1 00:00:00,900 --> 00:00:11,910 The case that I made in the first lecture was that during the 1980s and 1990s, naturalism was the dominant aesthetic in French culture. 2 00:00:11,910 --> 00:00:18,360 Today, I want to explore specifically how it functioned in visual culture. 3 00:00:18,360 --> 00:00:25,230 How can we explain the startling volume and variety of documentary paintings produced at this period? 4 00:00:25,230 --> 00:00:29,160 What was their value to the society which produced them? 5 00:00:29,160 --> 00:00:38,460 Today I will be concentrating on paintings, many of which were intended for public display and others which were for a more private purpose. 6 00:00:38,460 --> 00:00:45,330 But reading these pictures can be a complex business, as I hope I will demonstrate. 7 00:00:45,330 --> 00:00:50,280 To do so, we need to begin with two premises. First, 8 00:00:50,280 --> 00:00:56,790 that naturaliste forms of representation in late 19th century France were both more intricate and 9 00:00:56,790 --> 00:01:05,160 potentially contested in the ways which they were crafted and read than we conventionally recognised today. 10 00:01:05,160 --> 00:01:13,710 Second, that we need to push aside our modernist prejudices about good art in order to penetrate the mentality 11 00:01:13,710 --> 00:01:20,970 that gave naturalism its cultural hegemony but linked it so closely to Republican ideology. 12 00:01:20,970 --> 00:01:30,570 I'm going to try and persuade you that there's interest in apparently uninteresting paintings, naturalism, sintered, 13 00:01:30,570 --> 00:01:39,240 the Third Republic, Republicanism, privileged the Naturaliste aesthetic and naturalism co-opted the Republican ideology. 14 00:01:39,240 --> 00:01:45,840 This collusion of interests was very evident at the Exposition Universelle of 1889. 15 00:01:45,840 --> 00:01:48,150 Midway through our period, 16 00:01:48,150 --> 00:01:58,410 the official publication made the exposition US objectives clear in explicitly Republican rhetoric to give pleasure to the eyes, 17 00:01:58,410 --> 00:02:05,640 unsatisfaction to the spirit presented in the sentiment of social dignity and the need for liberty, 18 00:02:05,640 --> 00:02:16,560 which relies on the fraternity of peoples and individuals. In his semi-official account, a French painting of the expositional George La Finest, 19 00:02:16,560 --> 00:02:21,090 who doubled as a curator at the Louvre and an art critic explicitly linked to the 20 00:02:21,090 --> 00:02:27,690 Third Republic and naturalism when he wrote that in a resonantly democratic society, 21 00:02:27,690 --> 00:02:36,510 the predominance of studies of contemporary life demonstrates the absolute liberty of imagination and observation, 22 00:02:36,510 --> 00:02:49,590 a serious and sympathetic respect for all the physical and moral manifestations of humankind at all levels of understanding and culture. 23 00:02:49,590 --> 00:02:57,780 The inclusive egalitarianism of such language was matched by paintings of the expositional. 24 00:02:57,780 --> 00:03:06,510 In 1890, Louis Bethel exhibited a large canvas which represents the central dome of the Gallery Day machine. 25 00:03:06,510 --> 00:03:12,990 It is not only programmatic in what it depicts Parisians, provincials and Colonial's, 26 00:03:12,990 --> 00:03:22,110 the uniforms of the Army Republican Guard and École Polytechnique the iron construction and grandiose decor of the architecture, 27 00:03:22,110 --> 00:03:26,820 but also in what it implies about the Republic. 28 00:03:26,820 --> 00:03:32,490 In such details as the impressed gazes of the colonial visitors or the glimpse of 29 00:03:32,490 --> 00:03:38,950 the Eiffel Tower through the far windows which you cannot see in this reproduction, 30 00:03:38,950 --> 00:03:48,960 the painting articulates imperial outreach, technological mastery, economic prosperity and social stability. 31 00:03:48,960 --> 00:03:53,520 This is pictorially couched in naturalist's terms. 32 00:03:53,520 --> 00:03:58,680 By this, I don't just mean descriptive detail, but its manipulation. 33 00:03:58,680 --> 00:04:02,820 The cut off figure of the North African. Just a couple of pieces from us. 34 00:04:02,820 --> 00:04:07,200 The views towards and through and upwards. 35 00:04:07,200 --> 00:04:11,470 The Momoh Carina's of figures in mid stride. 36 00:04:11,470 --> 00:04:21,750 Bell's contrivance of the immediacy and diversity of looking works hand in glove with the values that the Republic used the exposition to promote. 37 00:04:21,750 --> 00:04:28,070 Little wonder, then, that this painting entered the personal collection of the President of the Republic. 38 00:04:28,070 --> 00:04:33,930 Sadly, Covino the values that the Third Republic sought to instil. 39 00:04:33,930 --> 00:04:43,050 Well articulated, far a wide variety of visual media from grand public mural decorations and monumental sculpture through easel 40 00:04:43,050 --> 00:04:50,580 paintings to cheap prints and photographic reproductions which gave the widest possible currency to imagery. 41 00:04:50,580 --> 00:04:59,950 I will concentrate on various kinds of painting, but what I want to convey throughout this lecture is how closely the ideology Republicanism strove. 42 00:04:59,950 --> 00:05:09,040 To promote and perpetuate and lie did with the pictorial languages and forms that painting could offer, 43 00:05:09,040 --> 00:05:17,200 those might be to do with visual idiom, narrative and actions, say, or human scale and detailed exactitude. 44 00:05:17,200 --> 00:05:20,530 Or they might involve different types of picture. 45 00:05:20,530 --> 00:05:29,320 Perhaps the mural addressing the gaze of the masses or the easel picture intended for private contemplation. 46 00:05:29,320 --> 00:05:35,040 The republic was not slow to use the time honoured medium of public decoration. 47 00:05:35,040 --> 00:05:36,670 The programme to decorate the mayor. 48 00:05:36,670 --> 00:05:45,460 He, the Town Hall of the Capitals are holding smores and the surrounding suburbs typified Republican use of art for pedagogical purposes. 49 00:05:45,460 --> 00:05:53,740 But as it unrolled through the later eighteen seventies and eighties eighties, this programme adapted to changing currents. 50 00:05:53,740 --> 00:06:01,540 These included the shift from the conservative moral order regime of the 70s to the opportunist republic of the 80s, 51 00:06:01,540 --> 00:06:06,520 the generally more progressive politics compared to central government of the commissioning body. 52 00:06:06,520 --> 00:06:08,140 The Paris City Council. 53 00:06:08,140 --> 00:06:17,890 All the varying makeup of the juries of senior artists who recommended successful decorative painters early decorations often relied 54 00:06:17,890 --> 00:06:25,930 on allegories which both thematically and visually were outdated and incomprehensible to the broad citizenship that were used. 55 00:06:25,930 --> 00:06:39,910 The public rooms of the Mathey gradually ponderous subjects such as Leks and Justy are replaced by more vernacular ones like family and TVI. 56 00:06:39,910 --> 00:06:44,170 This change in language and legibility not only echoed the transition from the 57 00:06:44,170 --> 00:06:50,110 paternalistic presidency of McMahon to the ostensibly more egalitarian one of gravy. 58 00:06:50,110 --> 00:06:54,910 It also required a change individual idiom, for example, 59 00:06:54,910 --> 00:07:01,990 when he was commissioned to decorate the mathie of the CCMA on these small with images of liberty, equality and fraternity. 60 00:07:01,990 --> 00:07:12,100 Here is the central panel of liberty, or the Navy still relied on a neo baroque design and the historical allusion to the fall of the Basti. 61 00:07:12,100 --> 00:07:21,730 Even in 1887, a conservative solution surely difficult to decipher for the ordinary citizen who stood beneath his allegories. 62 00:07:21,730 --> 00:07:32,050 The following year, a more liberal jury commission commissioned Paul Boudoir to decorate the Saudi mariage of the town hall of Arko Cashel. 63 00:07:32,050 --> 00:07:39,160 His subjects being Mateer shooting practise. They feel Sci., the engaged couple and labeller, she says. 64 00:07:39,160 --> 00:07:42,700 The Washerwomen depicted in a naturalist idiom. 65 00:07:42,700 --> 00:07:53,140 These everyday subjects went beyond what they actually represented discreetly but quite evidently articulating civic values, 66 00:07:53,140 --> 00:08:01,600 duty, family and labour loftier. For example, shows the workers of the suburbs practising their rifle shooting. 67 00:08:01,600 --> 00:08:12,640 But apparently descriptive simplicity is underpinned with ideological allusion to Égalité or men practise flatout. 68 00:08:12,640 --> 00:08:22,060 Any day they watch and advise each other and leap out, Day defended like their families by their skill at arms. 69 00:08:22,060 --> 00:08:31,630 Those tripartite national values are pictorially prompted by the tricolour of their clothing and shoes to democracy, 70 00:08:31,630 --> 00:08:36,510 and public decorations were not confined to contemporary subjects. 71 00:08:36,510 --> 00:08:39,340 Pall Mall says decoration for the pull tail. 72 00:08:39,340 --> 00:08:51,040 The death of sad Jenova ever completed in 1882 may reconstruct a fifth century scene, but it is as emphatic in its actuality. 73 00:08:51,040 --> 00:08:58,080 Aged skin, dirty feet. Naked children as it is in its depiction of all the couche socio. 74 00:08:58,080 --> 00:09:00,340 All of the dark ages. 75 00:09:00,340 --> 00:09:10,930 The nobles, clergy, Bergers and peasants from the elderly to babies suggest not only community but continuity through the generations. 76 00:09:10,930 --> 00:09:19,630 A linkage from fifth to 19th centuries implied also by the titular above the dying Saints head. 77 00:09:19,630 --> 00:09:23,380 And I'm afraid the colour has made the embroidery above rather more purple in this. 78 00:09:23,380 --> 00:09:30,070 But believe me, if you go to the pool table, it is blue. This choice of colour in the central section was deliberate. 79 00:09:30,070 --> 00:09:36,490 The preliminary oil study didn't use it, and the introduction of the Tricolour was an allusion to Republican politics, 80 00:09:36,490 --> 00:09:41,690 as was the inclusion amongst the Franck's of two leading radical politicians, 81 00:09:41,690 --> 00:09:50,950 Honey Gumbley and Ed More Jocky Starfish, chromatics and ideology worked in close collusion. 82 00:09:50,950 --> 00:09:57,400 But even the Curtis scan of loss is decoration would have tipped the wink to most visitors to the port deal. 83 00:09:57,400 --> 00:10:07,860 But this was a picture about a Gallito. That equality Revit resided not just in what Loha said represented, but how he had done so. 84 00:10:07,860 --> 00:10:15,360 Such public works, whether they use contemporary subjects as boudoir did, or historical scenes like novels, 85 00:10:15,360 --> 00:10:24,690 were deliberately imbued with legible values and associations which promoted Republican ideology. 86 00:10:24,690 --> 00:10:29,430 Mural decorations were commissioned to promote civic ideology in public places. 87 00:10:29,430 --> 00:10:35,880 But Republican values were also explicit or implicit in easel paintings shown at the annual salons. 88 00:10:35,880 --> 00:10:41,760 Many exhibition pictures were large canvases, which the artists hoped would be purchased the museums. 89 00:10:41,760 --> 00:10:46,410 Thus to enter the public sphere paid by the public purse. 90 00:10:46,410 --> 00:10:50,160 It helped to endorse the appropriate values. 91 00:10:50,160 --> 00:10:58,050 Rafael is George Clemenceau, addressing an electoral meeting executed in 1883 and shown at the salon of 1885, 92 00:10:58,050 --> 00:11:04,650 may promote a particular politician and suggest the artist's adherence to his politics. 93 00:11:04,650 --> 00:11:14,550 But in broad terms, it advocates the democratic values of the Post 1879 Republic, Freedom of Speech and of political association. 94 00:11:14,550 --> 00:11:16,560 In a word, liberty. 95 00:11:16,560 --> 00:11:25,320 As Clemenceau explains his policies to a crowd of identifiable political colleagues such as Kamei of Palatal and Alexander are below. 96 00:11:25,320 --> 00:11:32,040 The picture ended up in the national collections. But the Republican rhetoric could also be filed. 97 00:11:32,040 --> 00:11:37,830 I suggest in more modest pictures for the private collector, for instance, 98 00:11:37,830 --> 00:11:43,380 George Bellows representation of Victor Hugo's coffin lying in state under the OP to tee 99 00:11:43,380 --> 00:11:51,420 off in 1885 was a small panel painted on the spot and kept in the artist's possession. 100 00:11:51,420 --> 00:12:00,480 Nonetheless, its ostensible record of something seen is orchestrated in suitably democratic terms to the 101 00:12:00,480 --> 00:12:07,710 left of female servant or shopkeeper has the same view from a stepladder as to board was. 102 00:12:07,710 --> 00:12:12,420 While a couple of male vendors provide a proletarian presence in the foreground 103 00:12:12,420 --> 00:12:20,160 and again add a discreet couleur accent amongst the black coated bourgeois, 104 00:12:20,160 --> 00:12:26,790 the collective in its various forms national, civic, regional, professional, communal. 105 00:12:26,790 --> 00:12:33,270 And so was what the regime sought to identify and bind to the republic. 106 00:12:33,270 --> 00:12:39,840 This notion of a central identity found its resistance not only in the political sphere or in regional pride, 107 00:12:39,840 --> 00:12:45,750 but also in the sheer ingrained parochialism of much of rural France. 108 00:12:45,750 --> 00:12:53,790 In 1892, for instance, the mayor of timidness in the ESER had to instruct that year conscripts for military 109 00:12:53,790 --> 00:13:00,630 service that there was more to laparoscope than the village in which they had been born. 110 00:13:00,630 --> 00:13:11,310 The army was a particularly potent image of Republican collectivity writing about the military painter Edward Dipti in 1897, Gustave Lullay, 111 00:13:11,310 --> 00:13:20,670 a former director of Fine Arts, took an emphatically Republican position today due to constant and logical and necessary progress. 112 00:13:20,670 --> 00:13:27,300 The principle of obligatory individual service sees all France's male population enter the ranks 113 00:13:27,300 --> 00:13:34,740 that wrote Justice in military law should be matched by truth in the representation of the soldier, 114 00:13:34,740 --> 00:13:45,300 which details paintings provided. The proliferation of paintings of army life gave pictorial form to the collective experience of young Frenchmen, 115 00:13:45,300 --> 00:13:54,720 demonstrated their performance of duty to women and children, and shored up public belief in an army reformed along Republican lines. 116 00:13:54,720 --> 00:14:02,980 Pictures were part of the rhetoric. George Janosch is the reservists from the cellar of 1882 is a culture sleep. 117 00:14:02,980 --> 00:14:04,980 Modern composition, 118 00:14:04,980 --> 00:14:14,430 with its wedge of open space on the right stopped by the rider designed to set up a sense of the informal and the momentary as other gestures, 119 00:14:14,430 --> 00:14:21,150 such as the man with the suitcase removing his hat in the centre. 120 00:14:21,150 --> 00:14:34,770 Janosch juxtaposed cap bola and top hat, signifying the different classes united by the égalité and fraternité of conscription, 121 00:14:34,770 --> 00:14:38,450 attitudes to the collective or the meat and drink of politics. 122 00:14:38,450 --> 00:14:46,380 And under the Third Republic, they formed an active role in shaping ideas about relations between the individual situation and the state. 123 00:14:46,380 --> 00:14:55,580 The function of a malfunction of the collective fascinated contemporary intellectuals in his pioneering framework for sociology. 124 00:14:55,580 --> 00:14:59,980 Lay Haigler delimited sociologic of 1894. 125 00:14:59,980 --> 00:15:12,900 Emil Durkheim argued that the new discipline would study LAAM Collective, the collective soul, taking, as one example, rural depopulation. 126 00:15:12,900 --> 00:15:19,230 If the population pushes into our towns instead of spreading over the countryside, it's because there's a kind of opinion, 127 00:15:19,230 --> 00:15:26,370 a collective pressure, which imposes that concentration on individuals, Dotcom wrote. 128 00:15:26,370 --> 00:15:34,800 Another intellectual, Molly's Buffer's, was sharply critical of the republic centralising collectivism in his 1897 novel A Day, 129 00:15:34,800 --> 00:15:44,220 Hussie Lay the Gambetta schoolmaster Bhutto yay, a Democrat designated by those who set themselves up to organise democracy. 130 00:15:44,220 --> 00:15:50,130 Teachers love Kilic TV day Nazionale to his N-E schoolboy's. 131 00:15:50,130 --> 00:16:01,230 But when these youths migrate to Paris, impelled to the National Centre, tragic consequences follow from their uprootedness painting. 132 00:16:01,230 --> 00:16:09,450 Its great goal, the grouping of the human figure into memorable images, also addressed these ideological and social issues. 133 00:16:09,450 --> 00:16:13,980 Label level leaks emerged as a leading painter in the eighteen eighties. 134 00:16:13,980 --> 00:16:19,710 His work, published for the national collections and winning medals and prestigious commissions. 135 00:16:19,710 --> 00:16:28,670 Lemonade's typical subject matter was agricultural life around his native village, Morseu Baths on the Marne to the east of Paris. 136 00:16:28,670 --> 00:16:36,820 A painting such as the Harvest showed at the Salon 1883, gave its over lifesize peasants and heroic scale. 137 00:16:36,820 --> 00:16:46,710 The torsion and the fatigue of the figures, as well as the sweeping expanse of the Marne cornfields, add to the sense of the epic. 138 00:16:46,710 --> 00:16:52,320 But for all the scenes, simple obviousness, its seasonal ubiquity. 139 00:16:52,320 --> 00:16:55,890 It incorporated fundamentals. Hard work. 140 00:16:55,890 --> 00:17:04,680 Tedham tasks the fertility of the soil breads to come, which spoke directly about collective duty, 141 00:17:04,680 --> 00:17:11,340 social coherence and the timeless continuity's of country life limits. 142 00:17:11,340 --> 00:17:18,090 Evening Work of 1888 shows a local veiga here represented as a female gathering. 143 00:17:18,090 --> 00:17:29,850 The girl being taught to knit by an elderly woman and staff or suggesting continuity's crofter knowledge flowing through the community. 144 00:17:29,850 --> 00:17:38,730 Unusually for a chiefly rural department, the Monde's population increased slightly between the censuses of 1886 and 91. 145 00:17:38,730 --> 00:17:49,080 But the increase was in industrial centres such as a house, rather than in the agricultural areas where Republicanism was slow to take root. 146 00:17:49,080 --> 00:17:55,080 Land meets naturalism was equivalent then observation of harvest, 147 00:17:55,080 --> 00:18:05,310 or they was crafted into a scene either epic or intimate, ostensibly accurate, painted by the local man. 148 00:18:05,310 --> 00:18:12,480 But such paintings transformed the data of Lao Meat P into pictures to be seen in the capital. 149 00:18:12,480 --> 00:18:14,520 They dealt with larger issues, 150 00:18:14,520 --> 00:18:23,790 whether the broad embrace of Republican collectivism or the more specific problems of rural D population for evening work 151 00:18:23,790 --> 00:18:32,640 was illustrated in alternate Tokyo's 1888 book Lover You who STK recording Country Customs before they disappeared, 152 00:18:32,640 --> 00:18:35,130 lemmings images were made within. 153 00:18:35,130 --> 00:18:46,650 And as part of debates about the nature of the national collective, as much so as the ideas of a deal chyme or a bass. 154 00:18:46,650 --> 00:18:56,160 The republic played up its modern scientific identity as it sought to distance itself from its political rivals, the monarchy and the Catholic Church, 155 00:18:56,160 --> 00:19:05,970 to pitch their hierarchy and superstition into the past while projecting its own commitment to change and progress into the future. 156 00:19:05,970 --> 00:19:11,730 It traced its intellectual roots to the rationality of the Enlightenment and laid stress on its modernity. 157 00:19:11,730 --> 00:19:16,740 Founded on the application of reason, logic and science, 158 00:19:16,740 --> 00:19:24,810 looking back to the natural aesthetic of naturalist aesthetic of the 18th 80s from the vantage of nineteen hundred and eight labels, Benedict, 159 00:19:24,810 --> 00:19:27,190 curator of the state collection of modern art, 160 00:19:27,190 --> 00:19:36,960 the music Deducible wrote that one analysed and discussed individuals and social media like a doctor discourses on pathological cases, 161 00:19:36,960 --> 00:19:44,020 one class types of humanity. One studied the defects resulting from their condition, their hereditary past, 162 00:19:44,020 --> 00:19:50,820 and one applied the same laboratory method to the examination of the mentality of collectives. 163 00:19:50,820 --> 00:20:01,680 This methodical scientific ideal. He went on, applied as much to authors such as flowback and Mopar soul as it did to painters such as Alfred Hall. 164 00:20:01,680 --> 00:20:08,730 And he added, the impressionist artists who had rigorously scientific ambitions. 165 00:20:08,730 --> 00:20:18,390 And this is all wrong. Type artists were understood to be specifically engaged with scientific ideas of observation and accuracy. 166 00:20:18,390 --> 00:20:26,190 This went beyond the time honoured practise of studying anatomy from corpses on the 11th of July 1891. 167 00:20:26,190 --> 00:20:31,290 Emil Fleer attended the execution of a triple murderer and immediately afterwards drew 168 00:20:31,290 --> 00:20:36,330 the guillotined head in the anatomy laboratory of the North Sea Medical Factory. 169 00:20:36,330 --> 00:20:45,660 And you'll be pleased to know I've spared you that one of the strangest alliances between art and medicine, which I trailed. 170 00:20:45,660 --> 00:20:58,260 Last week came in 1890 when Dr Seymour Bernheim commissioned Zu Adler to paint a woman receiving a blood transfusion from a goat in his laboratory. 171 00:20:58,260 --> 00:21:06,420 Bad idea. The picture was both a record and a public promotion of bad times. 172 00:21:06,420 --> 00:21:11,790 Misguided hypotheses about mixing blood from different species. 173 00:21:11,790 --> 00:21:16,230 Adelies feet would be twelve hundred traps rising to fifteen hundred. 174 00:21:16,230 --> 00:21:23,510 If the painting was exhibited as it was at the 1892 Saladin's artist falsey as required, 175 00:21:23,510 --> 00:21:30,030 the painting colludes with the medical practise detailing battlelines, attentive supervision. 176 00:21:30,030 --> 00:21:40,350 The stopwatch precision the up to the minute equipment, modern art going hand in hand with modern medicine. 177 00:21:40,350 --> 00:21:48,450 Education was another means by which the Republic strove to diminish the authority of its political rivals, particularly the church. 178 00:21:48,450 --> 00:21:56,610 The eighteen eighties saw a legislative programme and a series of educational reforms promoting the Republic's league policies. 179 00:21:56,610 --> 00:22:01,830 The strategy was to entrench Republican values in the minds of the younger generation. 180 00:22:01,830 --> 00:22:07,440 So developing and perpetuating Republicanism as the Central National Montanti 181 00:22:07,440 --> 00:22:12,720 Day mural decorations commissioned from the public purse and propagandising 182 00:22:12,720 --> 00:22:24,810 public policy were inevitably rolled it more dodgeballs 1893 commission for the Saudi Kosei of the Town Hall of Masel or for typifies this. 183 00:22:24,810 --> 00:22:30,040 And I show you the sketch depicting the mayor at a price giving on the cattle. 184 00:22:30,040 --> 00:22:35,610 We're the Third Republic coincided the end of the school year with the National Fed. 185 00:22:35,610 --> 00:22:40,380 The painting enshrined a secular ritual in the seat of local authority. 186 00:22:40,380 --> 00:22:45,900 It's lauding of civic values such as scholarly achievement and communal recognition. 187 00:22:45,900 --> 00:22:55,290 Given a specifically Republican gloss by the tricolour of the three leading schoolgirls in the centre, Aimé Parfaits, 188 00:22:55,290 --> 00:23:03,450 the distribution of the prises exhibited at the 1890 Salon de la Nasional represented a village, seen its inclusion of Mayr, 189 00:23:03,450 --> 00:23:14,940 Kyohei and local notables on the dais as the critic Louis Enno noticed a tactful harmonisation of local men of influence and whose hint that these 190 00:23:14,940 --> 00:23:24,750 girls would eventually marry while alluding to family values actually cut across the significance that the republic gave to the education of women. 191 00:23:24,750 --> 00:23:29,550 The move of the 21st of December 1880, formulated by Kamins, 192 00:23:29,550 --> 00:23:37,710 say enhanced secular secondary education for girls and established teacher training colleges for young women. 193 00:23:37,710 --> 00:23:45,490 By the mid 80s 90s, there was an impressive phalanx of over 45000 Republican ised as the two Twiss in primaries. 194 00:23:45,490 --> 00:23:52,330 Schools, given that education and the arts belong within the same ministerial portfolio, 195 00:23:52,330 --> 00:23:59,920 when on the 19th of April, 1893, June, we saw director of primary education proposed to his boss, 196 00:23:59,920 --> 00:24:09,160 the minister of Public Instruction and Fine Arts, that contemporary education should be recorded in a series of five paintings. 197 00:24:09,160 --> 00:24:18,190 The decision was swiftly reached. Unsure just what Who Specialised and Painted Children was commissioned on the 17th of June, 198 00:24:18,190 --> 00:24:28,690 from proposal to ministerial decision in two months demonstrates the complicity between ideology and visual culture. 199 00:24:28,690 --> 00:24:34,430 A painting from Jeff was series was exhibited annually from 1895. 200 00:24:34,430 --> 00:24:40,870 Of the whole group together in the section on education at the nineteen hundred exposes CLB New Ourselves. 201 00:24:40,870 --> 00:24:49,450 What an example of the interface between Republican policy, executive action and visual culture. 202 00:24:49,450 --> 00:25:00,190 These pictures of education served to educate the public about the Republic's educational practises. 203 00:25:00,190 --> 00:25:06,520 The descriptive naturalist aesthetic covered not only seems from contemporary life, but also from history, 204 00:25:06,520 --> 00:25:15,390 as we've seen with Lohaus, his death of San Genevieve historical subjects encouraged ideological glosses. 205 00:25:15,390 --> 00:25:20,790 The proliferation during the 1980s of scenes from the fratricidal vaun day wars of 1790, 206 00:25:20,790 --> 00:25:31,780 three to six fought in western France between the troops of the First Republic and the two islands Catholic and Aristocrat LED is a case in point. 207 00:25:31,780 --> 00:25:36,100 Throughout the decade, each salon had three or four paintings on the theme. 208 00:25:36,100 --> 00:25:41,440 And nine were on view at the 1889 Exposition Universelle. 209 00:25:41,440 --> 00:25:54,400 Often large, these canvases made much of their actuality with their specific settings, detailed costumes and physical combat paintings such as. 210 00:25:54,400 --> 00:26:07,180 Joseph Giorgio's F. Vitz is death of Basra on the left and Alexander Bloss death of General Buckwheat from the sales of 1883 in 1888, respectively, 211 00:26:07,180 --> 00:26:15,160 used Naturaliste pictorial devices to maximise the illusion of actuality figures frozen in rapid 212 00:26:15,160 --> 00:26:21,220 movement or encroaching from the canvas edges to give a powerful sense of impulsive aggression. 213 00:26:21,220 --> 00:26:27,730 And in these two paintings, the moment of or just before violent death. 214 00:26:27,730 --> 00:26:33,580 Vinces Barber is in fact an excellent example of how the same work could fulfil its 215 00:26:33,580 --> 00:26:40,510 ideological and pedagogical functions in different contexts and via different media. 216 00:26:40,510 --> 00:26:45,370 It represents the death in 1793 of a teenaged drummer who, 217 00:26:45,370 --> 00:26:52,720 as he was killed by counter-revolutionary better Breton Quran's yelled out Vive la Republique, 218 00:26:52,720 --> 00:26:58,000 commissioned by the state in 1880 and the success of the sale of 1883. 219 00:26:58,000 --> 00:27:08,470 The painting was first hung in the Ailey's, a palace where its theme of Republican devotion would have been evident to all the presidents visitors. 220 00:27:08,470 --> 00:27:17,680 In addition, five hundred thousand photographs were printed for distribution to schools throughout France 221 00:27:17,680 --> 00:27:23,770 so that Burroughs dutiful martyrdom could stand via the arresting naturalism of Vitz, 222 00:27:23,770 --> 00:27:33,820 his picture as an example to millions of schoolchildren, many of whom would have died in the trenches of 1914 to 18. 223 00:27:33,820 --> 00:27:40,600 But the ideology promoted by such images was not watertight, susceptible to a single reading. 224 00:27:40,600 --> 00:27:45,850 While a schoolboy might have been thrilled by Barack's heroic example, 225 00:27:45,850 --> 00:27:55,090 the adult might well remember that the one day campaigns had been a civil war, as had been the commune of 1871. 226 00:27:55,090 --> 00:27:59,680 The commune was not deemed an appropriate Celo subject. 227 00:27:59,680 --> 00:28:07,330 But images of the Vaun Day wars reminded Republicans of the dangers of extremism within the nation and that 228 00:28:07,330 --> 00:28:15,970 on occasion sacrifices were needed to defeat irrational opponents for monarchists or Catholic evil to. 229 00:28:15,970 --> 00:28:21,940 It might be added. Such paintings recalled that a new republic led to civil war. 230 00:28:21,940 --> 00:28:34,770 Be it in 1793 or 1871. Painting might be an ideological tool, but it could not be reliably red. 231 00:28:34,770 --> 00:28:40,650 By 1880, there was a wide understanding that the depiction of contemporary France necessarily 232 00:28:40,650 --> 00:28:45,990 following the naturalist aesthetic was one of the functions of modern art. 233 00:28:45,990 --> 00:28:52,170 This was supported across the Republican spectrum from senior deputies such as until now, 234 00:28:52,170 --> 00:29:01,620 pushed to radical Paris counsellors like Lay or Donna at the beginning of his distinguished career as a critic and aspect of their Bouzar Hodgy, 235 00:29:01,620 --> 00:29:08,280 Marx wrote in La Pockley de Lest It 1884 that we are grateful to the realist for 236 00:29:08,280 --> 00:29:13,260 retracing our own image for us and for preparing for the centuries to come. 237 00:29:13,260 --> 00:29:25,770 Documents on the age in which we live. Naturaliste representation went hand-in-hand with Republican ISM's demand for the scientific docu law. 238 00:29:25,770 --> 00:29:33,760 For example, limites contribution to the Utter the Vehle Declaration was a painting of lay out the Paris Central Market. 239 00:29:33,760 --> 00:29:37,080 Laffan Nest, who I've mentioned was a Republican functionary, 240 00:29:37,080 --> 00:29:45,510 praised the painting at the 1895 Selander Lenarcic now for being an invaluable document and found it quite appropriate. 241 00:29:45,510 --> 00:29:49,770 That limit had included himself on the right of the canvas. 242 00:29:49,770 --> 00:29:57,210 He's up there somewhere as place validated the authenticity of his observation. 243 00:29:57,210 --> 00:30:04,530 It should come as no surprise that the work of art, executed and admired as a document, should be to the fore. 244 00:30:04,530 --> 00:30:13,890 At the very time that Deok Hymes, a Haigler Delimiters sociologic, was centred on the idea of social facts. 245 00:30:13,890 --> 00:30:18,360 This canvas I show you in black and white because it's so large, it's now rolled up. 246 00:30:18,360 --> 00:30:23,520 And the next image I'm going to show you is the sketch of the painting, because that too is rolled up. 247 00:30:23,520 --> 00:30:27,430 These pictures can be quite difficult to see. 248 00:30:27,430 --> 00:30:38,020 Pressure from the political centre to classify and record contemporary life leads to many major public commissions to record significant events. 249 00:30:38,020 --> 00:30:44,620 Alfred Hall's celebration of the centenary of the estate's general, exhibited in 1893, 250 00:30:44,620 --> 00:30:53,260 represented a fact held by President Kozlow VLSI in 1889 at six by nine metres. 251 00:30:53,260 --> 00:30:59,890 It had required 78 portraits and took three years work rolls. 252 00:30:59,890 --> 00:31:08,740 Insistence on this in an interview suggests how significant the scrupulousness of his record was to him. 253 00:31:08,740 --> 00:31:18,670 Louis Pasteur died in September 1895, and Dati was commissioned by the state to paint the funeral of the great scientist. 254 00:31:18,670 --> 00:31:26,430 This is the boring painting that I threatened you with last week, just as Pasteur was entombed in the pool table. 255 00:31:26,430 --> 00:31:32,140 So De Thai's painting went to the museum Nazionale at VLSI. 256 00:31:32,140 --> 00:31:39,910 So the state doubly claimed the great man exhibited at the 1897 Saladin's artist for sale. 257 00:31:39,910 --> 00:31:45,460 The painting was praised by fellow artist Albert Mesnil for its detail, 258 00:31:45,460 --> 00:31:53,230 which he found morally scrupulous and of course, as a document but only in your writing. 259 00:31:53,230 --> 00:31:56,530 Writing in the liberal Lappe room dismissed the ties, 260 00:31:56,530 --> 00:32:05,020 painting as merely official art whose only interest for the future would be its record of protocol. 261 00:32:05,020 --> 00:32:14,860 L may well be right. It's difficult for us today to take such a painting seriously as a work of art, but we should return to its function. 262 00:32:14,860 --> 00:32:25,510 Dati fulfilled his brief to provide a record for a society that found moral worth in honesty and exactitude. 263 00:32:25,510 --> 00:32:30,400 Pasteur's funeral had been attended by a crowd of 200000. 264 00:32:30,400 --> 00:32:38,690 Placing its representation in a national museum helped perpetuate the nation's tribute to the great chemist on the scene. 265 00:32:38,690 --> 00:32:46,060 Dati chose not only paid homage to Pasteur, but also reiterated progressive Republican rhetoric. 266 00:32:46,060 --> 00:32:51,010 As all the public authorities, politics, diplomacy, academia, 267 00:32:51,010 --> 00:33:00,360 the law of the army pay tribute to science, an appetite for the record was hardly new to art. 268 00:33:00,360 --> 00:33:07,660 It had been shared by countless generations, from Egyptian pharaohs to Dutch burgers and Corsican generals. 269 00:33:07,660 --> 00:33:13,290 But it proliferated in France at the end of the 19th century, as in other European countries. 270 00:33:13,290 --> 00:33:21,250 So many private organisations, like the editorial teams of newspapers, had themselves perpetuated in group portraits. 271 00:33:21,250 --> 00:33:26,770 In 1889, Jorge Bello celebrated the centenary of John Alday Deba. 272 00:33:26,770 --> 00:33:34,300 By then, an organ of conservative Republicanism before was accumulation of some 40 portrait's lacks spontaneity. 273 00:33:34,300 --> 00:33:44,140 Despite episodes such as the brimming wastepaper bin or the man glancing up from his paper but within his bland disruptiveness can be found. 274 00:33:44,140 --> 00:33:49,680 Figures like 10, Eleanor and Jules Seymours tried to point out. 275 00:33:49,680 --> 00:34:01,900 Who's there? I think these were all intellectual avatars of positivism and Republicanism, aptly encapsulated in this naturalistic record. 276 00:34:01,900 --> 00:34:11,740 The following year, Joseph Heida commissioned author Gelwix to paint his editorial team at Lafe Puplick for says a bust of the paper's founder, 277 00:34:11,740 --> 00:34:16,510 Gambetta asserts itself on the mantelpiece. Rovics is smaller. 278 00:34:16,510 --> 00:34:25,180 Staff age allowed a greater sense of spontaneity than Bevell, as if we had just entered an editorial conference with Urgence Spillar looking 279 00:34:25,180 --> 00:34:31,180 out from the rival LA tour and then a vow that whoso smoking a cigarette. 280 00:34:31,180 --> 00:34:35,110 Although the painting strives for its contrived vitality, 281 00:34:35,110 --> 00:34:44,680 it was evidently agreed that progressive politics required to be represented according to the best efforts of modern naturalism. 282 00:34:44,680 --> 00:34:48,520 Individuals also commissioned portraits as records. 283 00:34:48,520 --> 00:34:54,880 I'm not thinking here of the portrait for posterity common to all ages, but of portraits with greater specificity. 284 00:34:54,880 --> 00:35:02,890 The celebrated act of Kokila in a commission to a series of paintings from Emil Theel representing him in different roles. 285 00:35:02,890 --> 00:35:07,740 Some, for instance, as Figaro in Burma shares play there on the left, 286 00:35:07,740 --> 00:35:13,900 a quite straightforward, although always in character and precise in details of costume, 287 00:35:13,900 --> 00:35:20,620 while others such as popular as Schapper on the Right, deploy the artful devices of naturalism here. 288 00:35:20,620 --> 00:35:26,100 The surprising placement, the instant of expression, the. 289 00:35:26,100 --> 00:35:31,730 To record, however, was hardly free from contrivance. 290 00:35:31,730 --> 00:35:39,020 Group portrait of the great physiologist Claude Bhavna at work at a vivisection laboratory and surrounded by his research team, 291 00:35:39,020 --> 00:35:49,000 was commissioned for the Academy Dimmit scene in 1886. But while the painting proffers, all naturalism is descriptive plausibility. 292 00:35:49,000 --> 00:35:54,920 It is quite bogus. Bella had died in 1878. 293 00:35:54,920 --> 00:36:03,260 Yet commissioning a posthumous portrait, however, lacking in direct observation of the main, Sittar was nonetheless consistent with other objectives. 294 00:36:03,260 --> 00:36:08,990 The celebration of scientific progress, commemoration of a great man making a document of the period, 295 00:36:08,990 --> 00:36:13,940 even though in Bella's case it was strictly too late. 296 00:36:13,940 --> 00:36:18,590 We can go some way towards explaining the proliferation of paintings done for the record, 297 00:36:18,590 --> 00:36:22,490 by acknowledging the common anxiety about the rapidity of change. 298 00:36:22,490 --> 00:36:27,680 If one aspect of naturalism was its ability to register the rapid momentum of modernity. 299 00:36:27,680 --> 00:36:34,900 Another was its function in the conservation of the state of things before the processes of change swept them away. 300 00:36:34,900 --> 00:36:43,730 Today, Turkey's text accompanying Leibnitz illustrations to love the Who STK of 1888 I show you the frontispiece on the left makes clear 301 00:36:43,730 --> 00:36:53,000 that their collaboration is to describe French country life already in transition for a quarter of a century before France becomes, 302 00:36:53,000 --> 00:37:04,430 as Towfiq put it, furrowed by brick, rectangular roads, tramways and railway tracks a vast Groff's board of systematic cultivation. 303 00:37:04,430 --> 00:37:12,290 In his introduction to his great project to illustrate the New Testament finally published in 1896, I show you a watercolour over there on the right. 304 00:37:12,290 --> 00:37:19,000 James Tiso made the same points. Modernity would soon transform the Holy Land. 305 00:37:19,000 --> 00:37:26,440 A naturalist method should be used to document it before Christ's countryside became unrecognisable. 306 00:37:26,440 --> 00:37:38,000 Nationalism's relations with modernity were complex and multifaceted as aesthetic had a conservationist dimension. 307 00:37:38,000 --> 00:37:42,710 The Republic presented itself as a reformist regime. 308 00:37:42,710 --> 00:37:46,850 Its progressive policies introducing liberal changes such as the freedom of 309 00:37:46,850 --> 00:37:52,970 the press in 1881 and the legalisation of divorce and trade unions in 1884. 310 00:37:52,970 --> 00:37:59,420 These reforms inevitably attracted political opposition, in particular during the late 1980s and 1990s, 311 00:37:59,420 --> 00:38:07,490 with the increasing socialist vote discontented with the slow pace of social change and pressing for more vigorous solutions to last. 312 00:38:07,490 --> 00:38:13,520 Your social policy and legislation were a matter for parliamentarians, of course. 313 00:38:13,520 --> 00:38:22,820 But ministries and other social organisations used visual culture to disseminate their reformist positions and rhetoric. 314 00:38:22,820 --> 00:38:28,460 Nationalisms, inclusive city may have theoretically equipped to deal with any subject. 315 00:38:28,460 --> 00:38:32,410 However raw or distressing. But how efficacious was it? 316 00:38:32,410 --> 00:38:46,040 A drawing attention to social problems? In 1882, Odille Woodall dismissed Bastia largest canvases of peasant types as decent bourgeois presentable, 317 00:38:46,040 --> 00:38:51,690 arguing that middle class spectators simply had no knowledge of such people's gret grim existence 318 00:38:51,690 --> 00:38:58,640 isn't so satisfied themselves with admiring the exact description of rags and wrinkles. 319 00:38:58,640 --> 00:39:04,070 A decade later, the ironic writer Julia Hanaa made the same point about theatre. 320 00:39:04,070 --> 00:39:07,850 Having seen Gaffar hoped Almond's harrowing play, The Weavers, 321 00:39:07,850 --> 00:39:17,750 he wrote in his journal that while we want to be moved by others misery, people leave the theatre saying, Why should we go to dinner? 322 00:39:17,750 --> 00:39:22,880 Certainly, painters and writers from their different political positions addressed the 323 00:39:22,880 --> 00:39:29,240 largely middle class urban audiences at the art exhibition theatre or novel, 324 00:39:29,240 --> 00:39:34,700 aware that their work would likely do better if it were informative rather than critical. 325 00:39:34,700 --> 00:39:46,040 Just as those audiences with their own diverse political perspectives sought entertainment rather than instruction diversion, not reformist policy. 326 00:39:46,040 --> 00:39:53,000 Nevertheless, at certain points, naturalism engaged with and served Republican reformism. 327 00:39:53,000 --> 00:39:59,420 Let me take as an example the issue of baby care and the unwanted child. 328 00:39:59,420 --> 00:40:06,050 These are pressing issues at a time when France's birthrate was very low between 1870 and 1914. 329 00:40:06,050 --> 00:40:16,100 France's population increased by 10 percent, while Britons grew by 43 percent and Germany's by fifty eight percent. 330 00:40:16,100 --> 00:40:25,820 Deaths in France actually exceeded births by 300 in the half decade, between 1890 in 95. 331 00:40:25,820 --> 00:40:29,990 Many steps were taken to ameliorate this national weakness at government level, 332 00:40:29,990 --> 00:40:38,330 legislation was introduced to reduce women's working hours to 11 hours in 1892 and ten in nineteen hundred in Paris. 333 00:40:38,330 --> 00:40:47,990 Reformers like the city councillor Paul Strauss introduced practical steps through the system of assistance public to aid mothers and protect babies. 334 00:40:47,990 --> 00:40:53,090 Breastfeeding mothers received a supplementary 10 francs per month from 1885. 335 00:40:53,090 --> 00:41:02,840 A woman could deposit her unwanted infant at any hour and with total anonymity at the OSPI stays or for a C stay where it would be adopted. 336 00:41:02,840 --> 00:41:12,020 A means to prevent abortion and infanticide from 1893 Paris maternity hospitals like Le Matel any day and its new wing, 337 00:41:12,020 --> 00:41:18,160 Buddah Lock were required to lodge women in the last weeks of pregnancy. 338 00:41:18,160 --> 00:41:26,660 The bars and marble of an abandoned baby awakening was purchased from the salad days artist say by the Patmore Dallas Sen. 339 00:41:26,660 --> 00:41:36,680 On the course, a general of which Paul Strauss said it was placed in the Opie Taylor Sal Vassall to pull the naturalism of the sculpture. 340 00:41:36,680 --> 00:41:42,050 Life sized highly detail with the baby's movements and expressive face, 341 00:41:42,050 --> 00:41:51,500 insisted that this was a marble not of a funerary monument of a living child who implicitly had the right to municipal protection and 342 00:41:51,500 --> 00:42:01,670 would one day be a citizen with responsibilities to the nation installing such a work in a maternity hospital literally set in stone. 343 00:42:01,670 --> 00:42:11,420 This institutional commitment about DeMar Fest's in front of the maternity hospital exhibited at the 1892 Saladin's artist, 344 00:42:11,420 --> 00:42:23,720 also is at one level an emotionally charged image of desolate motherhood, replete with sombre Pallot and pathetic fallacy at another. 345 00:42:23,720 --> 00:42:29,060 It is a pictorial enactment of modern welfare practise. 346 00:42:29,060 --> 00:42:34,490 The woman leaves the Opt-Out Buddha Lock the obstetric clinic at 125 Boulevard Appointer. 347 00:42:34,490 --> 00:42:44,270 Paul Hoil, which it opened in 1890 and crosses the road to Lusby, stays or for assisted opposite where she will hand her baby over. 348 00:42:44,270 --> 00:42:52,220 The picture was bought by DeMar Heist's friend. It was Seemore, a bachelor from philanthropist who gave it in 1894 to the city of Paris, 349 00:42:52,220 --> 00:42:58,730 allowing it to become a public painting demonstrating the city's enlightened policies. 350 00:42:58,730 --> 00:43:04,160 Paris also ran municipal clash called Prepon Year, 351 00:43:04,160 --> 00:43:11,970 where working women could leave their babies for several weeks to be breastfed by an unmarried mother in the institution. 352 00:43:11,970 --> 00:43:22,730 At the 1895 Salon de la Nasional, N.S., Doer's exhibited the delighted de great title. 353 00:43:22,730 --> 00:43:30,530 This remarkable painting, Now Lost, sadly represents the regimentation of a natural function. 354 00:43:30,530 --> 00:43:36,080 All the babies are fed at once. They are all weighed. The world is modern and hygienic. 355 00:43:36,080 --> 00:43:45,170 The painting typifies a Republican vision of progress, science and reform and a horrifying contradiction. 356 00:43:45,170 --> 00:43:50,540 Industrialised breastfeeding, a feminist, historians have pointed out. 357 00:43:50,540 --> 00:43:56,600 For Republican reformers like Strauss, the single mother was controlled by doctors and bureaucrats. 358 00:43:56,600 --> 00:44:06,170 The state took over the paternal role of the child, effectively became the state's doers, may have represented a moondust merely arem. 359 00:44:06,170 --> 00:44:12,430 But Patro patriarchal control, if invisible, is the ordering force. 360 00:44:12,430 --> 00:44:16,580 Love delighted day is also leak secular. 361 00:44:16,580 --> 00:44:25,370 Unmarried mothers become socially useful as multiple municipal Madonnas and the paintings prevalent whiteness, 362 00:44:25,370 --> 00:44:34,070 to which critics drew attention, alludes not to virginal purity, but to the modern virtue of public Haiji. 363 00:44:34,070 --> 00:44:42,980 But once again, even private pictures for private consumption engaged with national issues don't talls 1892 painting 364 00:44:42,980 --> 00:44:49,760 of his wife changing their son's nappy is at one level a picture of domestic intimacy at another. 365 00:44:49,760 --> 00:44:56,640 An engagement with the national duty to breed and nurture. 366 00:44:56,640 --> 00:45:02,790 I'll leave you with that for a bit and have a sip of water. 367 00:45:02,790 --> 00:45:10,440 Another of the ways in which naturalism was so effective, an ally to Republicanism, was its flexibility. 368 00:45:10,440 --> 00:45:17,970 Crucially, this involved in elasticity of style. The painters that we've already seen were strong individuals. 369 00:45:17,970 --> 00:45:22,790 Nobody would confuse a loss for the tie and left me with a battle. 370 00:45:22,790 --> 00:45:27,660 But naturalism also allowed what one might call flexibility of a reach. 371 00:45:27,660 --> 00:45:32,460 It catered for a range of taste those who liked paintings of vigorous rural life. 372 00:45:32,460 --> 00:45:38,080 But in my land meet historical reconstructions, lost scrupulous military precision. 373 00:45:38,080 --> 00:45:45,390 Dati and so once again, there was an overlap between representation and politics. 374 00:45:45,390 --> 00:45:50,760 The variety of power offered by the dominant naturalist aesthetic allowed its audiences. 375 00:45:50,760 --> 00:45:53,550 Different artists to admire. 376 00:45:53,550 --> 00:46:03,030 And yet, within that wide range of artistic personalities, the artists largely adhered to the central consensus of naturalism. 377 00:46:03,030 --> 00:46:08,490 Because painters means of representation were legible and their subjects typically public 378 00:46:08,490 --> 00:46:15,210 in their resonance that audiences could choose preferences from within a wide portfolio. 379 00:46:15,210 --> 00:46:21,030 The Army officer might have Mark to tie the landowner and meet the naturalist aesthetic, 380 00:46:21,030 --> 00:46:27,150 thus mapped neatly onto the patterns and requirements of Republican politics. 381 00:46:27,150 --> 00:46:32,400 As the Republic struggles to establish itself fighting its position against old opponents 382 00:46:32,400 --> 00:46:37,680 such as monarchism and the church and new threats like Bulos schism and socialism, 383 00:46:37,680 --> 00:46:44,190 its politicians needed to satisfy the diverse demands of very different constituencies. 384 00:46:44,190 --> 00:46:50,100 The adaptability of the naturalist aesthetic was enormously helpful here. 385 00:46:50,100 --> 00:46:56,280 The state's mechanisms were deliberately used to forward art, which promoted Republican values. 386 00:46:56,280 --> 00:47:01,680 This applied not only to the funding and commissioning of public art, such as the decoration of institutional buildings, 387 00:47:01,680 --> 00:47:07,260 but also the purchase of paintings from the salons and their dispersal in provincial museums, 388 00:47:07,260 --> 00:47:12,090 which might have equally implicit pedagogical intentions. 389 00:47:12,090 --> 00:47:17,940 Thus, when the museum in Toulouse was sent Longhouses Horses, St. 390 00:47:17,940 --> 00:47:27,970 John Crisostomo and the Empress Doxy in 1894. It was not merely receiving a picture by a locally born artist. 391 00:47:27,970 --> 00:47:41,010 A traditionally anticlerical city was being sent a painting about the undesirability of religious interference in the affairs of state. 392 00:47:41,010 --> 00:47:47,370 Although I'd be making a case that naturalism served as the primary aesthetic of the republic in the eighteen, eighties and nineties, 393 00:47:47,370 --> 00:47:55,910 I should also acknowledge that nationalism's polyvalent also allowed it to be used by the Republic's ideological opponents. 394 00:47:55,910 --> 00:48:01,530 Look for great Tal's lack. They showed up shown in the salon. 395 00:48:01,530 --> 00:48:09,160 1886 is a very large and discoloured, closely descriptive canvas of the French Alps. 396 00:48:09,160 --> 00:48:15,320 But the painting is perhaps less a celebration of sublime regional scenery by 397 00:48:15,320 --> 00:48:22,050 Youssef artist or a geological or meteorological document than a painting adma. 398 00:48:22,050 --> 00:48:28,770 Yoram Day Glory for great title was an eBay. 399 00:48:28,770 --> 00:48:39,120 DeMar Fest's The Vow represents the solo catalogue of 1894, explains Brett on fishermen safely returned from a long voyage off the Newfoundland banks, 400 00:48:39,120 --> 00:48:46,770 making a barefoot pilgrimage to a specific chapel purchased by the state and deposited at the Museum of Note. 401 00:48:46,770 --> 00:48:52,740 It had official approbation, but it was also illustrated in a Catholic grammar. 402 00:48:52,740 --> 00:49:03,950 Published in 1915 by the Abbey Pozole with exercises with which utilise the pictures disruptiveness to ask educational questions. 403 00:49:03,950 --> 00:49:11,550 And writers on the left might take naturalism to task for being too unsympathetically generic or tame. 404 00:49:11,550 --> 00:49:15,390 Writing for the far left lapel in 1884, 405 00:49:15,390 --> 00:49:25,770 Judith Gosha condemned paintings like Hall's Mathiesen off the herb vendor on the left for choosing proletarian models who were too dull and class. 406 00:49:25,770 --> 00:49:35,730 Given the character of the Parisian worker five years later, Octave Mirabeau, playing his quasi anarchist views for the conservative Likud Party, 407 00:49:35,730 --> 00:49:41,230 praised Raphaela there on the right for introducing into contemporary art proletarian 408 00:49:41,230 --> 00:49:48,840 subjects hitherto considered hideous and which would shock middle of the road Republicans. 409 00:49:48,840 --> 00:49:59,460 This leaves us with the question of how contemporaries read naturalist painting plausibility and exactitude were at a premium. 410 00:49:59,460 --> 00:50:02,940 Reviewing an exhibition of Mason Yates pictures in 1884. 411 00:50:02,940 --> 00:50:11,190 Okay, Michelle explained his success in terms of their empathetic legibility with my new observation. 412 00:50:11,190 --> 00:50:16,020 He makes his figures express intelligible feelings. Interesting. 413 00:50:16,020 --> 00:50:22,650 Easy to comprehend. Which leaves The Spectator the pleasure of discovery without introductory effort. 414 00:50:22,650 --> 00:50:26,880 Citing as an example this reader who is charmed by his book. 415 00:50:26,880 --> 00:50:33,830 He smiles as at a people thought exactitude was held up as a quality. 416 00:50:33,830 --> 00:50:39,900 The critic Oliver Massol praised Joe says, session of the or jury for its accuracy. 417 00:50:39,900 --> 00:50:48,750 In 1887, the more recognisable Mesnil and level seated at the front Volo standing on the right in his usual brown coat. 418 00:50:48,750 --> 00:50:53,730 Writing in 1890, Mochis, Amelle made common expectations about pictures. 419 00:50:53,730 --> 00:51:02,100 Absolutely clear. The natural disposition of the public is to go to those pictures which speak their language. 420 00:51:02,100 --> 00:51:09,720 It has neither the time nor the desire to decode complicated handling, which would demand a moment's reflection to be understood. 421 00:51:09,720 --> 00:51:17,440 The further work is from photographic reality, the less chance it has of halting the public's passage. 422 00:51:17,440 --> 00:51:25,360 This appetite for exactitude riled the youngest symbolist generation in rough is painting faint, 423 00:51:25,360 --> 00:51:32,170 extendible, complained a man's never a touch in a landscape. He's a former solicitor who's taking a stroll. 424 00:51:32,170 --> 00:51:37,330 After nine years, five months and three days of penal cobbly. 425 00:51:37,330 --> 00:51:43,570 But for the majority, exactitude was the gold standard by which pictures were judged. 426 00:51:43,570 --> 00:51:49,930 That fascination with material actuality permeated the culture of the early Third Republic. 427 00:51:49,930 --> 00:51:53,740 It can be found in the theatre in the staging of Fennel ECAs. 428 00:51:53,740 --> 00:52:02,470 The butchers at the touts were legal in 1888 with real bloody sides of beef hanging as a backdrop. 429 00:52:02,470 --> 00:52:07,760 It can be found in popular spectacles such as Teofilo Plumpers, 1889 Latu, 430 00:52:07,760 --> 00:52:18,970 then the first moving panorama named after a new transatlantic vessel with its wax crew and a ship that sailed past. 431 00:52:18,970 --> 00:52:23,440 This taste factuality could even be found in children's toys for. 432 00:52:23,440 --> 00:52:33,220 In 1879, the first doll, dressed not in clothes but only in nappies, was marketed. 433 00:52:33,220 --> 00:52:42,280 Not a lot of people know that art was integrally implicated in this mesh of cultural understanding. 434 00:52:42,280 --> 00:52:48,940 By this period, several senior artists who was equal de Bouzar professors were forming the next generation. 435 00:52:48,940 --> 00:52:56,650 Men like Lawson Lael Bonner were committed to Naturaliste practises commissioned to paint a crucifixion for the Paladin's. 436 00:52:56,650 --> 00:53:00,100 Eustace Bonner had hired Boosie, 437 00:53:00,100 --> 00:53:11,260 an artist's model and former murderer who had somehow escaped the guillotine to nail a corpse to a cross so he could paint from nature. 438 00:53:11,260 --> 00:53:17,770 When, in 1888, the touts were Liebl stage, Lail and Eeks play the death of the Duke of Onger. 439 00:53:17,770 --> 00:53:27,520 It gave its production cross disciplinary credence by using the same costume as loss had used for his painting of the subject 15 years before. 440 00:53:27,520 --> 00:53:28,210 Indeed, 441 00:53:28,210 --> 00:53:41,110 the music Guyver even had a waxwork of locals and other artists visiting Dati work on one of his military Panorama's surrounded by his real props. 442 00:53:41,110 --> 00:53:49,960 One final observation might be made about how Naturaliste painting was read, and that is its consistent link in critical discourse. 443 00:53:49,960 --> 00:53:55,760 And it seems in the minds of the artists themselves with virility. 444 00:53:55,760 --> 00:54:07,210 An artist's general temperament might be judged in these terms, as Paul Nappier did when he discussed Mohle says, robust and virile creations. 445 00:54:07,210 --> 00:54:16,920 So might individual works. Turkey found a Bastia apologies love in the village found in Bastia LaBarge is Love in the Village, 446 00:54:16,920 --> 00:54:26,180 a sincere and male poetry which is reassuring and savoury as the smell of ripe summer cool. 447 00:54:26,180 --> 00:54:35,230 At the salon of 1886, Rafaelle is at a foundry suggested to Millo the powerful odour of work and humanity. 448 00:54:35,230 --> 00:54:41,860 These workers are real workers with tanned skin, hardened muscles, limbs stiffened by continual effort. 449 00:54:41,860 --> 00:54:48,430 Not only did Meebo share with Turkiye that allusion to smell, but its evocation of crude physical fact. 450 00:54:48,430 --> 00:54:55,720 He also found masculinity in the style as well as the subject for this was nature seen by a male temperament. 451 00:54:55,720 --> 00:54:59,890 This was also the way an artist might judge art past art. 452 00:54:59,890 --> 00:55:10,330 On his visit to Venice in 1887, Phil appreciated the realistic details in Tintoretto, his work, which he found very masculine. 453 00:55:10,330 --> 00:55:14,800 What are we to make of this litany of self-justification, Katri? 454 00:55:14,800 --> 00:55:22,210 Maleness. The reality seems to have been associated with values of physicality and directness, 455 00:55:22,210 --> 00:55:28,240 both in terms of an unflinchingly descriptive aesthetic and of a moral truthfulness. 456 00:55:28,240 --> 00:55:33,580 Once again, I suggest that one finds in this equation the illusion of the naturalist means 457 00:55:33,580 --> 00:55:39,550 of understanding the world and Republican assumptions about ordering it. 458 00:55:39,550 --> 00:55:44,290 I return to where I began this lecture with democracy. 459 00:55:44,290 --> 00:55:50,080 The third republic's vaunted democracy offered universal manhood of suffrage. 460 00:55:50,080 --> 00:55:53,830 French women did not have the vote. 461 00:55:53,830 --> 00:56:01,990 It was this widespread political and social assumption that men took responsibility in public life and was thus the voting situation. 462 00:56:01,990 --> 00:56:07,510 While women tended the home, even Leslie Shay, a leading supporter of women's rights, 463 00:56:07,510 --> 00:56:15,190 argued in 1877 that of the nine million adult women in France, only a few thousand would vote rationally. 464 00:56:15,190 --> 00:56:20,290 The rest would do the kill. Bidding Russia took the standard line. 465 00:56:20,290 --> 00:56:26,380 The women's primary role was as an educator, voiced amongst countless others. 466 00:56:26,380 --> 00:56:29,550 But Professor Montage of the Bordo Faculty of Medicine, 467 00:56:29,550 --> 00:56:36,190 when the team when he wrote that she should be wife and companion to man, guardian of his home material, 468 00:56:36,190 --> 00:56:46,510 an intellectual educator of the young generations who will be the future naturalist painting predominantly made by men, 469 00:56:46,510 --> 00:56:50,050 assumed the schema of contemporary society. 470 00:56:50,050 --> 00:56:58,390 Yet again, it was not simply implicit in the subject of their paintings, but also embedded in pictorial decisions. 471 00:56:58,390 --> 00:57:06,370 Take Jeff for us. Plus, P Mer, one of the canvases commissioned by the Ministry of Public Instruction 1895. 472 00:57:06,370 --> 00:57:19,540 In that tidy example of collusion between political will and picture making, it depicts one of the state trained, astute police with a class of boys. 473 00:57:19,540 --> 00:57:27,490 She is shown teaching the future electorate, though she could not vote herself like the battalion of breastfeeds. 474 00:57:27,490 --> 00:57:32,560 She is a servant of the republic. Jeff Webb represents her doing her job. 475 00:57:32,560 --> 00:57:36,380 But the painting concentrates on the ranks of busy boys. 476 00:57:36,380 --> 00:57:45,790 The teacher, discreetly silhouetted, is shoved into the upper background space here naturalism to does its job. 477 00:57:45,790 --> 00:58:01,835 A servant of the republic making a document recording a reform, showing social progress being exact.