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