Jules Bastien-Lepage( Artist)
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Biography Jules Bastien-Lepage
Jules Bastien-Lepage (1848-1884). In one of the halls of French painting of the State Museum of Fine Arts A. S. Pushkin hanging painting "Country Love" (1882) by Jules Bastien-Lepage. Once she was in the collection. M. Tretyakov. It is with great love collecting paintings by French masters of realistic landscape-barbizontsev, work to. Corot and works by artists of the peasant genre of French painting of the last quarter of the XIX century, such as L. Lhermitte, P.-AA-M. Danyang-Bouveret and recognized their idol F. Bastien-Lepage. By Tretyakov on Prechistenski Boulevard hurry artistic youth of Moscow-see "French". Among them were often still little-known in. A. Serov and M. V. Nesterov. "I go there every Sunday to watch" The Village Love "," confessed Serov. What so attracted him to this French painter, so when a well-known and beloved?
Bastien-Lepage developed under the influence of two powerful talents of the mid-century French art, Millet and Courbet. Himself a peasant from Lorraine, odd jobs while studying, Bastien managed not to break away from his family origins, and they became "Castalian key" to his inspiration. He, however, proved too much for any selfless dedication Millet, who (according to P. Rolland) was high and harsh understanding of reality, nor the heroic daring Communards Courbet, but some ideas predecessors Bastien well understood and developed in his art.
. He visited and worked in various European countries, Britain, Algeria, however, proved to be the most fruitful studies in his native village Danviller
. Bastienne motto was "exactly convey the nature of". Painstaking work in the open air, . desire to capture subtle hues of the earth, . foliage, . sky, . send endless monotonous melody of peasant life, . shift the works and days of his heroes into the quiet, . pacified poetry-all that earned him his short, . but quite bright fame,
. Pictures Bastienne 70's and early 80-ies, "haymaking", "Woman, collecting potato", "Country Love", "Evening in the village", "The Forge" and others-have made a stream of fresh air in the musty atmosphere of the Paris Salon. They, of course, could decisively shift the balance of artistic forces of the Third Republic, which dominated apologists run out of steam, but aggressive academic - T. Couture, A. Cabanel, A. Bouguereau, etc., and yet clearly the work Bastien and artists of his circle had largely progressive significance.
. Case, figurative art, coloristic tradition of painting 40-60-ies-barbizontsev, Corot, Millet, Bastien translates into a plan greater psychological detail images, genre-specificity of household, subject to certain outdoor innovations
. He overcame the limitations of color Millet, pushing for color harmony at the expense of some common brownish tone, and decided in the general problem of consistent connection rights and environmental landscape environment, which could not Courbet. Heavy flavor barbizontsev cleaned his palette, approaching the natural color of sonority. But if we recall, . beside him, . but almost never intersect, . worked Impressionists, . with far more principled courage converts to the sun, . sky, . sparkling water, colorful flashes, . human body, . adorned with colored reflexes, . some successes and achievements Bastienne seem much more modest, . compromise and archaic,
. However, one quality of his art distinguishes painting Bastienne of paintings and contemporaries, reactionaries, and contemporaries-"revolutionaries": he retained type monumentalizirovannoy bipartite by nature paintings. Combining landscape and portrait painter deprived genre-winded story narration, giving it features a contemplative. Portrait, in turn, implicitly present in the specific characteristics do not become psychologically self-sufficient.
All of these issues was new for a Russian painting, rather than French. Here and in the cause of those high ratings, seeming now to wonder immoderate, which caused the art Bastienne from Russian artists. In the 80 years, our art is at a crossroads. Traditions great classical art has long degenerated into a frightening academism, realistic aesthetics Peredvizhnichestvo in crisis, and the influences of Impressionism, Symbolism, Art Nouveau had not yet become stable, defined. Artists turned to national and close-nature, friends-to "Otradnoe, which streamed Valentin Serov, Mikhail Nesterov, members Abramtsevo circle.
. "Girl, illuminated by the sun," "Girl with Peaches largely the result of tasks common to the Russian painter and a French master
. In 1889, Serov wrote and. S. Ostrouhov from Paris: "In making art I'm staying true to Bastienne.
. For Nesterova, . who visited, . as Serov, . in 1889 at the World Exhibition in Paris, . picture shown there Bastienne "Vision of Joan of Arc" (where, . he said, . "the task of contemplation, . inner vision communicated with supernatural power ") has given a lot for his own" Vision lad Bartholomew. ",
. Same Nesterov wrote about the "Village of Love", that "this picture, the innermost, deep meaning, more Russian than French."
. His words could serve as an epigraph for some touching stories of the last years of life Basten, when dying of consumption of the artist caught up with an enthusiastic appreciation of another Russian colleague
. It was young, and already sentenced to death by the same consumption, Maria Bashkirtseva. Art Bastienne dawned on her own creativity, and their friendship, which lasted for the last two years of life of both (Mary died six weeks earlier), sounds elegiac, mournful accompaniment of their untimely deaths. But we should not think, . that even in this case, . complicated lyric pathos, . Bastienne influence was overwhelming: the art Bashkirtseva was stronger and more courageous, . richer search, . and it quickly, . despite all his piety, . understand the limitations of artistic concepts Bastienne.,
. Subsequently, and Serov, and Nesterov, these great and original master of Bastienne gone so far that the passion they remain irrelevant episode in their work
. (The influence of art Bastien-Lepage was quite extensive, touching not only Russian, but also Swedish, Finnish, Hungarian, Italian artists.)
However, even in 1884, and sensible. N. Kramskoy Bastien-Lepage described as "impossible poseur" and "unenviable painter, a subtle difference in the emotional structure of his paintings raid unnatural, a few benevolent sentimentality. And in the end of the century, Igor Grabar summed up by this issue feature, severely noticing on the work of artists range Bastien-Lepage: "in their workshops, there are strong works, all but one: the artistic impression!"
. Finally modern scholar of French painting of the XIX century a
. D. Chegodaev wrote about them as "virtuous edification and melodrama, imbued with the spirit of the devoutly Catholic lenten," leaving their verdict is no doubt about the actual location of this phenomenon in the history of European art.