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