1 00:00:01,050 --> 00:00:05,680 The penultimate lecture on. Today, 2 00:00:05,680 --> 00:00:11,080 I am going to concentrate exclusively on the avant garde to look at painters whom 3 00:00:11,080 --> 00:00:15,820 you would probably expect to dominate a series of lectures on French painting. 4 00:00:15,820 --> 00:00:24,250 Between 1880 and nineteen hundred dug out Monet, Safad, says an Cenac, a Dinni. 5 00:00:24,250 --> 00:00:29,860 Such artist, after all, paved the way for important innovations in the early 20th century. 6 00:00:29,860 --> 00:00:39,370 They are major figures in the modernist art history that for the last half century has formed our understanding of early modern art. 7 00:00:39,370 --> 00:00:46,060 Hitherto, such painters have played what you might have considered minor roles in my lectures, 8 00:00:46,060 --> 00:00:53,050 or have, I hope, surprisingly and convincingly cropped up in unexpected contexts and conjunctions. 9 00:00:53,050 --> 00:01:02,920 But on this occasion, they come centre stage. This penultimate lecture is an important turn in the progress of the series. 10 00:01:02,920 --> 00:01:11,710 It continues, but more overtly the implicit argument with the entrenched modernist history of art of this period. 11 00:01:11,710 --> 00:01:21,190 This account gives pride of place to independent art and highlights the innovations of heroic figures and successive Apple Gardens. 12 00:01:21,190 --> 00:01:27,340 The Musee d'Orsay, for example, is essentially displayed according to this narrative. 13 00:01:27,340 --> 00:01:32,710 A critique of modernism has been inherent in the lectures so far. 14 00:01:32,710 --> 00:01:40,350 If modernism conventionally sees naturalism after Corbeil and Manet as marginal or redundant, 15 00:01:40,350 --> 00:01:47,590 I have argued for its vitality, modernity and ideological centrality. 16 00:01:47,590 --> 00:01:51,460 Modernism emphasises the primacy of the old guard. 17 00:01:51,460 --> 00:01:58,780 Well, I do for a moment deny the extraordinary quality and importance of, say, s.L, Basil says arns work. 18 00:01:58,780 --> 00:02:07,480 Nor do I want entirely to disavow the old narratives. I do propose a more critical and contextual approach. 19 00:02:07,480 --> 00:02:14,050 It returns to my central argument about naturalism is aesthetic sense prouty. 20 00:02:14,050 --> 00:02:24,040 This brought with it problems. Naturalist painting could appear to value relator too tied to the Republic. 21 00:02:24,040 --> 00:02:34,570 It could be accused of being too obsessed with the gross material world and insufficiently attuned to subtleties of emotion, suggestion and belief. 22 00:02:34,570 --> 00:02:40,990 The critique of the symbolist elite. It could also seem, with its stress on the descriptive and the narrative, 23 00:02:40,990 --> 00:02:47,950 to be too concerned with restricting the resources of painting to the representation of the here and now, 24 00:02:47,950 --> 00:02:53,860 the commitment to depicting nature, even though naturalism allowed plenty of latitude, 25 00:02:53,860 --> 00:03:01,090 put too much emphasis on mimesis to the detriment of the possibilities of painting. 26 00:03:01,090 --> 00:03:06,880 To paraphrase Zola, too much of nature, not enough temperament. 27 00:03:06,880 --> 00:03:13,180 In an earlier lecture, I looked at contemporary accusations that naturalism lacked style. 28 00:03:13,180 --> 00:03:18,010 Today, I want to argue with artists who are determined to break its hegemony. 29 00:03:18,010 --> 00:03:29,500 The weapon was style, if not terrorism's descriptive aesthetic and its ideological usefulness to the republic pivoted on its inclusive city style, 30 00:03:29,500 --> 00:03:41,610 gave the artists the opportunity to be exclusive. I will move along broad lines ranging widely over 20 years, a very different artists. 31 00:03:41,610 --> 00:03:47,220 There will be no account of neo impressionism. The Nabby or other avant garde groupings at the time. 32 00:03:47,220 --> 00:03:55,710 So I'm assuming a certain knowledge amongst my audience. This isn't to dismiss any grouping's painters or their innovations. 33 00:03:55,710 --> 00:03:59,100 Very well documented in a vast literature. 34 00:03:59,100 --> 00:04:06,450 But to essay fresh and provocative arguments that develop my thesis and to attempt to see the remarkable paintings of 35 00:04:06,450 --> 00:04:16,530 this exciting period in different Lites style in the eighteen eighties and eighteen nineties had several dimensions. 36 00:04:16,530 --> 00:04:26,280 First, it involved necessitated even the manipulation of things seen to accord with the artist's creative will. 37 00:04:26,280 --> 00:04:34,950 It was a knowing rejection of the objectively descriptive to make forms which are subjected to the painter's transformation, 38 00:04:34,950 --> 00:04:40,800 touch, rhythm, chromatic sensibility, sets of pattern or design. 39 00:04:40,800 --> 00:04:48,600 Second, such a process necessarily adapted the processes of looking for and making. 40 00:04:48,600 --> 00:04:58,440 The artist did not look and paint in order to be correct, but to modify, distort or harmonise technique. 41 00:04:58,440 --> 00:05:11,560 Process was pivotal. Third, the search for style required psychological effort to reject the entrenched conventions of description, 42 00:05:11,560 --> 00:05:18,220 to find an appropriately personal expression or style with which to replace them. 43 00:05:18,220 --> 00:05:22,960 The search for style by this account was a hard road. 44 00:05:22,960 --> 00:05:25,480 It was not just heroic innovation. 45 00:05:25,480 --> 00:05:35,090 It could be shaped by an artist's own deficiencies of craft by inability to practise the high standards of naturalism. 46 00:05:35,090 --> 00:05:40,990 And there was also the need for work, which should stood somewhat apart from the norms of legibility, 47 00:05:40,990 --> 00:05:50,890 descriptive, mis and other kinds of social purpose. To give itself some justification for to function outside the bounds of naturalism. 48 00:05:50,890 --> 00:06:01,120 Was to some extent to repudiate a broad collective social consensus about how to see and understand the world. 49 00:06:01,120 --> 00:06:07,840 One way or another, Style had to negotiate with naturalism. 50 00:06:07,840 --> 00:06:15,400 We can begin by considering Impressionism in this context. Impressionism at this period is often discussed either in terms of an individual 51 00:06:15,400 --> 00:06:21,760 artist's work or within a wider context of avant garde activity and progress. 52 00:06:21,760 --> 00:06:29,400 Questions are much less frequently asked about impressionist painting in relation to naturalism. 53 00:06:29,400 --> 00:06:34,870 Often there seem to be antagonistic, the inventive against the plodding. 54 00:06:34,870 --> 00:06:39,760 But the picture was more complex, douglas' position visibly. 55 00:06:39,760 --> 00:06:49,180 Naturalism is fascinating. Not really understood what I'm thinking as much in terms of artistic politics as his work as early as 56 00:06:49,180 --> 00:06:55,540 1874 when he was involved in the organisation of what would be the first impressionist exhibition. 57 00:06:55,540 --> 00:07:02,800 Dugard had encouraged Tiso to Egypt to join what he advertised as a realist salon. 58 00:07:02,800 --> 00:07:10,240 Five years later, he plans to Invitrogen VACs and Liow meet to exhibit the Fourth Impressionist exhibition. 59 00:07:10,240 --> 00:07:21,220 In the event, neither participated. But all this evidence Diggles concept of these independent shows was less impressionist than Naturaliste. 60 00:07:21,220 --> 00:07:27,370 It encompassed artists whose painting manifested nationalism's breadth from Joe VACC is tightly executed. 61 00:07:27,370 --> 00:07:34,750 Metropolitan Chic to Lamb meets strongly drawn rustic city with his exhibits at the 62 00:07:34,750 --> 00:07:42,250 1879 80 and 81 Impressionist chose amongst them the daring Miss Alala at the SEC. 63 00:07:42,250 --> 00:07:50,620 Fernando of the Verisk Sticks sculpture of the little dancer of 14 Diggles critical reputation was very high. 64 00:07:50,620 --> 00:07:59,140 In addition to his work, if not purchased by the state, was in the private collections of prestigious tastemakers such as Charlotte. 65 00:07:59,140 --> 00:08:04,780 If Lucy, director of the Gazette, they Bouzar of the critically Louis de Flocco. 66 00:08:04,780 --> 00:08:11,350 It was Falko who you may remember from my third lecture in his review of the 1884 Salon, 67 00:08:11,350 --> 00:08:21,100 had praised Dagur as being the originator of many of the most innovative pictorial devices that characterised contemporary naturalist painting. 68 00:08:21,100 --> 00:08:32,710 But it was at this time around 1884, when Dagar was 50, that his attitudes to naturalism began inexorably to shift. 69 00:08:32,710 --> 00:08:46,040 Between 1882 and 1885, Dugard dated an unusual number of works which may suggest that he was planning a one man show the range of these subjects. 70 00:08:46,040 --> 00:08:51,100 Kathy says racecourses, milliner's, toilettes, scenes covered topics. 71 00:08:51,100 --> 00:09:00,550 Characteristically Naturaliste. Such a one man show would have been an initiative on dagoes part to make a public statement about his work. 72 00:09:00,550 --> 00:09:05,740 Its motifs draughtsmanship inventive compositions, in other words, 73 00:09:05,740 --> 00:09:14,140 to vault the primacy in Naturaliste art that writing such as Forclose 1884 text awarded him. 74 00:09:14,140 --> 00:09:19,300 But no such exhibition took place. Why? 75 00:09:19,300 --> 00:09:28,360 There was certainly a crisis of confidence in August 1884 when Douga wrote to two artist friends the SKULKED about Ptolemy and the painter La Hall, 76 00:09:28,360 --> 00:09:34,900 about producing bad work and being blocked powerless. 77 00:09:34,900 --> 00:09:45,430 We can only speculate whether creative anxieties undermine the projected exhibition or the idea of concentrated public exposure caused the self doubt. 78 00:09:45,430 --> 00:09:52,750 Part of that public exposure was Falco's identification of Douga as the originator of various compositional devices, 79 00:09:52,750 --> 00:10:01,030 which had become clichés and naturalist painting. The play may have been an exaggeration, but for an artist who valued his privacy, 80 00:10:01,030 --> 00:10:08,830 the idea of the spotlight a one man show a position of leadership may have been a real deterrent. 81 00:10:08,830 --> 00:10:12,820 But there is another dimension worth pointing out. 82 00:10:12,820 --> 00:10:21,520 It may also have been around this time that the guns started to make acid comments about other artists work and success. 83 00:10:21,520 --> 00:10:31,480 We do not know when he remarked that BMR flies with our wings a pun on a volley to fly and to steal. 84 00:10:31,480 --> 00:10:38,290 But the sort of work that might have produced such comments was being made in the mid eighteen eighties. 85 00:10:38,290 --> 00:10:45,600 I've already shown the parallel between Beaners 1888 chemistry course and Degassed Cafe Corsair compositions, 86 00:10:45,600 --> 00:10:52,720 and one could draw another between Beaners 1886 pastel nude woman warming herself on the left and 87 00:10:52,720 --> 00:10:59,470 Dugan's pastels of similar subjects like those shown at the Eighth Impressionist exhibition that year. 88 00:10:59,470 --> 00:11:10,390 If Tergat sniffed at what he saw as bad as fall, borrowing's his snipe at Bastia La Plage was from another direction. 89 00:11:10,390 --> 00:11:22,170 Bastian's love in the vintage on the left was shown on the set of 1883 and again it is retrospective in 1885, presumably on one of these occasions. 90 00:11:22,170 --> 00:11:25,450 Dagong muttered, I see them making love wild. 91 00:11:25,450 --> 00:11:35,830 Pizarro's back is turned. That comment was much more than an implicit comparison with Pizarro's contemporary peasant subjects, which devout. 92 00:11:35,830 --> 00:11:39,100 No doubt preferred, like the one on the right. 93 00:11:39,100 --> 00:11:48,940 I suspect that it also inferred a critique of the anecdotal descriptive ness of Bastian's painting the girl holding a flower Shor's. 94 00:11:48,940 --> 00:11:56,380 But on the fence, the lad self consciously x inspecting his fingernails in comparison with a simpler, 95 00:11:56,380 --> 00:12:01,540 less explanatory body language of Pizarro's rural types. 96 00:12:01,540 --> 00:12:06,880 But there were many ways of reading such a picture as Bastian's Gongadze. 97 00:12:06,880 --> 00:12:16,270 Danish wife Metty was shocked because she thought Love in the village depicted the seduction of an underage girl. 98 00:12:16,270 --> 00:12:22,870 That remark typified how Naturaliste paintings encouraged literal social readings. 99 00:12:22,870 --> 00:12:28,210 Thus, perhaps a reason why Douga determined to distance his own work from description 100 00:12:28,210 --> 00:12:35,590 and narrative on several occasions did I made clear his disdain for artists who, 101 00:12:35,590 --> 00:12:41,830 as he put it, had arrived achieved establishment success. 102 00:12:41,830 --> 00:12:46,450 For example, in 1884, Rafaeli staged a one man show. 103 00:12:46,450 --> 00:12:56,800 It included no less than 24 individual portraits made of studies for the canvas of Klam, also speaking to be shown at the salon the following year. 104 00:12:56,800 --> 00:13:07,180 If this veritable inventory of radical Republicanism is leading lights was a gambit on Rafael's part to position himself politically, 105 00:13:07,180 --> 00:13:17,230 Duga baulked at such careerist manoeuvring, complaining about the large catalogue Rafaeli had written, dedicated, as do I put it, 106 00:13:17,230 --> 00:13:24,960 to his exhibition and to himself, discomfort with nationalism's picture making. 107 00:13:24,960 --> 00:13:32,520 And it was tokenism and political patronage caused Dagar to disassociate himself. 108 00:13:32,520 --> 00:13:37,450 Dagar contributed 10 works to the eighth impressionist group exhibition in 1886. 109 00:13:37,450 --> 00:13:44,770 Thereafter, he chose to release work gradually through dealers, very rarely allowing small focussed displays. 110 00:13:44,770 --> 00:13:51,340 This denied himself the public presence and critical identity you could he could easily have courted. 111 00:13:51,340 --> 00:13:58,450 But it built up a rarefied reputation which appealed to a more elite clientele. 112 00:13:58,450 --> 00:14:09,820 His art adapted in parallel. He proved down still further his range of subjects, dropping the urban vernacular of Café Cafe called Sand and Circus, 113 00:14:09,820 --> 00:14:14,620 to specialise on motifs such as the ballet or women washing. 114 00:14:14,620 --> 00:14:20,380 Restricting his repertoire allowed him to concentrate on the core of his art. 115 00:14:20,380 --> 00:14:33,430 Drawing the body in movement, a pastel light at the milliner's, made in 1882 and exhibited in 1886, shows the residual naturalism of the mid 1980s. 116 00:14:33,430 --> 00:14:41,980 It is marvellously precise in the way the woman's hand suddenly adjusts the bonnet to the slight tilt of her head, 117 00:14:41,980 --> 00:14:47,200 with her left hand poised, redundant but stylish before. 118 00:14:47,200 --> 00:14:54,370 But it isn't so evidently a crafted object, even to the point of neglecting exactitude. 119 00:14:54,370 --> 00:15:01,030 Look at the very obvious flecks of pastels used to evoke the highlights of her third trimmed jacket. 120 00:15:01,030 --> 00:15:09,760 But above all remark the subtle, complimentary contrast of deep blue carpet and muted apricot wore a harmonising 121 00:15:09,760 --> 00:15:16,450 background surface with evident graphic striations and no descriptive detail. 122 00:15:16,450 --> 00:15:22,660 Nothing hanging on the wall, for instance. Just a textured chromatic plain. 123 00:15:22,660 --> 00:15:30,700 Such a picture can be read in various ways. It is still an image of contemporary life, of consumerism. 124 00:15:30,700 --> 00:15:36,010 It's also a contrast of poses. The port was his personal and confident. 125 00:15:36,010 --> 00:15:42,970 The shop girls symmetrical as she waits at your service with two other hats. 126 00:15:42,970 --> 00:15:49,810 Half if faced by the mirror for there's something frankly elitist about the milliner's. 127 00:15:49,810 --> 00:15:56,500 A snub to the egalitarian collectivism of much recent naturalism. 128 00:15:56,500 --> 00:16:05,740 By the later 1887 1896, Douglas still drew specific movement here in the great frieze of Dances of the Midnighters, 129 00:16:05,740 --> 00:16:13,000 a figure tying her ballet slipper but no longer movement as part of social engagement. 130 00:16:13,000 --> 00:16:17,530 Drawing, Dagar said, was a way of seeing form. 131 00:16:17,530 --> 00:16:24,130 And by this stage in his career, delineating the body was only a simple activity, 132 00:16:24,130 --> 00:16:32,410 along with Mark making chromatics and repetition in an art dedicated to process rather than description. 133 00:16:32,410 --> 00:16:37,540 This retreat into the studio was matched by his career. 134 00:16:37,540 --> 00:16:43,810 He made no submissions to decorate public buildings, painted no portrait of a politician, 135 00:16:43,810 --> 00:16:49,510 made no attempt to use his senior connexions and the artist's stablish meant to get pictures purchased 136 00:16:49,510 --> 00:17:00,130 by the state and indeed refused to allow his work to be exhibited at the Exposition Universelle of 1889. 137 00:17:00,130 --> 00:17:10,000 In many ways, the Gaza polar opposite within Impressionism. Monet followed a similar path during the eighteen seventies Muñoz landscape paintings, 138 00:17:10,000 --> 00:17:15,040 but typically social canvases at the riverbanks of the Parisian suburbs or the Gulf. 139 00:17:15,040 --> 00:17:19,210 Salazar may have used Highton chromatic term broken touch. 140 00:17:19,210 --> 00:17:25,040 But this was the better to represent nature's constant animation of the vibration of light. 141 00:17:25,040 --> 00:17:29,620 Monet is naturalism encompassed subject as well as technique. 142 00:17:29,620 --> 00:17:40,030 For the motifs he painted were generally social spaces, riverside or cultivated land, suburban garden or city thoroughfare. 143 00:17:40,030 --> 00:17:50,330 A change came quite abruptly when Monet worked at FICOs on the Normandy coast in March and April 1881. 144 00:17:50,330 --> 00:17:53,180 Simultaneously. Probably not consciously. 145 00:17:53,180 --> 00:18:03,800 He started making the repetition of motifs central to his work and abandoned any notion of representing Freeplay as a social environment. 146 00:18:03,800 --> 00:18:13,400 Siegel was France's largest fishing port with over 100 boats and railway tracks coming down to the key side to collect the catches. 147 00:18:13,400 --> 00:18:20,250 Contemporary painters like Jun Noel chose to depict its busy port traffic and tourism. 148 00:18:20,250 --> 00:18:30,830 Monet didn't. Instead, he opted to paint either on the shoreline, looking away from Faycal itself or on the cliffs above the port. 149 00:18:30,830 --> 00:18:37,970 Using the grape chalk bluffs to mask the town and even the harbour entrance there, 150 00:18:37,970 --> 00:18:44,750 he concentrated on natural effects, the wind lashing the waves of a rising tide, 151 00:18:44,750 --> 00:18:48,590 clouds gusting over the breeze, blowing scrub, 152 00:18:48,590 --> 00:18:57,740 honing his ability rapidly to mix local colour and make graphic Mok's, which together conjured up the pustule. 153 00:18:57,740 --> 00:19:03,820 The environment offered that moment. The artist's temperament, his personal saw. 154 00:19:03,820 --> 00:19:08,940 Sachiel now began increasingly to take priority over the social. 155 00:19:08,940 --> 00:19:16,040 The collective. In other words, Modise naturalism was in transformation. 156 00:19:16,040 --> 00:19:25,730 His impressionist method was further stretching naturalism in new directions by the application of his rapid handling to ever more fleeting effects, 157 00:19:25,730 --> 00:19:27,830 which in turn required a new canvas. 158 00:19:27,830 --> 00:19:38,840 As each evanescent moment changed by the accumulation of canvases depicting essentially the same motif under different climatic and lighting effects, 159 00:19:38,840 --> 00:19:46,640 Monet extended nationalism's demand for exact itude into new areas of practise of representation. 160 00:19:46,640 --> 00:19:52,010 This was neither a steady nor a consistent process. 161 00:19:52,010 --> 00:19:57,500 Take two canvases made a poor viel in 1882. 162 00:19:57,500 --> 00:20:02,840 The Church of Valge Beale Morning Effect has a dramatic viewpoint. 163 00:20:02,840 --> 00:20:10,280 The picture space almost filled with a vast cliff wall above which the church precariously perches. 164 00:20:10,280 --> 00:20:14,960 But Monica's depiction of the cliff is not conventionally descriptive. 165 00:20:14,960 --> 00:20:22,610 It's a flurry of marks and gestural strokes using colour, flashy and bloody pinks flashes of yellow, 166 00:20:22,610 --> 00:20:28,280 which makes animated painting rather than loyal actuality. 167 00:20:28,280 --> 00:20:35,000 By contrast, low tide about Otisville offers exactly that. 168 00:20:35,000 --> 00:20:41,360 Reviewing Bonnies One-Man Show in 1883 outside the Mustoe praise to be exact itude 169 00:20:41,360 --> 00:20:47,990 with which Monet had represented the still tidal pools and album covered rocks. 170 00:20:47,990 --> 00:20:56,300 But it wants to know warned that although they had exceptional visual powers and his work was much a for its verisimilitude, 171 00:20:56,300 --> 00:21:03,770 the painter would never be scientifically exact in his depiction of nature's colours. 172 00:21:03,770 --> 00:21:10,400 Yet Molly's commitment to accuracy was to become increasingly flexible as like a Duga. 173 00:21:10,400 --> 00:21:17,300 His enjoyment of the play of colour, touch and texture came to the fore and like dagi again. 174 00:21:17,300 --> 00:21:27,410 I think that Molly's growing enthusiasm for process for the fundamentals of picture making was allied to his attitude to the dominant naturalism. 175 00:21:27,410 --> 00:21:36,290 Another 1882 painting the rocks at low tide poor feel there on the left might be contrasted with level Penrose's Gokul. 176 00:21:36,290 --> 00:21:45,020 Low tide of 1884 is canvas is larger twice as long as befits a painting for solo exhibition. 177 00:21:45,020 --> 00:21:52,910 But both depict the shadow coast with figures on the shoreline. But there is a key difference. 178 00:21:52,910 --> 00:22:00,800 Several of model's figures seem to stoop, suggesting perhaps local people foraging the rock pools at low tide. 179 00:22:00,800 --> 00:22:07,550 Whereas Pynoos is small, figures are specifically women with shrimping nets and baskets. 180 00:22:07,550 --> 00:22:14,240 Monet merely marks some distance sales, whereas Palouse and you'll have to believe me, the side isn't perfect. 181 00:22:14,240 --> 00:22:25,250 Palouse defines the lighthouse and buildings of graupel. Quite specifically, the difference in information is one of Soucy ability. 182 00:22:25,250 --> 00:22:33,350 By the early 1980s, Monet was no longer interested in being descriptive or educational about landscape as habitat. 183 00:22:33,350 --> 00:22:39,770 He wanted to deal with his responses to nature. He needed a public which would accept this. 184 00:22:39,770 --> 00:22:44,900 That painting back public was to be found at the dealer's galleries, not in the salon. 185 00:22:44,900 --> 00:22:49,650 The retreat from the salon to the dealers was not just to make sales or find a more sympathetic. 186 00:22:49,650 --> 00:22:56,370 Environment in which to show it was to find a more sympathetic public like Digger, 187 00:22:56,370 --> 00:23:04,680 Monet sought no state commissions in this discussion of Impressionism as relation to naturalism. 188 00:23:04,680 --> 00:23:08,910 There is another dimension to be taken into account. 189 00:23:08,910 --> 00:23:15,720 Gender better maybe. So it was a central figure at the Impressionist exhibitions showing seven of the 190 00:23:15,720 --> 00:23:22,380 eight between 1874 and 86 and only missing the 1880 show because of childbirth. 191 00:23:22,380 --> 00:23:27,480 She and her husband, Eugen Manet, were also involved in their organisation. 192 00:23:27,480 --> 00:23:37,400 As with Monet and Doga, Morris's work shifted ground from the later 1870 as it became more touch based and less detailed. 193 00:23:37,400 --> 00:23:45,870 And from about 1880, she increasingly left the edges of her canvases loose, barely painted in the corners. 194 00:23:45,870 --> 00:23:57,950 This applied to both interiors, like young woman pulling on her stocking of 1880 and landscapes like Julie with Pazzi in the as Garden of 1881. 195 00:23:57,950 --> 00:24:06,540 When explain this. It could be argued that such canvases still count as a kind of naturalism. 196 00:24:06,540 --> 00:24:18,720 A painting like Rouget, Manet and Julie in the Garden of 1883 is a depiction not just of something seen, but of how it was seen. 197 00:24:18,720 --> 00:24:22,920 When we look look at something here. Father reading to child. 198 00:24:22,920 --> 00:24:28,170 What is in the periphery of our vision is not as clear as what is in focus. 199 00:24:28,170 --> 00:24:37,770 More than that, in such paintings, Morrison's handling often forms an implicit elongated oval around the central subject, 200 00:24:37,770 --> 00:24:48,870 curving inside the neglected corners, suggesting such a format makes the image corresponds to the shape of our binocular vision. 201 00:24:48,870 --> 00:24:57,900 From those points of view, Morrison's painting is not precisely descriptive, nevertheless responded to optical actuality. 202 00:24:57,900 --> 00:25:01,680 These paintings are startlingly innovative for their time, 203 00:25:01,680 --> 00:25:13,680 far removed from the range of painting we have seen carrying Impressionism into new expressive territory beyond the generous bounds of naturalism. 204 00:25:13,680 --> 00:25:18,390 While Morris's development of this type of painting could be seen in terms of temperament, 205 00:25:18,390 --> 00:25:22,510 she enjoyed rapid working, didn't like fussy surfaces or high finish. 206 00:25:22,510 --> 00:25:28,020 One might also take it as a reaction against the more prosaic naturalism. That was by the early 1880. 207 00:25:28,020 --> 00:25:34,620 Such a big Quetta's presence to project her painting yet further from that consensus, 208 00:25:34,620 --> 00:25:41,700 much as Duga and Monet were doing in their different ways, was in a sense less of a wrench for Morissa. 209 00:25:41,700 --> 00:25:47,520 She was a woman. She was not giving up the prospect of public decorations as such. 210 00:25:47,520 --> 00:25:51,930 Major projects only went to male painters in previous lectures. 211 00:25:51,930 --> 00:26:02,070 I brought attention to the inherent and often often explicitly masculine phrasing that accompanied the language around Republicanism and naturalism. 212 00:26:02,070 --> 00:26:09,030 That language about the Republic's legacy to our sons or the reality of his draughtsmanship 213 00:26:09,030 --> 00:26:15,270 dealt with politics and its support systems and was aimed at the electorate. 214 00:26:15,270 --> 00:26:19,290 Men moreso was not an elector. 215 00:26:19,290 --> 00:26:23,700 She had no direct investment in or influence on the Republican process. 216 00:26:23,700 --> 00:26:29,190 Thus, her painting could develop outside it more easily than a man's could. 217 00:26:29,190 --> 00:26:34,530 Her sins of the early 1980s, a social only at the familial level. 218 00:26:34,530 --> 00:26:44,460 They are not social at the collective, painted as private responses to domestic life and exhibited at the independent impressionist chose Morris. 219 00:26:44,460 --> 00:26:52,020 Those paintings were by their style and subject a reaction against the collectivist rhetoric of several paintings. 220 00:26:52,020 --> 00:26:59,510 To achieve such remarkable pictorial radicalism, it needed a woman. 221 00:26:59,510 --> 00:27:08,450 In the second half of the lecture, let's look at how young independent painters negotiated naturalism in search of style. 222 00:27:08,450 --> 00:27:13,310 One of the leading figures in Naturaliste painting was Bastia Ngapartji. 223 00:27:13,310 --> 00:27:20,840 Bastia came to prominence at the summer of 1878, but before his death in 1884, at the age of 35, 224 00:27:20,840 --> 00:27:31,280 his work at established a paradigm for modern naturalism proved the full vente of 1881 characterises the stylistic repertoire, 225 00:27:31,280 --> 00:27:42,740 the liked tones of Paint Your Claff a high horizon, coupled with insistent foreground elements to reduce pictorial depth and busi the surface. 226 00:27:42,740 --> 00:27:49,340 Such methods heightens the illusion of material and visual actuality. 227 00:27:49,340 --> 00:27:55,310 And they offered a formula which could be learnt in 1886. 228 00:27:55,310 --> 00:28:04,670 Louis Walkertown painted the old peasant on the left, which follows Bastian's approach and the pitch of its rising and emphatic close speeches. 229 00:28:04,670 --> 00:28:15,390 Although it doesn't aspire to the density of his surfaces, Sha Cornhole had started experimenting with Bastian's example in 1883 and throughout 1885, 230 00:28:15,390 --> 00:28:22,280 late 1884, and five produced a group of paintings of rural subjects which closely correspond to it. 231 00:28:22,280 --> 00:28:28,520 March 1885 had seen a retrospective of Bastian's work on the April day, Bouzar in Paris, 232 00:28:28,520 --> 00:28:39,680 which not only gave posthumous confirmation to Bastia status as an avatar of naturalism, but would have reinforced all rules adherence to his formula. 233 00:28:39,680 --> 00:28:43,280 Audible's 1885 in the garden on the left, 234 00:28:43,280 --> 00:28:51,920 corresponds closely to the pictorial methods of a painting like Bastian's Joan of Arc that she could have seen at the retrospective. 235 00:28:51,920 --> 00:28:56,540 Both have slim tree trunks which lead upwards close to the canvas surface. 236 00:28:56,540 --> 00:29:05,030 Both clutter the near space and mask the angle line of buildings with foliage both held in our field of vision, 237 00:29:05,030 --> 00:29:10,160 keeping it down in the garden beneath the screen of trees. 238 00:29:10,160 --> 00:29:15,410 Much the same can be said of a rather different painting corner of a garden in Monaco 239 00:29:15,410 --> 00:29:22,870 of 1884 by orthey at more cross cross use the border touch than either Bastia or call. 240 00:29:22,870 --> 00:29:32,090 And his palette was in a higher key in response to the bright blanching light of the Mediterranean rather than the moist atmosphere of the north. 241 00:29:32,090 --> 00:29:44,580 But fundamentally, Cross used Bastian's Formula One that had been developed to evoke the actuality of looking in a hectic visual field. 242 00:29:44,580 --> 00:29:53,820 It's significant that simultaneously three different young artists on guitar are trained at Cornell Studio in Paris overall and now across in Lille, 243 00:29:53,820 --> 00:30:03,310 found value in Bastian's work. Of course, it's not unusual for the inexperienced artists to adopt a senior figures ideal. 244 00:30:03,310 --> 00:30:09,630 But why? Dr. Bastian's, the answer lies in what I just tried to demonstrate. 245 00:30:09,630 --> 00:30:20,210 Bastian's example suited the naturalist consensus adapted for contemporary subjects about the business of looking a newly minted. 246 00:30:20,210 --> 00:30:24,960 And it was a newly minted and modern. But above all, it was a style. 247 00:30:24,960 --> 00:30:30,780 His work could be learnt and is crusted with his Monaco painting adapted. 248 00:30:30,780 --> 00:30:39,990 But here in L.A., a problem. As the anonymous critic of the newspaper Vehle departing, he wrote in his review of the sale of 1883. 249 00:30:39,990 --> 00:30:44,880 In every gallery, on every wall, at every step. 250 00:30:44,880 --> 00:30:50,660 Bascule departure today, everybody paints still like Sebastiao LaBarge. 251 00:30:50,660 --> 00:30:57,210 That massive Bastia LaBarge looks as if he paints like everybody else. The style was so insistent, 252 00:30:57,210 --> 00:31:03,960 a presence that artists who valued their creative integrity like Socrata all on costs might well 253 00:31:03,960 --> 00:31:10,950 eventually choose to put it aside and to try new pictorial possibilities in the later eighteen 80s. 254 00:31:10,950 --> 00:31:16,720 The last to join Seela and Cenac in the near Impressionist group adopting Division 255 00:31:16,720 --> 00:31:22,850 ISTE Chromatics of the Pointillist Touch paintings such as on Norman Farmyard, 256 00:31:22,850 --> 00:31:35,780 a left of 1890 or crosses the far morning of 1893, typify their work in that decorative Avant-Garde style so distinct from descriptive naturalism. 257 00:31:35,780 --> 00:31:42,090 But although on crosshatch shrugged off naturalism for innovation overrules willingness 258 00:31:42,090 --> 00:31:48,120 to close off the space crosses play of smoke and foliage across the foreground. 259 00:31:48,120 --> 00:31:53,490 The confidence of both in dealing with busy surface textures drew from the 260 00:31:53,490 --> 00:32:00,270 experience of their earlier bastia like work for young artists in the 80s 80s, 261 00:32:00,270 --> 00:32:05,520 naturalist painting was the status quo. Its paradigms could be learnt. 262 00:32:05,520 --> 00:32:11,880 It could be accepted, adapted or rejected. Its lessons might have continuing value. 263 00:32:11,880 --> 00:32:19,350 But one way or another, it was difficult to avoid the hegemony of naturalism. 264 00:32:19,350 --> 00:32:28,170 By the night, by the late 1980s, a reaction against descriptive naturalism and in favour of pictorial style was underway. 265 00:32:28,170 --> 00:32:35,700 Its manifestations were various from fraternal groupings of the neo impressionists at the salad days, and they pulled all through models, 266 00:32:35,700 --> 00:32:38,880 solo exhibitions of 1888 in 1889, 267 00:32:38,880 --> 00:32:45,720 where he showed concentrated clusters of similar of similar motifs to the success of the movie to Shabaan exhibition. 268 00:32:45,720 --> 00:32:53,700 In late 1887, this reaction was encouraged and sustained by the symbolist aesthetic articulated 269 00:32:53,700 --> 00:32:58,710 in the many small artistic and literary magazines that flourished in Paris. 270 00:32:58,710 --> 00:33:09,300 But as I've said before, this audience was a linked the collective mass experience of the 1889 Exposition of Outsell, 271 00:33:09,300 --> 00:33:15,720 which showcased naturalism, concentrated the minds of Yallop Young critics. 272 00:33:15,720 --> 00:33:25,350 Mollie's Denise definition of neo traditionalism, published in a critique in August 1890, was a manifesto for a new painting. 273 00:33:25,350 --> 00:33:31,860 Did his famous first sentence reminded his readers that a painting before it's a war horse, 274 00:33:31,860 --> 00:33:39,770 a naked woman or some anecdote or other is essentially a flat surface, covered in colours, arranged in a certain order? 275 00:33:39,770 --> 00:33:44,580 And he went on to extol the synthetic purity of Farrar and Jellico. 276 00:33:44,580 --> 00:33:49,770 Japanese prints Poovey to Schavan and to Ghoga. 277 00:33:49,770 --> 00:33:59,340 A constant counterpoint in Danny's text is his dismissal of what he called the conscientious goofball tage of nature. 278 00:33:59,340 --> 00:34:04,250 And his prose is studded with barbed comments about the work of Daniel Bubel. 279 00:34:04,250 --> 00:34:09,570 They feel how Feigley, a hall Dati and others. 280 00:34:09,570 --> 00:34:13,230 What would Ghoga has greened Christ have looked like. 281 00:34:13,230 --> 00:34:25,860 Danny winced. Had it been painted by feel, didn't it was reacting to what he knew, given the necessarily limited experience of a 20 year old author. 282 00:34:25,860 --> 00:34:33,810 The definition was largely based on his reactions to what had been on display at the Exposition Universelle the fall of the previous year. 283 00:34:33,810 --> 00:34:45,150 In other words, he was reacting not only against a certain kind of art, but also against the very art that had the in premature of the Third Republic. 284 00:34:45,150 --> 00:34:54,510 To reject naturalism is not meant to disdain an aesthetic. It was to question the validity of the moral and social assumptions that went with it. 285 00:34:54,510 --> 00:35:00,030 In addition, Danny's definition of neo tradition ism was intended to differentiate the manager 286 00:35:00,030 --> 00:35:04,800 drawing and flat painting of his colleagues in the incipient Nabby Group. 287 00:35:04,800 --> 00:35:09,090 Artists such as Paul Saluzzi are there on the left, Pierre Boller and Etoile. 288 00:35:09,090 --> 00:35:18,480 We are from the existing near impressionist group around CFR and Senior on the right at that level to Denise, 289 00:35:18,480 --> 00:35:25,170 tax was a gambit defining an exclusive voice within the avant garde. 290 00:35:25,170 --> 00:35:34,590 But the new impressionists themselves were also concerned to stake out their own anti Naturaliste position. 291 00:35:34,590 --> 00:35:39,450 In May 1890, the year Sinak painted his portrait, 292 00:35:39,450 --> 00:35:49,650 his friend Felix Finial praised the artist didn't lose on new job for having created exemplary specimens of an art of great decorative development, 293 00:35:49,650 --> 00:35:52,970 which sacrifices anecdotes to arabesque, 294 00:35:52,970 --> 00:36:01,350 non-open couture or to synthesis the fleeting to the permanent and with its high spirits and magic confers on nature. 295 00:36:01,350 --> 00:36:09,100 Finally, tired of its precarious reality, an authentic reality. 296 00:36:09,100 --> 00:36:18,430 Although apparently supporting a rival faction of the avantgarde, Faneuil's position was remarkably similar to Denise, like Denise. 297 00:36:18,430 --> 00:36:28,270 He dismissed anecdote, the insistently narrative side of naturalism, as well as the fleeting depiction of the contempt at the contemporary moment. 298 00:36:28,270 --> 00:36:35,050 Finials position in 1890, like Denise, was firmly and naturaliste. 299 00:36:35,050 --> 00:36:42,490 In order to stake once claim claimed avant garde status, it was necessary not only to have a distinctively naturalistic style, 300 00:36:42,490 --> 00:36:49,790 it was also essential to distance one's work from the Naturaliste consensus. 301 00:36:49,790 --> 00:36:53,150 But how far could such distancing go? 302 00:36:53,150 --> 00:36:59,940 Avant garde painting might seek to generate styles which broke with naturalism would dislodge from the descriptive, 303 00:36:59,940 --> 00:37:08,420 but naturalism as allied itself with crucial aspects of the modern dynamic, in particular science. 304 00:37:08,420 --> 00:37:13,340 So avant garde art might need to show it could use science in new ways. 305 00:37:13,340 --> 00:37:22,310 Without taking a naturalist path, for instance, finials reference to nomenklatura presumably meant naturalist paintings. 306 00:37:22,310 --> 00:37:28,010 Instinct for exactitude and typology over which finial preferred the more suggestively 307 00:37:28,010 --> 00:37:37,700 abbreviated synthesis buth normal klatell and sad Dare's are scientific terms, 308 00:37:37,700 --> 00:37:47,630 meaning the precise definition of chemical elements and laws, and the process by which such elements form more complex combinations. 309 00:37:47,630 --> 00:37:53,090 By using the language of science to validate SILLIAC to radical neo impressionism. 310 00:37:53,090 --> 00:38:03,530 By saying that Celiacs pictures did not simply list but subtly amalgamated Fenny or elevated his art above base naturalism, 311 00:38:03,530 --> 00:38:11,090 implicitly crediting a canvas like Celiacs 1880 SACC cast them on the right with 312 00:38:11,090 --> 00:38:18,410 a truer evocation of sublight than Paul Sanes contemporaneous near Avignon. 313 00:38:18,410 --> 00:38:26,910 In addition, he also set up a new style as a rival to naturalism is a longstanding claim to scientific veracity. 314 00:38:26,910 --> 00:38:34,750 But it was essential that new pictorial styles kept in some sort of alignment with modern mortality, 315 00:38:34,750 --> 00:38:39,260 that they remained legible to some portion of the public. 316 00:38:39,260 --> 00:38:47,630 We saw in a previous lecture Hezbollah. We are engaged with a caricature of others, link their work with politics. 317 00:38:47,630 --> 00:38:52,020 Let's continue with the same two artist as examples did. 318 00:38:52,020 --> 00:38:56,840 He was a devoted Roman Catholic. The search for simple synthetic art, 319 00:38:56,840 --> 00:39:05,720 defined in his 1890 definition was to find a formal equivalent to the purity and spirituality of Christian belief. 320 00:39:05,720 --> 00:39:14,330 That is why, in paintings like Catholic Mystery of 1890, he echoed the hieratic style of the friar Angelica Padilla's. 321 00:39:14,330 --> 00:39:24,500 He knew from the Noufal exemplars both stylistically and morally distinct from naturalist materialism. 322 00:39:24,500 --> 00:39:30,080 In 1897, didn't he completed a cycle of paintings on the legend of St. 323 00:39:30,080 --> 00:39:37,010 Hubert to decorate the private chapel of Dinni Kosher, a wealthy Catholic aristocrat. 324 00:39:37,010 --> 00:39:43,790 The first canvas of the series, which is at the centre of this in the series of religious hunting scenes. 325 00:39:43,790 --> 00:39:49,130 But departure was again based on a quarter kento precedent. 326 00:39:49,130 --> 00:39:55,160 Panopto Gonzalez Journey of the Magi that left the analogy flattened. 327 00:39:55,160 --> 00:40:02,810 Kosheh has got so these Magi were actually the dishes for Dinny style was in personal 328 00:40:02,810 --> 00:40:10,640 terms an equation of artistic expression and Catholic faith in public terms. 329 00:40:10,640 --> 00:40:21,770 It was the open advocacy of Catholic rather than Republican values voiced in an overtly non naturalistic manner. 330 00:40:21,770 --> 00:40:30,290 By contrast, Cenac was a committed anarchist opposed to both what he saw as the essence egalitarianism of the republic, 331 00:40:30,290 --> 00:40:38,570 but also to anarchist terrorism. Senior believed humanity would eventually evolve towards an ideal anarchist state where 332 00:40:38,570 --> 00:40:44,720 machines will do the work and people will exist harmoniously as free individuals. 333 00:40:44,720 --> 00:40:56,270 In 1895, he exhibited at the end, they pawned all his huge manifesto painting in the time of harmony, which is about four times as big as that image. 334 00:40:56,270 --> 00:40:59,600 Its play of second greens and violence, 335 00:40:59,600 --> 00:41:10,730 its measured rhythm and balance groups all seek to achieve a pictorial harmony which paralleled his vision of an ideal anarchist future. 336 00:41:10,730 --> 00:41:18,170 Its motifs family, education, community technology are attracted in the background. 337 00:41:18,170 --> 00:41:23,270 Ironically, or perhaps deliberately, would have been at home in a civic decoration. 338 00:41:23,270 --> 00:41:33,830 Indeed, in the time of harmony adapted the spacious modern classicism of Poovey to Chavan, to neo impressionist chromatics and anarchist politics, 339 00:41:33,830 --> 00:41:39,770 Cenac reverted to the legibility and sociability of Republican imagery, 340 00:41:39,770 --> 00:41:49,080 borrowed conventional classicism in order to counter with anarchist ideology and neo impressionist style. 341 00:41:49,080 --> 00:41:54,120 Both Dinny and Cenac ideologically are right and left. 342 00:41:54,120 --> 00:42:01,140 Mike Combatively choose to demonstrate that innovative painting could address modern issues as effectively as naturalism. 343 00:42:01,140 --> 00:42:11,870 That ideology is outside. The Republican consensus could best be best articulated by progressive styles. 344 00:42:11,870 --> 00:42:18,110 Innovations or adaptations of style in the late 1980s, 1990s developed ways of seeing the world, 345 00:42:18,110 --> 00:42:28,430 which were a critique or even a denial of the social, if Doug and I continued to see growing as a process of observation for silver. 346 00:42:28,430 --> 00:42:37,670 Increasingly, it became an act of stylisation a drawing such as the Great Shift for the central boy in the barnyard, 347 00:42:37,670 --> 00:42:44,240 made in 1883 to four, retains a sense of the model of something seen. 348 00:42:44,240 --> 00:42:50,510 But some of the drawings for the cold Jatt made over a year or so later seem to be invented. 349 00:42:50,510 --> 00:42:57,710 So concerned are they with matters of form, mass and curve, shape and shading. 350 00:42:57,710 --> 00:43:02,390 With the drawings Sifa made of Kathak or SAS subjects in 1887 to eight, 351 00:43:02,390 --> 00:43:11,360 he knowingly borrowed his pictorial formula pioneered by earlier naturalism and clichéd in contemporary illustration. 352 00:43:11,360 --> 00:43:20,060 But instead of using glimpses, overheads and Close-Up figures to stimulate a sense of physical actuality and social belonging, 353 00:43:20,060 --> 00:43:31,460 he imposed stye the visible play of his contact groundstrokes, the push and pull with lights and darks, the schematic Taizé of figures. 354 00:43:31,460 --> 00:43:36,820 The style took a naturalist formula only to entirely subverted. 355 00:43:36,820 --> 00:43:44,330 And this subversion wasn't only pictorial in the sense that suhas drawing make drawings make scant attempt to look 356 00:43:44,330 --> 00:43:53,990 like with their stress on stylise making the subversions also social break up and indeed naturalism certainties. 357 00:43:53,990 --> 00:44:02,990 Its allegiance to the material and sensual, its loyalty to the legible and collective insulin's in Cifas capital, said drawings. 358 00:44:02,990 --> 00:44:11,060 The subject is evident enough, but nationalism's engagement with public life as the collective experience of separate 359 00:44:11,060 --> 00:44:20,540 individuals is replaced by its reduction to the uniform experience of faceless ciphers. 360 00:44:20,540 --> 00:44:25,760 This went even further than the broad Jatte, which may have represented social disjunction. 361 00:44:25,760 --> 00:44:30,750 But at least identified its figures as types. 362 00:44:30,750 --> 00:44:41,310 If suhas extension of style to the edges of anonymity was acceptable, fragmentation was a more common new device in literature. 363 00:44:41,310 --> 00:44:49,590 One finds a shopping rapid fire easily diverted to quality in Edoardo Javas 1887 novella They're Not the Ace 364 00:44:49,590 --> 00:44:56,880 or Peepee with its stream of consciousness and in other writers such as Marchelle Schwabe and Short Durel. 365 00:44:56,880 --> 00:45:06,400 In March 1894, Michel Zebco published an article on Feliks Volatile in Lukla, forcing Zoback, 366 00:45:06,400 --> 00:45:14,160 who addressed himself to two illustrations Valot or had published and look at way the singers and the Strong Men. 367 00:45:14,160 --> 00:45:22,860 But he began his piece in prose about Paris, similar to Do Chapin's Violence of colours, brutality of sounds killer. 368 00:45:22,860 --> 00:45:33,020 So then ruminated for xox morbid paleness of faces, striking sway of material on female fortunes. 369 00:45:33,020 --> 00:45:37,140 Backo saw Balaton fusing realism of the imagination, 370 00:45:37,140 --> 00:45:46,230 his drawing of a nose or forehead sufficient to suggest state of mind that all subjects were legible enough. 371 00:45:46,230 --> 00:45:54,330 Their asymmetrical and haphazard compositions, odes to naturalist's devices and the images correspond to what I've called the character. 372 00:45:54,330 --> 00:46:00,030 Tural in a previous lecture, Velodrome have developed his own signature style. 373 00:46:00,030 --> 00:46:09,930 Abrupt black and white contrasts stock patterns, simplified silhouettes central to his style was a mission. 374 00:46:09,930 --> 00:46:17,940 No colour, no detail, no equivalent to an actual looking, just white paper and black ink. 375 00:46:17,940 --> 00:46:29,160 Just the materials. But amission demands concentration on the giver and what volatile offers are fragments. 376 00:46:29,160 --> 00:46:35,490 Scanning his images, we retrieve shards of experience, that enthusiastic expression, 377 00:46:35,490 --> 00:46:42,660 this casual gesture, that mincing gait, just as the writing of Zebco will do other offices. 378 00:46:42,660 --> 00:46:49,830 Fragments of perception and experience. Something similar occurs in the early 90s. 379 00:46:49,830 --> 00:46:54,720 Paintings of Tudorza correct al-Said like Union Luck. 380 00:46:54,720 --> 00:47:00,860 Alfred takes its title from an 1891 short story about a Parisian pimp by Oscar. 381 00:47:00,860 --> 00:47:10,590 A 10 year mutineer used his experience as an employee of the prefecture, the police as documentation for his plays and stories. 382 00:47:10,590 --> 00:47:16,770 So the triple-O direct reference to my tenure and his title assumed something of that naturalism, 383 00:47:16,770 --> 00:47:22,310 as does his paintings use of momentary movements and the close up viewpoint. 384 00:47:22,310 --> 00:47:31,980 But look cracks naturalism so evident in aspects of his painting, such as Alfreds nonchalant body language is only Penneshaw. 385 00:47:31,980 --> 00:47:36,690 Alfred's body is delineated, not described. 386 00:47:36,690 --> 00:47:43,200 His jacket or the torso beneath it remain a pictorial void like volatiles blank paper. 387 00:47:43,200 --> 00:47:52,020 This partial definition of the central figure throws our attention onto the detail we are given, notably the Tate trio of central faces, 388 00:47:52,020 --> 00:48:04,430 flanked as they are by two fragmentary heads looking at Alfred Laghi in the eye ricochets from suggestion to observation, void to fragment, no tricks. 389 00:48:04,430 --> 00:48:11,670 Procedure was rather different and the larger, more finished laughing dish of about 1892. 390 00:48:11,670 --> 00:48:19,770 Overall, it appears more consistently painted, but on closer inspection it garishly lit mariage of the foreground. 391 00:48:19,770 --> 00:48:27,040 Woman with her schematic body jars with the more modelled and detailed figures around the table, 392 00:48:27,040 --> 00:48:33,560 a dwelt dujayl down to the left, let alone the four flat figures behind. 393 00:48:33,560 --> 00:48:45,110 Moulin Rouge discreetly divides into fragments the handling of paint, adjusting to suggest different levels of attention and experience. 394 00:48:45,110 --> 00:48:47,780 Stillhouse Capital said drawings, volatiles, 395 00:48:47,780 --> 00:48:54,970 illustrations and low T-Rex paintings are very different works of art, but they all deal with social experience. 396 00:48:54,970 --> 00:48:59,990 And three artists found that neither their means of representation nor their 397 00:48:59,990 --> 00:49:07,070 understanding of the social any longer settled easily on the consensual and unified, 398 00:49:07,070 --> 00:49:19,340 but rather on the anonymous or the fragmented. I'd like to end by looking at what one might call insecurities of style. 399 00:49:19,340 --> 00:49:24,710 In part, this continues the critique of the modernist account of this period that I've been developing. 400 00:49:24,710 --> 00:49:31,550 At the same time, it's also an encouragement, an admonition even to young scholars sitting there at the back. 401 00:49:31,550 --> 00:49:41,150 And to my peers sitting nearby to be ruthless in their analysis of the historical and above all, the pictorial evidence. 402 00:49:41,150 --> 00:49:52,220 Let's look critically at some myths and reputations we take for granted, taking Suzanne and Google as targets. 403 00:49:52,220 --> 00:49:59,300 We've already seen how grow and cross learnt Bastion departures naturalism in the late 80s. 404 00:49:59,300 --> 00:50:09,530 They then learnt neo impressionism. But if style could be absorbed like this did not jeopardise its exclusivity. 405 00:50:09,530 --> 00:50:15,140 Silver grew in the mid 1980s and pioneered the neo impressionist technique. 406 00:50:15,140 --> 00:50:20,090 Optical vibration by appointee's touch and the division of tone couldn't tolerate the 407 00:50:20,090 --> 00:50:25,670 mutual development of the style by affiliates such as Cinematic and the Pizarro's. 408 00:50:25,670 --> 00:50:30,980 But he worried when it began to proliferate. In August 1888, he told Cenac. 409 00:50:30,980 --> 00:50:35,060 I've always thought the more numerous we become, the less we'll have. 410 00:50:35,060 --> 00:50:41,240 Originality for style was simultaneously personal. 411 00:50:41,240 --> 00:50:49,100 The artist's private expression and social painters, public face and market presence. 412 00:50:49,100 --> 00:50:55,850 But once recognisable avant garde styles have been generated. They were up for grabs. 413 00:50:55,850 --> 00:51:01,430 The critical Andre Malathion noticed this about Cesan as early as 1896. 414 00:51:01,430 --> 00:51:08,950 The year after the piece, his first one man show at the Volokh Gallery made his work known to more than a very few in Paris. 415 00:51:08,950 --> 00:51:21,590 Now they recognise that despite Susanne's technical deficiencies, his gushingly as malaria put it, he had a vision entirely his own. 416 00:51:21,590 --> 00:51:29,480 This encouraged, as Malatya put it, almost textural imitation by others. 417 00:51:29,480 --> 00:51:38,480 Let's look at it as an extreme example of this one malathion almost certainly did not know the young Emil Beller, 418 00:51:38,480 --> 00:51:44,150 who in 1888 had been close to go down in that anti naturaliste experiments with flat colour 419 00:51:44,150 --> 00:51:52,340 and simplified deviation began in 1889 to experiment with season's most truculent motif. 420 00:51:52,340 --> 00:51:57,050 The Babies, the progressive Brussels group Livan, 421 00:51:57,050 --> 00:52:01,520 held its seventh exhibition from the 18th of January to the twenty third of February 422 00:52:01,520 --> 00:52:10,100 1890 at which says arms receipt for Baber's was shown or catalogue any ideas. 423 00:52:10,100 --> 00:52:14,720 Then stay with his parents in Lille, 100 kilometres away. 424 00:52:14,720 --> 00:52:26,750 Simple train journey he must have seen before. Baylis, for his own Bathers of 1890, follows its main stretching figure and cramped landscaped space. 425 00:52:26,750 --> 00:52:37,070 But Bernal's canvas for all the suavity of its contours and even greater stylisation is a lifeless essay and systematic ambulation. 426 00:52:37,070 --> 00:52:47,870 What do we make of such veering from style to style? One might take it as banner positioning himself repudiating Ghoga for another exemplar or as 427 00:52:47,870 --> 00:52:55,430 evidence of his own artistic uncertainties in the broader perspective than are stylistic shifts. 428 00:52:55,430 --> 00:53:07,010 Evidence of the rich, creative dynamics of the old guard, or symptomatic of its precariousness, even of its shallowness. 429 00:53:07,010 --> 00:53:16,730 Let's end on a judge mental note, in two key cases, innovative style was developed as much out of expediency as invention. 430 00:53:16,730 --> 00:53:24,890 In mid-May 1885, Google told Pissarro that his own work was more about reflection than craft. 431 00:53:24,890 --> 00:53:29,870 Implicitly, implicitly acknowledging his technical deficiencies. 432 00:53:29,870 --> 00:53:35,600 In fact, Google's painting in the mid 80s 90s was often clogged and dull. 433 00:53:35,600 --> 00:53:46,300 If Google had been run over by the proverbial bus in 1885, we would consider him a third, if not fourth rate impressionist. 434 00:53:46,300 --> 00:53:52,650 One could argue that it was still three years later in the summer of 1888. 435 00:53:52,650 --> 00:53:55,350 Sorry that that his work was still clogged and dull. 436 00:53:55,350 --> 00:54:04,690 Three years later, in the summer of 1888 and the Ghoga stylistic break marked by the vision of the sermon that August, abandoning observation, 437 00:54:04,690 --> 00:54:06,930 local colour and a small painted mark, 438 00:54:06,930 --> 00:54:19,540 the synthetic drawing broad zones of imagined colour was a necessary rupture from a practise made stagnant by deficiencies of craft. 439 00:54:19,540 --> 00:54:24,490 Suzanne only infrequently wrote about stylistic matters. 440 00:54:24,490 --> 00:54:28,570 In July 1876, he wrote to Bizzaro concerning paintings. 441 00:54:28,570 --> 00:54:33,400 He was making it less stark. It's like a playing card. 442 00:54:33,400 --> 00:54:38,140 Red roofs over the blue see the Soliah on the Mediterranean to so tremendous that 443 00:54:38,140 --> 00:54:42,880 it seems to me as if the objects were silhouetted not only in black and white, 444 00:54:42,880 --> 00:54:52,960 but in blue, red, brown and violet. I may be mistaken, but this seems to me the opposite of modelling. 445 00:54:52,960 --> 00:55:01,470 This now famous letter was at the same time as it was an adumbration of a new kind of chromatically modulated painting, 446 00:55:01,470 --> 00:55:04,000 which says I'd hoped he could develop, 447 00:55:04,000 --> 00:55:15,940 also a tacit admission that Sezen found conventional modelling, the articulation of values of light and shade, a skill he could not master. 448 00:55:15,940 --> 00:55:25,570 Both Ginga and Cesan generated highly personal and influential styles by acknowledging that deficiencies as descriptive painters. 449 00:55:25,570 --> 00:55:30,910 By working around the expectations of naturalism. 450 00:55:30,910 --> 00:55:36,670 However, avant garde style was achieved and this lecture's export very diverse pathways. 451 00:55:36,670 --> 00:55:42,160 It required an adjustment from work based on a collective understanding of technique, 452 00:55:42,160 --> 00:55:49,840 legibility and meaning to one centred on the personal of the potentially exclusive, says Ernes. 453 00:55:49,840 --> 00:55:57,280 The paintings may have projected personal style. But for many in the 80s 90s, these pictures were difficult. 454 00:55:57,280 --> 00:56:05,250 While they clearly asserted personal style, they failed in the public duty of legibility. 455 00:56:05,250 --> 00:56:14,600 Seeing as says out of bathers involving art gallery window, Poovey to Shivam shrugged his shoulders and in in incomprehension and walked on. 456 00:56:14,600 --> 00:56:23,290 But Vollers in 1899, the painter only the glue couldn't understand the subject to the bay, the painting despite someone's explanation. 457 00:56:23,290 --> 00:56:25,660 These were the reactions of artists. 458 00:56:25,660 --> 00:56:34,570 Neither naturaliste, both the distinctive styles who expected pictures to be legible to address that public with clear subjects. 459 00:56:34,570 --> 00:56:39,880 Pissarro expressed a related view about Google's unrestrictive style. 460 00:56:39,880 --> 00:56:47,380 When he wrote of the vision of the sermon, I don't reproach Ghoga for having done the million background. 461 00:56:47,380 --> 00:56:56,980 I reproach him for not applying his synthesis to our modern philosophy, which is absolutely social antiauthoritarian. 462 00:56:56,980 --> 00:57:01,360 An anti mystic for the anarchist Pissarro. 463 00:57:01,360 --> 00:57:10,050 It was a fault Ongo gas part that he failed to hitch progressive individual style to progressive collective values. 464 00:57:10,050 --> 00:57:13,810 A senior acted with in the time of harmony. 465 00:57:13,810 --> 00:57:25,730 But this wasn't entirely fair as early as January 1885, Gugger told Pizarro that while he was a Republican, he found Democratic collectivity Dedini. 466 00:57:25,730 --> 00:57:31,270 The more the majority's uniform, the less it will need art, Ghoga said. 467 00:57:31,270 --> 00:57:43,460 For Ghoga, Art needed the support of a cultivated elite with a feeling for the irregular by striving away from naturalism to achieve style. 468 00:57:43,460 --> 00:57:49,760 Abandoning the Republican consensus to appeal to an elite denying the inclusive for the 469 00:57:49,760 --> 00:57:56,870 exclusive was a strategy rather more insecure than the modernist narrative allows. 470 00:57:56,870 --> 00:58:00,530 In my final lecture, I will explore how in the 80s 90s, 471 00:58:00,530 --> 00:58:16,254 the avant garde unexpectedly perhaps drew on past art and how the dominant naturalism reimposed itself on avant garde painters.