1 00:00:00,660 --> 00:00:09,840 Good evening, ladies and gentlemen. Believe me, we are trying every means we can to avoid the feedback that comes from the microphone. 2 00:00:09,840 --> 00:00:14,760 One possibility is for the lecturer to remain static throughout. 3 00:00:14,760 --> 00:00:20,640 This is impossible, but other means are being tried. 4 00:00:20,640 --> 00:00:30,060 We have seen how in the democracy that France proudly proclaimed itself to be the Third Republic used art to address the people. 5 00:00:30,060 --> 00:00:37,110 The state employed its systems and patronage to disseminate its ideology, to instil its values. 6 00:00:37,110 --> 00:00:41,550 This was an initiative that came from above from the centre. 7 00:00:41,550 --> 00:00:48,510 But to what extent was there an art that emanated from the people that address them from their own level? 8 00:00:48,510 --> 00:00:51,270 What might such art have looked like? 9 00:00:51,270 --> 00:01:00,270 The purpose of this lecture is first to ask how Llave Populaire, the people's art formed part of public discourse and second, 10 00:01:00,270 --> 00:01:08,780 to take some tentative steps towards finding it to find work that might be classified as Populaire. 11 00:01:08,780 --> 00:01:15,810 I'm using Populaire in the literary dictionaries primary ideological sense from 12 00:01:15,810 --> 00:01:23,310 concerning belonging to the people and not in its secondary sense of popular. 13 00:01:23,310 --> 00:01:24,990 By using the term popular. 14 00:01:24,990 --> 00:01:34,380 By trying it Forsys as a means of analysing style in the 1980s and 90s, I'll be employing a word widely used by contemporaries. 15 00:01:34,380 --> 00:01:42,750 I'll be probing the terms, definition and value, but also gauging its usefulness as a stylistic term alongside more customary art, 16 00:01:42,750 --> 00:01:49,090 historical terminology such as outraced and primitive. This is going out on a limb, 17 00:01:49,090 --> 00:01:53,460 and I'm asking you to accompany me in an experiment as I enquire if it is 18 00:01:53,460 --> 00:01:59,610 helpful to apply a common but complex word like popular to cultural production. 19 00:01:59,610 --> 00:02:07,530 How much we try and adumbrate schemas and languages of style outside the traditional stylistic typologies. 20 00:02:07,530 --> 00:02:16,110 For here I will be searching for style by approaching key works of art via unfamiliar coordinates, by illuminating the pictorial. 21 00:02:16,110 --> 00:02:28,500 For example, with Argo in a nation unusual in fantasy actually Europe for its universal manhood suffrage yet substantially manipulated by elites. 22 00:02:28,500 --> 00:02:34,080 How did the popular find its cultural voice articulate its identity? 23 00:02:34,080 --> 00:02:39,540 Politicians and intellectuals were particularly concerned with this question in the 80s 90s. 24 00:02:39,540 --> 00:02:44,430 The Republic, now in its third decade, seemed soundly, soundly established. 25 00:02:44,430 --> 00:02:49,710 But if its struggle with the church had been largely settled, it faced new pressures. 26 00:02:49,710 --> 00:02:58,830 Above all, the rise of socialism. In the elections of 1893, the Socialists won six hundred thousand votes and 50 deputies. 27 00:02:58,830 --> 00:03:07,200 Industrial strikes were becoming better organised by Sandy. But whereas during the 1980s they had never been more than 200 a year. 28 00:03:07,200 --> 00:03:15,030 During the 80s 90s, this had effectively doubled. Against a background of increasing working class pressure. 29 00:03:15,030 --> 00:03:26,370 One aspect of the debate about how to bind the masses into the Republican core was by using culture as a mechanism which sounds vaguely familiar. 30 00:03:26,370 --> 00:03:34,050 A scheme for popular sundaes at the Paris Opera in 1894 was, unsurprisingly, a failure. 31 00:03:34,050 --> 00:03:37,710 It was followed by a number of initiatives for a tout were popular, 32 00:03:37,710 --> 00:03:44,730 including a drive backed by the veggie dog thematic supported by writers such as Zola Mellberg. 33 00:03:44,730 --> 00:03:49,890 Other initiative sought to nurture the practical cultural education of the urban proletariat, 34 00:03:49,890 --> 00:03:57,900 notably the Music du Soir project launched by Gustaaf Jeff Schwab in Logistics in 1894 to five. 35 00:03:57,900 --> 00:04:07,890 But such projects intended to address the culture and aspirations of the Class Populaire were essentially initiated by the establishment and elites. 36 00:04:07,890 --> 00:04:15,960 Populaire was a word easily thrown out by Republicans as an expression of loosely worn egalitarianism. 37 00:04:15,960 --> 00:04:25,560 It was a term widely and liberally used in the art writing of Republican functionaries such as lay offs Benedicts when in the late 80s 90s, 38 00:04:25,560 --> 00:04:33,150 he credited the eclectic Egypt classicism of Bartolomeo as Monuments to the Dead with Accepts Your 39 00:04:33,150 --> 00:04:40,600 Populaire or lauded Rhoda's kiss for breaking with the Latin tradition to create an R Populaire, 40 00:04:40,600 --> 00:04:44,550 one is surely justified in finding his judgement's mealy mouthed, 41 00:04:44,550 --> 00:04:51,230 assuming mass approval for such work without bothering to define who those publics might be beyond the 42 00:04:51,230 --> 00:04:59,280 premature that he could give as an aspect to their Bouzar government at both national and regional level. 43 00:04:59,280 --> 00:05:07,990 Articulate. Its own notions of the popular as a means of addressing its constituents isn't drawing attention to its achievements and ideology. 44 00:05:07,990 --> 00:05:14,350 Public art was a primary means of achieving this works that could be seen by every citizen, 45 00:05:14,350 --> 00:05:22,210 regardless of class or education were of necessity, popular as a means of, in the clearest sense. 46 00:05:22,210 --> 00:05:31,540 But they tended to promote ideas and identities which articulated the ideology and taste of the politicians and committees which commissioned them, 47 00:05:31,540 --> 00:05:35,020 projecting their values from the top down. 48 00:05:35,020 --> 00:05:45,770 Such public efforts to engender popular art were effectively forms of propaganda and control in one regional city lethal force. 49 00:05:45,770 --> 00:05:56,410 Amid a called Donya as monuments to Louis Pasteur completed in 1898, stands as an example of patronising Republican public art. 50 00:05:56,410 --> 00:06:04,420 The great chemist surmounts the plimoth and heroic exemplar of the Third Republic's progressive validation of science. 51 00:06:04,420 --> 00:06:09,040 Beneath him, two figures pay homage a brewer and a mother. 52 00:06:09,040 --> 00:06:12,910 The man from the world of Labour and the woman with her family responsibilities. 53 00:06:12,910 --> 00:06:20,950 Each lauding Pasteur for his work on food, fermentation and inoculation, which has improved their lives. 54 00:06:20,950 --> 00:06:29,800 The Republic itself launched a national project, uniting art and the popular in its remodelling of the French currency. 55 00:06:29,800 --> 00:06:40,990 The idea was egalitarian and Republican enough to create a coinage that gave every citizen daily experience for work of art launched in 1897. 56 00:06:40,990 --> 00:06:45,220 Oscar Ortiz Simmers Figure achieved this. 57 00:06:45,220 --> 00:06:49,480 That said, the initiative was fundamentally elitist. 58 00:06:49,480 --> 00:06:53,610 Its chief promoter was Akagi Marx as an aspect of their Bouzar, 59 00:06:53,610 --> 00:07:00,550 a high rent ranking civil servant and also wealthy son of a Jewish departmental store owner from N-E. 60 00:07:00,550 --> 00:07:04,000 Whilst the medalled is the HOTI had won the prestigious pleader home. 61 00:07:04,000 --> 00:07:14,290 The Acle, the Bouzar, the project and its realisation were admirably Republican but came from top down. 62 00:07:14,290 --> 00:07:21,430 The Republic's concern to address its various class constituencies was founded not only a desire to promote its ideology amongst its citizens, 63 00:07:21,430 --> 00:07:28,210 but also to allay anxieties amongst its elite groups about social and political development. 64 00:07:28,210 --> 00:07:37,870 In this context, the word Populaire could be used as a dismissive term by those troubled by what threatened to be excessive Égalité, 65 00:07:37,870 --> 00:07:41,890 as manifested by the growing number of socialist deputies. 66 00:07:41,890 --> 00:07:51,310 The importance of Boston Tanvi Labour Exchange serving as working class centres and demagogic political movements such as Bulos ism. 67 00:07:51,310 --> 00:07:59,400 But such anxieties were not confined to the political sphere for national cultural standards were also threatened. 68 00:07:59,400 --> 00:08:06,040 A more autonomous culture seemed to be emerging, replacing Broadway values with those of the lower classes, 69 00:08:06,040 --> 00:08:13,720 subverting cultural and moral norms and evading the control of the elites. 70 00:08:13,720 --> 00:08:15,550 Writing, in their view, they do mourn. 71 00:08:15,550 --> 00:08:27,250 In 1896, Mollies Tamaya fulminated against the pervasive new medium of the coloured poster, which he saw as lacking respect for law authority, 72 00:08:27,250 --> 00:08:33,550 women, religion and family while promoting promiscuous and excessively individualistic behaviour. 73 00:08:33,550 --> 00:08:42,700 But its vulgar, lurid colours, as this poster by good admirably does the Cathy courser, was perceived as another threat. 74 00:08:42,700 --> 00:08:48,370 FELICIO She also complained in the chic loving model in 1885 that the theatre was 75 00:08:48,370 --> 00:08:55,960 losing custom to the Cafe Corser with its crass repertoire to Seafood Gagas. 76 00:08:55,960 --> 00:08:59,650 That's today's hit song, he complained. 77 00:08:59,650 --> 00:09:07,900 Writing in Lovey Quinton Bohan in 1894, Xabi, A who noticed how stars from operetta were migrating to the café called Sur, 78 00:09:07,900 --> 00:09:15,490 which itself was ever lowering its standards with the least gay language and indecent exposure. 79 00:09:15,490 --> 00:09:19,360 The situation was more complex than this rhetoric allowed, for one thing. 80 00:09:19,360 --> 00:09:24,640 By 1890, the cafe also was a highly professional and capitalised industry, 81 00:09:24,640 --> 00:09:30,760 profitably run by middle class entrepreneurs such as Joseph Now and Charlotte Ziegler. 82 00:09:30,760 --> 00:09:37,210 It increasingly engaged, well-educated writers such as Zschau Hoff, while performers like Evet Giebel, 83 00:09:37,210 --> 00:09:46,240 seen here in an 1893 poster by back, were introducing Budler into their repertoire from another perspective. 84 00:09:46,240 --> 00:09:55,300 There was a counterargument from the left that working class culture was being dumbed down by the vulgarity expected by the promoters locked up. 85 00:09:55,300 --> 00:10:00,060 Melbourne made this case into anarchist periodicals lawned. 86 00:10:00,060 --> 00:10:04,880 And the Latino vote in May 1892, in which he argued that the prototype, Terry, 87 00:10:04,880 --> 00:10:11,670 that was offered repugnant spectacles of the most abject delights to divert them from 88 00:10:11,670 --> 00:10:21,000 serious education for male WBO anarchism had an educational role reaching out to the masses, 89 00:10:21,000 --> 00:10:26,220 which he advocated the appropriation of the republic's policy of education, 90 00:10:26,220 --> 00:10:35,250 which sought to impose its values from above, adapting it to inform and thus liberate the working classes from below. 91 00:10:35,250 --> 00:10:44,810 Opposing ideologies, thus competed to define and influence a modern popular culture. 92 00:10:44,810 --> 00:10:52,360 Liked one use the popular as a cultural term in fantasy Air France in terms of forms of styles. 93 00:10:52,360 --> 00:11:00,700 The popular suggests a creative character that actually emerges from is crafted by and belongs to the populace, 94 00:11:00,700 --> 00:11:04,360 as the literary dictionary defined it, a lower class culture. 95 00:11:04,360 --> 00:11:14,140 In other words, generated from it within working communities, the vitality of the popular will be defined by its environment. 96 00:11:14,140 --> 00:11:20,110 Like any creative impetus, and it will inevitably be diverse. 97 00:11:20,110 --> 00:11:25,810 The term was used by contemporaries to discuss and define aspects of artistic production. 98 00:11:25,810 --> 00:11:31,720 Though necessarily they uses usage was divergent and often unspecific. 99 00:11:31,720 --> 00:11:37,270 The glass and furniture maker Emil Galley's seen there in a portrait by Victor Poovey, 100 00:11:37,270 --> 00:11:43,240 a leading figure in North Sea, are nouveau used the word popular in two senses. 101 00:11:43,240 --> 00:11:47,790 During his disco, the Hayslip seal at the Academy Stanislas in May. 102 00:11:47,790 --> 00:11:56,800 Nineteen hundred for Gannaway. Much of whose imagery was based on flowers and vegetation, not a deck of Populaire, 103 00:11:56,800 --> 00:12:02,710 is to be found ubiquitously throughout the regions of France in nature herself. 104 00:12:02,710 --> 00:12:10,040 But he agreed with William Morris that Popular had a democratic and humanitarian dimension. 105 00:12:10,040 --> 00:12:22,390 The Neverland bomb giving art say now Populaire Ganny envisioned a renaissance of an art nazionale popular herald of better times of justice for all. 106 00:12:22,390 --> 00:12:31,060 For all his humanitarian ideals, however, Galley's spoke from a position of privilege as a successful businessman and celebrated artist. 107 00:12:31,060 --> 00:12:31,930 Although proudly, 108 00:12:31,930 --> 00:12:41,710 Nawzad Gandhi acknowledged that depopulation of one region will not be the popular of another because of its rural and provincial dimensions. 109 00:12:41,710 --> 00:12:48,670 The popular does not tally exactly with the Polar Tower, with its explicitly urban associations. 110 00:12:48,670 --> 00:12:54,670 That said, the Polar Tower is an important component of the popular because whereas the popular in the 111 00:12:54,670 --> 00:13:01,480 provinces was a question of sustaining long existing regional forms and traditions in the city. 112 00:13:01,480 --> 00:13:11,920 These went into the melting pot. New forms and languages emerged themselves shaped by a centralising mono cultural modernity. 113 00:13:11,920 --> 00:13:21,260 In addition, as a result of metropolitan ization, there was a fear that the diversity of the regional Populaire was under threat from modernity. 114 00:13:21,260 --> 00:13:24,900 Eugen Moots, art historian and librarian at the Echo. 115 00:13:24,900 --> 00:13:34,210 Their bows are in Paris. In his book, La Populaire, published in 1899, feared that the vital manifestations of popular culture, 116 00:13:34,210 --> 00:13:45,370 such as the different quotes from women of all Elsas, were menaced by the increased ease of communication and the mass production of cheap goods. 117 00:13:45,370 --> 00:13:50,620 But what's defied the Populaire in terms of style? Given that, 118 00:13:50,620 --> 00:13:55,550 we need to bear in mind so many different cultural forms from the quaffed Ima's 119 00:13:55,550 --> 00:14:00,520 Deep in Ireland files that months disgust to the songs of the Cafe Corsair, 120 00:14:00,520 --> 00:14:03,340 as well as the painting and the sculpture that I'll explore. 121 00:14:03,340 --> 00:14:12,610 Any definition will of necessity outline the most generic of features rather than specify the stylistics of particular forms. 122 00:14:12,610 --> 00:14:23,650 In 1895, the socialist intellectual George Dollface argued in Le Depeche to Toulouse that in everything made, in all human artefacts, 123 00:14:23,650 --> 00:14:33,490 in every crafted object in the house people inhabit in the bottle which pours their wine in the plate where their hand reaches for a fine fruit. 124 00:14:33,490 --> 00:14:45,160 There ought to be art and beauty, not an ornate or excessive beauty, but a beauty of simple elegance and grace fused with the object's utility. 125 00:14:45,160 --> 00:14:49,500 Chavez acknowledged and promoted an instinctive desire for some level of ease. 126 00:14:49,500 --> 00:14:58,570 That is aesthetic satisfaction in every man. I'd propose that beauty could be found in the functional as well as the highly crafted. 127 00:14:58,570 --> 00:15:06,880 What characterised for chauffeurs a beauty that we might call popular was simplicity, elegance and utility. 128 00:15:06,880 --> 00:15:12,520 If your office wrote about domestic objects, the recalled ter twist on Bhavna, 129 00:15:12,520 --> 00:15:18,790 seen here in a portrait by Toulouse Lautrec, turned his attention to Cafe Corsairs songs. 130 00:15:18,790 --> 00:15:25,960 He argued in Luthy be brought in 1891 that the best ones are characterised and articulated by the populace itself. 131 00:15:25,960 --> 00:15:35,200 According to an instinctive need for simple things clearly expressed, although discussing some different forms. 132 00:15:35,200 --> 00:15:43,990 Both authors emphasised the crucial importance of simplicity and clarity in La Populaire. 133 00:15:43,990 --> 00:15:50,270 The popular half articulate itself, one obvious means was by language. 134 00:15:50,270 --> 00:15:58,760 And it's worth a brief deviation into the still very, very patois and algo that characterised the different regions and localities of frauds. 135 00:15:58,760 --> 00:16:04,790 Such language both gave identities to communities and divided them from other groups. 136 00:16:04,790 --> 00:16:14,210 One's own accent, turn of phrase, even complete lexicon, gave one an identity, whether as a native of a P or a member of a local trade. 137 00:16:14,210 --> 00:16:18,680 Such an identity set one apart in 1892. 138 00:16:18,680 --> 00:16:23,810 The painter Kaminen, PSR Pissarro and his family, living in the Vixen to the north of Paris, 139 00:16:23,810 --> 00:16:29,750 hired a brat on maid whose language they could not understand. 140 00:16:29,750 --> 00:16:37,820 Language manifested the differences and distinctions of France inconsistencies that the centralising republic sought to eradicate. 141 00:16:37,820 --> 00:16:44,270 But divergence weather between class, group or region was endemic in France. 142 00:16:44,270 --> 00:16:50,990 In addition, the languages that articulated those divergences were paradoxically fascinating because of the very 143 00:16:50,990 --> 00:16:56,560 differences they highlight from the later eighteen seventies as the Third Republic got into gear, 144 00:16:56,560 --> 00:17:04,130 the Borsa are reading public devourer Daniel Zola's novels such as Lasse on Moi with their working class Argo. 145 00:17:04,130 --> 00:17:08,180 Was this an expression of newly minted Égalité, 146 00:17:08,180 --> 00:17:17,720 or rather the scrutiny of proletarian Paris from a safe distance through the filter of fiction, a way of different things social groups, 147 00:17:17,720 --> 00:17:24,800 rather than harmonising the crucial S.R. by the fantasy eg the use of slang was a standard 148 00:17:24,800 --> 00:17:29,960 mechanism by which the bourgeoisie negotiated an understanding of the working class world, 149 00:17:29,960 --> 00:17:37,730 the popular the little heart. Marcel Schwabe submitted Parisian argot to quasi scientific study. 150 00:17:37,730 --> 00:17:46,550 Justice Charles Darwin has proved that insects and act as intermediaries in the cross pollination of flowers, Schwabe wrote in 1889. 151 00:17:46,550 --> 00:17:55,670 So the proletarian prostitute in the plus Mubasher plot passes on her language to the club man with whom she consorts, 152 00:17:55,670 --> 00:18:00,150 via whom an expression then appears in Jiblah older figure. 153 00:18:00,150 --> 00:18:03,780 Hope is the latest. In chic parlance. 154 00:18:03,780 --> 00:18:13,450 Schwabe was initially impressed by the songs of a Steve Bull performed first at the Shanu are from and from 1885 at his own cabaret at La Melonie. 155 00:18:13,450 --> 00:18:17,780 Her brutal songs were written in Parisian argot, 156 00:18:17,780 --> 00:18:24,890 performed in a rough voice like early Bob Dylan with simple and abrasive piano and trumpet accompaniment 157 00:18:24,890 --> 00:18:32,780 and often titled After the Proletarian CAFTA of the City at Southwold or more Hujer for Schwalbe. 158 00:18:32,780 --> 00:18:38,510 In 1889, Blue typified the Polet Populaire. 159 00:18:38,510 --> 00:18:42,980 Trump's claim that the songs were expressions of nature gave them an organic, 160 00:18:42,980 --> 00:18:50,180 even Darwinian identity, which authenticated Borel's own boast that I took them from the street. 161 00:18:50,180 --> 00:18:55,700 I return them to the street. I came from the street. I go back there. 162 00:18:55,700 --> 00:19:02,180 This was the persona with which, to his gratification bluegill was endowed in Toulouse, La. 163 00:19:02,180 --> 00:19:11,780 Trex poster for the Singers 1892 season at the Ambassador Cafe Corsair, on the shores of elizee in Electric's image before, 164 00:19:11,780 --> 00:19:19,850 with his characteristic black hat and scarlet scarf safely passes the sinister silhouette of the proletarian figure, 165 00:19:19,850 --> 00:19:29,270 the backstreet type who would terrify the bourgeoisie but who respects the singer as a mouthpiece of his pull the polar bear culture. 166 00:19:29,270 --> 00:19:34,010 But who was no Parisian proletarian? 167 00:19:34,010 --> 00:19:44,090 He came from a small town in the Lafe of artisanal stock and had worked as a railway clerk in Paris before launching his career as a performer. 168 00:19:44,090 --> 00:19:51,590 By 1892, Schwabe had seen the sham of Brewer's claim to be an authentic voice of the popular, 169 00:19:51,590 --> 00:19:57,740 dismissing him as less prole peignoir than profiteer Pat. 170 00:19:57,740 --> 00:20:06,320 But the accusations of critics such as Schwabe did nothing to kerb the success of war, who by the mid 80s 90s was a highly successful entertainer, 171 00:20:06,320 --> 00:20:14,690 launching court cases against his imitators and retiring in 1897 to life as a country gentleman. 172 00:20:14,690 --> 00:20:21,830 The poet Gumpel Victor specifically power paralleled that poesy popular out of the city, 173 00:20:21,830 --> 00:20:27,710 which he founded Cafe Corsairs Songs and particularly Boulez and of the country. 174 00:20:27,710 --> 00:20:36,930 For Viqueira, the poetry of peasant songs was slightly melancholy and soft, sometimes brutal, but always naive and simple. 175 00:20:36,930 --> 00:20:43,060 There is no complication of style, and the verse varies according to the impression it's trying to give. 176 00:20:43,060 --> 00:20:50,350 Sometimes rhyme is just simple assonance here, he said, with the real roots of love poesy, 177 00:20:50,350 --> 00:20:59,950 Poppy LaForce says none of this brings us close to a tight definition of the popular, as manifested by Argo and patois. 178 00:20:59,950 --> 00:21:08,170 But it does bring forward some defining principles simplicity perhaps to the point of the naive and even the coarse 179 00:21:08,170 --> 00:21:19,400 clarity and a lack of unnecessary complication and honesty and functionalism that obviated the need for sophistication. 180 00:21:19,400 --> 00:21:26,300 What were the visual languages of the Populaire? Are we going to see any decent slides? 181 00:21:26,300 --> 00:21:33,110 Can we find a Pictorial Populaire that was equivalent to the use of HONGO by asking these questions? 182 00:21:33,110 --> 00:21:37,430 I'm continuing my experiment by proving the effectiveness of some of the style 183 00:21:37,430 --> 00:21:42,390 labels that are often used for late 19th century French art terms like that. 184 00:21:42,390 --> 00:21:50,960 You have at least the descriptive representation of the material world or sambal, least suggestive invocations of moods or inner states. 185 00:21:50,960 --> 00:21:59,240 Well, of course used that the period and were both very elastic expressions, which allowed a great deal of stylistic flexibility. 186 00:21:59,240 --> 00:22:03,410 However, post Impressionism as a 20th century neologism, 187 00:22:03,410 --> 00:22:10,190 which some have found useful in dealing with the late 19th century avant garde artists such as Silver and Van. 188 00:22:10,190 --> 00:22:20,510 But perhaps Populaire, part of contemporary parlance and a shorthand for various cultural assumptions, offers another dimension. 189 00:22:20,510 --> 00:22:29,720 Take an artist like Eugen Buelow. His work is naturalistic in the sense that it describes the everyday world. 190 00:22:29,720 --> 00:22:40,970 But how does one cope with the stylisation of paintings such as Propaganda of 1889 and visits to the Virgin of Benno Day of 1898? 191 00:22:40,970 --> 00:22:49,670 One is set anywhere in France representing a travelling salesman, visiting a peasant home to sell prints at the same time, 192 00:22:49,670 --> 00:22:58,730 apparently canvassing on behalf of General Bulgy in the late 18th 80s, a political figure with dangerously populist appeal. 193 00:22:58,730 --> 00:23:05,840 The other is set in a specific Breton town and in a particular chapel. 194 00:23:05,840 --> 00:23:11,570 Both are highly detailed in their description of faces and settings with rather stiffly posed. 195 00:23:11,570 --> 00:23:20,000 Hence, rather too polished and precise. Both employ rigid hieratic postures, notably the profile, 196 00:23:20,000 --> 00:23:29,420 but also the frontal iconic positions which deny the haphazard in favour of the formal and stylised the exact attitude that 197 00:23:29,420 --> 00:23:38,270 stylisation sets such paintings subtlely apart from a naturalist painting I'd be discussing in these lectures booleans. 198 00:23:38,270 --> 00:23:46,400 Typical imagery represents the French working classes showing respect for religion in paintings such as the visit to the Virgin for Law 199 00:23:46,400 --> 00:23:58,370 and the inheritors of 1887 or for local and economic order in the Municipal Council of Pyar LED organising the annual fête of 1891. 200 00:23:58,370 --> 00:24:11,060 You may laugh at these pictures. I mean, please do. Below also used his painting to articulate basic morality, as in Flug home doulis of 1893, 201 00:24:11,060 --> 00:24:20,540 with its suggestion of alfresco fornication in which the guard Sean For brings a couple of Rhorer lovers before the magistrate and his canvases 202 00:24:20,540 --> 00:24:34,070 were also given titles from Sors and proverbs such as Setu The Mawji that haveI of 1886 or almost Schubel Buzzwire do property one of 1892, 203 00:24:34,070 --> 00:24:36,380 an image of workers drinking. 204 00:24:36,380 --> 00:24:45,920 There is surely a consistency here to create an art that apparently emerges from the popular but interprets it as salt of the earth. 205 00:24:45,920 --> 00:24:51,440 Stable conservative religious content with the old ways. 206 00:24:51,440 --> 00:24:57,190 This seems to fit Boodles who really regional existence. He was rooted in the village of Schutt. 207 00:24:57,190 --> 00:25:06,890 Release your mahne to the east of Paris, uninterested in any presence in the metropolitan art world other than his annual submissions to the salon. 208 00:25:06,890 --> 00:25:10,730 In painting such as the Municipal Council and Flagger or Dilli, 209 00:25:10,730 --> 00:25:17,120 the precision of the stiffness seemed to work against each other, almost a comic effect. 210 00:25:17,120 --> 00:25:22,280 And yet this is an effect which Buhrow preferred with a calculated unwillingness to change. 211 00:25:22,280 --> 00:25:32,210 How can we consider such paintings? Populaire, the critic George Laughland Astrachan used that word about Brunos figures in 1892. 212 00:25:32,210 --> 00:25:35,790 Although he thought vulgar was better, 213 00:25:35,790 --> 00:25:42,890 Laffan ouster identified Brunos work as having a certain incisive brutality and the definition of the silhouette, 214 00:25:42,890 --> 00:25:49,850 as well as a delicacy in the faces giving the worker durability. Just on the right side of caricature. 215 00:25:49,850 --> 00:25:50,570 The following year, 216 00:25:50,570 --> 00:26:00,650 only Bouchet praised the congruity of style and subject in pictures such as Blackhall Delete for Bouchet means of representation tallied with meaning, 217 00:26:00,650 --> 00:26:09,500 eliding the correct and the goosh, the clear cut and the clumsy in a style which was genuine, not manat. 218 00:26:09,500 --> 00:26:17,990 Can we then count Budos painting as Populaire? Perhaps we can fling the characteristics of the popular simple. 219 00:26:17,990 --> 00:26:22,720 City clarity. A certain socialist's in sculpture. 220 00:26:22,720 --> 00:26:26,380 This is the case. I would suggest with Laboon or J. 221 00:26:26,380 --> 00:26:33,450 By Alexander the Sharp Clear. It was a piece which shot 28 and worked on over a long period. 222 00:26:33,450 --> 00:26:41,230 A plaster had been shown at the salon of 1889. But the final version was not exhibited until 1897. 223 00:26:41,230 --> 00:26:52,230 This time the medium was enamelled stoneware finished in the ceramic workshop of Emina Mula, measuring over four by five and a half metres. 224 00:26:52,230 --> 00:26:56,830 Lee Budokan. She has three figures. Larger than life size. 225 00:26:56,830 --> 00:27:01,090 The man to the left puts bread into an oven or a long shovel in the centre. 226 00:27:01,090 --> 00:27:05,140 Another carries a small basket, almost like a votive offering. 227 00:27:05,140 --> 00:27:10,480 And to the right, a third reaches forward to plunge his hands into a deep wooden tub. 228 00:27:10,480 --> 00:27:15,310 All a naked to the waist. They wear long white aprons and slippers. 229 00:27:15,310 --> 00:27:20,590 The figures are surrounded by their tools and materials. So sacks and baskets a show. 230 00:27:20,590 --> 00:27:24,460 But to set the scene, not to distract their faces. 231 00:27:24,460 --> 00:27:35,350 A prank, but an idealised. And the gestures, while aptly practical, a slightly ritualised evoking a sense of service, even a business. 232 00:27:35,350 --> 00:27:45,790 The effect is less modern than timeless. The baking of bread is an artisan activity regularly repeated to serve the community. 233 00:27:45,790 --> 00:27:48,220 That's slightly naive and even hieratic. 234 00:27:48,220 --> 00:27:57,310 Quality is enhanced by the simple delineation of the figures, and the quite reductive quality of the coloured glaze is pale green in the background. 235 00:27:57,310 --> 00:28:04,840 Orange and brown around the oven. As a number of critics noticed while viewing the bulgy in 1897, 236 00:28:04,840 --> 00:28:14,080 the evident creation of the phrase from rectangular blocks recalls ancient art, particularly a Syrian sculpture shop. 237 00:28:14,080 --> 00:28:21,100 Wheelchair's decision to quit. The style was apparently to deliberately endow his frieze with an ageless, 238 00:28:21,100 --> 00:28:30,540 hieratic character with labour rosacea on Tabors drinks, choosing simple forms to represent a simple act. 239 00:28:30,540 --> 00:28:34,690 And I think that his combination of artisanal work and its social function with 240 00:28:34,690 --> 00:28:41,350 clarity of design and slight Goshen as a form can be classed as Populaire. 241 00:28:41,350 --> 00:28:44,110 That seems to have been sharp on his intention. 242 00:28:44,110 --> 00:28:52,380 He himself came from a proletarian Parisian family and had been apprenticed to an ornamental engraver aged 12. 243 00:28:52,380 --> 00:29:02,980 Charpentier. Apparently intended Laboon O.J. to be mounted on a box to do TVI, in which case this work of art really did come from the people, 244 00:29:02,980 --> 00:29:09,790 represented the people and was made for the people's public building a labour exchange. 245 00:29:09,790 --> 00:29:18,400 It was made in a style that I would typify as intentionally Populaire and was quite at odds with the private 246 00:29:18,400 --> 00:29:24,800 work that sharp Paul t.A might do for wealthy clients such as this dining room for the banker Anthony, 247 00:29:24,800 --> 00:29:33,590 our BNR made in 1981. Lee Baloji was certainly received in those terms by sympathetic critics. 248 00:29:33,590 --> 00:29:40,340 Shaft's Sunia writing in 1992 to notice that Charpentier used models whose bodies were 249 00:29:40,340 --> 00:29:46,420 attuned to manual labour and that when the plaster of labour law Jay was shown in 1889, 250 00:29:46,420 --> 00:29:55,660 it was scorned by profane sculptors but admired by artisan bakers to shop on Cheers Delight. 251 00:29:55,660 --> 00:30:07,030 The leftist novelist Lucio DCR, also writing in 1982, fantasised that if we really lived in a democracy which cared about beauty shop paintings, 252 00:30:07,030 --> 00:30:12,810 sculptures representing different kinds of labour would embellish parks and squares for decaf. 253 00:30:12,810 --> 00:30:24,730 Schopp, 28, was an egalitarian artist whose art depicting common themes of work should be for the people set in public locations. 254 00:30:24,730 --> 00:30:31,510 Interestingly enough, one critical voice who disliked labour laws pay for its heavy, 255 00:30:31,510 --> 00:30:37,780 grubby in harmonious tones was the sculptor who needs some marceaux. 256 00:30:37,780 --> 00:30:50,200 But so much so with his private means and aristocratic. Connexions was a man of different class from sharp LTA, ill attuned to the Populaire. 257 00:30:50,200 --> 00:30:54,600 Another artist who might be classed as popular is for the Whoso Ladoo. 258 00:30:54,600 --> 00:31:05,350 On the day in 1895, Rousseau submitted an unsolicited autobiographical text to the publication Potgieter Portia Sickler. 259 00:31:05,350 --> 00:31:13,000 While convinced enough of his own artistic stature to consider himself worthy of inclusion in such a grandiose series, 260 00:31:13,000 --> 00:31:17,710 Rousso humbly delivered it by hand to the typographer and was in. 261 00:31:17,710 --> 00:31:22,820 Ragingly, Frank, as well as naively presumptuous in his account of himself, 262 00:31:22,820 --> 00:31:29,710 Russo made it clear that his parents were from the lower classes, assuming the mantle of the dominant naturalism. 263 00:31:29,710 --> 00:31:37,210 He pronounced himself one of our best realist painters, as if that was what the serious painter should aim to be. 264 00:31:37,210 --> 00:31:43,900 While his mention of one of his canvases, one man Portale pays to look to, 265 00:31:43,900 --> 00:31:51,430 implicitly claimed this new Zhora the portrait landscape as his own invention. 266 00:31:51,430 --> 00:31:58,840 Russo explained that he exhibited at the salad days Andy Pandor because of his belief in liberty to produce, 267 00:31:58,840 --> 00:32:05,470 thus articulating his Republican credentials and thanked the press for the publicity they gave to his work. 268 00:32:05,470 --> 00:32:13,620 Russo's autobiographical text first presented him as the modern artisan painter at work. 269 00:32:13,620 --> 00:32:18,910 The picture to which Russo referred was his self-portrait, painted in 1890. 270 00:32:18,910 --> 00:32:20,740 It's a strange picture. 271 00:32:20,740 --> 00:32:31,210 It takes up a standard, full length, dark suited format of the stock grand portrait of the period typified by the portraits of LÉ or Bonner. 272 00:32:31,210 --> 00:32:41,830 Yet Russo couldn't give the figure necessarily. Descriptive volume of the body in its black suit is flatly painted as if it was a silhouette. 273 00:32:41,830 --> 00:32:46,350 Russo didn't originally intend the figure to be read as an artist because the hand 274 00:32:46,350 --> 00:32:50,560 holding the brush was certainly added over the flags and rigging underneath, 275 00:32:50,560 --> 00:32:55,540 while the hand holding the palette was probably also an addition to begin with. 276 00:32:55,540 --> 00:33:02,680 Then he saw himself a sick whale and then changed himself to artist. 277 00:33:02,680 --> 00:33:08,230 So much for the Portale. The Pasar large is oddly composite. 278 00:33:08,230 --> 00:33:16,840 The bridges of the 19th century iron portrait carousel. And behind it the 17th century St. Paul hail from this position looking eastward. 279 00:33:16,840 --> 00:33:21,610 One would expect to find the move on the right, not Kreis and tense. 280 00:33:21,610 --> 00:33:27,610 The sailing ship is far too large to be this far up the sand and flies a bizarre collection of flags. 281 00:33:27,610 --> 00:33:35,560 Amongst them the two colour and the red end sign. That one's reminded of certain submarines ramming each other in the Atlantic. 282 00:33:35,560 --> 00:33:39,760 The sun is much too high to be rising or setting. 283 00:33:39,760 --> 00:33:45,070 Yet red reflections appear in the river. The balloon has no basket. 284 00:33:45,070 --> 00:33:54,460 And yet this is contemporary Paris, with the newly constructed Eiffel Tower to the real left, towering above houses with modern metal chimney pots. 285 00:33:54,460 --> 00:34:01,340 The new bridge pushes the old one into the background. The landscape thus bids for modernity. 286 00:34:01,340 --> 00:34:09,190 Roussos, Porto Pizarro. Like his later autobiographical text, makes claims to naturalism and modernity. 287 00:34:09,190 --> 00:34:14,680 But by the contemporary standards of descriptive, exactitude fails to achieve them. 288 00:34:14,680 --> 00:34:22,690 It is the schematic view of modern Paris by the modern artisanal painter alluding to the new marvel of the tool. 289 00:34:22,690 --> 00:34:30,580 He fell to commerce, to typical drab housing, to the processes of change in its lucid simplicity, 290 00:34:30,580 --> 00:34:38,200 its Eichen, a graphical non sequiturs, its determination to have a voice, however, and articulate the pull. 291 00:34:38,200 --> 00:34:49,450 Taipei's Aage seems to me to suggest that Populaire is a better way to define Roussos work than the overused Plimmer teef. 292 00:34:49,450 --> 00:34:54,760 Another painter who was very interested in portraiture was Vincent van Hoffe. 293 00:34:54,760 --> 00:34:59,860 But what was different from Rousseau in that he worked in closer contact with other artists, 294 00:34:59,860 --> 00:35:05,740 albeit cheaply, with by correspondence, and was conscious of having a presence in the avant garde. 295 00:35:05,740 --> 00:35:11,590 Van Hoffe was also Dutch, as is my attempt at pronunciation and the son of a pastor. 296 00:35:11,590 --> 00:35:14,740 So an educated man from the middle classes. 297 00:35:14,740 --> 00:35:22,270 However, by 1888, Vanderhoff was expressing his fascination with portraiture as a means of characterising modernity. 298 00:35:22,270 --> 00:35:31,780 He explained in letters that he was content to pay people who he called insignificant and as dramatic as a dusty blade of grass by the roadside. 299 00:35:31,780 --> 00:35:39,190 Paralleling this to the naturalist, novels of Zola and Mopar saw his belief that contemporary portraiture would serve as a 300 00:35:39,190 --> 00:35:45,730 record for people in a centuries time was also a fundamentally naturalistic position. 301 00:35:45,730 --> 00:35:50,650 That said, Van Hoffe was not interested in. 302 00:35:50,650 --> 00:35:58,570 In a letter of 1890, he explained that he was trying to achieve the modern portrait not by a photographic resemblance, 303 00:35:58,570 --> 00:36:02,050 but by means of impassioned expressions. 304 00:36:02,050 --> 00:36:12,850 That is to say, using our knowledge of modern taste for colour as a means of arriving at the expression and the intensification of character. 305 00:36:12,850 --> 00:36:17,620 As an outsider to all zahavi and over that horse engagement with the local people. 306 00:36:17,620 --> 00:36:21,740 It was unsystematic, opportunistic and even shallow. 307 00:36:21,740 --> 00:36:28,310 But he turned this to advantage and his representations of the hoola family in all are perhaps the most 308 00:36:28,310 --> 00:36:36,440 thorough pictorial charting of a late 19th century French working class family ever made in painting. 309 00:36:36,440 --> 00:36:47,630 Joseph Tianna Hoola was a postal clerk at all railway station, subsisting with his wife and three children on a salary of 135 francs per month. 310 00:36:47,630 --> 00:36:54,800 In Van Hof's first portrait of him made in early August 1888, Ruelas hands are salient. 311 00:36:54,800 --> 00:37:03,710 The discomfiture was both the artist's Bahnhof had difficulty with the structure, with the troublesome drawing of hands and rulers. 312 00:37:03,710 --> 00:37:11,750 What, after all, did a provincial postman know about posing that combination of artistic and behavioural? 313 00:37:11,750 --> 00:37:17,570 Gosha This seems to me to encapsulate something of the popular character of the portrait. 314 00:37:17,570 --> 00:37:25,610 This naivete is carried even further in a second portrait probably made in early December 1888. 315 00:37:25,610 --> 00:37:31,250 In this painting, Coula is seen head and shoulders. The image is very stark. 316 00:37:31,250 --> 00:37:36,590 The blue uniform acts like a dark, chromatic plinth on which the head is set. 317 00:37:36,590 --> 00:37:44,630 The head itself is painted broadly. The brush marks brusquely, marking the fall of light on the beard and facial features. 318 00:37:44,630 --> 00:37:55,810 This abruptness is enhanced by the striking chrome yellow background, the emphatically direct frontal and simplified impact of this head suggested. 319 00:37:55,810 --> 00:38:00,500 This portrait may not have been made from life. Perhaps it was made from memory. 320 00:38:00,500 --> 00:38:07,610 A practise which Gugga living with Van Hokkien all in late 1888 was urging upon the artist in which Vanderhoff found, 321 00:38:07,610 --> 00:38:13,160 quite contrary to his usual practise of direct engagement with his motif. 322 00:38:13,160 --> 00:38:21,410 Whatever the case, this image is so schematic that ruler becomes more a popular type than the portrait of an individual. 323 00:38:21,410 --> 00:38:31,820 In addition, the undifferentiated yellow background is consistent with the lurid colour fields which characterised contemporary promotor lithographs. 324 00:38:31,820 --> 00:38:41,510 One of the cheapest forms of colour imagery and one aimed at the lower class market, like this promotional image of Aristide bluegill. 325 00:38:41,510 --> 00:38:44,420 Perhaps this portrait of this portrait of Rugare. 326 00:38:44,420 --> 00:38:56,720 We see Vanderhoff appropriating the visual vocabulary of the chromo lithograph to create a more directly Populaire identity for the postal clerk Lula. 327 00:38:56,720 --> 00:39:04,100 In January 1889, hoodlums transferred to Marseilles, though for the time being his family remained in all. 328 00:39:04,100 --> 00:39:11,000 Van Hoffe painted him again in January and also in March on one of Ruelas visits home. 329 00:39:11,000 --> 00:39:13,850 These paintings, by contrast with the December canvas, 330 00:39:13,850 --> 00:39:21,470 have a much greater sense of having been painted from life with close observation of Ruelas gaze and his luxuriant beard. 331 00:39:21,470 --> 00:39:26,420 If these later canvases represent Hoobler more of us as an individual than a type, 332 00:39:26,420 --> 00:39:35,870 his identity is further specified not only by the uniform of the Postal Service, but also by the brash floral wallpaper in the background. 333 00:39:35,870 --> 00:39:43,050 We don't know where this wallpaper was to be found, whether in the Ruelas house Van Hock's lodging or perhaps to the local café. 334 00:39:43,050 --> 00:39:48,650 The artist certainly treated it arbitrarily at times, enhancing its pattern. 335 00:39:48,650 --> 00:39:57,200 But the wallpaper's emphatic from Talenti echoes Lula has it swirls Ryan with his beards. 336 00:39:57,200 --> 00:40:01,220 Postal clerk and wallpaper define each other. 337 00:40:01,220 --> 00:40:07,400 One might say proletarian provincial populaire. 338 00:40:07,400 --> 00:40:13,340 This identity was grasped in Van Hock's lifetime. I'll bet all the writing in the Mafia. 339 00:40:13,340 --> 00:40:22,280 The force in January 1890 divined how the artist nurtured the idea of inventing a very, very simple kind of painting. 340 00:40:22,280 --> 00:40:28,600 Populaire, almost infantile, capable of moving humble people who don't try and complicate things, 341 00:40:28,600 --> 00:40:31,500 and being understood by the most naive of the alleged, 342 00:40:31,500 --> 00:40:43,370 created and all cited the portraits of Madame Hoola and the portrait of the phlegmatic and indescribably jubilant postal clerk. 343 00:40:43,370 --> 00:40:50,000 Horia concluded that Van Hoff is simultaneously too simple and too subtle for the contemporary borderline mind. 344 00:40:50,000 --> 00:40:58,790 He will only ever be fully understood by his brother's very artistic artists and the fortunate amongst the lower classes, 345 00:40:58,790 --> 00:41:03,920 the lowest classes who have somehow managed to escape the benefits of a secular 346 00:41:03,920 --> 00:41:10,790 education with sophisticated language in a sophisticated metropolitan periodical. 347 00:41:10,790 --> 00:41:16,760 All the aid put his finger on Van Hof's credentials as an image maker of the popular. 348 00:41:16,760 --> 00:41:21,830 His final. gybe about state education voiced his own critique of Republicanism. 349 00:41:21,830 --> 00:41:26,150 But it also suggested that it was possible in the case of an artist like Banhart, 350 00:41:26,150 --> 00:41:33,590 to create work that was successfully popular and yet not in hock to diffuse yeast Republicanism. 351 00:41:33,590 --> 00:41:42,500 In this aspect of his assessment of Bahnhof work, or he made him out to be an egalitarian artist with a style not Naturaliste, 352 00:41:42,500 --> 00:41:52,170 but Populaire, because his work depicted and spoke directly to people of the lower classes in a style that matched their mortality. 353 00:41:52,170 --> 00:42:03,050 Here was a new art, both outside naturalism in style and beyond the reach of Republican pedagogy in its appeal. 354 00:42:03,050 --> 00:42:08,900 Visitor to France. As he was, Vanderhoff did not directly engage his conception of the popular with the 355 00:42:08,900 --> 00:42:17,270 states systems for supporting its ideology by visual culture or Rousseau did. 356 00:42:17,270 --> 00:42:22,280 Throughout this period, there were competitions to produce mural decorations for public buildings. 357 00:42:22,280 --> 00:42:33,410 As we've seen in 1893, a competition was held to decorate the sun effect of the town hall of the Parisian suburb of Banally. 358 00:42:33,410 --> 00:42:40,040 The eventual winner was Pierre-Yves Beauty, with scenes of communal festivity and public ceremony, 359 00:42:40,040 --> 00:42:44,330 which represent the various classes of Banyo lay in fraternal harmony. 360 00:42:44,330 --> 00:42:54,590 Under the tree, other such images epitomised Republican decoration, descriptive in style, legible in ideology. 361 00:42:54,590 --> 00:43:06,050 Russos submission was apparently a view of the pulldown Clennell, an elongated composition reductively and flatly painted for decorative purposes, 362 00:43:06,050 --> 00:43:12,530 representing a bridge to the west of Paris was hardly suitable for a Mathey to the east. 363 00:43:12,530 --> 00:43:16,970 But perhaps Rousseau reckoned that the recent recently erected reduction of a 364 00:43:16,970 --> 00:43:22,940 bar told his Statue of Liberty gave the bridge an apt Republican resonance. 365 00:43:22,940 --> 00:43:32,120 What he was offering in his naivete was a painting far too stark and simple, lacking the animated, naturalistic detail required. 366 00:43:32,120 --> 00:43:38,210 But could one say that his portrait of an owl was too popular for public decoration? 367 00:43:38,210 --> 00:43:43,940 Perhaps it looked too much as if it were the pictorial counterpart to the people's language, 368 00:43:43,940 --> 00:43:52,140 rather than a painting that used the pictorial paternalistically to speak to the people. 369 00:43:52,140 --> 00:43:58,350 Were there other efforts to create decorative paintings which actually employed popular 370 00:43:58,350 --> 00:44:03,480 visual forms that's attempting to address a lower class public with a pictorial syntax? 371 00:44:03,480 --> 00:44:11,100 It understood. I think it can be argued that Sehar was attempting this around 1890. 372 00:44:11,100 --> 00:44:17,560 In early 1891, he exhibited his most recent large figure painting Silk Apostolides, 373 00:44:17,560 --> 00:44:22,290 and pawned all the undie pulled all where Rousso and Bahnhof also exhibited was 374 00:44:22,290 --> 00:44:28,010 supported by the Coolsaet Minister's pal of Paris of leftist Republican makeup. 375 00:44:28,010 --> 00:44:34,230 And the exhibition is Jury Free Organisation typified its egalitarian principles. 376 00:44:34,230 --> 00:44:41,640 Silk was painted in the plenteous style pioneered by Sirhan and his neo impressionist colleagues in the mid 80s 90s. 377 00:44:41,640 --> 00:44:49,230 Recently, he had begun to organise his touch in relation to her paintings, linear construction, following the ideas of his friend, 378 00:44:49,230 --> 00:44:52,590 the eccentric psycho physicist show Orthey, 379 00:44:52,590 --> 00:45:01,320 whose theories argued that the colour and the direction of lines coalesced to evoke certain responses in the spectator. 380 00:45:01,320 --> 00:45:07,350 Warm colours and rising lines necessarily suggested happiness, for instance. 381 00:45:07,350 --> 00:45:13,950 Thus, from the point of view of touch and theory, sic was sophisticatedly avant garde. 382 00:45:13,950 --> 00:45:18,600 However, suras reduction of his palette to emphasise the primary colours red, 383 00:45:18,600 --> 00:45:23,550 yellow and blue, as well as his adoption of a linearity which was energised, 384 00:45:23,550 --> 00:45:33,630 angular and very much to the fore, was reminiscent of the work of Jules Shohei, then the preamp pre-eminent poster designer in Paris. 385 00:45:33,630 --> 00:45:37,170 The importance of Shafei for C0 has long been recognised, 386 00:45:37,170 --> 00:45:46,710 but we still neglect to read this ideologically by effecting a stylistic alliance between the innovative and the popular. 387 00:45:46,710 --> 00:45:55,380 Suhad tried to unify in Seor, the avant garde and scientific and the inclusive and engaging both progressive and 388 00:45:55,380 --> 00:46:03,000 democratic exhibited at the egalitarian and de Pournelle sic met Republican requirements. 389 00:46:03,000 --> 00:46:10,800 At the same time, it used a subject matter and an immediately appealing style to involve the widest public. 390 00:46:10,800 --> 00:46:23,460 It was the model, one might argue, for a new democratic kind of public decoration at the soul of 1889. 391 00:46:23,460 --> 00:46:29,190 They meet Kog exhibited Coolibah DeCock the cockfight. 392 00:46:29,190 --> 00:46:37,340 Kog is now a forgotten artist and Soha considered one of the pioneers of modern art. 393 00:46:37,340 --> 00:46:45,180 But in the context of the popular Silk and Pumbaa DeCock can be contrasted to some purpose. 394 00:46:45,180 --> 00:46:50,640 Kog came from Roubaix in the Department of the Ngau on the Belgian border. 395 00:46:50,640 --> 00:46:58,320 At the end of the 19th century, Roubaix was a manufacturing town of some 140000, with its economy based on textiles. 396 00:46:58,320 --> 00:47:04,950 Its proletariat worked 12 hour days, six days a week in this harsh environment. 397 00:47:04,950 --> 00:47:13,320 The diversions were drink. Jubei had an exterminator for every 50 head of population beating Glasgow, I should think. 398 00:47:13,320 --> 00:47:21,160 And the local tradition of cockfighting cooks painting was foetid in a poem written in Qty Patois. 399 00:47:21,160 --> 00:47:25,890 By June 12, ASSU Soniya from neighbouring Tuckwell. 400 00:47:25,890 --> 00:47:30,930 I'm going to try and go into a qty accent miserably. 401 00:47:30,930 --> 00:47:38,630 The poem noted the cross-class community of Coggs Painting V to Shake Shack. 402 00:47:38,630 --> 00:47:45,110 Alaka put in Soho in Bush encash Get the Leash, a Puth amateur. 403 00:47:45,110 --> 00:47:55,710 Thank you. Combatted Cock represents bourgeois and worker temporarily unified by effort, by their fascination with the sport. 404 00:47:55,710 --> 00:48:03,210 Kog represents us with details of their clothing and expressions and shows their gestures as dramatic and into related. 405 00:48:03,210 --> 00:48:11,370 We as spectators are implicitly at the ringside across from these people, noisy, demonstrative. 406 00:48:11,370 --> 00:48:15,300 They are the mirror of us vividly and legibly. 407 00:48:15,300 --> 00:48:26,490 Painted by an artists from the local proletariat korma DeCock represents a popular egalitarian pastime when displayed at the Hubei town hall. 408 00:48:26,490 --> 00:48:35,730 It proved immensely popular. But for all that, does QMI DeCock qualify as Populaire? 409 00:48:35,730 --> 00:48:46,740 Perhaps not, because kog tied to the Naturaliste aesthetic couldn't find a populace style to suit his subject and public. 410 00:48:46,740 --> 00:48:50,640 Why contrast these two paintings? They are. 411 00:48:50,640 --> 00:48:57,180 Totally different in style, Coggs, naturalistic in its sense of immediacy and the very ism of its description. 412 00:48:57,180 --> 00:49:05,820 Suhas Malad in colour, drawing and composition. They were pitched at different audiences, one to the establishment Sulla, the other to the maverick. 413 00:49:05,820 --> 00:49:13,920 And they Paltalk Kog came from a working class background in the nor silver from the Parisian bourgeoisie. 414 00:49:13,920 --> 00:49:19,150 But while allowing for these differences, there are significant similarities. 415 00:49:19,150 --> 00:49:25,530 Both Corbo, DeCock and Silk, a large paintings about two metres by one and a half. 416 00:49:25,530 --> 00:49:28,170 They were intended to have public impact. 417 00:49:28,170 --> 00:49:37,620 Both are about spectacle, popular entertainment enjoyed by the range of social classes that both artists deliberately show us and their audiences. 418 00:49:37,620 --> 00:49:43,830 One might argue that Silver's image is elitist. Painted by a borsch y and an avant garde style. 419 00:49:43,830 --> 00:49:47,940 Once again, the popular articulated from top down. 420 00:49:47,940 --> 00:49:56,160 Whereas Kobes is a direct engagement with the popular culture of the noodle, that Silk has an ironic Karaca tural quality. 421 00:49:56,160 --> 00:50:05,530 Whereas Paul Cock is emotive and direct. But if the visual language is employed by the two artists, Difford So did their publics. 422 00:50:05,530 --> 00:50:11,990 Sylhet was aiming his work not only at fellow artists, dealers and symbolist writers and critics. 423 00:50:11,990 --> 00:50:18,870 He opted for the pictorial parallel with Jeffares posters because he wanted his painting to read in a 424 00:50:18,870 --> 00:50:26,460 way that was legible to all Parisians to take on the egalitarian aesthetic of the poster and to use it, 425 00:50:26,460 --> 00:50:37,470 I believe, to craft a new kind of public decorative painting that would be genuinely modern in style and democratically resonant resonance. 426 00:50:37,470 --> 00:50:44,660 Coggs painting was made by a Hubei artist and was absorbed into Hubei culture as what use? 427 00:50:44,660 --> 00:50:48,810 Part one poem shows presented in Paris. 428 00:50:48,810 --> 00:51:01,790 It presented its Lubi identity to the capital. I hope that this experiment, teasing out the popular trying to find its forms, has proved valuable. 429 00:51:01,790 --> 00:51:12,290 The popular was quintessentially polyvalent. Not only were there divergences in artistic style, but also differences between Metropolis and province. 430 00:51:12,290 --> 00:51:17,600 And amongst the many voices within them, the search for the popular, as I describe it, 431 00:51:17,600 --> 00:51:24,290 also incorporated contested attitudes to modernity, in some cases pressing for new styles. 432 00:51:24,290 --> 00:51:34,850 The radical ideology and emerging new social circumstances in others anti modern in the clinging to old forms to echo traditional values. 433 00:51:34,850 --> 00:51:39,860 Such an account would incorporate, on the one hand, silvered Charpentier. 434 00:51:39,860 --> 00:51:47,030 And on the other, Bulo on Cobh. But I do not want to tie my notion of the popular down to style. 435 00:51:47,030 --> 00:51:55,310 One can adumbrate some stylistic features that might characterise the popular, such as the goosh, the abrupt, the simple. 436 00:51:55,310 --> 00:52:00,590 But these are very general and not, one might argue, essential. 437 00:52:00,590 --> 00:52:05,660 Perhaps the Populaire could also be characterised by its vitality and diversity. 438 00:52:05,660 --> 00:52:11,060 The fact that it is difficult to define that it was various. 439 00:52:11,060 --> 00:52:20,030 One might finally ask, was the popular ever honest the painter's Van Hofman, Saleha and the Schuss show Sunday? 440 00:52:20,030 --> 00:52:30,680 Boole were not proletarian. They reached down, learnt the languages of the lower classes, familiarise themselves with the back purply. 441 00:52:30,680 --> 00:52:40,480 The same is true, however well-meaning, their various intentions of George Lopez gentlemens and twist on Ballona voices of the educated elite. 442 00:52:40,480 --> 00:52:49,610 One is usually aware of an effort, a sense of the spurious or some ideological acrobatics in their grappling with the popular. 443 00:52:49,610 --> 00:53:01,460 Of all the artists that I've discussed, only Rousso and Shuff Paul Chieh were genuinely from the people producing art for the people. 444 00:53:01,460 --> 00:53:06,980 Perhaps in the end, popular must be considered an equivocal, untrustworthy term. 445 00:53:06,980 --> 00:53:17,660 But it was felt in some quarters to be estimable, where it was found worth promoting and protecting fruitful to adapt one's art towards those kinds of 446 00:53:17,660 --> 00:53:24,590 process of negotiation between elite and popular cultural manifestations need to be acknowledged, 447 00:53:24,590 --> 00:53:31,520 for they are part of the complex Meccan mechanisms of fantasy eckler culture in France. 448 00:53:31,520 --> 00:53:48,810 Thank you. Next week, he'll be talking about organic CISM, which is about science. 449 00:53:48,810 --> 00:53:54,510 But it will be trying to look at some new artists and also some favourites. 450 00:53:54,510 --> 00:54:01,120 Van Hoff comes back and so does money. So it's a new take on things. 451 00:54:01,120 --> 00:54:05,610 Give.