painting catechism 176 00:20:50,280 --> 00:20:57,490 lesson were taken from glass plate photographic negatives which survive like Douga and Rowden, 177 00:20:57,490 --> 00:21:02,370 but when he was not necessarily cutting edge with his behaviour, I think. 178 00:21:02,370 --> 00:21:10,230 But as with so many of these paintings, the catechism lesson was probably based on a combination of methods preliminary drawings, 179 00:21:10,230 --> 00:21:18,330 photographs, direct painting, the combination of which was intended to achieve the illusion of actuality. 180 00:21:18,330 --> 00:21:24,900 Another jar on cupola used photography extensively was Daniel Bouvier, the Bretons at a pardon, 181 00:21:24,900 --> 00:21:37,290 which he exhibited at the 1887 sallow used photographs taken at the Human Gold Britany in 1886 and at all more his home in eastern France. 182 00:21:37,290 --> 00:21:45,420 The following year, the artifice of his naturalism, if not his use of photography, did not escape Oakdale's. 183 00:21:45,420 --> 00:21:46,200 Mirabeau, 184 00:21:46,200 --> 00:21:59,850 who are advised in the echoes of Pattee Monsieur Daniel Booth of A brings us back a hand picked a selection of Breton's direct from the Jorah. 185 00:21:59,850 --> 00:22:11,660 The crucial point here is that naturalism was never natural, however exact or photographic or style, unless it appeared to be natural. 186 00:22:11,660 --> 00:22:17,010 His painting was always the result of the craft and contrivances of studio practise. 187 00:22:17,010 --> 00:22:20,130 One of the painters whose work most consciously, I believe, 188 00:22:20,130 --> 00:22:28,500 acknowledged artifice in his painting or thought of his restoration, showed that the 1891 Saladin's artist pulsated. 189 00:22:28,500 --> 00:22:34,040 Now Lost shows a craftsman sculptor repairing the neoclassical winter by John 190 00:22:34,040 --> 00:22:39,810 Baptiste Dubé as the model descends from the days on which she's been posing. 191 00:22:39,810 --> 00:22:48,810 The scene is scrupulously observed in both material and moral terms, with the inventories of costs and tools in the background, 192 00:22:48,810 --> 00:22:54,780 the specific and momentary movements of concentrated carving and careful steps, 193 00:22:54,780 --> 00:23:02,280 as well as the absolute indifference to each other of the working man and naked woman 194 00:23:02,280 --> 00:23:07,820 don't or used photography in his studio practise and may have done so with this printing. 195 00:23:07,820 --> 00:23:16,350 But restoration is to knowingly a meditation on the artifice of craft artifices, of crafting the ideal from the real. 196 00:23:16,350 --> 00:23:27,840 To be summarised as merely photographic photography was only a tool for naturalism, an aid to boost the expected exactitude, not a defining technique. 197 00:23:27,840 --> 00:23:31,860 But photography did intersect with different worlds. 198 00:23:31,860 --> 00:23:40,410 I've already touched on medicine, the police, zoology and the circus because it was a practical aid in many fields, 199 00:23:40,410 --> 00:23:45,450 but also because it was new, scientific and modern. 200 00:23:45,450 --> 00:23:49,890 No wonder photographic parallels of one kind or another were so often drawn with painting. 201 00:23:49,890 --> 00:23:57,930 They were shorthand for dealing with material things and the exact and above all with the modern. 202 00:23:57,930 --> 00:24:04,950 But for painters. Photography was a double edged sword. On the one hand, it served artists as a useful tool. 203 00:24:04,950 --> 00:24:10,260 It aided the achievement of accuracy that satisfied the contemporary demand for the document. 204 00:24:10,260 --> 00:24:12,090 But on the other hand, 205 00:24:12,090 --> 00:24:23,280 the public's expectation of pictorial actuality and its easy assumption that photography offered visual truth increasingly put pressure on painters. 206 00:24:23,280 --> 00:24:30,570 Should they continue to paint descriptively suiting the documentary Montanti today of the cultural consensus, 207 00:24:30,570 --> 00:24:38,490 could they enlarge the scope of the Naturaliste aesthetic, ensuring that their manipulation of touch and surface gave their work a creative 208 00:24:38,490 --> 00:24:45,510 individuality which would absolve it from gibes about being mechanistic and stylus? 209 00:24:45,510 --> 00:24:54,150 Or was the increasing sophistication of photography as a medium and its ubiquity in the public mind combined with naturalism, 210 00:24:54,150 --> 00:25:09,010 collusion with consensual bourgeois Republicanism, enough to drive the independent painter toward style? 211 00:25:09,010 --> 00:25:15,530 In his review of the sale of 1884 for The Gazetteer Bazaar, Louis DeFalco, 212 00:25:15,530 --> 00:25:21,140 an experienced critic, friend of artists and by no means implacably opposed to naturalism, 213 00:25:21,140 --> 00:25:30,560 which he recognised as part of the French tradition, launched an attack on what he saw as wilful ISA eccentricities of composition. 214 00:25:30,560 --> 00:25:38,250 In recent painting, Falko resented the modernism which had proliferated off centre. 215 00:25:38,250 --> 00:25:49,250 Broken, divided, paradoxical compositions offering to the eye for no valid reason, people or animals cropped by a golden frame. 216 00:25:49,250 --> 00:25:54,500 He identified one particular originator of these compositional devices, 217 00:25:54,500 --> 00:26:03,650 who he acknowledged as an artist of high rank observer of a marvellous acuity draughtsmen of the first order. 218 00:26:03,650 --> 00:26:08,630 Edgar Dagar Dukat was not showing at the salon. 219 00:26:08,630 --> 00:26:14,630 Had not done so since 1870. But at the independent impressionist exhibitions of the mid and late seventies, 220 00:26:14,630 --> 00:26:25,400 he had been exhibiting pictures which Falko described as pioneering these compositional eccentricities focussed special specified in his article 221 00:26:25,400 --> 00:26:36,770 Ballet Subjects representing only the bottom of the stage of the top of the orchestra at a racecourse picture with a horse as if sliced by a post. 222 00:26:36,770 --> 00:26:42,950 The problem, in his view, was not Dugas remarkably innovatory composition. 223 00:26:42,950 --> 00:26:48,320 But the fact that they had already become a convention, a mania with other artists. 224 00:26:48,320 --> 00:26:53,660 The critic was particularly incensed by an equestrian portrait of a gentleman of a general. 225 00:26:53,660 --> 00:27:03,530 By now forgotten artist of the 1884 salon, which represented him in procession with half lancers and half horses. 226 00:27:03,530 --> 00:27:10,070 Falko was correct, of course, about the outstanding calibre and invention of degassed work. 227 00:27:10,070 --> 00:27:16,460 But he was misguided on two counts. First for all, dagoes extraordinary innovation. 228 00:27:16,460 --> 00:27:22,550 He was not singlehandedly responsible for the compositional devices Falko itemise. 229 00:27:22,550 --> 00:27:28,790 On the one hand, Dagi had invented such prosit developed such possibilities from the study of earlier art, 230 00:27:28,790 --> 00:27:34,580 whether old master painting or Japanese woodcuts of the other pictorial artifices, 231 00:27:34,580 --> 00:27:42,110 such as off centre focus of interest, cut off figures and spatial void's had been pioneered in parallel, 232 00:27:42,110 --> 00:27:48,200 if not even in collaboration with colleagues such as Giuseppe Divinities as paintings such 233 00:27:48,200 --> 00:27:57,240 as Ryders and The Shores Alli's they of 1875 demonstrate Falco's second slip is linked, 234 00:27:57,240 --> 00:28:04,940 for he neglected to ask why such compositional conventions were explored and then widely adopted. 235 00:28:04,940 --> 00:28:06,410 We should look for answers. 236 00:28:06,410 --> 00:28:17,550 I suggest beyond the mere business of description and in a growing consciousness about perception, a painting like Dagmar's Ballet of Hobb, 237 00:28:17,550 --> 00:28:26,540 our Lidegaard probably exhibited at the 1876 Impressionist exhibition, is alert to processes of looking. 238 00:28:26,540 --> 00:28:34,430 If our gaze is on our immediate surroundings, the gentlemen around us in the front stalls, 239 00:28:34,430 --> 00:28:44,130 then what is on stage is only in our peripheral vision, which dagi correspondingly evokes by more approximate brushwork. 240 00:28:44,130 --> 00:28:52,400 Dominguez's riders on the shores of these A prompts notions about how the act of looking is one of constant readjustment. 241 00:28:52,400 --> 00:28:58,220 A moment ago, the riders were in bright sunshine. Our eyes see them differently. 242 00:28:58,220 --> 00:29:03,860 Now they have moved to shadow the birds pecking at the horse droppings will in a 243 00:29:03,860 --> 00:29:10,850 moment fly away as the dogs and horses approach by depicting an instant present. 244 00:29:10,850 --> 00:29:22,760 Such a picture suggests an immediate past and future under the continuum of perception across French and particularly Parisian culture. 245 00:29:22,760 --> 00:29:29,690 There was an increasing understanding that the pace of life was speeding up because urban life gave rise to the accidental, 246 00:29:29,690 --> 00:29:35,270 because visual experience could seem partial or spatial perception disconcerting forms of 247 00:29:35,270 --> 00:29:42,080 representation needed to adapt to the new momentum and perceptual disequilibrium that went with it. 248 00:29:42,080 --> 00:29:51,050 If conditions of modernity were unstable and ambiguous, then the conventions of representations needed to be adapted to accommodate them. 249 00:29:51,050 --> 00:29:57,770 The modernism that Falko found formulaic was in fact an aspect of the Naturaliste aesthetics 250 00:29:57,770 --> 00:30:04,310 adaptation of its representational languages to the newly prevailing conditions of life. 251 00:30:04,310 --> 00:30:07,610 This adaptation was not merely concerned with modern subject. 252 00:30:07,610 --> 00:30:15,680 But also with how to represent it in a modern way, thus with style, and it was interdisciplinary, 253 00:30:15,680 --> 00:30:21,860 working across the cultural forms, reviewing the performance of Edmund de Gaulle cause. 254 00:30:21,860 --> 00:30:31,010 Please, sir. Fellow men at all. Today on ones take up to leave in October 1887, the influential theatre critic for Sisk, CSC, 255 00:30:31,010 --> 00:30:41,660 fulminated against the actors showing the back performing and delivering lines while facing away the audience. 256 00:30:41,660 --> 00:30:50,780 His objection was similar to foreclose the breaking of stylistic convention in favour of the artifices of actuality. 257 00:30:50,780 --> 00:30:59,120 Interestingly enough, all once theatrical innovations were recycled in relation to the visual arts for an 1893, 258 00:30:59,120 --> 00:31:04,580 your IBK responded to roles and centenary of the Estate's general by reminding 259 00:31:04,580 --> 00:31:09,140 his readers in La Avey day that the figures seen from behind were darkness, 260 00:31:09,140 --> 00:31:16,670 as Monsieur Antoine would have directed equivalent responses to the fragmentation of experience found 261 00:31:16,670 --> 00:31:22,840 in painting can be read in the naturalist's novel Air Force Do Days Hommel Journey of his life. 262 00:31:22,840 --> 00:31:29,240 Any, for example, includes a section during a banquet. The guests were turning towards one another. 263 00:31:29,240 --> 00:31:33,530 The sleeve of a dress suit was visible behind of advise of Asclepius, 264 00:31:33,530 --> 00:31:39,800 a child smiling face above an ice cream which parallels the choppy visual disjunction and 265 00:31:39,800 --> 00:31:47,720 dagoes pictures and coincides in date 1874 with the start of such pictorial experiments. 266 00:31:47,720 --> 00:31:54,150 This sort of fragmentary description became as commonplace in naturalist's literature as painting, 267 00:31:54,150 --> 00:31:59,540 but finds it again in 1885 in a crowd scene in Mopar, says Bellamy. 268 00:31:59,540 --> 00:32:06,320 Jostled, bumped and squashed, swept this way and that they kept on seeing nothing but a population of hearts. 269 00:32:06,320 --> 00:32:15,400 The girls and pairs were threading their way expertly through the press of men slipping between elbows and chests and backs. 270 00:32:15,400 --> 00:32:23,090 Artist, novelist and theatre director were all interested in innovative equations of stylistic devices, 271 00:32:23,090 --> 00:32:26,060 which didn't just deal with the everyday world a subject, 272 00:32:26,060 --> 00:32:34,490 but which adapted their medium's language to the pace and disjunction of one's everyday perception. 273 00:32:34,490 --> 00:32:41,540 That artists at this period were very conscious of the processes of looking is found not only in the evidence of their pictures, 274 00:32:41,540 --> 00:32:45,010 but also in their statements. 275 00:32:45,010 --> 00:32:56,090 The pastor told his friend Topia, that contemplating a landscape when seated set things against the sky with ample surrounding space. 276 00:32:56,090 --> 00:33:05,960 But from a standing position, one sees objects against others further away, as Bastia La Parch himself said. 277 00:33:05,960 --> 00:33:11,720 They mingle confusedly with the background, which, instead of receding, seems to come forward. 278 00:33:11,720 --> 00:33:17,330 In effect, that he had tried to realise in power. Jack of 1882. 279 00:33:17,330 --> 00:33:27,020 Bastia went on. We need to revisit the education of our eye, looking sincerely at how things are in nature instead of taking for absolute truths. 280 00:33:27,020 --> 00:33:31,300 The theories or conventions of art school bustiers, 281 00:33:31,300 --> 00:33:41,210 understanding of the differences of looking from different angles was applied in another canvas of 1882 part Meche or nothing doing. 282 00:33:41,210 --> 00:33:49,580 The village urchin has aged about 10, and the spectators viewpoint is that of an adult looking slightly down on his cheeky presence. 283 00:33:49,580 --> 00:33:57,920 Viewpoint was crucial to pictures which wanted to suggest a sense of likelihood as much by their evocation of perceptual, 284 00:33:57,920 --> 00:34:02,990 even physical states as by the accuracy of their depiction. 285 00:34:02,990 --> 00:34:08,010 Thus, Frances tatter cars returned from fishing at the banks. 286 00:34:08,010 --> 00:34:20,840 Your map of 1878 makes the spectator look up, puts up the vessel playing towards us as if our boat were in the trough between two waves. 287 00:34:20,840 --> 00:34:26,300 A disconcerting but entirely plausible viewpoint. 288 00:34:26,300 --> 00:34:29,900 One of your Belrose paintings from the sale of 1882. 289 00:34:29,900 --> 00:34:38,420 How does it total not the location of his cityscape, which is exact enough the top of the up tree of looking eastwards. 290 00:34:38,420 --> 00:34:51,050 Instead, the title accords with the swaying woman's sensations up there and our own plunging view down onto the shores and is a vertigo. 291 00:34:51,050 --> 00:34:56,680 This physical reaction is enhanced by the way Baho tilted the surface on which the spectator implicitly 292 00:34:56,680 --> 00:35:03,650 stands and used the sharply rising perspective of the avenue below to heighten the sense of void. 293 00:35:03,650 --> 00:35:14,810 On the other side of the parapet, both. Secular and Baho employed compositional devices, notably angle of vision and perspective. 294 00:35:14,810 --> 00:35:22,310 The better to conjure up in the spectator the physical sensation and perceptual plausibility style. 295 00:35:22,310 --> 00:35:27,530 Working with subject to sharper but naturalistic actuality. 296 00:35:27,530 --> 00:35:33,320 Critics were aware that this is what artists intended and relayed this to their readers. 297 00:35:33,320 --> 00:35:42,690 As George Laffan Essence did in 1892, when he pointed out Visa of the Napoleonic battle picture by Dati that we The Spectator, 298 00:35:42,690 --> 00:35:54,830 are standing amongst the Austrian staff officers. All these compositional gambits are to be found in dagoes work from the mid 80s, 70s onwards. 299 00:35:54,830 --> 00:36:01,370 The precise implication of the spectators placement occurs in the shop angle downward. 300 00:36:01,370 --> 00:36:07,300 In late one from the 1877 Impressionist exhibition, as if we're looking from a box, 301 00:36:07,300 --> 00:36:12,710 while the awareness of looking up at something from below is salient in Molalla at the circus, 302 00:36:12,710 --> 00:36:19,310 Fernando, shown in 1879 during his compositional inventiveness, was prodigious. 303 00:36:19,310 --> 00:36:28,940 His understanding of the nature of looking acute. But in 1884, fuko over estimated his individual impact. 304 00:36:28,940 --> 00:36:35,930 Indeed, there was no substantial display of took guys work in Paris between 1881 and 1886. 305 00:36:35,930 --> 00:36:46,790 And artists like Tatanka, who moved in quite different circles, were arriving independently at similar solutions to God's work when it could be seen. 306 00:36:46,790 --> 00:36:53,490 Set standards but is important even for younger artists who knew him was equivocal. 307 00:36:53,490 --> 00:37:01,790 George Jania remembered that on his second visit to our studio in 1881, he had seen a racecourse picture on the easel. 308 00:37:01,790 --> 00:37:05,140 Not necessarily that one, but one similar to it. 309 00:37:05,140 --> 00:37:12,890 The asymmetrical distribution of the figures and the use of angled spatial voids that one finds in dagoes racing subjects 310 00:37:12,890 --> 00:37:23,540 of the early 80s may well have informed the composition of Janosch as the line of fire exhibited at the 1886 salon. 311 00:37:23,540 --> 00:37:31,280 But Janosch painting operates on quite different levels at two by three metres. 312 00:37:31,280 --> 00:37:37,400 So the size that you see there, it is much larger than dagoes racecourses. 313 00:37:37,400 --> 00:37:45,620 And Janosch deliberately used the size as he did the detail of stubbled field incoming bullets. 314 00:37:45,620 --> 00:37:51,530 Wounded men and obscuring Gunsmoke for particular purposes. 315 00:37:51,530 --> 00:38:00,320 That was to create a pictorial evocation of an engagement during the Battle of Leslieville on the 16th of August 1870, 316 00:38:00,320 --> 00:38:05,960 at which Janiro had fought as a sublieutenant in the Twenty Third Infantry. 317 00:38:05,960 --> 00:38:11,620 The painting was at one level personally cathartic at another. 318 00:38:11,620 --> 00:38:24,590 A Life-Size head on recreation for the genteel summer public of the physical and psychological realities of combat noise, pain, fear, confusion. 319 00:38:24,590 --> 00:38:30,380 Critics such as Malpaso and Outward the Lost Alow responded to Janosch line of fire, 320 00:38:30,380 --> 00:38:36,400 both in terms of its their Ristic depiction of violence and in terms of style. 321 00:38:36,400 --> 00:38:41,660 The unusual chromatics of a harsh summer light attracting attention. 322 00:38:41,660 --> 00:38:51,770 My point here is that in the best naturalist painting style was carefully contrived by decisions about composition, 323 00:38:51,770 --> 00:39:03,540 colour and touch, and that its elision with description gave the picture value beyond merely accurate accounting. 324 00:39:03,540 --> 00:39:09,800 What's is important to my argument is the sustainability and vitality of naturalism. 325 00:39:09,800 --> 00:39:19,620 In the 80s, 90s. By this I mean more than the tedious, repetitive repetitiveness of descriptive paintings at public exhibitions, 326 00:39:19,620 --> 00:39:29,750 a turgid current that carried on well into the 20th century and which in its dreary continuity, has much to say about the lure of the mimetic. 327 00:39:29,750 --> 00:39:37,460 The very volume of that kind of art in France and many other countries confirms that appetite. 328 00:39:37,460 --> 00:39:38,930 More specifically, 329 00:39:38,930 --> 00:39:49,940 I would like to argue that during the 80s 90s naturalism and here I remind you of my broad understanding of the term remained a dominating dynamic, 330 00:39:49,940 --> 00:39:54,710 even still innovatory current in French visual culture. 331 00:39:54,710 --> 00:40:00,410 This is not an argument that all my listeners will immediately accept, I suspect, 332 00:40:00,410 --> 00:40:08,570 because the modernist bias of our culture and of much art history draws us to peaks of individuality and innovation focuses 333 00:40:08,570 --> 00:40:18,740 on figures such as Mallat Man Sezen and assumes by the eighteen nineties the primacy of symbolism or post Impressionism. 334 00:40:18,740 --> 00:40:26,180 But these were individual isolated voices that contemporary resonance reaching only small elites. 335 00:40:26,180 --> 00:40:31,160 My argument is concerned less with aesthetic quality or durability, 336 00:40:31,160 --> 00:40:37,490 as with the more tangible practicalities of that decade's pictorial production and understanding. 337 00:40:37,490 --> 00:40:39,440 From this point of view, 338 00:40:39,440 --> 00:40:49,820 naturalism flourished because its stylistic flexibility gave artists scope and its legibility continued to address public expectations. 339 00:40:49,820 --> 00:40:57,530 By the 90s, the pictorial devices, which had seemed innovatory in the early 80s, had become commonplace. 340 00:40:57,530 --> 00:41:02,930 But they survived as a valid gambit, which artistic in the artistic repertoire, 341 00:41:02,930 --> 00:41:10,460 because they still carried with them assumptions about modernity in canvases of the 80s 90s, 342 00:41:10,460 --> 00:41:15,710 who are, after a decade of stylistic diversity and dead ends, 343 00:41:15,710 --> 00:41:23,630 returned to the reassurance of naturalism painting such as Christine Lahor all embroidering or breakfasted. 344 00:41:23,630 --> 00:41:26,600 Baton Ovalle, painted in the later eighteen nineties, 345 00:41:26,600 --> 00:41:34,730 represent the foreground figures only partially and divert our attention by activity in a further space. 346 00:41:34,730 --> 00:41:38,600 Even at that date, such paintings could seem challenging. 347 00:41:38,600 --> 00:41:48,350 But when Christina Hall was posing for one of the last pictures, her grandfather, probably in her 70s, muttered less than new painting. 348 00:41:48,350 --> 00:41:53,100 Even the young already Matisse, in one of his earliest FIGGER compositions, 349 00:41:53,100 --> 00:41:59,240 the Breton made of 1896, had recourse to the cut off figure and the open door, 350 00:41:59,240 --> 00:42:04,310 which work both in pictorial terms, contrasting volume and void, 351 00:42:04,310 --> 00:42:16,010 introducing cool tones against the wall and naturalistically catching the momentary movement, implying action off. 352 00:42:16,010 --> 00:42:24,530 My final lecture will explore the unrecognised return to naturalism amongst some of the avant garde in the late 80s 90s. 353 00:42:24,530 --> 00:42:31,850 But I want to close this one by giving some sense of the ways in which natural's painting developed during that decade. 354 00:42:31,850 --> 00:42:41,540 Reviewing the two salons of 1891. They gaze at the Bouzar. The Swiss novelist Etoile Hodd first suggested that realistic painting has disappeared. 355 00:42:41,540 --> 00:42:49,850 It's hiding in the town halls, decorating the walls with electoral scenes or rather, having lost its gross, violent qualities. 356 00:42:49,850 --> 00:42:59,300 It's become jolly kind and good natured and gives us the lovely Kliman from Aage Blue Cellar by Monsieur Dawan Borges. 357 00:42:59,300 --> 00:43:11,420 Wonderful paintings are not enough to trace, but what then moderated his position, admiring the ingenious realism of Joe X, Janno and others. 358 00:43:11,420 --> 00:43:17,030 Naturalism has had no more departed in painting than it had in literature. 359 00:43:17,030 --> 00:43:23,270 1891 was also the year when the journalist Jewelled Houli ran a series of interviews in Lekota party with 360 00:43:23,270 --> 00:43:30,710 poets and novelists asking whether naturalism was finished and whether it had been supplanted by symbolism. 361 00:43:30,710 --> 00:43:34,730 Published as a book on Kept Sealed Liberally, 362 00:43:34,730 --> 00:43:45,200 Scioli to have the title manifested the Darwinian notion of evolutionary struggle that underpinned he'll raise questions. 363 00:43:45,200 --> 00:43:47,750 I would argue that in the 80s 90s, 364 00:43:47,750 --> 00:43:57,290 naturalist painting evolved shifts in the political and social environment shaped those gradual changes in the 1980s. 365 00:43:57,290 --> 00:44:02,060 Many major salon paintings had concentrated on images of often lower. 366 00:44:02,060 --> 00:44:11,340 Laughs collectivity We found this in lab mix harvesters feels oarsman Daniels pardon and Hall's work. 367 00:44:11,340 --> 00:44:16,980 Such paintings addressed the Nouvelle Couche socio publicly validating their role in 368 00:44:16,980 --> 00:44:24,710 the Republic in images of Égalité and fretfully day paintings like these assumed as, 369 00:44:24,710 --> 00:44:31,950 um, as fundamentally unproblematic the subjects they took of the civic values that they implied. 370 00:44:31,950 --> 00:44:42,660 Labour duty, family, community by the 1890 is that sense of a relatively consistent politico social 371 00:44:42,660 --> 00:44:50,960 momentum sharing which sharing in which many artists I've written on my text. 372 00:44:50,960 --> 00:44:53,200 I'll read it anyway. 373 00:44:53,200 --> 00:45:03,450 But that sense of a relatively consistent political social momentum propelled by government support had stuttered and even begun to fragment. 374 00:45:03,450 --> 00:45:12,680 While the Republic held the centre ground strongly enough. The dangerously populist Bluejay affair of the late 1980s had shown the republics of 375 00:45:12,680 --> 00:45:19,320 the appeal to important fringes nationalists and a pretty bored Wasey was was friable. 376 00:45:19,320 --> 00:45:26,730 The financial chicanery of the Panama scandal of the early 1990s has exposed the Republican political elite and the increasing success of 377 00:45:26,730 --> 00:45:36,030 the Socialists at the polls demonstrated that growing sections of the proletariat were dissatisfied with the pace of industrial reform. 378 00:45:36,030 --> 00:45:44,520 It was within this shifting political social environment that naturalist painting evolved in the 1990s. 379 00:45:44,520 --> 00:45:48,510 It had to deal with a greater sense of social disjunction. 380 00:45:48,510 --> 00:45:57,390 Artists such as Zoo Atlanta, whose work we will see in a moment, emerge with opinions to the left of Republicanism and an end, 381 00:45:57,390 --> 00:46:04,830 an imagery of strikes and unemployment to match Robbs 1891 assessment was not entirely wrong. 382 00:46:04,830 --> 00:46:11,580 There was a current in naturalism that was gentle and engaging, the kind of art that pleased the public. 383 00:46:11,580 --> 00:46:20,370 That seemed true enough and avoided the harsher aspects of contemporary existence and even perhaps acknowledged the elusive, 384 00:46:20,370 --> 00:46:29,670 emotive ambience of symbolism. One thinks here of pictures such as Daniels and the Jike in the Forest of 1892 or the 385 00:46:29,670 --> 00:46:36,960 elderlies you bottles sequence of nostalgic sundown landscapes of his native artwork. 386 00:46:36,960 --> 00:46:43,890 These were only some of the ways in which naturalism evolved in the 80s and 90s. 387 00:46:43,890 --> 00:46:47,550 It's one of the trends in the later 18, 70s and 80s, 80s, 388 00:46:47,550 --> 00:46:54,960 naturalism had been the development of devices intended to evoke in the eye of the viewer a sense of spontaneous actuality. 389 00:46:54,960 --> 00:47:05,610 This was answered in the 90s by an inclination toward slightly more stylised, even ritualistic kinds of composition. 390 00:47:05,610 --> 00:47:12,720 As we've seen Frijoles 1888, All Saints Day depicted the customary annual visit to the cemetery. 391 00:47:12,720 --> 00:47:19,740 The immediate happenstance of the unfolding appearance of the Borza our family into our field division and the girls preparing 392 00:47:19,740 --> 00:47:29,520 to give the blind beggar a coin is subtly formalised by the loosely processional progress across the snow covered pavement. 393 00:47:29,520 --> 00:47:39,510 A decade later, all the highways in Flanders evening again used Life-Size figures requiring the viewer to read them. 394 00:47:39,510 --> 00:47:44,430 One to one player used several of the actualising devices. 395 00:47:44,430 --> 00:47:52,110 We've observed figures in mid step seen from behind off centre placement, half hidden features. 396 00:47:52,110 --> 00:48:00,720 But the paintings, dimming light black capes and processional pairing were creative decisions apt from representing 397 00:48:00,720 --> 00:48:08,040 life amongst the workers terraces in the still strongly Catholic departments of northern France. 398 00:48:08,040 --> 00:48:16,560 Jurel ad letters in the land of the mine of nineteen hundred one represents Flemish miners leaving 399 00:48:16,560 --> 00:48:23,370 their shift while Abdel-Hamid painterly choices which were consistent with the grimness of the scene. 400 00:48:23,370 --> 00:48:31,140 A dark brown tonality with slagheap chimneys and lifting GEF silhouetted against the livid failing light, 401 00:48:31,140 --> 00:48:39,270 they were matched with an almost ironic decision to represent the miners bent backed from their work below ground, 402 00:48:39,270 --> 00:48:44,370 moving in silent procession across the canvas. 403 00:48:44,370 --> 00:48:52,200 Adler's title, Hoopy de la Mean, may well have deliberately echoed the prefix hoopy de la Mer, 404 00:48:52,200 --> 00:49:01,840 which Sha Cotty used generically from 1895 for his scenes of rugged finace down at the 1897. 405 00:49:01,840 --> 00:49:06,870 Dylan Nazionale, Côté exhibited under this rubric. Stormy evening. 406 00:49:06,870 --> 00:49:12,420 People passing. Of which I'm afraid I can only show you the print, not the painting here. 407 00:49:12,420 --> 00:49:17,430 Brought on many women to and fro a lower key side at camera. 408 00:49:17,430 --> 00:49:20,100 Once more, the artist is descriptive. 409 00:49:20,100 --> 00:49:28,610 But quaffed so no doubt specific to place and uses nationalism's ploys of actuality starfish close to no specific focus. 410 00:49:28,610 --> 00:49:35,410 Cut off figures. And yet again, what is conscious of the crafting of style. 411 00:49:35,410 --> 00:49:43,980 Hi Horizon and limited sky cramped. The space for the sombre coloured roughly brush heavily silhouetted figures. 412 00:49:43,980 --> 00:49:53,910 How the painting was made adds empathetically to its subject, anxious, waiting for fishing boats to come in from the store. 413 00:49:53,910 --> 00:50:04,530 These two paintings of workers by Adler and Cotty show substantial numbers of people, but they are neither quite crowds nor collectives. 414 00:50:04,530 --> 00:50:10,320 The pictures cluster generally separate figures caught up in their own thoughts and purposes. 415 00:50:10,320 --> 00:50:12,900 Their image is less of individuality. 416 00:50:12,900 --> 00:50:24,300 Although fatigue or anxiety may be read on their faces then of alienation, the oppression of labour, the absence of escape by their search for style, 417 00:50:24,300 --> 00:50:29,880 not just the individual imprint of the artist, but a knowing play with representational conventions. 418 00:50:29,880 --> 00:50:35,790 Such paintings once again demonstrate the flexibility of naturalism. 419 00:50:35,790 --> 00:50:45,600 It was able to evolve as a visual language to add style to description while staying true to observation. 420 00:50:45,600 --> 00:50:53,280 Early in his career, Cottee's work had hovered between this slightly caricature and the very descriptive. 421 00:50:53,280 --> 00:51:04,140 The coast of Toolangi, a pastel of 1891, shows Cotty at his most scrupulously precise tracing every tide mark and crack in the granite. 422 00:51:04,140 --> 00:51:12,820 As if to satisfy geologist in this image of one of the furthest fingers of Finnie stare reaching out into the Atlantic. 423 00:51:12,820 --> 00:51:24,570 Cottee had discovered the fishing port of Camaguey at the end of the Kosovo Peninsula in 1886, Subway R and burgeois son of a judge. 424 00:51:24,570 --> 00:51:26,190 He was an outsider there, 425 00:51:26,190 --> 00:51:34,710 but committed himself to the representation of this p returning annually and staying throughout the cholera epidemic of 1894. 426 00:51:34,710 --> 00:51:41,610 The only foreigner to do so closely, as Cotty got to know, came off a folkways. 427 00:51:41,610 --> 00:51:49,560 He abandoned a highly descriptive technique used by others for quasi ethnographic painting and evolved a rougher manner, 428 00:51:49,560 --> 00:51:56,510 which drew comparison with Rembrandt, Sharda and particularly Corbi paintings such as George W. 429 00:51:56,510 --> 00:52:00,390 They are your own. Or for more people from Westlaw, 430 00:52:00,390 --> 00:52:08,340 staying up with a dead baby from the 1899 Selander than Nazionale typify the way in which Côté took scenes 431 00:52:08,340 --> 00:52:15,750 from the harsh Brett on life that he had experience at first and made from them intense works of art, 432 00:52:15,750 --> 00:52:21,930 powerfully impacted strokes, sumba tonalities illuminated by sharp accents of colour, 433 00:52:21,930 --> 00:52:31,590 ritualised profiles all characterised Cottee's OPIS de la Mer canvases, including the great triptych of 1898. 434 00:52:31,590 --> 00:52:39,990 Lee's idea the farewells. Critics were unsure how to define these powerful paintings. 435 00:52:39,990 --> 00:52:45,330 Writing in 1898, Benedicte argued that Cotey and his close friend Lucien Seymour, 436 00:52:45,330 --> 00:52:50,640 were reacting against naturalism and looking back to the old Masters. 437 00:52:50,640 --> 00:52:53,070 This was not a new way of assessing côté. 438 00:52:53,070 --> 00:53:00,120 And when one looks at Seymours, major painting of the period procession that parmar of nineteen hundred with its confident, 439 00:53:00,120 --> 00:53:04,890 painterly handling of Rubick and faces and strongly lit drapery, 440 00:53:04,890 --> 00:53:14,670 one recognises the lessons Seymour had drawn from House, Rubins and Velasquez on trips to the low countries in Spain earlier in his career. 441 00:53:14,670 --> 00:53:22,110 But then in its position on Cottee's, Seymour and naturalism, a somewhat elastic as a Republican falsey on air. 442 00:53:22,110 --> 00:53:31,400 It was instinctive for him to find in their work ideals of fraternity and justice and to see them as characterising the epoch. 443 00:53:31,400 --> 00:53:36,570 The painter Letitia Azami do maths test writing in nineteen hundred one, 444 00:53:36,570 --> 00:53:45,540 argued that Cottee's depiction of Finistere that people had gone beyond the quasi scientific what she called the heredity of Fizi. 445 00:53:45,540 --> 00:53:54,180 Anomic evidence to achieve a higher kind of naturalism works, suggested Natalie Truth. 446 00:53:54,180 --> 00:54:01,770 Amongst the most intercropping definitions of humanity by nineteen hundred and four Benedicta derived at the same. 447 00:54:01,770 --> 00:54:10,170 Position. Qatar had surpassed ethnographic description to achieve a mythic humanitarianism. 448 00:54:10,170 --> 00:54:19,080 Some of you may find it difficult today to agree with these claims that Qatar was a major artist, but around nineteen hundred, he certainly appeared. 449 00:54:19,080 --> 00:54:25,140 So the triptych Lee's idea won a gold medal at the Nineteen Hundred Exposition Universelle, 450 00:54:25,140 --> 00:54:34,890 having been purchased by the state two years before, the paintings of Côté and of Seymour Adler and others stretched the bounds of naturalism, 451 00:54:34,890 --> 00:54:42,570 pulling away from the descriptive and dangerously stylist's to work in which style counted 452 00:54:42,570 --> 00:54:49,410 in which to adapt zoners dictum temperament began to get the upper hand over nature. 453 00:54:49,410 --> 00:54:55,290 Cottee's cultivated crudeness or Seymours confidence surfaces made for more individualistic 454 00:54:55,290 --> 00:55:00,750 phrasings of the naturalistic aesthetic than older artists such as a Loudermilk or a danial, 455 00:55:00,750 --> 00:55:09,270 let alone the official art of Dipti. The generation which matured in the 80s 90s no longer had to make such a sharp break from the 456 00:55:09,270 --> 00:55:15,960 convention of art school training or make such obviously common cause with Republican rhetoric. 457 00:55:15,960 --> 00:55:23,940 By the 90s, these currents had coalesced the experts, spectators of how art should be made and what it should address. 458 00:55:23,940 --> 00:55:33,510 Uniting in the naturalistic aesthetic which dominated because in its diversity, it so suited political ideology, 459 00:55:33,510 --> 00:55:41,220 educational desiderata, public taste and the articulation of national identity. 460 00:55:41,220 --> 00:55:44,580 Above all, naturalism is flexibility. 461 00:55:44,580 --> 00:55:58,070 Its ability to evolve deepened its roots in the national mentality because it could reach out to the multiple constituencies that made up France. 462 00:55:58,070 --> 00:56:03,552 Thank you.