1 00:00:01,700 --> 00:00:10,830 Good evening, ladies, gentlemen, or rather wet evening. This lecture is on the caricature. 2 00:00:10,830 --> 00:00:19,250 In the last two lectures, I attempted to lay out the reasons why naturalism was the dominant aesthetic in late 19th century French culture, 3 00:00:19,250 --> 00:00:22,400 as well as some of the parameters in which it operated. 4 00:00:22,400 --> 00:00:31,730 I argued that naturalism centrality was aided by its stylistic flexibility, its ability to embrace a wide range of artistic personalities. 5 00:00:31,730 --> 00:00:37,100 Paradoxically, however, naturalist painting could also be criticised as being style, 6 00:00:37,100 --> 00:00:42,830 less its commitment to the descriptive suppressing creative personality. 7 00:00:42,830 --> 00:00:47,540 Indeed, the more naturalism seemed to become entrenched, even semi-official, 8 00:00:47,540 --> 00:00:54,940 the closer the elision between Naturaliste forms of representation and the broad currents of Republicanism with its emphasis on the consensual. 9 00:00:54,940 --> 00:00:58,610 The egalitarian. The scientific and progressive. 10 00:00:58,610 --> 00:01:07,190 The more there were reactions, these might be demands for other forms of representation which were less positive and materialist. 11 00:01:07,190 --> 00:01:13,010 That allowed greater individual expression that articulated other ideologies Catholic perhaps, 12 00:01:13,010 --> 00:01:18,860 or anarchist, which come to the Republican hegemony at this point. 13 00:01:18,860 --> 00:01:24,380 You might expect my lectures to continue with a discussion of symbolism and its manifestations 14 00:01:24,380 --> 00:01:30,440 in visual culture or analysis of groups such as the neo impressionists or the Nabby. 15 00:01:30,440 --> 00:01:35,180 But while I do not for a moment deny the importance of such aesthetics and groupings, 16 00:01:35,180 --> 00:01:41,720 I want to strike out a long, less familiar paths in the next three lectures. 17 00:01:41,720 --> 00:01:54,080 I will examine issues of style. By style, I mean more than the individual articulation of creative means line colour, 18 00:01:54,080 --> 00:02:05,120 touch design and include the deliberate, even wilful personalisation of making in reaction to the hegemony of description. 19 00:02:05,120 --> 00:02:13,760 This will involve looking at a wide range of visual material from the period and analysing it not according to conventional classifications, 20 00:02:13,760 --> 00:02:21,890 but by using new prisms. The Karaca Tural, the popular and the organist. 21 00:02:21,890 --> 00:02:25,400 The aim is not to replace one set of style labels with another, 22 00:02:25,400 --> 00:02:34,550 but to suggest that by looking more broadly across mortality and visual culture than is often done, we can enrich our understanding of the period. 23 00:02:34,550 --> 00:02:43,070 Nor do I plan to let go of naturalism. One of my lines of enquiry will be to gauge to what extent my new formulations were 24 00:02:43,070 --> 00:02:50,810 modifications of or reactions against the naturalistic aesthetic and its Republican matrix. 25 00:02:50,810 --> 00:03:00,470 I also want to explore how avant garde art so often is considered in terms of solitary individuals or in restrictive silos. 26 00:03:00,470 --> 00:03:05,010 The neo impressionists, the Nabby might be understood afresh, 27 00:03:05,010 --> 00:03:15,920 is situated within less familiar stylistic contexts, determined to ignore that vacuous rubric post Impressionism. 28 00:03:15,920 --> 00:03:24,890 These next three lectures will try to pioneer alternative ways of looking at style in late 19th century French art and culture. 29 00:03:24,890 --> 00:03:32,110 The Karaca tural is not a tightly definable stylistic term in art history. 30 00:03:32,110 --> 00:03:35,980 Karaca two, or of course, is a crucial concept, 31 00:03:35,980 --> 00:03:43,610 and the exaggeration or deformation of facial and physical characteristics to satirise or raise a laugh had a long history before. 32 00:03:43,610 --> 00:03:52,300 Early Third Republic, France. Today, I want to suggest that the caricature might be used as a means of discussing style at this period, 33 00:03:52,300 --> 00:03:59,120 and I will use it loosely to cover pictorial idioms and attitudes that seem to me to be rooted in Karaca. 34 00:03:59,120 --> 00:04:07,760 To my central premise is that caricature flourished in France during the eighteen eighties and nineties, 35 00:04:07,760 --> 00:04:11,900 and that deeply entrenched in contemporary Montanti today. 36 00:04:11,900 --> 00:04:21,920 It's significantly inflected, much avant garde art, linking artists as different as Saleha Gugger and Bonnar. 37 00:04:21,920 --> 00:04:28,100 This lecture aims to explore why and how this happened. 38 00:04:28,100 --> 00:04:31,100 In 1894, John Gould cut today. 39 00:04:31,100 --> 00:04:39,380 Perhaps France's leading expert on caricature argued that across the board the image becomes more important and literature declines. 40 00:04:39,380 --> 00:04:47,090 The sympathies of the public reach out to the graphic to what can be seen and understood without difficulty. 41 00:04:47,090 --> 00:04:51,410 He cited the Baldo newspaper Le Petite Joe Horn's view that nowadays, 42 00:04:51,410 --> 00:05:00,630 once whole life was spent looking at images from the image dippie gnarl of childhood to the illustrated reprices of old age. 43 00:05:00,630 --> 00:05:09,090 A significant portion of this imagery fell under the broad description of caricature in the early years of the Third Republic. 44 00:05:09,090 --> 00:05:18,510 A strict regime of censorship inherited from the second empire was in place to keep political caricature under control, 45 00:05:18,510 --> 00:05:23,240 even after the election of a truly Republican ministry in December 1877. 46 00:05:23,240 --> 00:05:30,840 This continued and the censorship laws were invoked not only against illustrated political periodicals on the left, 47 00:05:30,840 --> 00:05:43,170 such as Landru News and on the right such as the tribulation, but also against purveyors of mainstream smut such as Le Boudoir. 48 00:05:43,170 --> 00:05:49,470 However, by the turn of the decade, a consensus was reached that censorship was no longer necessary. 49 00:05:49,470 --> 00:05:52,510 Both political extremes were suffering equally, 50 00:05:52,510 --> 00:05:59,800 and the Republic felt strongly enough and established in the centre to act like returning the Chamber of Deputies to Paris from 51 00:05:59,800 --> 00:06:10,470 farci adopting the Marcella's and the Cattle's UEA as national anthem and fat lifting censorship was a symbolic Republican reform. 52 00:06:10,470 --> 00:06:20,400 A ringing expression of Li back to the new law on the liberty of Press took effect on the twenty ninth of July 1881. 53 00:06:20,400 --> 00:06:27,540 One of the results was a boom in the caricature of press in 1879, with censorship in place, 54 00:06:27,540 --> 00:06:39,000 26 new Karaca tural journals have been started in France the following year in expectation of reform, 49 began between 1881 and 1914. 55 00:06:39,000 --> 00:06:44,130 Some 130 were launched an extraordinary flowering. 56 00:06:44,130 --> 00:06:53,350 Although government retained some powers, it could ban images deemed obscene or offensive to the army or the president of the Republic. 57 00:06:53,350 --> 00:06:57,690 And the current president is rather touchy about voodoo dolls in his image. 58 00:06:57,690 --> 00:07:05,010 The cat was out of the bag. The republic's liberal legislation gave rise to caricature oral culture, 59 00:07:05,010 --> 00:07:13,200 a culture embracing different kinds of the comic from the satirical to the bawdy, the disrespectful to the ridiculous. 60 00:07:13,200 --> 00:07:21,630 And it deepened the hold of the Karaca tural on the wider public Montanti day as a mentality. 61 00:07:21,630 --> 00:07:25,890 The caricature all was emphatically modern. 62 00:07:25,890 --> 00:07:34,680 It thrived on the here and now, pillorying the politician of the moment, mocking the latest fashion, satirising the current fad. 63 00:07:34,680 --> 00:07:44,700 Thus it suited the fast moving tempo of the age and provided comic copy and humorous illustrations for the thriving press of the day. 64 00:07:44,700 --> 00:07:50,700 In 1892, there were over 2000 daily papers in Paris alone, 65 00:07:50,700 --> 00:07:57,960 with another three and a half thousand in the provinces, all needing material, many wanting images. 66 00:07:57,960 --> 00:08:06,180 The caricature used new technologies, for instance, photo typography for the cheap rapid printing of images. 67 00:08:06,180 --> 00:08:10,770 Above all, it cross pollinated with other forms. 68 00:08:10,770 --> 00:08:14,370 The caricature enlivened the poster itself, 69 00:08:14,370 --> 00:08:22,380 an exciting new medium reliant on instant impact for its commercial purpose and modern printing methods for its production. 70 00:08:22,380 --> 00:08:32,310 The work of the first great poster designer, Jules Shafei, essentially fused the brazen simplicity of caricature with lurid colour. 71 00:08:32,310 --> 00:08:38,460 To give a person could give a commercial pitch arresting visual impact. 72 00:08:38,460 --> 00:08:46,860 In the wake of the 1881 law, new forms of entertainment burgeoned, in particular the cabaret artistic. 73 00:08:46,860 --> 00:08:58,800 The most famous of these, the ARE, was founded in Wal-Mart in 1881 and based its reputation on the ironically excessive politeness of its director, 74 00:08:58,800 --> 00:09:03,630 Hoddle Salis, the often satirical material of its singers and poets. 75 00:09:03,630 --> 00:09:09,240 The caricatures of its House periodical and the success of its shadow plays. 76 00:09:09,240 --> 00:09:15,930 Here is Salis here behind the bar, welcoming people in and grovelling to them sarcastically. 77 00:09:15,930 --> 00:09:20,070 And here is a photograph of people from the Shannah and the young man in Japanese costume. 78 00:09:20,070 --> 00:09:25,530 Down there is the painter pulled Cenac. The caricature. 79 00:09:25,530 --> 00:09:33,930 All was pivotal to the decor of the Shanno adult Willett's Pop a dominie adopted. 80 00:09:33,930 --> 00:09:44,490 The huge scale and energised neo baroque of much Republican public decoration only to pervert its civic values, 81 00:09:44,490 --> 00:09:51,990 replacing labour with debauchery, family with prostitution, the virile duty of the Frenchmen. 82 00:09:51,990 --> 00:09:59,800 But the pitiful Pierro driven to suicide by excess in the mid eighteen eighties, willette also. 83 00:09:59,800 --> 00:10:12,010 Attributed to the are a stained glass window TDA on loud dilemmas in which death conducts a performance of social chaos, including infanticide, 84 00:10:12,010 --> 00:10:23,710 venal seduction and proletarian insurrection presided over by a fat golden calf identified on his crown as Israel scurrilous, 85 00:10:23,710 --> 00:10:33,100 anti-Semitic and anti Republican. Such works showed the ambitious scale on which the character Tural might operate. 86 00:10:33,100 --> 00:10:40,150 A later Cappa artistic lawfare was themed as a visit to hell, 87 00:10:40,150 --> 00:10:47,740 and its decorated facade revelled in the grotesque, a crucial aspect of the Karaca to Europe. 88 00:10:47,740 --> 00:10:52,450 Another cultural form of the Catholic or s the French equivalent of the musical 89 00:10:52,450 --> 00:10:57,060 had traded in the comic and the bawdy since its emergence in mid century. 90 00:10:57,060 --> 00:11:01,900 But as it became increasingly commercialised and reliant on visual imagery, 91 00:11:01,900 --> 00:11:08,410 notably the poster for its promotion, the cafe also played on its caricature or credentials. 92 00:11:08,410 --> 00:11:16,030 The young Yvette Kebap was mocked on her debut in 1889 because she was flat chested. 93 00:11:16,030 --> 00:11:28,300 Compared to successful stars like the formidable, Madame Blau had devised a costume which exaggerated her lack of bust and skinny arms, 94 00:11:28,300 --> 00:11:35,740 her ironic reversal of the bosomy norm, giving her a very sharply defined visual identity. 95 00:11:35,740 --> 00:11:46,500 Well adapted to the poster and illustration, combining that with easily distorted facial features and a repertoire of risque songs, 96 00:11:46,500 --> 00:11:55,030 Giebel became a highly successful embodiment of the Karaca Tural as she described her act in her memoirs. 97 00:11:55,030 --> 00:12:05,830 I decided that it must be lewd, mingled with veiled satire but direct all the same deal with all the immodest is excesses and vices 98 00:12:05,830 --> 00:12:13,330 of my contemporaries in a sudden display of humorous cartoons and make them laugh at themselves. 99 00:12:13,330 --> 00:12:27,490 I will not sing you one of evet Gibbons songs, but one of them was called La FIAC, the handsome cab, and the chorus goes blah blah blah. 100 00:12:27,490 --> 00:12:35,710 To describe a rather vigorous and delightful activity taking place in the back illustrated press, 101 00:12:35,710 --> 00:12:40,060 comic journals, posters, cabaret, artistic cafe, causer. 102 00:12:40,060 --> 00:12:49,750 All these forms were modern and their common characteristic was the Karaca Tural woven so closely into the fabric of popular culture, 103 00:12:49,750 --> 00:12:56,290 the caricature became a crucial ingredient in the mortality of modernity. 104 00:12:56,290 --> 00:13:04,310 It also existed in literature, too, and one finds in novels very, very humorous anecdotes and moments in. 105 00:13:04,310 --> 00:13:10,240 In October, Melba's larger than DSU police, which is really a rather grim novel about sadism. 106 00:13:10,240 --> 00:13:13,690 There's a wonderful bit of humour at the beginning, which is totally gratuitous. 107 00:13:13,690 --> 00:13:21,270 A man is released from prison and needs a job, so he goes to see an old school friend of his who happens to be a cabinet minister. 108 00:13:21,270 --> 00:13:26,530 And the minister says, oh, just out of prison, need a job, you should become a member of parliament. 109 00:13:26,530 --> 00:13:33,190 There's a constituency up in the north, almost on the Belgian border that needs to meet, needs a member up there. 110 00:13:33,190 --> 00:13:39,100 When you make a speech, however, remember one thing, it's a single issue constituency. 111 00:13:39,100 --> 00:13:45,830 Say nothing in your speeches about foreign affairs, the law, education or health. 112 00:13:45,830 --> 00:14:00,240 They're interested in one thing only beetroot. Both caricature as a medium and the Karaca tural as a Montanti today were crucial axes in French 113 00:14:00,240 --> 00:14:07,740 culture between 1880 and nineteen hundred 1882 saw so the foundation of the Salon des AnCo, 114 00:14:07,740 --> 00:14:15,580 our hall, which exhibited caricatures of artworks and visual puns typically made by amateurs there. 115 00:14:15,580 --> 00:14:26,520 The humorist Alfonse Alé famously showed a blank sheet of white paper entitled First Communion of Anaemic Girls in a Snow Storm. 116 00:14:26,520 --> 00:14:28,440 Would you see it lower? Right. 117 00:14:28,440 --> 00:14:39,930 The one at lower left, the red one is called something like tomato harvest, tomato harvest by apoplectic cardinals on the banks of the Red Sea. 118 00:14:39,930 --> 00:14:47,340 In 1888, a survey exhibition of 19th century caricature and anecdotal painting was held at no less a venue 119 00:14:47,340 --> 00:14:54,150 than the actual the Bouzar giving caricature an official Orte into French artistic tradition. 120 00:14:54,150 --> 00:15:00,990 The work of contemporary caricaturists and poster designers also became part of Parisian exhibition culture. 121 00:15:00,990 --> 00:15:05,880 Willette held a One-Man show in 1888 and Shefi the following year. 122 00:15:05,880 --> 00:15:14,310 Here were artists working in popular commercial caricature or media presenting themselves ambitiously. 123 00:15:14,310 --> 00:15:22,440 1890 saw the launch of the liberal salon Nasional de Bouzar, a secession from the more conservative Southlanders artists for Say, 124 00:15:22,440 --> 00:15:28,440 which manifested its aesthetic tolerance by admitting Karaca duels, for example. 125 00:15:28,440 --> 00:15:37,050 At its first exhibition, Jaune Louis FOFA exhibited 23 drawings that had been published in the latest Game Room Art or Weekly Look Kukla. 126 00:15:37,050 --> 00:15:42,080 Also important books were being published 1888. 127 00:15:42,080 --> 00:15:47,150 Saw both Cobbold cutaways monumental. They in a cafe Get Your Whole Force, 128 00:15:47,150 --> 00:15:56,820 a sweeping historical survey and ascend Alec Zorn's of his monograph on the great caricaturists Doumitt, who had died a decade earlier. 129 00:15:56,820 --> 00:16:04,710 Both were scholarly, well illustrated volumes by authors who continued to publish in the field in 1894. 130 00:16:04,710 --> 00:16:08,460 Alexander produced an important book, Ladu Here. 131 00:16:08,460 --> 00:16:13,170 Idella Carthy cut you off and launched a new periodical loopier, 132 00:16:13,170 --> 00:16:22,530 to which artists like Oradea Toulouse Lautrec contributed caricatures like this one, which is known as chocolate dancing. 133 00:16:22,530 --> 00:16:26,670 Of course it Carol Thatcher said chocolate. She would have been in trouble. 134 00:16:26,670 --> 00:16:34,380 I am talking about two dozen track and history artists ensured that their work had lasting impact, 135 00:16:34,380 --> 00:16:38,820 collecting drawings for ephemeral papers and journals and volumes. 136 00:16:38,820 --> 00:16:45,600 These might be a cross-section of an artist's work like for Harper's like comedy Perthes Yen of 1892. 137 00:16:45,600 --> 00:16:51,620 Here's a prostitute Orfa Searle or Stein Donlevy of nineteen hundred one. 138 00:16:51,620 --> 00:16:57,630 All these volumes might focus on a particular issue for as 1893 late toward Diffie SEAL, 139 00:16:57,630 --> 00:17:03,900 for instance, poked fun at Republican politicians corruption during the Panama scandal, 140 00:17:03,900 --> 00:17:10,230 while Atama polls innocuously titled Disorder Dassa of nineteen hundred collected 141 00:17:10,230 --> 00:17:16,140 his caricatures in support of Dreifus because of their typical range of subject, 142 00:17:16,140 --> 00:17:21,390 the periodicals in which they published or the particular political stance they adopted such 143 00:17:21,390 --> 00:17:29,920 draughtsmen pleased specific publics and between them a whole range of taste and opinion. 144 00:17:29,920 --> 00:17:36,510 But caricature was not merely a question of target and wit. It was also one of style. 145 00:17:36,510 --> 00:17:43,050 Other artists, often with utterly different objectives, admired and collected caricature. 146 00:17:43,050 --> 00:17:47,820 Serious artists by no means dismissed caricaturists gifts. 147 00:17:47,820 --> 00:17:56,130 The highly economical drawings of Alpha Geva, they are on the left, were saved by Edward Mané and George back in our forefathers. 148 00:17:56,130 --> 00:18:02,580 There on the right by Douga and Cesan, there were major reputations to be made. 149 00:18:02,580 --> 00:18:14,790 The prolific AlphaBeta Hobby Duck created a series of fine Karaca tural books like Levante MICEX of 1883, poking fun at the next century here. 150 00:18:14,790 --> 00:18:23,670 The flying machines he imagined even the Declaration of public spaces was confided to artists working in a caricature or mode. 151 00:18:23,670 --> 00:18:32,130 This may have begun with collaborators in cabaret artistic willette decorating the chandelier, for example, but by the 80s, 90s, 152 00:18:32,130 --> 00:18:35,660 Falange or they both had been commissioned to decorate the cafe, 153 00:18:35,660 --> 00:18:43,350 each on the bull about this Italia now destroyed, and Shafaei given a whole room in the Ortel the Ville. 154 00:18:43,350 --> 00:18:50,410 I should perhaps close the sketch of the context of the caricature by shifting from the ridiculous to the. 155 00:18:50,410 --> 00:19:00,380 Lime in the heavy Deepali of early 1899, all he Bergson turned his polu said analytical gaze on the comic. 156 00:19:00,380 --> 00:19:03,170 In his study, Liar. 157 00:19:03,170 --> 00:19:13,370 If one of France's leading intellectuals was taking laughter seriously, then the caricature was deeply entrenched in the public mortality. 158 00:19:13,370 --> 00:19:22,640 The more of the twenty ninth of July 1881 had let the genie out of the bottle stimulated a caricature or consensus which accepted the satirical, 159 00:19:22,640 --> 00:19:27,680 ribald and disrespectful. As a vivid aspect of modern culture. 160 00:19:27,680 --> 00:19:32,180 Such an attitude was only enhanced by a political climate in which the usual 161 00:19:32,180 --> 00:19:38,390 stew of self-interest and pomposity was laced with jobbery and corruption. 162 00:19:38,390 --> 00:19:42,300 Just take a couple of contemporary presidents of the republic guy. 163 00:19:42,300 --> 00:19:54,620 He was forced to resign in 1887 because his son in law was pedalling honours for literally died in his office in 1899. 164 00:19:54,620 --> 00:20:01,100 His corpse pinning his terrified mistress to the presidential sofa. 165 00:20:01,100 --> 00:20:13,310 Am I allowed to say shagging in a Slaid lecture? My central concern in this lecture is to what extent this new climate affected art and especially 166 00:20:13,310 --> 00:20:19,640 independent art painters and engage with caricature before Hogarth is an obvious example. 167 00:20:19,640 --> 00:20:25,580 And in the immediately preceding generation, both Dagar and Molé had flirted with the medium. 168 00:20:25,580 --> 00:20:36,380 But what could? Avant garde painters of the 18th, 80s and 90s who had matured within this mortality learn from caricature in terms of style. 169 00:20:36,380 --> 00:20:46,610 To what extent would this was the dominant naturalism taken in new directions, given a new edge or acerbity by caricature or possibilities? 170 00:20:46,610 --> 00:20:56,540 Did Caricature offer to independent young painters seeking to elude the Naturaliste consensus stylistic possibilities they could develop? 171 00:20:56,540 --> 00:21:03,890 After all, descriptive naturalism is typically very earnest and might be lacking in Arani to enhance the character. 172 00:21:03,890 --> 00:21:09,930 Tural aspects of one's work would emphasise one's independence from the dominant aesthetic of one's. 173 00:21:09,930 --> 00:21:17,630 A brick embrace of a modern mortality day dictionary of the 1888 defined caricature 174 00:21:17,630 --> 00:21:24,260 as the grotesque representation of people or events that one Bush's to ridicule. 175 00:21:24,260 --> 00:21:32,960 But within that broad understanding, we need to identify what caricature offered in terms of its stylistic possibilities in particular. 176 00:21:32,960 --> 00:21:42,800 How was it modern? In 1892, the British art critic P.G Hamilton, who had kept French art under close scrutiny for 30 years, 177 00:21:42,800 --> 00:21:49,160 wrote that caricature which he took to be a delight in making people hideous and 178 00:21:49,160 --> 00:21:56,690 the intentional deterioration of bodily form had a particular character in France. 179 00:21:56,690 --> 00:22:03,110 French caricature, Hamilton sniffed, was too much infected with silliness and impurity. 180 00:22:03,110 --> 00:22:13,010 But at its best, combined a sense of the ridiculous, with a love of elegance in costume and form, and of grace in attitude. 181 00:22:13,010 --> 00:22:20,720 At first glance, this looks unpromising, avant garde artists of this period were certainly concerned with style. 182 00:22:20,720 --> 00:22:31,310 Painters such as Saleha and Gugga were interested in simplifying drawing to arrive at a San Tear's synthetic form in exaggerated chromatic effect. 183 00:22:31,310 --> 00:22:38,330 No longer enslaved to local colour in the organisation of touch to achieve a decorative surface harmony. 184 00:22:38,330 --> 00:22:44,630 All these were initiatives to extract innovative painting from the descriptive duties of naturalism. 185 00:22:44,630 --> 00:22:46,100 By the later eighteen eighties, 186 00:22:46,100 --> 00:22:54,800 bringing it closer to the emerging aesthetic of symbolism which sought to replace the descriptive with the evocative and suggestive. 187 00:22:54,800 --> 00:23:03,860 If this was the momentum of the old guard, then the terms of detail Hamilton used to deal with the caricature of grotesque, ridiculous. 188 00:23:03,860 --> 00:23:08,750 The deterioration of bodily form would seem to have little purchase on the issue. 189 00:23:08,750 --> 00:23:16,580 Might one argue that when young artists contributed caricatures to illustrator periodicals, they were simply trying to get their work seen? 190 00:23:16,580 --> 00:23:24,560 A tactic peripheral to their ambitions as painters, avant garde artists rarely exhibited at the AnCo hour hall. 191 00:23:24,560 --> 00:23:28,550 Indeed, the difference is a visual language between the two spheres. 192 00:23:28,550 --> 00:23:33,380 Caricature and the avant garde might be very deliberately distinct. 193 00:23:33,380 --> 00:23:43,490 In 1876, the caricaturists only zeal and writer Felicio Show saw had set up Liz Ombud Dugal tweet a series of folded 194 00:23:43,490 --> 00:23:51,830 single sheet profiles that ran for over two decades with a caricature cover to a brief biographical sketch. 195 00:23:51,830 --> 00:24:02,870 The graphic format for the cover, established by Giel, was continued by successors such as Emil Cole and Luke Cole's 1898 drawing of Tutuola. 196 00:24:02,870 --> 00:24:05,240 Crack on the left typifies it. 197 00:24:05,240 --> 00:24:17,090 The stock caricaturists solution of much enlarged had minimised body under certain exaggeration of the facial features the Portale Shah. 198 00:24:17,090 --> 00:24:26,030 But when avant garde artists occasionally drew covers for Lizardo shortly, they didn't feel obliged to adopt the conventions of another idiom. 199 00:24:26,030 --> 00:24:35,630 Instead, they emphasised that individuality, their sound tear's as Emil Bhavna did with his 1891 drawing of Vincent Banhart. 200 00:24:35,630 --> 00:24:40,730 But I would like to argue that the character Tural was more than an alien idiom, 201 00:24:40,730 --> 00:24:48,170 more than an occasional excursion for the contemporary avant garde caricature offered 202 00:24:48,170 --> 00:24:54,860 a multiplicity of stylistic possibilities and pictorial invention innovations. 203 00:24:54,860 --> 00:25:06,290 Take as an example, a single page by Zeze from the Shanno, our cabaret's journal of the twenty seventh of February 1886 in the lower section. 204 00:25:06,290 --> 00:25:10,880 It shows the Shahnawaz Bohemian initiates gathered around the piano and puppet 205 00:25:10,880 --> 00:25:17,420 theatre with a caricatured head of the artist or the Vivier too far right. 206 00:25:17,420 --> 00:25:25,970 There is the exaggerated head and smaller body in the central figure of the Shahnawaz owner, Rudolf Salis. 207 00:25:25,970 --> 00:25:34,340 The use of silhouette. Soon to be developed in the shadow show, Shahnawaz famous shadow plays the synthetic drawing used overall, 208 00:25:34,340 --> 00:25:38,090 sometimes noticeably distorting the human form, 209 00:25:38,090 --> 00:25:48,290 as in the elegantly clad woman to the left and the grotesque and violent as in the guillotining to the upper right. 210 00:25:48,290 --> 00:25:58,040 There is also play with the up to the minute. Not only do we see celebrities like President and Gravy identified by his mutton chops in the centre, 211 00:25:58,040 --> 00:26:05,660 but also to the far left, the big nosed profile of the actress Sarah Banhart. 212 00:26:05,660 --> 00:26:12,470 The Bernhart is one of several hybrid forms that combine quasi human heads. 213 00:26:12,470 --> 00:26:18,650 One even top hatted with weird limbs and wriggling bodies. 214 00:26:18,650 --> 00:26:24,650 These microbe like creatures remind us that it was during the eighteen eighties that the researchers of 215 00:26:24,650 --> 00:26:32,120 Pasteur and others were revealing that human life is dependent on the interactions of microscopic organisms. 216 00:26:32,120 --> 00:26:42,260 He says his drawing thus engages with the modern at multiple levels made for the character, tural and cabaret culture released by the 1881 law. 217 00:26:42,260 --> 00:26:52,300 It inventories innovative pictorial idioms and engages them with the political and scientific discourses of the day. 218 00:26:52,300 --> 00:26:58,540 What could be drawn from caricature? That might be called Carriker Tural. 219 00:26:58,540 --> 00:27:05,100 We can outlined two broad areas. The first was the synthetic. 220 00:27:05,100 --> 00:27:10,360 As I've mentioned, Santer's was a term much used amongst the avant garde from the mid 80s and 80s. 221 00:27:10,360 --> 00:27:15,910 Identifying an economy of draughtsmanship which broke with both the academic idealisation 222 00:27:15,910 --> 00:27:21,220 taught in the art schools and the scrupulously observed precision of naturalism. 223 00:27:21,220 --> 00:27:25,570 But if this reduction of forms to essentials came to be seen by the later eighteen eighties 224 00:27:25,570 --> 00:27:30,790 as a means by which pictorial art could ally itself with the emergent symbolist aesthetic, 225 00:27:30,790 --> 00:27:37,720 Santer's in drawing hadn't long been an admired feature of Karaca tural draughtsmanship Elford. 226 00:27:37,720 --> 00:27:43,630 Cleaver's extremely economical drawings of PACIEN had a well-established reputation. 227 00:27:43,630 --> 00:27:45,010 By 1880, 228 00:27:45,010 --> 00:27:55,930 collected in albums like Leslie de Firm of 1873 and were even held up by women's fashion magazines as the silhouette to which one should aspire. 229 00:27:55,930 --> 00:28:04,200 But the single crucial painting that announced in the mid 1880 is that painting was going off in another direction. 230 00:28:04,200 --> 00:28:09,610 Was Suhas a Sunday on the Corn Jagt 1884. 231 00:28:09,610 --> 00:28:16,870 Notwithstanding a modern subject of suburban leisure that would have adapted effortlessly to naturalistic treatment, 232 00:28:16,870 --> 00:28:22,780 Suhas painting manifested utterly opposed stylistic possibilities. 233 00:28:22,780 --> 00:28:27,490 These included a visibly ordered touch, unresponsive to particular textures, 234 00:28:27,490 --> 00:28:34,150 a system that ization of the chromatics to stimulate optical vibration and a resonantly synthetic drawing, 235 00:28:34,150 --> 00:28:39,100 emphasising silhouette, not spontaneous movement. 236 00:28:39,100 --> 00:28:46,450 These initiatives had various stimuli amongst them optical theory of the work of older painters, not least Poovey to Chavan. 237 00:28:46,450 --> 00:28:53,860 But in this context, one point is of vital importance. Selhurst stylised and highly simplified, 238 00:28:53,860 --> 00:29:06,120 drawing ritualised almost to the point of ridicule derived from the kind of Karakol caricature or drawing that had proliferated after 1881. 239 00:29:06,120 --> 00:29:12,850 The grunge that set the example for how a new kind of painting could skirt naturalism. 240 00:29:12,850 --> 00:29:18,880 Basing itself in the sea. In the synthetic and Karaca tural rather than the descriptive, 241 00:29:18,880 --> 00:29:27,520 it could well have been painted to resemble Naturaliste mouthing decorations such as you vexes civil marriage of 1881. 242 00:29:27,520 --> 00:29:31,630 Instead, by opting for the Steffen's simplified, 243 00:29:31,630 --> 00:29:37,510 SUHAD introduced stylistic elements that not only distanced his painting from the dominant naturalism, 244 00:29:37,510 --> 00:29:46,660 but suggested some kind of satire on Republican ISM's vaunted fraternal collectivity. 245 00:29:46,660 --> 00:29:53,860 A second area in which the caricature of food fuelled innovation was in the exaggeration of form, 246 00:29:53,860 --> 00:30:02,840 the Post 1881 mentality encouraged the satirical, the grotesque could slip in to spice up the descriptive. 247 00:30:02,840 --> 00:30:11,740 An artist with an acute eye for the comic like Low, Krech could switch into an appropriately Karaca tural idiom in his paintings. 248 00:30:11,740 --> 00:30:20,380 Doctor Pale Operating was made about 1891. Low Track had watched and sketched for the famous surgeon at work, 249 00:30:20,380 --> 00:30:29,510 and his painting uses the naturalistic device of the fragmentary foreground figure to give a sense of peering over his shoulder to see the procedure. 250 00:30:29,510 --> 00:30:41,020 But Lautrec reduced the descriptive, focussing on Peel's hand, carefully manipulating his instrument midway between two faces. 251 00:30:41,020 --> 00:30:53,770 Both of these surgeons and patients come close to Karaca two pails, heavy cook nosed pails, a heavy hook nosed Portale Shaji. 252 00:30:53,770 --> 00:31:02,290 The patients, a grotesque chloroformed a rictus alongside a low trex quick far image. 253 00:31:02,290 --> 00:31:12,700 Joe Vexes 1887. Sallow painting seems less a modern image of the pioneering surgeon forwarding his science than a ponderous lesson 254 00:31:12,700 --> 00:31:21,040 about progress and put a professional worth to a greater or lesser degree in detail or across a whole composition. 255 00:31:21,040 --> 00:31:28,860 Artists such as Lautrec could use the grotesque or the distorted to shift away from the descriptive, bland style. 256 00:31:28,860 --> 00:31:34,840 Thus an IRA unironic to give their art an edge. 257 00:31:34,840 --> 00:31:39,760 Avant garde artists used the caricature as a tactic to negotiate their positions. 258 00:31:39,760 --> 00:31:46,300 Visa V, the dominant naturalism, Fuller, who operated both as painter and caricaturist, 259 00:31:46,300 --> 00:31:50,770 typically stretched the boundaries of naturalism in that direction. 260 00:31:50,770 --> 00:32:01,570 At the 1879 Impressionist exhibition Goulashes Like the Client, The Judgement of Paris scape Brisley replayed in a modern brothel, 261 00:32:01,570 --> 00:32:07,870 announced his caricature or credentials paintings such as the Fishermen of 1884, 262 00:32:07,870 --> 00:32:12,740 in which the portly and learn his poodle sit precariously above the river, 263 00:32:12,740 --> 00:32:19,720 show that even naturalistic painting in the right hands could take on a gently ironic inflexion. 264 00:32:19,720 --> 00:32:27,790 But as the eighteen eighties moved on, the younger generation drew even more incisively on caricature or qualities to give their 265 00:32:27,790 --> 00:32:35,950 work a modern comic or critical sharpness so that they came to characterise personal style. 266 00:32:35,950 --> 00:32:47,080 Between 1887 and 1891, both the young Tudors on a track and Louis Okata used the possibilities of caricature as a passage out of naturalism. 267 00:32:47,080 --> 00:32:54,640 This was in reaction to their training in the studio of fellow Coolmore, whose stock in trade was academic naturalism. 268 00:32:54,640 --> 00:33:01,510 His subjects frequently the accurate description of the prehistoric past. 269 00:33:01,510 --> 00:33:09,050 Around 1880, six to seven, Metrick and Okita frequented Lammert Little Cabaret artistic of Aristide. 270 00:33:09,050 --> 00:33:16,210 Blau bellowed out roughly hewn songs about the tough working class life of the Paris 271 00:33:16,210 --> 00:33:24,370 Backstreet's in proletarian slang in what past as an authentic whiff of low life. 272 00:33:24,370 --> 00:33:31,480 This somewhat asat climate of social realism ingress low track, engrossed, low track and on guitar for a while. 273 00:33:31,480 --> 00:33:35,680 No track titled some of his portraits of the Bulls songs. 274 00:33:35,680 --> 00:33:45,510 This one on the right is a Muj. While Okita Paten Bass sorry, planned a major painting based on Loomer Little never completed. 275 00:33:45,510 --> 00:33:51,010 And this drawing on the left is a study for that picture with Emil Bana posing for it. 276 00:33:51,010 --> 00:33:59,410 Such painting might still have been essentially descriptive, but Lautrec also contributed caricatures to the cabaret's periodical. 277 00:33:59,410 --> 00:34:05,260 This one is one titled How Old Are You, Sweetie? 278 00:34:05,260 --> 00:34:19,900 Fifteen Márcia getting on a bit confrontational persona taught the two young artists that subject was one thing, pictorial phrasing another. 279 00:34:19,900 --> 00:34:27,790 Both turned low track, insinuated the grotesque and the aggressive into their work. 280 00:34:27,790 --> 00:34:35,140 Take two circus scenes made in 80, said 1887. Eight All Stars, apparently playful colours. 281 00:34:35,140 --> 00:34:37,900 Actually, Garecht and the red coated, 282 00:34:37,900 --> 00:34:49,340 green faced clown seems to threaten rather ex it rather than extol his juggling colleague as the paunchy ringmaster looks on from the shadows. 283 00:34:49,340 --> 00:34:56,920 Low tax Ozick. Fernando also has a sinister undertow beneath the surface jollity. 284 00:34:56,920 --> 00:35:00,940 The audience seems distant and unengaged. 285 00:35:00,940 --> 00:35:09,340 The bareback rider, heavily Maciek float slowly skirted tights visible up to her buttocks, faces a swaggering, 286 00:35:09,340 --> 00:35:17,710 leering ringmaster as virile as the stallion she rides and whose whip is their means of communication. 287 00:35:17,710 --> 00:35:24,500 Instead of directly describing the visual experience of the circus, as Tiso had done in paintings from his family, 288 00:35:24,500 --> 00:35:33,460 Mathie series exhibited in 1885 Low Track and Okata used the exaggerated devices of the caricature, 289 00:35:33,460 --> 00:35:37,480 particularly the grotesque and the insipidly violent, 290 00:35:37,480 --> 00:35:43,960 as means of characterising the edgy jollity of circus performance far more acutely than mere surface 291 00:35:43,960 --> 00:35:53,530 description or guitar arrived at a picture of stylisation in 1889 with the roundabout with short Polizei, 292 00:35:53,530 --> 00:36:02,560 which uses synthetic drawings to exaggerate the mannered prancing of the well groomed horses and pitches complementary contrasts of red and green, 293 00:36:02,560 --> 00:36:11,050 muted blue and orange against each other. This repudiation of the descriptive is continued in the distortion of the figure into 294 00:36:11,050 --> 00:36:18,550 an impossibly trimmed silhouette echoed by her beribboned and mustachioed poodle. 295 00:36:18,550 --> 00:36:24,970 By the early 80s 90s, it had become a critical commonplace to compare all guitars and low trex work to. 296 00:36:24,970 --> 00:36:33,560 And the Karaca to your old tradition. In 1892, I, Alex Zorn's important historical study of Karaca to La Deuel. 297 00:36:33,560 --> 00:36:41,310 Here illustrated low Trex recent painting alarmed me amongst a host of caricatures. 298 00:36:41,310 --> 00:36:49,710 It was the only painting that Alec Zorn's reproduced as if he understood that 299 00:36:49,710 --> 00:36:55,740 Lautrec was currently working in territory which fused painting and caricature. 300 00:36:55,740 --> 00:37:02,250 Indeed, when compared to a similar naturalist subject such as Rafael is Absinthe Drinkers. 301 00:37:02,250 --> 00:37:09,150 In 1881, painting exhibited at the 1889 Sallow Low Cricks, an army has both a graphic, 302 00:37:09,150 --> 00:37:17,520 improvised quality and a searingly astute eye for vises inscribed on the face, which qualify it as Karaca. 303 00:37:17,520 --> 00:37:28,050 Tural Alexander's book also illustrated the upper section of Low Trex first poster published only a year before. 304 00:37:28,050 --> 00:37:31,290 At one level, this was understandable for Moulin Rouge, 305 00:37:31,290 --> 00:37:42,260 LA Gullu is a veritable index of the stylistic possibilities of the caricature of synthetic drawing, the silhouette, distortion and the grotesque. 306 00:37:42,260 --> 00:37:45,590 But another. It must have seemed radical. 307 00:37:45,590 --> 00:37:55,800 In 1892, to include a poster designed to market a contemporary dance hall and a performer in a historical survey of Karaca. 308 00:37:55,800 --> 00:38:02,130 But Alexander seems to have sensed that caricature or stylistic means, 309 00:38:02,130 --> 00:38:12,100 and the new commercial medium of the poster would comfortably coalesce because both were emphatically modern. 310 00:38:12,100 --> 00:38:20,760 If the track and Okita had used the caricature as a means to distance themselves from the naturalism in which they had been trained for Suha, 311 00:38:20,760 --> 00:38:25,440 it was a path out of the classicism with which he had been imbued at the acle, 312 00:38:25,440 --> 00:38:31,650 the Bouzar in the eighteen seventies already when the Grand Jatte had been exhibited in 1886. 313 00:38:31,650 --> 00:38:37,710 Many critics have responded to its stylistic innovations by reading them in playful terms, 314 00:38:37,710 --> 00:38:41,520 comparing the simplified figures to tin soldiers or Ima's dippie. 315 00:38:41,520 --> 00:38:48,240 Now the naturalist's writer Paul Alexis had found the picture type farce. 316 00:38:48,240 --> 00:38:58,020 Four years later, when Zohar exhibited show at the 1890 Southlanders and pulled up his use of the Karaca, Joel had gone further. 317 00:38:58,020 --> 00:39:04,770 Show was a radical painting by any standards. It made use of the psycho physical ideas of the eccentric. 318 00:39:04,770 --> 00:39:12,840 Theoreticians show only who linked the direction of lines to colours as a means of preordain emotional response. 319 00:39:12,840 --> 00:39:19,440 Thus, the dancers kicked up legs rising above the horizontal and angled from the right 320 00:39:19,440 --> 00:39:25,740 interplay with the warm oranges and pinks to stimulate the response of gaiety. 321 00:39:25,740 --> 00:39:35,220 According to only, Suha absorbed what he needed of all his theories within his own 28 touch and stylistic mannerisms. 322 00:39:35,220 --> 00:39:44,370 Look at the colation, the dark peripheries to the strongly lit areas and the tidily repetitive shadows of the dancer's feet. 323 00:39:44,370 --> 00:39:52,890 Since the dawn, Jatt suhas drawing had become more sinuous, well adapted to the licentiousness of the dance or subject. 324 00:39:52,890 --> 00:39:57,520 This also involved absorption, this time from Karaca. 325 00:39:57,520 --> 00:40:06,420 Tural imagery for show recall's drawings such as a hobby does ballet rehearsal at the Folley musicale of 1884, 326 00:40:06,420 --> 00:40:13,950 in which grinning faces and ritualistically lewd leg lifting routines increase their ridiculousness 327 00:40:13,950 --> 00:40:21,090 by repetition shows design with its musicians cut off by the lower edges of the picture. 328 00:40:21,090 --> 00:40:25,240 Its basest seen from behind and its fragments of the flautist. 329 00:40:25,240 --> 00:40:35,190 S Fingers was itself a play on Naturaliste compositional devices, which in turn were commonplace in caricature and illustration. 330 00:40:35,190 --> 00:40:39,720 As the admiring Belgian painter Only Vandevelde and noted in 1890, 331 00:40:39,720 --> 00:40:48,900 the painting represented a cordial of at least a variant on the Khankan so named for its extra new Brustein naturalism. 332 00:40:48,900 --> 00:40:52,860 Having entered the daily parlance of the entertainment industry of the dancehall as 333 00:40:52,860 --> 00:41:00,990 shorthand for the smutty show was thus a complex brew of styles and associations, 334 00:41:00,990 --> 00:41:09,180 merging more Maat entertainment, culture and scientific theories about perception with advanced painting technique stylising the 335 00:41:09,180 --> 00:41:17,850 clichés of Naturaliste composition show fused at the modern and the Karaca Tural and read that way, 336 00:41:17,850 --> 00:41:27,000 as Vanderveldt put it in these facts. So in this most immediate modernity, these clubs, dressing rooms, cat houses. 337 00:41:27,000 --> 00:41:36,790 Oh, Arani. Modern by definition, caricature does not just target the subject of the moment. 338 00:41:36,790 --> 00:41:44,770 It also uses contemporary associations, plugs into mortality, as Bergesen pointed out in his study of laughter. 339 00:41:44,770 --> 00:41:49,390 Part of the joke is getting the public to make the connexion. 340 00:41:49,390 --> 00:41:53,770 Artists working within the caricature as well as caricaturists, 341 00:41:53,770 --> 00:42:02,230 often drew on contemporary scientific associations and responses to their work, acknowledged this by the eighteen eighties. 342 00:42:02,230 --> 00:42:07,900 The new psychology of the year marked our CHAKO and others exploring hysteria and 343 00:42:07,900 --> 00:42:14,470 the subconscious that permeated the social understanding of the informed public. 344 00:42:14,470 --> 00:42:20,000 Writers frequently used it for analogies with work they found disturbing the decadent writers. 345 00:42:20,000 --> 00:42:26,770 Your mother, who revelled in the louche and the marginal thought ad of Willett's neurotic, 346 00:42:26,770 --> 00:42:34,900 violent imagery, shared its modernity with Shaka's experiments with disturbed states of mind. 347 00:42:34,900 --> 00:42:43,210 The older naturalist novelist Edmund Goncourt, however, used the contemporary fascination with states of mind damningly when he dismissed Odey. 348 00:42:43,210 --> 00:42:51,650 Your luchadores lithographs as done it to be set for a mental hospital by a senile old man seated on a chaise path, 349 00:42:51,650 --> 00:42:58,810 say Concours Opinion was insulting but not gratuitous. 350 00:42:58,810 --> 00:43:10,510 The title, abseil for a hallucinatory 1894 lithograph, was surely a battle on the hurdles part to the developing interest in psychology. 351 00:43:10,510 --> 00:43:17,890 But although Riddell's work was far from naturalism, his fantastic imagery was nourished by science. 352 00:43:17,890 --> 00:43:21,080 He was interested in microscopic organisms, 353 00:43:21,080 --> 00:43:28,370 a field we've already noted was increasingly coming into public attention in the eighteen eighties with the discoveries of Pasteur and others. 354 00:43:28,370 --> 00:43:36,670 Indeed, in 1883, the artist sent the famous Chemist his album, Less of the Gene, and Pasteur wrote back, 355 00:43:36,670 --> 00:43:42,730 congratulating to the door on his ability to give life to monstrosities who'd 356 00:43:42,730 --> 00:43:48,940 was instinct for the grotesque into played with his scientific interests. 357 00:43:48,940 --> 00:43:56,890 Many of the fantastic forms which populate the hurdles, charcoals and lithographs were extraordinary hybrids. 358 00:43:56,890 --> 00:44:05,620 They were invented by drawing on visual idioms as diverse as past art, scientific illustration and caricature, 359 00:44:05,620 --> 00:44:13,660 and on scientific discovery, including Pasteur in microbiology and Darwinian evolutionary theory. 360 00:44:13,660 --> 00:44:21,960 Typically, this involved a process of transformation in which the figure, as you see here, becomes a kind of mutant. 361 00:44:21,960 --> 00:44:24,790 A combination of the human and the animal, 362 00:44:24,790 --> 00:44:34,300 vegetable or floral rendering human elements grotesque by such visual hybridisation brings forward suggestions about bats, 363 00:44:34,300 --> 00:44:38,200 beings that beings origins and true nature. 364 00:44:38,200 --> 00:44:44,740 It's failed or flawed evolution, even its regression here. 365 00:44:44,740 --> 00:44:55,510 The Darwinian met the Karaca tural for such metamorphoses were a device in Karaca tool used, for example, in the cruel series of prints. 366 00:44:55,510 --> 00:45:04,810 Fleur Fluey, a Legum de jure which Alfred Look Pity had produced during the Paris Commune of 1871, 367 00:45:04,810 --> 00:45:12,880 might one might compare look puttees caricature of the senior Republican Edgard Kenay as a Caterpillar 368 00:45:12,880 --> 00:45:19,050 shrinking behind a violet with a crawling mutant in the first plate of a Goodall's lays off a 369 00:45:19,050 --> 00:45:28,840 gene or his print of the lawyer alf ad of the year with Woodall's charcoal captus man works like 370 00:45:28,840 --> 00:45:36,600 these where all came closest to the caricature of idiom of a look pretty data from the early 1980s. 371 00:45:36,600 --> 00:45:47,720 And one suspects that the liberation of caricature in 1881 stimulated Huddle's fascination with the metamorphic grotesque. 372 00:45:47,720 --> 00:45:57,360 The Darwinian theory of evolution. About what? Which we're hearing so much this year offered a rich field for caricature and the grotesque. 373 00:45:57,360 --> 00:46:00,630 Of course, there were endless jokes. 374 00:46:00,630 --> 00:46:11,940 1894, for instance, saw the publication of a book, Man The Monkey, who has degenerated by a certain Philadelphi Godzilla. 375 00:46:11,940 --> 00:46:19,110 Inevitably, Darwinian notions made their way into the political caricature of both left and right. 376 00:46:19,110 --> 00:46:32,370 This might equally be verbal. LaShawn, by Socialist, published a satirical play in 1894 featuring the Bonapartist Monkey de chimpanzee or visual, 377 00:46:32,370 --> 00:46:42,020 as in Le Nevers viciously a.D.A FACA series Le Musette de half of nineteen hundred Battle Alli's 378 00:46:42,020 --> 00:46:49,670 Lily Zé there on the left transformed Capo's famous sculpture Luchadores into a lawned of delay. 379 00:46:49,670 --> 00:46:53,930 FACA all mutated into beasts. 380 00:46:53,930 --> 00:47:04,560 Nevers imagery implied that defending Dryfoos was done by subhumans or involved some regression from human to ape or pig. 381 00:47:04,560 --> 00:47:12,930 Darwin's theories dealt with evolution, the competitive progress of species and also with D generation. 382 00:47:12,930 --> 00:47:23,880 The failure to compete and adapt. Such ideas were widely adopted in late 19th century French in France in diagnoses of the nation's ills. 383 00:47:23,880 --> 00:47:29,970 Symptoms such as the worryingly sluggish birthrate compared to rival nations like Germany, 384 00:47:29,970 --> 00:47:35,290 the rise in alcohol consumption and the spread of sexually transmitted diseases were attempt. 385 00:47:35,290 --> 00:47:41,400 They were interpreted by many in terms of national D generation. 386 00:47:41,400 --> 00:47:46,680 Such a medico scientific reading of the state of the nation was itself symptomatic. 387 00:47:46,680 --> 00:47:53,670 What might add of the Republican commitment to modern positivist analysis in this context? 388 00:47:53,670 --> 00:47:56,430 It was inevitable that much caricature of the eighteen, 389 00:47:56,430 --> 00:48:05,310 eighties and nineties was concerned at one level or another with the notion of degeneration or decadence and thus with morality. 390 00:48:05,310 --> 00:48:11,460 Indeed, there was a lively crossover between medico scientific ideas and artists imagery. 391 00:48:11,460 --> 00:48:21,890 In 1892, the German doctor, Max Knock-down, published his book Degeneration A Fierce Attack on Contemporary French culture and Morality. 392 00:48:21,890 --> 00:48:29,550 NORDO identified what he called Stig Martta the physical characteristics of the degenerate. 393 00:48:29,550 --> 00:48:44,130 These symptoms included bodily deformities, asymmetrical features, exaggerated ears and squint eyes, a veritable inventory of Karaca chill devices. 394 00:48:44,130 --> 00:48:49,950 The reputations of artists such as Tourism Attract were based on this kind of reading of their work. 395 00:48:49,950 --> 00:48:55,620 As Andre Malatya wrote of Lautrec in 1896, he seems to be an artist in tune with, 396 00:48:55,620 --> 00:49:02,070 but not resistant to his epoch vice written to the point of morbidity. 397 00:49:02,070 --> 00:49:12,060 Indeed, artists played up this type of persona. Take Gagas Relief Sleigh's Amwell hers carved in 1899. 398 00:49:12,060 --> 00:49:20,430 Ghoga himself appears to upper right. His hooked nose exaggerated and a thumb coarsely shoved into his mouth. 399 00:49:20,430 --> 00:49:28,170 In a letter of November 1889, he described how behind him was the festering city of Babylon, 400 00:49:28,170 --> 00:49:35,040 while a demon's hand reaches out to the left to grab the woman's arm. 401 00:49:35,040 --> 00:49:40,140 The imagery may be elusive and the carving deliberately crude, but why? 402 00:49:40,140 --> 00:49:49,830 Omahas relies for its reading on assumptions about contemporary decadence and the character tural as the means to articulate them. 403 00:49:49,830 --> 00:49:57,300 Much the same can be said about your cafi as is contemporary pot to Passi fail. 404 00:49:57,300 --> 00:50:03,960 This contemporary portal was commissioned in 1890 by the process to scale more belyea. 405 00:50:03,960 --> 00:50:13,040 That sounds a wonderfully aristocratic name, but she was actually win a Retter singer with a fortune from sewing machines, 406 00:50:13,040 --> 00:50:17,700 and she commissioned it as the entrance to the room in which she would keep her newly 407 00:50:17,700 --> 00:50:25,380 acquired manuscript of Richard Varner's Pacifier unfinished on Cafi as his death in 1894. 408 00:50:25,380 --> 00:50:33,660 We know the port only from a watercolour and completed fragments in the centre of the door would 409 00:50:33,660 --> 00:50:41,100 have been a commanding female figure who seems to dominate the grotesques which form the arch. 410 00:50:41,100 --> 00:50:46,940 Some of these, such as the frog, like men to upper left and right. 411 00:50:46,940 --> 00:50:54,380 Remind one of Woodall's hybrid creatures with their suggestion of degenerate evolution. 412 00:50:54,380 --> 00:51:00,380 Much as the Third Republic sought to identify itself with scientific progress, artists such as The Door, 413 00:51:00,380 --> 00:51:11,010 Goga and Cathy S. could twist that optimistic rhetoric into forms which caricatured evolutionary rationality. 414 00:51:11,010 --> 00:51:16,080 I want to close by looking briefly at two artists emerging in the early 80s, 415 00:51:16,080 --> 00:51:23,580 90s and with whom the caricature all seems to have been an inherent characteristic of their ways of seeing pure Bonner. 416 00:51:23,580 --> 00:51:31,410 And while we are, there is a consistent vein of humour in Bonners 1898 work to the extent to which this was 417 00:51:31,410 --> 00:51:37,610 innate or cultivated by the post 1881 mortality in which he matured is a matter of speculation. 418 00:51:37,610 --> 00:51:47,250 But as friends like the actor Loonier Po and the critic Malathion recognise that his wit had both frivolous and satirical aspects. 419 00:51:47,250 --> 00:51:53,280 His urban imagery in particular, having an edgy and nervous touchiness. 420 00:51:53,280 --> 00:52:01,500 That almost diagnostic reading applies, for example, to the post bond draughted in 1891 for the Moulin Rouge. 421 00:52:01,500 --> 00:52:13,560 In a competition eventually won by Tutuola, Krech Bonner also elected to centre on the high kicking show TERs the Images Karaca Tural in the way 422 00:52:13,560 --> 00:52:21,540 it's striking synthetic line economically defines the blithely self-absorbed features of her to say, 423 00:52:21,540 --> 00:52:25,980 nose dancer and the leering gentleman punter's behind her. 424 00:52:25,980 --> 00:52:34,800 The figures are shot through with flashing yellow contours, giving the image a vibration like an electric shock. 425 00:52:34,800 --> 00:52:46,640 This draws attention to her hands, scrabbling to lift her skirts and underneath them valued inviting to lay soire. 426 00:52:46,640 --> 00:52:51,690 If asked, poster design demonstrated his currency in the Democratic idiom. 427 00:52:51,690 --> 00:52:57,990 His family pictures are gentle self-parody class caricatures, 428 00:52:57,990 --> 00:53:05,340 but they also play with naturalist's devices such as clopping so that the style becomes part of the comedy. 429 00:53:05,340 --> 00:53:11,200 Exaggerated close ups no longer about immediacy, but about family foibles. 430 00:53:11,200 --> 00:53:18,480 The 1891 drinks in the garden crams his family's heads into a typed pictorial space. 431 00:53:18,480 --> 00:53:23,040 In an exaggerated parody of the naturalist's device of cropping forms. 432 00:53:23,040 --> 00:53:32,760 Bonners grandmother matter met stores, clasps a glass of liqueur while his brother in law, Sharlto, has raises a cup to his bearded mouth. 433 00:53:32,760 --> 00:53:39,560 Even the cat's face is treated equivalently in this medley of friendly face features. 434 00:53:39,560 --> 00:53:49,080 If in drinks in the garden, deliberately overplayed, proximity finds a nice balance between the intimate and the ridiculous. 435 00:53:49,080 --> 00:53:56,370 In Grand Mother and Child of about 1895, dark and light are the key formal features. 436 00:53:56,370 --> 00:54:00,960 The pale egg like sphere of the baby's head contrasts with matter. 437 00:54:00,960 --> 00:54:06,420 Melt stalks, sombre features deeply grooved like a rough carving. 438 00:54:06,420 --> 00:54:09,960 Bonnar makes us watch from across the table cloth. 439 00:54:09,960 --> 00:54:20,790 Affectionately distanced from the scene of age and infancy, each quietly comic botto could be both cooler and more playful. 440 00:54:20,790 --> 00:54:30,330 In his prints, conversation was intended as an illustration to the adult guards' caricature or periodical Lescott Mouche in 1893. 441 00:54:30,330 --> 00:54:35,460 Here, proximity is rendered silly, yet oppressive. 442 00:54:35,460 --> 00:54:44,490 Bonnar exaggerated the man's thin, curved jaw under his open mouth, long nose and seemingly closed eyes, 443 00:54:44,490 --> 00:54:49,950 making the woman look surprised, a horrified mouth and eyes wide open. 444 00:54:49,950 --> 00:55:01,890 Crucially, style matters here. Look at how she is drawn in nervous touches and muted tones with no cohesive linearity. 445 00:55:01,890 --> 00:55:14,370 He is all Kondor dominated by that dark, hyperbolic staff realise work is less obviously caricature than his friend Bonners. 446 00:55:14,370 --> 00:55:24,030 But for both of them, the caricature helped slough off naturalism for art that made more of personal style, indeed played with style. 447 00:55:24,030 --> 00:55:29,490 If we are was less spontaneously humorous than Bonnar, she made the most of his circumstances. 448 00:55:29,490 --> 00:55:34,910 Friendships with illustrators for the caricature press like Oswald Heidbrink and actors like Luna 449 00:55:34,910 --> 00:55:40,770 Pu Luna had done his training at the Paris Conservatoire under the famous Colclough Brothers. 450 00:55:40,770 --> 00:55:48,360 At around 1890, he introduced We Are to Cocula Cadie, renowned as an interpreter of Moliere Cuchillo. 451 00:55:48,360 --> 00:55:58,860 Cathy was also a performer of comic monologues, glorying in titles like The Lovesick Earthworm and the Man Giving a Monologue. 452 00:55:58,860 --> 00:56:04,890 And it was in this mode that Geor Baho painted him in 1882 as an art collector. 453 00:56:04,890 --> 00:56:09,760 Cupolas taste was for Naturaliste work, such as his friend Bettles or Emil. 454 00:56:09,760 --> 00:56:21,100 Yours, but in 1890 to 91, Cocula bought a number of watercolours by we are representing him performing Molin. 455 00:56:21,100 --> 00:56:28,840 These are very cursorily drawn. They're sharp silhouettes responding to the shadow plays in vogue at the cabaret artistic. 456 00:56:28,840 --> 00:56:34,180 And they're bright colours and schematic features to Japanese woodcuts of actors. 457 00:56:34,180 --> 00:56:44,890 We all made these watercolours for ready cash. But why did Kokila want these daringly reductive images so different from his established taste? 458 00:56:44,890 --> 00:56:51,910 Kukla was a founder member of the SAT's Ankomah Hall, at which he exhibited with an acute sense of the comic. 459 00:56:51,910 --> 00:57:00,280 He must have appreciated the economy with which we are caught. The extravagantly exaggerated movements of these scenes from Moliere. 460 00:57:00,280 --> 00:57:04,210 Perhaps admiring a form of representation which was not descriptive, 461 00:57:04,210 --> 00:57:10,750 but rather sought to find a style which was as comic in itself as the poem performance it evoked. 462 00:57:10,750 --> 00:57:17,080 We are noted in his journal that he could not draw men without slipping into caricature, 463 00:57:17,080 --> 00:57:22,900 which indicates how entrenched he felt his caricature or way of seeing was. 464 00:57:22,900 --> 00:57:27,250 He was also striving to to reduce his inclination to exactitude. 465 00:57:27,250 --> 00:57:32,590 Writing in late summer 1890, a woman's head has just given me a certain emotion. 466 00:57:32,590 --> 00:57:40,600 This emotion alone must prompt me, and I must not cry to remember a nose or an ear that doesn't matter at all. 467 00:57:40,600 --> 00:57:48,070 A little painting like woman with a bonnet in profile made about this time takes such admonitions to heart, 468 00:57:48,070 --> 00:57:52,480 nose and ear are reduced like the rest to schemers. 469 00:57:52,480 --> 00:57:59,910 But in a distillation of mood and movement which conveys a coy anxiety through stylistic means. 470 00:57:59,910 --> 00:58:06,310 The hunched silhouette, pallid chromatics, restless salad of a hat. 471 00:58:06,310 --> 00:58:15,010 How different this is from the passing profiles of the women in Fields Contemporary All Saints Day with its detailed ears and noses. 472 00:58:15,010 --> 00:58:20,050 We are achieved synthesis via the Karaca Tural. 473 00:58:20,050 --> 00:58:28,480 The countercultural gave artists the right to invent, exaggerate and even ridicule rather than describe. 474 00:58:28,480 --> 00:58:33,460 Why was this current pervasive? Because it was modern. 475 00:58:33,460 --> 00:58:38,380 The caricature of Kabbala, the caricature was closely linked to cabaret culture. 476 00:58:38,380 --> 00:58:40,600 The poster. The entertainment industry. 477 00:58:40,600 --> 00:58:48,220 It grew from the innovative ideas of science and medicine because the caricature all engaged with such significant modern discourses, 478 00:58:48,220 --> 00:58:53,290 because it was itself a vivid dimension in the maidment mentality of modernity. 479 00:58:53,290 --> 00:59:02,020 The Karaca Tural helped the artists to reach out to new audiences through the medium of modern technologies such as the illustrated press. 480 00:59:02,020 --> 00:59:06,640 Artists could engage a wider public than the exhibition visitor. 481 00:59:06,640 --> 00:59:10,240 That wider audience was still predominantly bourgeois. 482 00:59:10,240 --> 00:59:17,830 The powerhouse of the Third Republic, the prevalence of the Karaca tural was double edged for the Republic. 483 00:59:17,830 --> 00:59:23,200 Caricature and culture had been released by the libertarian reform of 1881. 484 00:59:23,200 --> 00:59:30,670 But that spiralling culture not only lifted the censorship of political caricature, it went much further, 485 00:59:30,670 --> 00:59:37,990 drawing attention to France's modern problems, most notably the troubling issue of D generation. 486 00:59:37,990 --> 00:59:42,250 In addition, by encouraging young artists to carry caricature or modes, 487 00:59:42,250 --> 00:59:49,300 it drew them away from the dominant naturalism which functioned in so many ways to support the Republican consensus. 488 00:59:49,300 --> 00:59:57,250 Young painters who were uncommitted to that consensus or opposed to it would be drawn to a style outside it. 489 00:59:57,250 --> 01:00:01,720 The caricature was a complex phenomenon, bridging many different cultural, 490 01:00:01,720 --> 01:00:07,570 social and political processes, and it richly inflected the work of many artists. 491 01:00:07,570 --> 01:00:15,640 It is, I would argue, a more useful way of considering this period that the nebulous concept of post impressionism. 492 01:00:15,640 --> 01:00:23,157 Thank you.