Tag: Ruralism

John Pototschnik. The living rural artist.

Of the 850+ blogs I have done in the last ten years, I think only three have been about living artists.  Maybe I was concerned that they would be upset with what I had written or maybe they would be unhappy if I had been inaccurate, although I try to get facts from various sources to avoid errors.  My featured artist today is a person who commented how he liked one of my blogs and when I looked at his blog/website and some of his artwork I decided that he would make for an ideal subject.  I wrote to him and he was happy for me to do a small bio on his life and art, so let me introduce you to John Pototschnik, pronounced Poe-toe-sh-nic.  John is a Signature member of the Oil Painters of America and a Master Signature Emeritus member of the Outdoor Painters Society. He is recognized in “Who’s Who in American Art” and “Who’s Who in the Southwest.” In addition, his work has appeared in multiple artist magazines and books.  He’s also the author of a best-selling book: Limited Palette Unlimited Color published by Streamline Publishing. 

John was born in England, in the Cornish coastal town of  St. Ives, on November 14th 1945.  His father was Ernest Felix Pototschnik, a native of Kansas whilst his mother, Patricia Mary Pototschnik (née Symons) was born in Trewartha, Lelant in Cornwall. She was Ernest’s second wife.  Ernest’s first wife died during the birth of their son Ernest Francis.   John’s father was a member of the US Army which was stationed in England during the Second World War and he met Patricia when he attended a local dance.  John’s mother once told him that she remembered that first meeting saying she was especially attracted to Ernest because of his short stature, the way he carried himself, and the American uniform. The couple soon fell in love and were married in St Ives on February 12th 1945.  John was their eldest child and he has a sister, Patsy Ann.

                                              At the Edge of Town by John Pototschnik (24 x 30ins)
The sound of an approaching train can be heard in the distance. There has been a brief, early afternoon shower. The mailman has yet to deliver the day’s mail and pick up the letter in the box addressed to a dear friend. Children are just getting out of school and will soon arrive home on the school bus. (Location: Kansas) https://www.pototschnik.com/paintings/at-the-edge-of-town/

Around 1946 Ernest Pototschnik was discharged from the army, and returned to America where he purchased a home in Wichita, Kansas, prior to his wife and John travelling across the Atlantic on the Queen Mary some months later to join him.  The family relocated to Wichita, Kansas and remained there for the next twenty-two years.  John attended the Blessed Sacrament Catholic School in Wichita and then enrolled at the city’s Chaplain Kapaun Memorial High School.  At school John enjoyed draughtsmanship and biology.  He liked to sketch especially aircraft and racing cars. As a youth, his parents were comfortable with him going off on his own, exploring the neighbourhood.  He even went door-to-door selling his mother’s cookies or collecting money for his paper route.  John also often spent time with his father on hunting trips.  He believes this freedom to roam was how he built up his love of small American towns.

After graduating from High School in 1963, he went to the Pittsburg State Teacher’s College in Pittsburg, Kansas for one year.  During his early life at home there had been no exposure to art and the possibility of becoming an artist was never in consideration.  However, it was during the time at the College that John had the first thoughts about art being a definite possibility in his future.   He remembered purchasing the Famous Artist School correspondence course but admitted that he never completed it.  He explained that there was just no time for this extra-curricular study as life was filled with college work, athletics, and an after-school job. He said that he had little time for anything else.

                                                 Be Still My Soul by John Pototschnik (30 x 40ins)
A time of reflection, contemplation, and dreams comes easily in the peacefulness of the country. The soft light and gentle breeze refresh the soul. (Location: Georgia. Private collection).  Last year, this work was awarded the Silver Medal at the Oil Painters of America 27th Annual National Juried Exhibition of Traditional Oils, which was held at the Steamboat Art Museum in Steamboat Springs, CO. Of the more than 2,000 entries, only about one-tenth of those were selected for the exhibition.

In June 1964, John enrolled at Wichita State University and embarked on a four-year Bachelor of Fine Arts degree with a major in Advertising Design.  During his university days he worked for a number of graphic design and illustration companies.  One of the companies was Oblinger-Smith Planning Consultants where he worked as a graphic designer and, it was here, that through a work colleague he met Marcia who in October 1971 became Mrs Marcia Pototschnik.  His love of airplanes also had him sign up for the USAF College Reserve Officer Training Corp (ROTC). Upon graduation from college, I was guaranteed an Air Force commission and on leaving university in June 1968, John spent the next four years working for the United States Air Force stationed at El Segundo, California where he worked as an Internal/Public Information Officer working in community relations and edited the base newspaper.

                           For a Moment, All the World Was Right by John Pototschnik (30 x 40 ins)
For a Moment, All the World Was Right – It’s a busy world, full of noise, stress and worry, but for the young playmates, for this time in their life, all in the world is right. Being with friends, loved by their parents, feeling safe and protected…that is their reality. They are content and happy. (Location: New Hampshire. Private Collection)

Following completion of his time in the military in June 1972, he moved to Dallas and set about establishing a freelance illustration career although he proudly states he had his first paying job when he was ten years old, mowing lawns in the summer, raking leaves in the autumn and shovelling snow in the winter and at fifteen earned money as a part-time dish-washer at a local department store and during his first year of college days he was a consummate hamburger-flipper!  For the next ten years of his life he worked as an illustrator for all the major advertising agencies and design studios.  Of this decade as an illustrator he said he enjoyed the time:

“…I very much enjoyed working as a freelance illustrator. There was a great variety of work and its associated challenges. Being able to meet those challenges and satisfy a client was very rewarding. I also liked seeing my work in print. It also afforded me the opportunity to work in a number of media: pencil, pen/ink, watercolour, and acrylic. It also trained me to work under pressure and to meet tight deadlines…”

But all good things had to come to an end and for John the graphic design jobs were very time consuming and he said that his life revolved around long working hours and frequent bouts of little sleep.  This lifestyle of constant pressure and ever-demanding deadlines could not go on forever and so in 1982 John made the decision to leave the world of illustration and graphic design and turn his mind to the world of Fine Arts.

                                             Meeting of the Lines -by John Pototschnik (20×20 ins)
Many train lines congregate in this small agricultural town. The area bristles with activity. The sounds of the grain industry and rumble of the trains are heard throughout the town and are enchanting to young boys. (Location: Kansas. Private collection)

However, it was not just himself he had to consider as now he had a wife and two sons, Jonathan in 1975 and two years later a second son, Andrew.  But what did his wife think of his decision to quit his lucrative graphic designer career.  John comments:

“…Marcia has always been supportive of my art career regardless of the direction I decided to take it. She is a woman of common sense and has never been materialistic, in that she needed things to make her happy. She loved being a mother and homemaker…”

One can see how the decision to enter the world of Fine Artist was a financial gamble and he spoke about the decision:

“…Many well-known illustrators were leaving the field and moving into the fine arts in the 1970’s.  It was something I had always wanted to do but was told from the very beginning, “You’ll never make a living as a fine artist”. So, I chose to work in the commercial art side of the business. Seeing other illustrators make the leap encouraged me to do the same…”

               Plein air oil painting, Wylie Church by John Pototschnik (16″ x 12″)
When John heard about a plan to tear down the original St. Anthony’s Catholic Church, he worked hard, along with a committee, to save the structure and even wrote a letter appealing to the Bishop. Not only did the tiny church remain, but it is now immortalized in one of his paintings.

The switch to Fine Arts from being an illustrator and graphic designer was a massive change in John’s life and he was aware of the perils of this transition, saying:

“…Change is always a gamble. Fortunately, I was pretty naïve concerning what it would take to succeed, and to the realities of the fine art business. I thought the transition would be smooth and easy. I would just start painting different subjects, charge the same prices I was getting as an illustrator, and begin calling myself a fine artist. The only part of that that worked out was that I was painting different subjects. Galleries recognized my work as being illustrative, and nothing sold at my illustration prices.  Fortunately, the transition was eased somewhat by a friend who suggested I paint a series of paintings showing that the oil industry and wildlife could co-exist in the same area. If I did the paintings, he agreed to help me find six corporate sponsors that would purchase the paintings and their accompanying prints. That project worked well as it gave me time to begin working in oil, painting en plein air, developing my work, and funding my first year in the fine arts. Actually, there was not much thought given to financial success. I just figured one way or another this would work. However, it did take seven years to return to the level of income I was making as an illustrator…”

                                                        Rural Hideaway by John Pototschnik (25 x 28 ins)
Where does the road lead? Does it lead to a beautifully secluded little house in this gentle, non-threatening, peaceful environment? The question invites wonderful speculation and the viewer can visualize themselves walking that road to discovery. (Location: Georgia. Private collection)

So how did the change of artistic direction go for John?  He recalled those early day struggles:

“…Yes, there was a definite struggle. I did not realize it when I set my mind on becoming a fine artist, but fine art was beginning all over again. It is not a continuation of an illustration career; it’s starting a new career. I grew the career by doing lots of small paintings (5”x7” – 8” x 10”). These sold at very reasonable prices. I sold a lot of them, which helped grow a collector base. Then I began writing a monthly newsletter in order to stay in contact with the collectors.  Determining the price structure for my paintings is interesting in itself: As stated earlier, I began using illustration prices for the paintings…nothing sold. I then cut the prices in half…nothing sold. I cut the prices in half again…I then began selling just about everything. That’s why those early paintings were so reasonable…”

                                      Saturday Afternoon Game by John Pototschnik (16 x 20 ins)
School is over for the week. Classmates and neighbourhood friends enjoy a game of basketball at this small town American home. Location: Kansas)
https://www.pototschnik.com/paintings/saturday-afternoon-game/

John has painted in many mediums but his favourite is oils as it dries much slower than acrylic and thus affords him the chance to manipulate and correct his work until it is just right.  He also is pleased by the way oils has substance and retains brushstrokes.  When I asked John about his depictions being predominantly rural, he commented:

“…Much of what I paint are deeply felt impressions formed during my childhood. I grew up in the 1950s. It was a totally different time. I grew up in small neighbourhoods, small houses, small towns, near the country. My parents and grandparents had flourishing vegetable gardens. My mom made homemade cookies which I sold door to door. I had newspaper routes in which I delivered morning and evening newspapers door to door. I was free to ride my bicycle all around town and visit my friends. All these things, and much more, are in my work…”

His finished works are often the result of plein air painting which he enjoys but he says that about 99% of the plein air work is just for learning how to get a good handle on understanding nature. Some of those studies are used as a starting point for larger studio works. Less frequently, they are completed compositions unless they are for an art show or plein air competition, then, I will do larger completed works on location.

                                                   Land of Abundance by John Pototschnik (35 x 65)
Holmes County in the state of Ohio is an Amish community. Retaining many of the old world ways, eschewing many of the modern world’s technology and conveniences, the typical means of transportation is the horse and buggy. The magnificently kempt structures and fields are an endless source of inspiration for me. (Location: Ohio)
https://www.pototschnik.com/paintings/land-of-abundance/

In so many of the artists I have looked at over the years many depict realist situations, such as the poverty of the peasants and the back-breaking labour they had to endure and so I asked John why he has not also painted those often harrowing depictions.  He replied:

“…. I’ve never experienced personally the realities and hardships of actual farm life. I’ve been around farms, mainly as a child, so to this day have a more romanticized view. As an adult, I’m not unaware of the reality. I just choose to depict something that is somewhere between Realism and Idealism…”

He is also aware of the taste of the buying public.  Do they want paintings depicting hard-hitting realism on the walls of their house or would they rather have idealised rural beauty adorning their lounges and dining rooms?  John believes the latter is the case and the sale of his works of art bears out that assumption.

I asked him which of the great artists of the past he admired most.  He was most definite with his reply:

“…My favourite expressions of art are found in the Barbizon and Naturalism schools. Breton and Millet are certainly two of my favourites, but there are many more from that era, painting in that genre. There are so many artist’s works, past and present that I greatly admire, so I will say that the 1800s is my absolute favourite period in art history…”

                                                      Staying Home by John Pototschnik (16 x 27ins)
A few inches of snow on a day of bitterly cold temperatures comes to a close. The porch light comes on. It’s just too cold to go out tonight, We’re staying home where it’s warm. (Location: Texas)
https://www.pototschnik.com/paintings/staying-home/

He said he loved the works of Camille Corot, Charles-Francois Daubigny, Jean-Francois Millet.  In their paintings he saw a great sensitivity to people and nature. They have the ability to express all nature’s subtleties in such a unified, calming, peaceful way which he found very appealing. Only what is necessary is stated, nothing is overworked.  He also liked the Naturalism of the art of Stanhope Forbes, Jules Bastien-Lepage, Leon Lhermitte, Pascal-Adolphe-Jean Dagnan-Bouveret, Charles Sprague Pearce, Frank Bramley, Jules-Alexis Muenier, George Clausen, Gari Melchers, and Jules Breton. He liked how the Naturalists works are highly refined, almost photographic. Subjects are of common folks in everyday situations, people of the land, usually depicted in rural settings. I find all this extremely appealing, especially the high degree of finish.  Finally, he said that he loved the work of the Russian Itinerants, such as Arkhipov, Kramskov, Levitan, Perov, Repin, Svetoslavsky and how their paintings are gritty, earthy, bold, and emotionally powerful.  He summed it up by saying:

“…The common thread running through all the work I most love is a sense of the real. Subjects are of common folk doing common tasks. They are not idealized. Small towns, cottages, rural landscapes, and people going about their daily lives in that environment predominate. All of the above artists speak of the reality and truth of everyday life, there is no pretentiousness. I feel each artist has approached their work and subject with humility and is therefore able to capture the soul and spirit of the subject with great sensitivity…”

                              Remembering Murphy Grocery by John Pototschnik (14″ x 24″ – Oil}
John could often be found with his easel painting on the side of the road. His painting of the old Murphy Grocery Store at FM 544 and Murphy Road evokes nostalgia in many who remember the store. He has sold many prints of the painting and the original hangs in the Smith Public Library today.

I finally asked John on his views for Fine Art in the future and the up and coming aspiring artists. How will the future compare with the past?  He replied:

“…I’m not sure what the future holds for the fine art of painting. There will always be a place for beautiful things, things that elevate, but whether individual hand-crafted paintings will have as much value and importance to future generations as they have had in the past, I don’t know.

Lack of art education, shortened attention span, ever expanding technology, increased desire for the latest and greatest thing…and a new generation that has had little exposure to fine art… could greatly affect how fine art is valued in the future.  

That being said, among serious art students, there seems to be a real move toward realism, and even classicism. Non-objective art among many is seen as empty and devoid of substance. They want more. Ateliers, teaching solid drawing and painting principles, have sprung up around the world. The Art Renewal Center is a strong influence in promoting a return to representational art. Also, the current plein air movement in the United States has encouraged a huge number of amateur artists to pick up their brushes and go outdoors. The negative side of the plein air movement is that people seem to think if a work is done in plein air, it must be good. What I see is a lot of poorly executed, poorly composed, and poorly drawn works. When these works are promoted in magazines and social media, one is led to believe the work is good and that anyone can be an artist. Doing something quickly is better than doing something thoughtfully and carefully seems to be the driving force.  

Painting workshops are very helpful in providing for an artist’s livelihood. Unfortunately, many that are teaching should not be teaching because their work is of poor quality. Also, not every good artist is a good teacher. I recommend choosing one’s instructor carefully.  

Finally, I disagree with students taking one workshop after another, jumping from one instructor to the next. Over and over again, I see this happening but see no improvement in the students work. It seems it’s more about saying I studied with so-and-so, than actually seriously applying what is taught…”

John has received many awards for his art and in 2018 the Art Renewal Center, the largest online association with 50,000 of the greatest works in history, recognized him as a Living Master (ARCLM). The requirements for Living Master status are extensive with the main caveat being, “The artist has dedicated themselves to becoming a realist artist with the wish to express our shared humanity through the visual arts.”

To find out more about John Pototschnik have a look at his website:

https://www.pototschnik.com/about/

Jules Breton. Part 3. Rural Life and Religious Ceremonies.

Breton Peasant Woman Holding a Taper by Jules Breton (1869)

Besides his rural works of art, Jules Breton will also be remembered for his religious paintings.  One simple work was his 1869 painting entitled Breton Peasant Woman Holding a Taper, which can be seen at the Brooklyn Museum.  It is an intimate portrayal of an elderly lady in Breton costume.  Jules Breton made the background plain and dark so that her white headdress and the starched folds of her collar stand out.   In one hand she holds the long thin candle whilst the other hand clasps her rosary beads.  France may have been reeling from revolutions and turmoil with even worse to come but Breton was happy to focus on regional dress and religious tradition.  Since 1994, the painting has been housed at the Musée des Beaux-Arts in Quimper

The Pardon in Kergoat by Jules Breton (1891).

One of his greatest religious works was his multi-figured depiction entitled The Pardon at the Chapel of Kergoat in Quéméneven.  A pardon occurs on the feast of the patron saint of a church or chapel, at which an indulgence is granted. Hence use of the word “pardon”. Pardons only occur in the traditionally Breton language speaking Western part of Brittany.   This “pardon” at the Chapel of Kergoat was one of the most popular pardons because of the virtues of the waters from the nearby fountain. The Chapelle Notre-Dame de Kergoat is a 16th century chapel in the hamlet Kergoat, in the commune Quéménéven, Finistère, in north-western France. People came from all over Cornouaille, as shown by the presence of people from the Bigouden area.  Jules Breton was moved by the number of beggars and the passion of the pilgrims.  His portrayal of the event lets us imagine the movement of this procession as it goes around the monumental chapel. 

Le pardon de Notre-Dame-des-Portes à Châteauneuf-du-Faou by Paul Sérusier (1894)

He, like many other artists such as Gaugin, Pascal Dagnan-Bouveret and the Pont-Aven School painter, Paul Sérusier, depicted similar scenes of devotion.

The Blessing of the Wheats in Artois by Jules Breton (1857)

Another religious procession featured in one of Jules Breton’s paintings.  It was his 1857 work The Blessing of the Wheats in Artois which he presented at the Salon that year and was awarded a second-class medal.  It was also the year that Jean-François Millet had his famous painting, The Gleaners, exhibited at the Salon.  Jules Breton’s painting was bought that year by the French State for the Luxembourg Museum.  The procession we see in the painting is a procession of the Rogations.  Rogation Days are days set aside to observe a change in the seasons. Rogation Days are tied to the spring planting. There is one Major Rogation, which falls on April 25, and three Minor Rogations, which are celebrated on the Monday, Tuesday, and Wednesday immediately before Ascension Thursday.  Around Jules Breton’s village of Courrières, the girls in their communion dresses, the clergy, and the local notables walk the countryside to attract the blessing of heaven to the coming crops. This painting reminds us of the important place of Christianity in French rural life.

Les Premières Communiantes à Courrières by Jules Breton (circa 1860,)

Jules Breton was the self-proclaimed “peasant who paints peasants.”   During his career, he would paint many pictures that focused on the religious traditions of rural communities, especially those in the towns and villages of Brittany and his birthplace and current home, Courrières.   One of the earliest paintings to study the theme of communicants, people who receive or are entitled to receive Communion, was his 1860 work, Les Premières Communiantes à Courrières which hangs in the Musée du Petit Palais, Paris.  This work depicts the ceremony of First Holy Communion being held in the village of Courrières, a ceremony during which a person, around the age of eight, first receives the Eucharist.  The young girls who are about to receive the sacrament usually wear beautiful white dresses.

Les Premières Communiantes à Courrières by Jules Breton (circa 1884,)

In 1884, twenty-four years after Breton completed Les Premières Communiantes à Courrières, he was given a commission by one of his patrons, Samuel Putnam Avery, to complete another work depicting the First Communion ceremony and offered him 50,000 francs for its completion.  He gave the artist freedom to choose a depiction of the ceremony.  Avery was a great supporter and fan of Breton’s work and in a letter from May 4th, 1882, after Breton had accepted the commission, he thanked him saying:

“…I have so much confidence in your genius I am convinced that you will create a masterpiece, and want to leave you free to do what interests you most…”

Breton set to work in the summer of 1883 making numerous sketches for the finished commission.  Avery became impatient as over a year had passed since the commission had been agreed upon and in November Breton wrote once more to Avery saying that the work was nearing completion and that he intended to submit it to the 1884 Salon.  Breton has depicted a much broader view of the Communion ceremony.  The setting is a Spring morning and the mauve lilac is in full bloom.  The “ruralness” of the depiction is enhanced by the inclusion of birds fluttering over the thatched roofs of the whitewashed cottages.  The bright sunlight shines down upon the procession and lights up the virginal white diaphanous veils of the young girls as they slowly walk through the village towards the church of Courrières.  The painting was hailed a great success and the art critic for the Art Journal who wrote about the 1884 Salon said:

“…Les communiantes is perhaps the finest work in the exhibition… In the detail, the characterization, the perfect technique, the harmonious and varied coloration, and above all in the feeling, this picture is especially fine…”

The work was the culmination of numerous sketches that Breton had taken.   

Élodie with a Sunshade, Baie de Douarnenez by Jules Breton (1871),

After the Salon closed, Avery purchased the painting for 50,000 francs, and then promptly sold it to the American art collector, Mary Jane Sexton Morgan, the widow of Charles Morgan, an American railroad and shipping magnate.  She paid $12,000 for the painting. Charles de Kay, a writer on art wrote in the Magazine of Art:

“…What the most fabulous art dealer, what the most self-important artist asked, she paid without wincing…”

Mary died in 1885 and the following year at the auction of her collection in May 1886, the work was purchased by Donald Smith, Lord Strathcona, president of the Bank of Montreal, for $45,000, the highest price ever paid for a work by a living artist at the time.

La Communiante by Bastien-Lepage (1875)

Jules Breton’s decision to submit his work to the Salon jurists was not really a gamble as the Salon had shown a love for this type of depiction.  Bastien-Lepage’s La Communiante was favourably received by the Salon jurists in 1875.  In that work, the young girl at her First Holy Communion ceremony sits in front of us. Her hands are joined on her lap in a touch of reverence.  She fixes us with a steady gaze. Her eyes and hair are the only dark details of the canvas. The only colour is that on the face, wrists and arms which are covered under light gauze.  The rest of the work is bathed in tones of white and grey.

La première Communion à l’eglise de la Trinité by Henri Gretrix (1877)

Two years later, in 1877, the French artist Henri Gervex, had his painting, La première Communion à l’eglise de la Trinité, accepted into the 1877 Salon. 

Rolla by Henri Gervex (1878)

The interesting fact about Gervex and the Salon was his works later turned to more lascivious depictions of nude or semi-nude women and the submission of his painting, Rolla, to the Salon jurists of the 1878 Salon was rejected, on the grounds that it was too risqué and they wanted to avoid the furore which occurred with Manet’s 1865 Salon painting, Olympia, which was accepted into the exhibition but subsequently was condemned by many conservative critics as being “immoral” and “vulgar .

Summer by Jules Breton (1891),

Besides being a talented artist, Jules Breton was a poet and in 1880, had his poem Jeanne published.  His poetry was so good that it was awarded the Montyon Prize by the Académie Française.  However, he had little time to dedicate to his poetry as the demand for his artwork was escalating and he was now attracting considerable interest from the ever-expanding and lucrative market in America.

Last Flowers by Jules Breton (1890)

Samuel Putnam Avery was a critical part in exposing American audiences to European Art in the second half of the nineteenth century, importing major works by Ernest Meissonier, Charles-François Daubigny and William Bouguereau, among others, and he provided Breton with many sales and commissions on behalf of collectors.  The American public liked Breton’s depiction of rural labourers as one art historian, Madeleine Fiddell-Beaufort put it in her 1982 book, Jules Breton and the French Rural Tradition:

“…they [the Americans] appeared to exist in a harmonious and classless society that was appealing in a country that prided itself on a democratic tradition…”

The Weeders by Jules Breton (1860)

The American market was also aware of Breton’s awards from the various Salons and realised that buying his works was a real investment.  Two examples of his work that went to America can be seen in the Joslyn Art Museum in Omaha.  The Weeders was completed in 1860.  The painting impeccably demonstrates Breton’s Academic approach to painting.  The depiction is a delicate blend of realistic observation and a romantic sentiment. Breton has managed to beautifully capture the delicate mauves and roses of the twilight sky and added the simplicity of these stooped figures, Breton has managed to convert the activity of common field labour into a less harsh scene, almost one of graceful contemplation.

The Vintage at Chateau Lagrange by Jules Breton (1864)

Another of his works at the museum is his 1864 work, The Vintage at Chateau Lagrange.  The setting of the work is not Brittany where a number of his paintings were set. The painting depicts a festival being held in the Médoc district of southern France just north of Bordeaux.  Breton decided to travel to the southern parts of France where he believed lay the “sublime landscapes with inhabitants embodying extraordinary beauty.”  It was fortuitous that Breton was invited by Count Charles Tenneguy Duchâtel, the owner of Chateau Legrange winery to visit him and paint a picture depicting the grape harvest at his estate.  The setting was ideal for Breton but the adverse weather on his first visit necessitated a second visit to complete his sketches.  The painting was then completed in his Paris studio.  It is interesting to note Breton’s portrayal of the grape pickers.  They seem well-dressed and happy and their work has afforded them a distinctly classical quality and the hard-working process of picking the grapes from the vine has been depicted as a noble task rather than a tiring and arduous chore by poorly dressed and unhappy peasants.  Could it be that the Count wanted the painting to depict his workers as well dressed, well fed, happy people who were pleased to serve him?

Planatation d’un Calvaire by Jules Breton (1858)

In his painting, Planatation d’un Calvaire, Jules Breton recounts an event, which he witnessed in his youth.   Before us, we see a group of monks carrying on a stretcher the statue of Christ that will be fixed to the wooden cross.  In the background of the painting, we can see the cross being erected in the grounds of the churchyard.   In front of monks, three young girls wear the symbols of the Passion (the crown of thorns, the nails, and the spear). Finally, behind them, comes the priest, the children’s choir and the parishioners who close the march. The group moves forward in a slow procession towards the great cross, which is in the process of being erected in the background.  Breton, through this depiction, reminds himself of the fervor and recollection of this village community. The palette he has used is dominated by grey and beige, and is warmed by colourful tones of yellow, red and blue.  Breton’s wife, Élodie de Vigne, is represented twice in this painting. She is both the character of the mother holding her two children by the hand and that of the girl in white carrying a cushion on which rests the crown of thorns.

Young Women Going to a Procession by Jules Breton (c 1890),

In 1861 Jules Breton was named Chevalier de la Légion d’Honneur.  In 1867 he exhibited ten paintings at the Exposition Universelle and was given a first-place medal. In 1872 he was given the Medal of Honour at the Salon. Jules continued exhibiting at the Salons and was promoted from Officer to Commander of the Légion d’Honneur in 1885, and in 1886 he was elected as a member of the Insitut de France. In 1889-1900 he was also a jury member of the Salon. Towards the end of his career his works often focused on a single figure within the composition.

Jules Breton died in Paris on July 5th 1906, aged 79.  His wife Elodie died three years later on July 30th 1909, aged 73.

If you have enjoyed reading about Jules Breton, I can thoroughly recommend you try and read his 1890 autobiography entitled The Life of an Artist which gives you an insight into the great man’s life and his thoughts.

Jules Breton. Part 2. Ruralism and Naturalism.

Jules Breton (1890)

Little did Jules know but this trip with his father to arrange his art tutoring was the last time they would be together as shortly after his father returned to Courrieres, he died.  On hearing of his father’s death, Jules returned home and he was alarmed to see on checking, that the finances of the family business were in a bad state, so much so, some of the family’s furniture had to be sold. Breton finally realised what it was like to be poor and suddenly was able to imagine how the local peasants must feel about their impoverished lifestyle.  He had always loved playing with and mixing with the young peasants but he had never really had to share their lifestyle or their social position in life.  With that in mind the depictions in his paintings began to be all about social realism and the predicament of the poor and the downtrodden.

Calling in the Gleaners by Jules Breton (1859)

Many of Breton’s paintings featured the peasant workers, mainly women, who were known as gleaners, gatherers of grain or other produce left behind in the fields after harvest. This was a charitable activity that allowed the poor and destitute members of a community to collect leftover material after a commercial harvest.   Jules Breton’s desire to depict the plight of the poor and oppressed, was sated with his many depiction of the gleaners.  A good example of this is his 1859 painting housed at the Musée d’Orsay entitled Le rappel des glaneuses [Calling in the Gleaners].  It is an ordinary scene of peasant life in his hometown of Courrières. 

The Gleaners by Jean-François Millet completed in 1857.

Unlike Jean-François Millet’s famous depiction in which we see three women bent over picking up the grain, Jules Breton had portrayed the gleaners leaving the field in which they had been working.  It is the end of the day and the sun has set behind the trees which gives the painting the warm golden glow of late afternoon.  We see the crescent moon in the sky above and to the left and we catch sight of the rural policeman leaning against a milestone cupping his hands around his mouth like a speaking trumpet as he calls in the gleaners.  There are elements of realism in the way Breton has shown the female workers in threadbare, ragged clothes and barefooted but in a way this is also an idealised scene with the peasants walking out of the field with their heads held high in a noble and dignified pose and it was this idealistic and picturesque representation of the peasants and their working life which pleased both the critics and public. The painting was exhibited at the 1859 Salon and was much admired by those who saw it.  It even caught the eye of the Empress Eugenie, who arranged for it to be bought by the French state.  It was then exhibited at the Château de Saint Cloud, and three years later, it was given by the Emperor to the Musée du Luxembourg, which was then known as the Musée des Artistes Vivants.

The Last Gleanings by Jules Breton (1895)

Female gleaners also featured in Breton’s painting entitled The Last Gleanings which is part of the Huntington Art Museum collection in San Marino, California.

The Last Gleanings by Jules Breton (Detail)

In his painting. The Last Gleanings, there are three main characters in the foreground.  A young girl standing alongside a mature woman, both bare-footed, maybe mother and daughter, whilst, slightly behind them is an elderly woman.  This differing of ages, youth, maturity and old age, along with the sunset and the gathering of the remnants of the wheat harvest, can be seen as a metaphor for the passing of time.  The painting has a beautiful background featuring the setting sun, the rays of which wash over the low-lying clouds.  More gleaners follow behind the three in the foreground and to the left we can see a man with a raised stick, signalling the end of the working day.  Although Breton’s painting focuses on the practice of gleaning, we do not see the Millet-type women bent double picking up the remnant grains highlighting the back-breaking nature of the work.  In Breton’s depiction we see the mother and daughter adorned in their peasant attire look well fed and it does not suggest poverty and hardship so his depiction is offering us a mixed message.   On one hand we have a beautiful sunset and the two main characters wearing traditional costumes are carrying, with ease, bundles of wheat.  They look well nourished and yet on the other hand they are walking bare-footed amongst the sharp stubble of the wheat field and we also are aware that continually bending over to gather the wheat is a back-breaking task performed by poor peasants.  

 Catherine Hess, the chief curator of European Art at The Huntington, said we should be aware of the situation in France at the time.  She wrote:

“…In the late 19th century, the defeat of France in the Franco-Prussian War and the subsequent Paris Commune led to bloodshed and deprivation. And throughout the century, France remained a peasant nation, with three out of four men—many poverty-stricken—making their living by farming. Women, children, and the aged sought out gleaning to supplement their meagre provisions…”

The painting was bought by the American industrialist and art patron Henry Clay Frick.  He purchased the painting for $14,000 in 1895, immediately following its presentation at the Paris Salon. Jules Breton wrote to Frick and talked lovingly about the depiction:

“…it expresses a feeling I have frequently felt before the majestic simplicity and beauty of our rustic scenes, when bathed in the last rays of the sun. Those daughters of our fields seem then to be transfigured, the reflections of the heavens giving them the semblance of being surrounded by a natural halo…”

In 1905 Henry Frick returned the work to the art dealer as his taste in art had changed and in 1906 it was purchased by Henry Huntington for his collection.

The End of the Working Day by Jules Breton (1886-87)

Another of Jules Breton’s paintings featuring female peasants at the end of their working day was completed in 1887 and entitled Fin du travail (The End of the Working Day).  In this painting Breton has depicted three women returning from their day’s work in the potato fields.  The way they have been backlit by the sunset adds to the theatrics of the depiction.  Jules Breton had received Academic training and was well aware of the way historic paintings were very much the vogue when it came to teaching at the academy and maybe he remembered how the heroic betrayal of people in those paintings was thought to be currently  de rigueur.  Breton explained:

“… art was to do [the workers] the honour formerly reserved exclusively for the gods…”

The painting is part of the Brooklyn Museum collection.

The Wounded Sea Gull by Jules Breton (1878)

In the late 1870’s Breton completed a number of single-figure paintings of young females, mainly part of peasant families.  One example of this is his 1878 painting entitled The Wounded Seagull.  It depicts a young Breton peasant woman cradling and stroking a wounded gull whilst other gulls fly around in the background.  The strange thing about this depiction is that although tending to the bird she is not looking at it.  Her demeanour is one of pensiveness and it seems that her mind is concentrating on other things in her life.  This work was shown in 1881 at the first special exhibition at the newly founded St. Louis School and Museum of Fine Arts and remains part of the Saint Louis Art Museum.

A Fisherman’s Daughter b y Jules Breton (1878)

Another single-figure work by Breton is housed at the Musée de la Chartreuse de Douai and is entitled A Fisherman’s Daughter which he completed in 1878.  The painting depicts a girl wearing a red headband under a white cornette.  She is dressed in a blue wool petticoat and a tawny bodice. Around her neck, she wears a purple cotton handkerchief crossed on her chest.  On her arms there are false sleeves and in front of her an apron of grey canvas. She is barefoot, and leans against a rock as she repairs a fishing net for her father.  This was a traditional task that women did for their sea-going folk.   The setting is Port-Rhû near Douarnenez, in Brittany.

The Tired Gleaner by Jules Breton.(1880)

When Breton returned home to Courrières to help the family, he embarked on a number of figurative paintings of full-figure views against the flat fields.  One such work was his 1880 painting, The Tired Gleaner.  It portrays a young woman, stretching her arms, after a back-breaking day working in the fields, with a backdrop of the setting sun.  Breton repeated this backdrop in many of his rural works.

The Song of the Lark by Jules Breton (1884)

One of Breton’s best known and most successful single-figure work is Song of the Lark which he completed in 1884.  It was exhibited at the 1885 Salon where it was purchased by George A. Lucas a dealer from Paris, for his client, Samuel Putnam Avery, an American artist, art dealer, and philanthropist best remembered for his patronage of arts and letters.  It eventually came part of the Art Institute of Chicago collection in 1917. It was deemed the most popular painting in America in a poll conducted in 1934 by the Chicago Daily News  to find the “most beloved work of art in America”  The First Lady Eleanor Roosevelt unveiled The Song of the Lark as the winner and declared the painting as being her personal favourite.   It depicts a barefoot young peasant woman farm worker, sickle in hand, happily singing as she sets off to work in the fields near Courrières.  For this painting Breton’s model was a local woman, Marie Bidoul, who stood for him outdoors in the field at dawn and dusk until the artist was happy that he had captured her form.  

First edition cover of The Song of the Lark

Willa Cather’s 1915 novel The Song of the Lark takes its name from this painting.

…………………………..to be continued.

Jules Breton. Part 1. The beginning of an artistic journey.

Before the era of photography and mobile phones, paintings were often bought as  pictorial aide-mémoirs and I am sure it still happens nowadays.  It could be a portrait of a friend, relative or somebody one admires.  It could be a specific landscape or cityscape which one had once visited and wanted to be reminded of.  The completed painting would then adorn a wall in the room of one’s house and be looked at with pleasure every time we passed by it.  Sometimes a painting is placed on display to lift our mood.  Sometimes the painting may be there to remind us of a life we once had or a life we hanker for.  Whatever the reason, artists cater for our wishes to remember.  Of course, one has to decide whether the depiction in the landscape or cityscape painting is topographically accurate or is it an idealised version.  Maybe we want an idealized version, as over time, do we not conjure in our mind just that.

The Rest of the Haymakers by Jules Breton (1872)

When we look at paintings of rural scenes of the past and focus on the peasant workers, what are we wanting to see?  Do we want to have a painting on our wall which focuses on the difficult times the peasant labourers faced?  Do we want to see the folk poorly dressed, shoe-less and struggling to survive?  If that is what we want hanging on the wall of one of our rooms then we need to search for works by the social realism painters.  However, if we want to see depictions of happy smiling workers then we need to look for works by the rural naturalism painters such as today’s featured painter.  Let me introduce you to the nineteenth-century French painter, Jules Adolphe Aimé Louis Breton, one of the greatest artists who managed to convey the beauty and idyllic vision of rural existence, even if it was an idealised vision of peasant life.

Jules Breton

Jules Adolphe Breton was born on May 1st, 1827 to an important family in the small village of Courrieres situated in the Pas-de-Calais department in the Hauts-de-France region of Northern France.  His father, Marie-Louis Breton, oversaw land for a wealthy landowner. His mother died when Jules was four and he was brought up by his father. Other family members who lived in the same house were his maternal grandmother, his younger brother, Émile, and his uncle Boniface Breton.  Jules lived a contented life as a child despite losing his mother at that early age.    His home life was relaxed and was a happy environment, and he got great pleasure playing with the local children belonging to the local peasant farmers despite Jules and them having come from different social classes.

Young Mother nursing her Child, Courrières by Jules Breton (1873)

 

At the age of ten, Breton was sent to school at a Catholic seminary run by the Jesuits.  It was an unhappy experience for him.  His fellow pupils were unkind to him and he had many a run-in with the authoritarian Jesuits. In the summer of 1842, fifteen-year-old Breton met a man who would shape his future.  He, his father and uncle had been staying with friends at Muno, a Belgium town close to the French border and near the Amerois forest in the Ardennes.  One evening a visitor called on his uncle.  He introduced himself as Félix de Vigne, a painter and professor in the Academy in Ghent. He had come to examine four volumes of French costumes which had beautiful colour plates and belonged to Jules’ uncle.  Although Jules Breton was introduced to de Vigne, the boy’s bashfulness prohibited him from talking about his love of drawing and painting and his desire to become an artist.  When de Vigne left, Jules was devastated at missing the chance of confiding his artistic dreams with the painter.

La Petite Coutière by Jules Breton (1858)

 

In the autumn of 1842 Jules attended the College St. Bertin near Saint-Omer and it was here that he received his first artistic training.   A year later, in 1843, Breton’s uncle happened to be returning home from Lille in a coach and found himself sitting next to Felix De Vigne.  Knowing about his nephew’s disappointment with not conversing with de Vigne, he decided to arrange another meeting under the pretence that he would like the artist to come to their house in order to complete a portrait of my uncle.  The artist agreed.  Not to be wanting to miss another opportunity to talk about art to de Vigne, Jules presented him with sketches he had completed at the college.  Although not liking Jules’ copies of mythological busts he was impressed by his pencil portraits and landscapes.  In the summer of  1843, de Vigne then arranged with Breton’s father and uncle to allow Jules to live with his family and to study with him for three months at his atelier at no.8 Rue de la Line in a quiet quarter of the Belgium city of Ghent.  In his autobiography Jules remembered his first impressions of the city:

“…The city of Ghent seemed to me magnificent.  I felt proud and happy to be able to walk at will through the streets of this Flemish Venice, with its innumerable bridges, its old wharves crowded with merchandise, its ancient houses, some of which look down upon you from the middle ages and whose trembling images are reflected from the waters of the canals, where glide countless boats…”

Breton also remembered de Vigne’s eldest child, seven-year-old Elodie.  And in his autobiography, he described her, writing:

“The eldest, Elodie, was a gentle child, in whose blue eyes, shaded by long, silken lashes, there already shone a mysterious charm.   She went about the house silently, gliding rather than walking.  She held her fragile figure thrown slightly backward and her delicately outlined face, resembling that of one of the angels in a Gothic cathedral, inclined forward, as if bending under the weight of a prematurely thoughtful brow……She was about seven years old and I danced her on my knees…”

Portrait of Elodie de Vigne by Jules Breton (1853)

 

Unbeknown to the then sixteen-year-old Jules, he and Elodie would become man and wife fifteen years after that first meeting.  The couple married on April 29th, 1858.  Jules was thirty-one and his wife was twenty-two.  On July 26th 1859, their daughter Virginie was born.  She studied art under her father and, through her father, she was introduced to other painters, the most influential being Rosa Bonheur who became her role-model and mentor.

Virginie Demont-Breton c.1900, Photograph by Pierre Petit

 

Virginie was a very talented painter and by the age of twenty, she was exhibiting at the Salon where she received an Honourable Mention and, four years later, she won a Gold Medal at the Amsterdam Exposition.  Virginie travelled extensively and exhibited her work in Holland and France, often receiving medals and citations.  She became President of the Union of Women Painters and Sculptresses, and she was the second woman to receive the cross of the Legion of Honour, the first one going to Rosa Bonheur. Her paintings often featured motherhood or French fisherfolk themes. In 1880, she married artist Adrien Demont, once a student of her uncle, Emile, and the couple moved to Wissant, a small coastal village on the Côte d’Opale, midway between Calais and Boulogne.

Her Man is at Sea by Virginie Demont-Breton

 

Whilst living at Wissant, Virginie Élodie Marie Thérèse Demont-Breton began depicting the fishermen and their families in a Realist-style and one 0f her many paintings of that genre, which I particularly like is entitled Her Man is at Sea.  In it we see a mother cradling her baby as she sits by the open fire.  All her thoughts are about her husband who has left the home to go to sea with the local fishing fleet.

Her Man is at Sea (after Demont-Breton), by Vincent Van Gogh, (1889),

 

Obviously it was not just me that liked the work because in 1889 Van Gogh painted a work based on Virginie’s depiction!

Portrait of Félix de Vinge, by his student Lievin De Winne

 

Whilst in Ghent Jules Breton enrolled at the city’s Royal Academy of Fine Arts where de Vigne was once again, one of his tutors.  The director of the Academy at the time and another of Breton’s tutors was the Belgian portrait artist and sculptor, Henri van der Haert.  During his stay at the Academy, Jules Breton became great friends with a fellow art student, Liévin de Winne, who would later become one of the foremost Belgian portrait painters of his time.  The friendship between the two would last for many years.  Breton studied at the Academy for three years and during this time he would study the works of the great Flemish Masters.   

Jules Adolphe Breton – Jeune fille tricotant (Young girl knitting)

 

Jules Breton left Ghent midway through 1846 and travelled to Antwerp where he stayed for six weeks at the Hôtel Rubens in the Place Verte.  He enrolled at the Royal Academy of Fine Arts at which time the director and one of Breton’s tutors was Gustaf Wappers.  As a professor at the Academy Wappers had taught such well-known painters as Ford Madox Brown, and Lawrence Alma-Tadema.  Breton’s tenure at the Academy lasted a mere three months as he decided it would be more beneficial to spend his time at The Royal Museum of Fine Arts Antwerp where he studied and copied the paintings of Rubens.  Besides his love of the works of Rubens, Breton was influenced by the paintings by Memling, Van Eyck, Van der Weyden and Quentin-Matsys.  Nineteen-year-old Breton contracted chronic bronchitis at the end of 1846 and his father had to bring him home from Antwerp.  Jules was very surprised to see how old and ill his father looked and this, despite his own illness,  was of great concern to him.

A Peasant Girl Knitting under a Tree by Jules Breton (c.1870)

 

Eventually father and son got back to full health and Jules needed to decide upon his next step of his artistic journey,  He and his father had visited Paris in 1845 and Jules believed he should return to the French capital and hone his artistic skills.  The decision made, Jules returned to Paris in 1847 and took up residence in a small room on the third floor, at No. 5 Rue du Dragon, on Paris’s Left Bank.  Now the only decision left to be made was which atelier should he join.  After a recommendation Jules Breton went to study at the atelier of the neoclassic French painter, a painter of history and a portraitist, Michel Martin Drolling, who was a professor at the Ecole des Beaux Arts.  Breton remembered the moment he and his father knocked on the door of Drolling’s atelier:

“…I knocked timidly at the door of his studio, it was Drolling himself, his palette in his hand, who opened the door.   He wore a knitted woolen jacket and a red Greek cap, as he is represented in the portrait painted of him by his pupil Victor-Francois Biennourry.   His frank and simple manners, somewhat brusque, and his long white moustache, gave him the air rather of a retired officer than of an artist…”

……………………to be continued.

Léon-Augustin Lhermitte.

The artist I am looking at today is the French painter Léon-Augustin Lhermitte. I suppose his work could be categorised by three artistic terms: Naturalism, Realism and Ruralism, as he will probably be remembered for his paintings depicting peasant farmers and their families at work in the fields. However, as you will find out, there were more strings to his bow.

Léon-Augustin Lhermitte

Léon-Augustin Lhermitte was the only son of a local schoolmaster. He was born on July 31, 1844 in Mont-Saint-Père, a commune in the Aisne department in Hauts-de-France in north-eastern France, which lies about eighty kilometres north east of the French capital. The village was close to Chateau Thierry, a farming region close to the Champagne region around Rheims. This rural setting was to provide a wealth of ideas, inspiration, and realist subject matter throughout the artist’s life. As a young boy he enjoyed drawing and liked to copy art works he saw in popular illustrated magazines.  He liked to look at books which had illustrations by earlier French painters, such as the Realists. Lhermitte’s father encouraged his son’s artistic hobby by encouraging him to sketch. Léon’s talent quickly became apparent to others. His father, proud of his son’s talent, presented his drawings to Count Alexandre Colonna-Walewski, who, at the time, was minister at the École des Beaux-Arts. Walewski was so impressed by the young man’s artistic ability that he offered him a scholarship of 600 francs and arranged for him to enrol in the École Impériale de Dessin in the studio of Horace Lecoq de Boisboudran. It was here Lhermitte was able to learn about his tutor’s unusual drawing method, which emphasised memorization.

Horace Lecoq de Boisbaudran

Horace Lecoq de Boisbaudran was born in Paris. In 1819 he was admitted to the École des Beaux-Arts and exhibited at the Salon in 1831 and 1840. Later he became a professor at the academy. He taught drawing at l’École spéciale de dessin et de mathématiques, which was better known simply as the Petite École and now known as the École nationale supérieure des arts décoratifs. He wrote many books regarding drawing techniques including The Training of the Memory in Art and the Education of the Artist, and The Education of The Scenic Memory and The Training of the Artist. He influenced many great artists such as Rodin, Henri Fantin-Latour and Whistler to mention but a few. Lecoq Boisbaudran developed in his pupils a method of training memory. His students were required to copy progressively complex shapes (starting with straight lines and rectangles) and objects before drawing them from memory. The outcomes were then subjected to rigorous comparison with the model and mistakes corrected, over and over again, if necessary. Eventually, the students graduated to making careful analyses of masterpieces in the Louvre and then drawing them from memory when back in the studio. Horace Lecoq de Boisbaudrand theories had a profound effect on Lhermitte. From what Lhermitte learnt from his tutor, he was able to view a scene, notably a landscape scene, and then more fully execute the painting back in his studio. Whilst working at Horace Lecoq de Boisbaudran’s studio Lhermitte became friends with fellow artists, Jean Charles Cazin, Alphonse Legros and Fantin-Latour.

La têtée ou La jeune mère by Léon-Augustin Lhermitte (1901)

After attending the École Impériale, Lhermitte moved to Paris and shared an apartment with some of his friends. With the financial help Lhermitte had received from Count Walewski he enrolled at the École des Beaux-Arts and attended the 1863 Salon des Refusés. Although he was receiving tuition in painting at the École des Beaux-Arts his debut at the Salon was not one of his coloured paintings but a charcoal drawing, Les Bords de la Marne près Alfort (The Banks of the Marne near Alfort), which harked back to his days of draughtsmanship at the École de Dessin. In 1864 his painting, Violets in a Glass, Shells, Screen was shown at the Salon.

The Carpenter’s Workshop by Léon-Augustin Lhermitte (Charcoal on tinted paper)

In 1869 Lhermitte visited London for the first time and whilst there he met Alphonse Legros, a former pupil at the École Impériale de Dessin and he, like Lhermitte, had studied under Horace Lecoq de Boisbaudran. Lhermitte returned for a second visit in 1871 and it was then that Legros recommended him as an illustrator for Art in the Collections of England Drawn by E. Lie. More importantly, Legros introduced him to the art dealer Durand-Ruel, who following their meeting, agreed to sell several of his drawings. Later, in 1873 Durand-Ruel arranged for some of Lhermitte’s monochrome pictures to be shown at the Dudley Gallery for the first of the annual Black and White exhibitions and following that, Lhermitte became a regular participant.

Procession near Ploumanach by Léon-Augustin Lhermitte

In 1874 he received his first medal, third-class, at that year’s for three of his works, Le Benedicite (The Benedictine), Le Bateau (The Boat), Une Rue de Saint-Cyr (A Road in Saint-Cyr). It was in the summer of 1874 that Lhermitte decided to spend time in Brittany and soon he became fascinated with Breton culture, their celebrations, and the way the people, especially women, dressed in their Breton clothes. He enjoyed his time in the region, so much so, he returned there on numerous occasions during the next five years. It was a productive time for Lhermitte and he produced numerous depictions of Breton life.

Léon Augustin Lhermitte, An Elderly Peasant Woman, c. 1878

As well as producing colourful scenes of peasants in the fields he never lost his ability to draw with charcoal and one of his best loved is entitled An Elderly Peasant Woman which he completed around 1878 and now hangs in the National Gallery of Art in Washington. Lhermitte’s technique is quoted as: charcoal with black chalk, with stumping, scraping erasing and wetting, on wove paper. It is a dignified portrait of a humble person. His sitter has experienced a hard and rugged life as can be seen by her weather-beaten face and her crinkled but she has endured all the hardship. By his depiction of the woman, Lhermitte asks us not to feel sorry for her but admire her fortitude.

Market Day At Villenauxe La Grande by Léon-Augustin  Lhermitte

In a letter, dated February 4th 1883, to his friend the Dutch painter and draughtsman, Anthon van Rappard, , Vincent van Gogh commented on the talent of Lhermitte. He wrote:

“…Something else — the boss of Black and White may be someone neither you nor I know. In reviews of exhibitions I see mention made of the work of Lhermitte, a Frenchman who does scenes from the life of fishermen in Brittany. It’s said of him that ‘he is the Millet and Jules Breton in Black and White’, and his name crops up again and again. I’d like to be able to see something by him, and have recently written about him to my brother, who has given me very good information several times in the past…”

La Vendange à Mont-Saint-Père by Léon-Augustin Lhermitte (1876)

In 1876, inspired by the wine making traditions of Champagne, Lhermitte completed La Vendange à Mont-Saint-Père which was exhibited at that year’s Paris Salon. It was a large, highly finished works showing amazing detail and observation. Throughout the 1870’s Lhermitte’s reputation continued to blossom as a painter in the realist tradition of Courbet. Such was his reputation that Edgar Degas wrote in his diary that he intended to ask Lhermitte to exhibit at the 4th Impressionist Exhibition in 1879 but it never happened.

Other prizes and honours came to Lhermitte throughout his long career, including the Grand Prix at the Exposition Universelle, 1889, the Diplome d’honneur, Dresden, 1890, and the Legion of Honour. He was also a founding member of the Société Nationale des Beaux-Arts.

La Fenaison (Haymaking) by Léon-Augustin Lhermitte (1908)

The subject matter of Lhermitte’s paintings rarely strayed from depictions of the peasants and rural life which he remembered from his youth. Without doubt, the most overwhelming influence upon his work was certainly the French Realist painter, Jean François Millet who, like Lhermitte, was equally skilled with pastel as with oil.

The Gleaners by Léon-Augustin Lhermitte (1887)

During the 1880’s Lhermitte embarked on a series of monumental works of rural life, influenced by two of his contemporaries, Jean-François Millet and Jules Breton. In this series of paintings he created beautiful light-filled works which mirrored Millet’s theme and reinforcing the self-esteem of peasant life and the splendour of the French rural landscape in the face of the invasion of modern technology. Lhermitte added realism and careful detail to his rural depictions and this would serve him well, stretching into the 1920’s.

Harvest by Léon-Augustin Lhermitte (1874) Musee des Beaux-Arts, Carcassonne,

In the 1914 book, Le Livre d’Or des Peintres Exposants (The Golden Book of Exhibiting Painters), there was a passage extoling the virtues of Lhermitte’s work:

“…All of his rustic scenes are full of observation and naturalness, executed in a manner which is less and less rugged, and a technique that gains in suppleness. The artist has now discovered his own easy and definitive way of expressing himself and appears in full possession of a subject, which he treats with ease and without weakness. He is the painter of the field worker and rustic landscapes, the theatre of his work. In this genre, he shows a true vision of personages and of the things that surround them…”

Laveuses au lavoir by Léon-Augustin Lhermitte

And again, Van Gogh wrote about Lhermitte:

“…If every month Le Monde Illustré published one of his compositions…it would be a great pleasure for me to be able to follow it. It is certain that for years I have not seen anything as beautiful as this scene by Lhermitte…I am too preoccupied by Lhermitte this evening to be able to talk of other things…”

A Rest from the Harvest by Léon-Augustin Lhermitte

Lhermitte exhibited his work at the Salon on a regular basis and his paintings became sought-after items. Despite that, Lhermitte was not satisfied with his success and strived for more recognition. He believed he just had to complete a work which would help him attain the level of success he craved for.

The Tavern Interior by Léon-Augustin Lhermitte (1881)

As a regular exhibitor at the Salon, Lhermitte’s paintings had become increasingly sought after, though, in his mind, he had not yet attained the level of success that he desired. He wanted to complete a work that would solidify his success and this came in the form of a series of several large-scale paintings portraying the life and people of his native village of Mont-Saint-Pierre. In 1881 he completed The Tavern Interior. This painting was the first piece in Lhermitte’s grand manner series. Before us, we see a long brown table around which gather a few men watching a woman pouring liquor.

Le Père Casimir

The main figure is the man sitting at the right of the long table who is wearing a white shirt and brown pants, holding a spade in his left hand and in his right hand he holds a glass demanding a refill.. This is the peasant hero created by Lhermitte, known as Le Pére Casimir. It is believed that the painting was in fact based on a real figure, an old peasant named Casimir Dehan. Le Pére Casimir is one of the most important themes in Lhermitte’s grand manner series.  Lhermitte depicts the old man with the spade in hand wearing torn and soiled clothing, and thus the artist reveals the status of the working class and the reality of their utter poverty. The weather-beaten face and complexion indicate the long hours spent in the fields with their laborious work, and yet the man’s bulky figure and his upright sitting posture with a spade in hand indicates his heroic temperament.

Paying the Harvesters by Léon-Augustin Lhermitte (1882)

In 1882, his masterpiece La Paye des Moissonneurs (Paying of the Harvesters) was shown at that year’s Salon and it achieved great acclaim from the critics. Thereafter followed numerous commissions. The painting was bought by the French State and housed in the Luxembourg Museum before being transferred to the Hotel de Ville at Chateau-Thierry. It is a classic example of Naturalism in the way Lhermitte accurately depicted the hard-nosed view of life in rural communities.

La Leçon de Claude Bernard by Léon-Augustin Lhermitte (1889)

Lhermitte received a commission in 1886 to paint a large group portrait featuring Claude Bernard, a French physician and physiologist, which would then be hung at the Sorbonne. The painting is entitled La Leçon de Claude Bernard and depicts him in his Laboratory at the Colle de France. He completed the painting in 1889 and was exhibited at that year’s Salon.

Paysannes et Vaches Devant le Village de Mont-Saint-Père, by Léon-Augustin Lhermitte (c.1887) Charcoal on paper.

In 1888 he was approached by Andre Theuriet, the French poet and novelist, who asked him to provide illustrations for his new book, La Vie Rustique. This was a major commission and Lhermitte was able to use the many drawings of peasant life he had already completed. In the introduction the author wrote:
“…We propose to trace the grand acts of the rustic drama: the soaring, the labour, the hay-making, the harvest, and the vintage; we wanted to describe the solitude of the farm, the business of the village life, the pleasures of Sunday, and the preoccupations of the weekdays …”

Andre Theuriat’s words sum up the art of Léon Lhermitte and his position in French art of the late 19th century.

Lhermitte was a founding member of the Societe Nationale des Beaux-Arts in 1890. In 1894 he was made an officer of the Legion d’honneur.
Lhermitte was elected to fill Jacques Henner’s chair in painting at the Institut in 1905. He kept exhibiting his paintings in the first decades of the 20th century, but many critics looked upon him and his works as a relic of a bygone era. However, his style undoubtedly had an influence on Socialist Realism.in later years.  In the last twenty years of his life he worked much more in pastel, with his skill as a draughtsman ever in evidence. He went on to produce some sensitive portraits and peasant scenes which were reminiscent of his earlier and more powerful depictions, ones that van Gogh had cited as “an ideal”.

Léon Augustin Lhermitte died in Paris, on July 28th 1925, three days before his eighty-first birthday.

Julien and Thérèse Dupré – father and daughter Ruralist painters.

Julien Dupré

What do we want from a depiction in a painting? Do we want absolute truth? For example, should a portrait be of hyper-realsitic quality so it almost look like a photograph or should the portrait artist, through their bold brush marks and splashes of colour, produce a portrait which has not achieved photographic accuracy but is how the artist “sees” the model? What do we prefer in a painting Romanticism or Realism? Is it the same as asking about our taste in films, whether we prefer a *rom-com” or a “blood and guts” movie? Do we really want to be reminded of real life or do we want to be lulled by the happiness of how life should be?

In the Orchard by Edward Stott

Many questions, but it all leads me to the painting genre used by today’s artist. Once again I am looking at an artist who was classified as a painter of Naturalism, not just that, but Rural Naturalism, sometimes termed Ruralism. It was a nineteenth century art genre which was realist in nature and yet allowed artists to pictorially advocate the joys of rural life as an alternative to living amongst the grime of city life. The detractors of Rural Naturalism are quick to condemn the depictions of rural life as unadulterated sentimentality in comparison to the harsher work of the nineteenth century realist painters who depicted the harsh and unforgiving life of peasants as they struggled to work in the fields for their wealthy masters. Rural naturalism was seen in paintings by British artists such as George Clausen, Henry Herbert La Thangue and Edward Stott and in many of the artists of the Newlyn School.

Cows at the Watering Place by Julien Dupré

In France the painters closely associated with Ruralism were Jean-François Millet and Jules-Adolphe Breton. Millet is probably most famous for his works such as The Gleaners, The Sowers and The Angelus which all depict peasant farmworkers in a realistic way and highlight the harshness of peasant life.

The Gleaners by Jules-Adolphe Breton (1854)

The paintings of Jules-Adolphe Breton are also greatly inspired by the French countryside and often depict the traditional farming methods used by peasants but they also imbued the beauty and sublime vision of rural existence. Maybe it was a picture of life which did not really exist but was the preference of many. Think back to my analogy of the rom-com!

The Gossip by Julien Dupré

Today I am looking at the work of a French father and daughter who were noted for their Rural Naturalism paintings. They are Julien Dupré and his daughter Thérèse Marthe Françoise Dupré. Julien Dupré was born in 1851 some thirty-seven years after Millet and twenty-four years after Breton were born but his works of art were often compared to theirs and yet there were subtle differences. Hollister Sturgess, the American writer and former Museum director, in his 1982 book, Jules Breton and the French Rural Tradition, wrote:

“…Salon critics rightly perceived Julien Dupré as Breton’s closest follower. Through idealization of form, he invested his peasant women with a heroic aura, though unlike his predecessor, his figures are usually engaged in vigorous action. His landscapes, with their cloudy skies and varied motifs, are also much more active. Their high key color and spontaneous brushwork have a vivacity and freshness that distinguishes them from the somber calm of Breton’s scenes…”

The Goose Girl by Julien Dupré

Julien Dupré was born in Paris on March 18th, 1851. He was the son of Jean Dupré, a jeweller, and his second wife, Marie-Madeleine Pauline Célinie Bouillé. His parents had a jewellery shop in Paris which they had to abandon during the 1870 siege of the French capital by the Prussian forces. Julien enrolled in evening classes at the École nationale des arts décoratifs which then allowed him entrance to the École des Beaux-Arts, where he trained under Isidore Pils, the French history painter and Henri Lehmann, a German-born French historical painter and portraitist.

In the Fields by Julien Dupré(1877)

In 1875 Dupré went to live in Picardy and became a student of Désiré François Laugée. In his early days as a painter he adhered to the academic tradition he had been taught at the École des Beaux-Arts producing many historical and religious works as well as completing portrait commissions and murals. Later he became interested in plein air painting of landscapes and was fascinated with peasant genre subjects. Laugée and his wife had four children. The eldest was their daughter Marie Eléonore Françoise. Julien Dupré became romantically involved with Marie and eventually on May 17th 1876, in Paris, the couple married. They went on to have three children: Thérèse Dupré, Jacques Dupré and Madeleine Dupré. Thérèse Dupré, like her father, became a painter whilst Jacques became a doctor, draughtsman and illustrator and Madeleine a pianist. The year 1876 was also an auspicious year for Dupré as it was the year that he had his first painting exhibited at the Paris Salon.

Peasant Girl with Sheep by Julien Dupré (1895)

Julien Dupré endeavoured to depict the work of peasants in the fields in their harsh reality and to show the bond between peasant farmers and their farm animals. Julien Dupré’s peasant women seen working in the fields is the most enduring of his characterisation. Often, he depicted strong women positioned theatrically and yet elegantly in the forefront 0f his paintings, carrying out strenuous work as pitching sheaves of hay. His finely modelled figures are testament to his academic training, and the quality of his work is due to the influence of the work of Breton and Bouguereau. Dupré also developed a much freer management of the background areas of his paintings often carried out using a palette knife, which indicates the influence of the Impressionists painters. The characters we see depicted in his paintings are not frozen in artificial and unnatural academic poses but are observed equally well in action, as in rest, and by doing so, showing them as everyday working people. In most of his works, the landscapes depicted are idealised but are nevertheless inspired by the countryside of Picardy especially in the region of Saint-Quentin and Nauroy.

Les Faucheurs De Luzerne (The Reapers of Lucerne) by Julien Dupré (1880)

Dupré returned to Paris and worked in his Parisian workshop at 20 Boulevard Flandrin, which he shared with his brother-in-law Georges Laugée. But he loved outdoor life and painting en plein air. He exhibited regularly at the Paris Salon from 1876 to 1910 and won numerous awards. In 1880 he was awarded a third-class medal for his painting, Le Faucheurs de Luzerne and in 1881 he received a second-class medal for his work, La Recolte des Foins. He was honoured with a gold medal at the Paris Fair of 1889 and in 1892 was awarded the Legion of Honour. His works were very popular and many sold internationally especially in America.

An etching based upon The White Cow by Julien Dupré

Marion Spielmann, the prolific Victorian art critic and scholar, in an article  in The Magazine of Art in 1891, entitled The White Cow,  described Julien Dupré as:

… one of the most rising artists of the French School. He is individual in his work, accurate as an observer, earnest as a painter, healthy in his instincts and intensely artistic in his impressions and translations of them… he is always one of the attractions at the Salon………..In The White Cow which was amongst the finest works in last year’s Salon, several of M. Dupré’s merits as a painter are exemplified. The cow – taking a patient and intelligent interest in the operation of milking – is superbly drawn, and her expression admirably rendered. The light and shade, the balance of composition, and the rendering and disposition of the figures combine in this picture to produce a canvas which pleases the spectator the more he examines it…”

Julien Dupré gravestone at Père Lachaise cemetery

Throughout his career Julien Dupré championed the life of the peasant and continued painting scenes in the areas of Normandy and Brittany until his death in Paris on April 15th, 1910. He was buried in Père Lachaise cemetery. His tombstone bears a sculpture of a painter’s palette resting on a wreath of flowers.

Thérèse Marthe Françoise Dupré was the eldest child of Julien Dupré and his wife, Marie Eléonore Françoise Laugée. She was born on March 19, 1877 in Paris, a year after her parents married. From an early age, she came into contact with the many artists who attended her father’s and grandfather’s studio including family members, such as her uncle, the painter Georges Paul Laugée, her aunt Jeanne Eulalie Laugée-Fontaine, and her great-uncle Philibert Léon Couturier.

Le Gardeuse d’oie (The Goose Keeper) by Thérèse Marthe Françoise Cotard-Dupre

There is no doubt that her artistic style was very much influenced by both her father and her uncle, the artist, George Paul Laugée. Just like her father her paintings depicted idealised visions of peasant life in rural France. She started to exhibit her work at the Salon in 1899 and later became a member of the Société des Artistes Français, and in 1907 receiving a third-class medal for one of her works. She married the artist Edmond Cotard on June 2nd 1898, with whom she had two children, Henri Edmond Cotard on October 6th 1899 and François Cotard on January 9th 1905, who both became artists.

La Lessive (The Laundry) by Thérèse-Marthe-Françoise Cotard-Dupré

One of her best-known compositions is her painting entitled La Lessive (The Laundry). Like many of her works, they suggest that she was very familiar with the tasks she depicted in her works. The painting when sold at Bonhams of New Bond Street, London in 2015 achieved a record price for one of her paintings of $66,153.

While her father was a prolific artist, his daughter’s artistic output was much more meagre for one has to remember she was a wife and a mother. She was married at the age of twenty-one and became a mother when she was twenty-two and so the output of her work was severely restricted by her responsibilities as a wife and a mother.

The Milkmaid by Thérèse Marthe Françoise Cotard-Dupre

Her depiction of the peasant farmers, both male and female, as healthy and strong and rarely tired who seem to carry out their tasks with smiles on their faces is obviously an idealised view of peasant life. Such happy depictions of peasant life helped to ease the conscience of wealthy landowners whereas gritty Realist depictions of the down beaten peasant may have gnawed at their consciences.

Fermiere et Enfant by Thérèse Marthe Françoise Cotard-Dupre

She lived for a long time in Saint Quentin in Northern France where she copied and studied the pastels of the great Quentin De la Tour. She created many commissioned works, such as portraits, landscapes, peasant scenes. Unfortunately, many were lost during the First World War.

Thérèse-Marthe-Françoise Cotard-Dupré died, aged 43 on April 13th, 1920 in Orly near Paris in the clinic of Dr. Piouffle specializing in the care of alcoholics.  She was buried in the Père Lachaise cemetery in the vault with her mother and father.

Axel Waldemar Gallén (Akseli Gallén-Kallela). Part 1 – the early days.

My blog today is a veritable “potpourri”. It is a blend of history and geography all carefully mixed with the usual large serving of art history. It is a tale of a lake and forest, a country’s change of sovereignty and an artist who lived through those times but fell in love with his habitat. Today’s blog is all about the Finnish painter Akseli Gallén-Kallela, but this was not the name he was born with and this change is down to the changing history of his birth nation, Finland.

Axel Waldemar Gallén, aged 19 (1884)

If we look upon the history of Finland as a book, we should consider it as having three chapters. The first chapter would cover the period when what is now known as Finland was under the control of Sweden. This area was sandwiched between Sweden to the west and the Novgorod Republic to the east. However, as it is still the case in present times, ownership of land and “coveting thy neighbour’s goods” causes everlasting problems and Novgorod went to war with Sweden no fewer than 26 times over the land borders and the issue was not finally settled until August 12, 1323, when Sweden and Novgorod signed the Treaty of Nöteborg, which legalised their border for the first time. The Treaty allocated just the eastern part of Finland, such as Karelia, to Novgorod, whilst the western and southern parts of Finland were given to Sweden. As a consequence of this Swedish control in the west, the Swedish legal and social systems took root in Finland. During the Swedish period, Finland was merely a group of provinces and not a national entity and it was governed from Stockholm, which was the capital of the Finnish provinces at that time.

Gaining control of land is one thing, keeping the land is another. The great powerhouse of Sweden began to wane in the early 1700’s and Russia, which had absorbed Novgorod in the seventeenth century, began to look covetously at its western neighbour. When Sweden lost its position as a great power in the early 18th century, Russian pressure on Finland increased, and finally Russia conquered Finland in the 1808–1809 war with Sweden and the second chapter of Finnish history began.

After conquered by the Russian armies of Tsar Alexander I, Russia took control of Finland in 1809 and the country became an autonomous Grand Duchy, the head of state being the Grand Duke, the Russian Emperor, whose representative in Finland was the Governor General.

The third and final chapter in the history of Finland came in 1917 following the Russian Revolution when Finland declared itself independent. The following year the country was in tumult, divided by civil war brought on by an attempted coup by left-wing parties. An attempt was made to turn the country into a kingdom but this also failed. The Civil War finally ended in May 1918 when the government defeated the rebels and Finland became a republic in the summer of 1919.

So why the history lesson? Mainly for two reasons. My featured artist today lived between 1865 and 1931 and witnessed the changes in the history of his birthplace and was also part of the process of Finnicization, the changing of one’s personal names from other languages, in his case Swedish into Finnish in 1907. During the era of National Romanticism in Finland, between the late 19th and early 20th centuries, many people, especially Fennomans, who were supporters of a nationalist political movement in 19th-century Finland that wanted to raise Finnish to the national language of the country, finnicized their previously Swedish family names.

Drypoint Self-portrait, (1897)

Today’s featured artist was born Axel Waldemar Gallén. His father was Peter Wilhelm Gallén who came from the small town of Lemu close to the city of Turku and whose family owned a farm named Kallela. Peter Gallén left the family home and went to study for a public service career, and in 1840 he succeeded his brother as police chief of Tyrvää. In 1841, when he was twenty-four-years-old, Peter married his elder brother’s adopted daughter Sofia Antoinette and put money into the Vanni estate which Sophie had inherited. The couple went on to have five children. In 1855 Sophie died and three years later, in 1858, Peter married for the second time.

Axel Gallén.s birth home in Pori.

His second wife was Mathilda Wahlroos, the daughter of a Pori sea captain and in 1862 Peter Gallén became one of the cashiers at the Pori office of the Bank of Finland. Peter and his second wife, Mathilda, had seven children in all, which made Peter a father of twelve, the third of these children born to Peter and Mathilda on April 26th, 1865 was Axel Waldemar Gallén.

Jaatsi, the childhood home.

In 1867 Peter Gallén left his job at the bank in Pori and returned to the Tyrvää region with his large family, including Axel, who was then two years old, and bought Jaatsi Farm, and on the land, he built himself a spacious residence. It was a rural environment and for the children it was a case of living and playing amongst unspoiled nature. Once settled in, Peter became a lawyer in a private practice in Tyrvää.

School photo of the Gallén brothers Axel, Uno and Walter in 1876.

Axel had developed a love of art during his early days and his mother, Mathilda Gallén, who was a keen amateur painter, wanted her son to have an artistic career but her husband vehemently disagreed and was adamant that this was not a suitable career path for his son and so, in 1876, when Axel was eleven years old, he, along with two of his brothers Uno and Walter, was sent away to Helsinki to attend the Swedish-language grammar school. He was very disinterested in what he was being taught as all he could think about was art and all he had to console himself was to  attend the evening course at the drawing school of the Finnish Art Society from 1878 to 1881 and later the Central School for Applied Arts in 1880 and 1881. Axel’s father Peter died in 1879 and Axel’s life and future took another route – a route he had always wanted to travel along – a route towards the world of art, so when his grammar school education ended in 1881 he enrolled as a day student at the drawing school of the Finnish Art Society. In 1883 he transferred to the model class, where his teacher was the Finnish landscape and portrait painter, Fredrik Ahlstedt.

The Boy’s Workhouse, Helsinki by Albert Edelfelt, (1885)

In 1883 and in 1884 Axel was taught art by Albert Edelfelt, one of the first Finnish artists to attain international recognition and was one of the founders of the Realist art movement in Finland.

Repairing the Fishing Net by Adolf von Becker

Axel Gallén also spent time studying at the private academy run by the Finnish genre painter and art professor Adolf von Becker from 1882 to 1884 and did drawings at the University’s dissecting room.

Boy with a Crow by Axel Gallén
(1884)

Adolf von Becker was his most dependable teacher in the area of French realism, and he greatly influenced Axel when it came to demonstrate the technique of plein air painting. One such work is Axel’s Boy with a Crow. Axel completed the painting and people were astounded by the finished work. What amazed people was that his depiction was so like many of the works by the French painter Jules Bastien-Lepage and yet Axel had never been to France and seen the work of this great painter.

Pas Mèche (Nothing Doing) by Jules Bastien-Lepage (1882)

It is believed that Axel had learnt about the work of Bastien-Lepage through Albert Edelfelt who had lived in Paris and had been won over by the outdoor realism paintings of Lepage. The peasant boy depicted in the painting, Boy with a Crow, was known to Axel and he talked about the staging of the depiction, saying that the secret of his success with the painting was persuading the boy to believe that he could tame the crow by sprinkling salt on its tail feathers!

A photograph of Axel Gallén and other art students in Académie Julian in the 1880s

Probably persuaded by Edelfelt, Axel Waldemar Gallén, moved to Paris in the Autumn of 1884 and went to study at Académie Julian and the Atelier Cormon run by the French painter, Fernand Cormon. Axel studied at these establishments for the next five years. Equally as important to the artistic training he received at the Academy was the people he met. He recorded in his journal the bohemian lives of his artist and writer friends, such as the Swedish playwright and novelist, August Strindberg. He also spent time visiting art exhibitions, such as the Spring 1885 Jules Bastien-Lepage Memorial Exhibition when more than two hundred of the French painter’s pictures were exhibited at the École des Beaux-Arts, a year after the great man’s death.

The Old Woman and the Cat by Axel Gallén (1885)

Axel Gallén returned home in 1885. This was the year he painted his well-known work Akka ja kissa (‘Old Woman and Cat’) at the town of Salo. The elderly woman depicted in the painting was a local peasant who lived with her sheep. The initial painting just depicted the woman and the cat and the background was added once Axel returned to his studio in Tyrvää. The painting was a classic example of naturalism or rural naturalism which follows the concept that truth was more valuable than beauty and once again we can see the influence of Bastien-Lepage in this work. The painting was exhibited at the Finnish Art Society in the autumn of 1886 but opinions on the merit of the work were divided. The conservatives believed the painting to be ugly and the depiction of the woman, repulsive, whilst the liberals acclaimed the work for its realistic qualities.

Portrait of Herman Frithiof Antell, by Axel Gallen (1885)

Axel returned to Paris in late 1865 thanks to financial help from his mother and a government grant. Whilst in the French capital he completed a portrait of Herman Frithiof Antell, a licentiate of medicine and one of the most generous benefactors in Finnish cultural history.

Démasquée by Axel Gallén (1888)

So pleased was Antell with the portrait that two years later he commissioned Axel Gallén to paint a nude, which is now known as Démasquée (Uncovered). This is one of just a handful of nude paintings completed by Gallén. It was done by him in his Paris studio and it is the epitome of realism. The naked woman, almost certainly a French model, is seen seated on a colourful cover made up in the typical Finnish ryijy weave. This is not a depiction of a well-endowed beauty. This is a true depiction of an ordinary woman who seems very relaxed and happy to be sitting naked in front of the artist. Another aspect of realism is the fact that Axel depicted pubic hair in his portrayal of the woman which was unusual in European art.

Evening Landscape from Korpilahti by Axel Gallén

Once again Alex returned to Finland in the summer of 1886 and this time settled down in the sparsely populated area around the small town of Korpilahti which lies in Central Finland. It is a beautiful area with over two hundred lakes as well as awe-inspiring mountains. It was during his stay here that Axel carried on with his rural realism depictions.

The Ekola Croft in Evening Sunlight by Axel Gallén (1889)

In the winter of 1886 Axel moved from Korpilahti to the Central Finnish town of Keuruu and stayed at Ekola Croft which appears in a number of his paintings such as The Ekola Croft in Evening Sunlight which he completed in 1889. The croft was on the shore of the large Keurusselkä lake and must have been an idyllic location.

The First Lesson (also known as Ensi opetus) by Alex Gallén (c.1887)

Another painting he completed around this time was one entitled The First Lesson (also known as Ensi opetus). The setting is the interior of a log cabin and it depicts a father teaching his young daughter.

In the next part of my blog looking at the life and artwork of Axel Gallén (Akseli Gallén-Kallela) I will be delving into his later life, his marriage and his fascination with the Kalevala, the 19th-century work of epic poetry created and compiled by Elias Lonnrot.

besides Wilipedia, much of the information about the artist was gleaned from a number of websites, including:

Ateneum Art Museum:  https://ateneum.fi/nayttelyarkisto/akseli-gallen-kallela-150-years/?lang=en

Kallela Museum:  http://www.gallen-kallela.fi/en/akseli-gallen-kallela-and-tarvaspaa/akseli-gallen-kallelas-lifespan-and-timeline/

National Biography of Finland:  https://kansallisbiografia.fi/english/person/3194

 

 

Jennie Augusta Brownscombe

Jennie Augusta Brownscombe (1850 – 1936)

In my last blog I looked at the life of the nineteenth century American painter, Anna Elizabeth Klumpke.  Today I want to look at the life of one of her contemporaries, Jennie Augusta Brownscombe, who was born just six years earlier.

Jennie Augusta Brownscombe was born December 10th, 1850 in a small log cabin farmhouse, built by her father, near Irving Cliff in Honesdale, in rural north-eastern Pennsylvania.  It was a picturesque area, which the historian, writer and author of the short stories, Rip van Winkle and The Legend of Sleepy Hollow, Washington Irvine, described as:

“…Honesdale is situated between high hills on a plain through which two romantic mountain streams flow, uniting in the village and forming the Lackawaxen River. There are two wide basins where the streams unite, and the water was formed into the two most picturesque lakes. From the Eastern shore of one of these, Lake Dyberry, a solid ledge of serried and moss-grown slate rock rises almost sheer to the height of nearly 400 feet…”

Peasant Girl Before a Gate by Jennie Augusta Brownscombe

Jennie was the only child of William Brownscombe, originally a farmer in the English county of Devon who had left England to seek his fortune in America in 1840 and his American wife Elvira Brownscombe (née Kennedy), who was said to be a direct descendent of an original Mayflower passenger.  Her mother who was a talented writer and amateur painter, nurtured her daughter’s interest in poetry and art.  Her early exploration of drawing is mentioned in the entry for Jennie Brownscombe in the 1897 book, American Women Fifteen Hundred Biographies:

“…She was studious and precocious, and about equally inclined to art and literature. She early showed a talent for drawing, and when only seven years old she began drawing, using the juices of flowers and leaves with which to colour her pictures. In school she illustrated every book that had a blank leaf or margin available…”

Jennie won awards for her art at the Wayne County Fair  when she was a high school student.

The New School-Mistress by Jennie Augusta Brownscombe (1873)

In 1868, when Jennie was eighteen years old, her father died.  To help herself and her mother financially, Jennie began selling illustrations to book and magazine publishers based on the landscape around her home and Irving Cliff.  One such illustration appeared in the illustrated journal, Harper’s Weekly, of September 20th 1873, entitled The New School-Mistress.   She also accepted a post as a school teacher at the high school in Honesdale.  Eventually she moved to New York to study art.  To get an idea of what this young aspiring artist was like we need to see the description of her given by art historian, Florence Woolsley Hazzard in her article on Brownscombe for the three-volume biographical dictionary, Notable American Women 1607-1950, in which she described the young artist:

“…she was slender, with a thin face in which large brown eyes and a dimpled chin were distinctive, and reserved in manner. She lived simply with one companion or servant…”

Jennie Brownscombe left home and went to New York where she studied under the Paris-born academic-style painter Victor Nehlig who had come to America in 1850 and opened up a studio in New York city, and was elected as an academician in the National Academy of Design.  In May 1871 Jennie graduated from the School of Design for Women of the Cooper Union for the Advancement of Science and Art more commonly known as the Cooper Union or Cooper Institute which was a privately funded college located in Cooper Square in the East Village neighbourhood of Manhattan, New York City.

Portrait of a Young Woman in Pink and Green by Jennie Brownscombe (1898)

For the next four years, until 1875, Jennie was enrolled at the National Academy of Design where she attended the Antique and Life Schools and studied painting under the tutelage of the American painters, Thomas LeClear and Lemuel Wilmarth, who was the director of the Academy.  The Academy also paid Jennie to teach some of the classes and this helped defray the cost of her tuition.  Whilst at the Academy Brownscombe won the first prize, the Charles Loring Elliott Medal, in the Antique School and the first prize, the Suydam Medal in the Life School, which was given annually by the Academy for achievements in life drawing and painting in the Life studies school.

Unfortunately, the Academy encountered financial problems at the end of the 1874/5 academic year and could no longer afford to employ Wilmarth and there was even talk that come the start of the next academic year in the autumn the Academy would not re-open.  With the uncertainty as to whether the Academy, due to financial pressures, would cancel all classes temporarily, forcing students to forgo drawing from life for a significant period of time, something had to be done.  Apart from this uncertain future, many of the students were also unhappy with the rigid artistic teaching at the Academy believing the favoured academic-style was too conservative especially in comparison with what was happening at the time with the art in Europe with the birth of Impressionism.  And so, in 1875, Lemuel Wilmarth and a group of artists, most of whom were students at the National Academy of Design, and many of whom were women, founded The Art Students League and Wilmarth was confirmed as its first president.

The present Art Students League of New York Building, West 57th Street, New York

Jennie Brownscombe was one of the founder members of the Art Students League.  Another founder member was the sculptor and illustrator James Edward Kelly whose comments about Jennie were published in 1925 in the Fiftieth Anniversary of the League publication.  He recalled the young artist:

“…Although I used to see Miss Jennie Brownscombe when she came to Harper’s Art Department, and as a student at the old Academy, I always visualize her sitting at her easel – working,  working, ceaseless and untiring.  The outcome was a series of paintings and etchings showing the halcyon days in the home life of America…”

The League opened its school with studio space on the top floor of a building at the corner of Fifth Avenue and 16th Street. Things were somewhat cramped and classes were conducted in just one small room.  It proved so popular that many more art students joined and by the end of the first semester the League had to rent the whole of floor to accommodate this new influx of artists.  Jennie returned to the National Academy of Design in 1879 and remained there as a student until mid-1881.

After completing her studies at the Academy, Jennie travelled to France and studied in Paris under the Polish-born American painter, Henry Mosler, who became well-known for his Breton peasant depictions.  Jennie returned to the United States but an eye injury curtailed her art until 1884 at which time she returned to painting in her studio in New York City.  Whilst living in New York she found time to make regular visits back to her mother who was still at the family home in Honesdale, Pennsylvania.  Her mother died in 1891.

The Homecoming by Jennie Augusta Brownscombe (1885)

Jennie Brownscombe’s art was of various genres.  Many of her works focused on the observance of rural family life and it was the sentimentality of these works which appealed to buyers who liked to remember those trouble-free days.  A good example of this is her 1885 painting, The Homecoming, which depicts the return of a husband and the greeting he received from his wife and child on the doorstep of their log cabin.  Everything we see in the painting oozes with happiness and contentment –  what’s not to like about it?

Ready for the Oven by Jennie Augusta Brownscombe

In another depiction of contented homeliness,  Ready for the Oven, we see a lady in the kitchen.  She holds a pie, which she has just made and is about to put it into the oven to bake.  Again, this is a work depicting the joy that can be had by simply staying at home and looking after one’s family.  It is a depiction of a clean and well organised country kitchen and the rural idyll.  A lot of her genre works featuring rural life were about a clean and contented homely American lifestyle and is in stark contrast to the rural/ peasant kitchens we see depicted in some of the Dutch genre paintings where realism seemed to mean showing less than clean interiors and chaotic lives, often caused by the demon alcohol.  So, what did people want from their paintings – idyllic sentimentality or realistic hell on earth?

Love’s Young Dream by Jennie Augusta Brownscombe

One of the most popular example of Brownscombe’s idyllic but sentimental depictions is her idealized painting depicting rural family life which is entitled Loves Young Dream.  The painting has two distinct parts to it.  In the right foreground, and squeezed in, we have the porch of a wooden house and three people whilst on the left and in the background the space is open and clutter-free as we look towards the hills shrouded in mist but it is this openness which gives us the sense of vast sweeping and unspoilt countryside and set up of the painting highlights the isolation of the small house.

We see a young woman standing on the outside step of her modest wooden home.  Her expression is one of yearning, as she looks out at the winding country lane which leads to her family home.  In the distance, we can just make out a man on horseback approaching. Could this be who she is awaiting?  On the right of the painting we see an elderly couple sitting on the porch. One, probably her mother, looks up from her knitting and looks at the young woman and probably worries about her daughter’s expectations.  She is completely oblivious to the fact that the cat is playing with her ball of wool.  The other person on the porch is an elderly man who is completely engrossed in his book and has no time to observe his daughter, wife or the approaching rider.

The New Scholar by Jennie Augusta Brownscombe (1879)

In another example of her genre paintings we have The New Scholar which captures what school days were like in a rural community in the past.  In the work, we see a very young girl heading to her lessons. She is new to the school and is somewhat frightened at the reception she would receive from her fellow pupils. She walks towards the school room door, head down, but surreptitiously eyeing some of her fellow pupils whilst they line her approach and blatantly study her.   This is yet another beautifully portrayal of individuals.  This work is housed in the Thomas Gilcrease Institute of American History and Art in Tulsa, Oklahoma

The First Thanksgiving held at Pilgrim Hall in Plymouth, Massachusetts by Jennie Brownscombe

In some works, she would produce depictions of special moments of American history such as the arrival of the first settlers in her painting The First Thanksgiving held at Pilgrim Hall in Plymouth, Massachusetts which commemorated the event which took place in early autumn of 1621, when the 53 surviving Pilgrims celebrated their successful harvest, which was an English custom.  Another reason for the depiction by Brownscombe could have been the colonial roots of her mother’s family.

In the painting, we see a group of Puritans in dark and dour-looking clothes gathered around a table being blessed by a pastor.  The idealisation of the depiction shows friendly native Americans looking on at the ceremony and are ready to participate in this communal meal. In the background, we see a solitary log cabin set amongst the yet to be developed New England countryside.  This is a quintessentially American depiction and paintings like this were very popular with American public.  Brownscombe sold the reproduction rights to more than a hundred of her genre and historical works which were then used by publishers to produce prints or incorporate them in calendars and greeting cards.

Washington Greeting Lafayette at Mount Vernon, 1784 by Jennie Brownscombe

Brownscombe was among a group of artists of the Colonial Revival Movement, which was a cultural movement which was both an architectural and decorating style. It was very popular in the late 19th and early 20th centuries and was motivated by a romantic adoration of the early American past. Paintings were created by artists depicting early American scenes.  Colonial heroes like George Washington and colonial history were popular subjects for artists, inspired by the 1876 centennial, which celebrated the 100th anniversary of the signing of the Declaration of Independence in Philadelphia.  Jennie Brownscombe’s painting Washington Greeting Lafayette at Mount Vernon is a classic example of Colonial Revival Movement painting.

Colonial Minuet by Jennie Augusta Brownscombe

Brownscombe developed a structured lifestyle geared up to her artistic life.  She would travel to Italy and spend the winters in Rome and it was during one such winter she met the American still-life and landscape artist George Henry Hall who had a studio in the Italian capital.  They became close friends and Hall who was twenty-five years her senior, became her mentor.  During the summer months, the two of them would return to Hall’s American residence, in Kaaterskill Clove Valley, in New York’s eastern Catskill Mountains, lying just west of the village of Palenville.   When Hall died in 1913 at the age of eighty-eight, he bequeathed the house and studio to Brownscombe.

Children Playing in the Orchard by Jennie Brownscombe (1934)

In 1932 Jennie Brownscombe suffered a stroke which temporarily stopped her painting but two years later in 1934, when she was eighty-four years old, she completed a work for the Lincoln School in her hometown of Honesdale entitled Children Playing in the Orchard.

Jennie Augusta Brownscombe, who never married, died on August 5th, 1936 four months before her eighty-sixth birthday and was buried next to her parents in the Glen Dyberry Cemetery in Honesdale next to her parents.

Jennie Augusta Brownscombe (c.1930)

I end this story with a quote from the blog The Jellybean Tree which perfectly sums up the life and work of Jennie Augusta Brownscombe and why her paintings appealed to so many:

“…Jennie Brownscombe was a pilgrim in her own way, making a name and life for herself in a time when most women were still housewives and mothers. She tapped into a talent and nostalgia that warmed the hearts of her viewers. Artists like Brownscombe place a mirror to our lives, forcing us to see the beauty in every day. Creative types can sometimes become bogged down with visions of the fantastic. A reminder of the subtle grace of life is always welcome…”

Henry Herbert La Thangue – the pictorial documenter of rural life

Henry Herbert La Thangue (photo c.1893)
Henry Herbert La Thangue
(photo c.1893)

A few blogs ago I looked at the life and works of George Clausen and termed his art as rustic realism and today I want to delve into the life and the art work of another such painter, the English realist rural landscape artist Henry Herbert  La Thangue.

Henry Herbert La Thangue was born in Croydon, Surrey on January 19th 1859. He attended the renowned public school, Dulwich College, where two of his contemporary school friends were fellow aspiring artists Stanhope Forbes and Frederick Goodall. He enrolled briefly at the Lambeth School of Art in 1873 before enrolling on a five year course at the Royal Academy schools in 1874. The culmination of his studies at the Academy came in December 1879 when he won a gold medal for his work as well as a three year travelling scholarship to study in Paris at the studio of Jean-Léon Gérôme at the prestigious Ecole des Beaux-Arts.  It was during this time, whilst staying in the French capital, that he became influenced by the works of Whistler and the many paintings he saw at the Salon by artists who favoured rustic naturalism. He was also influenced by the landscape works of the en plein air artists of the Barbizon school. So how did the Barbizon School come into being ?

The Last Furrow by Henry Herbert La Thangue (1895)
The Last Furrow by Henry Herbert La Thangue (1895)

As far as the French Academy was concerned aspiring artists should be taught in the Neoclassical tradition and copy the style of the painters of the Renaissance and Classical era.  Landscape art was not looked upon as an important genre unless the landscape , usually an idealized version, was combined with some historical connotation.  In 1816 the Academy even encouraged this genre by introducing a Prix de Rome in paysage historique (landscapes with a historical nuance), the winner of which would travel to Rome to live and paint at the Villa Medici.  By making this award the Academy had hoped to encourage artists to paint not just landscapes but by adding the historical aspect to the work it would ensure history painting would not die.  It actually had the opposite effect as many artists turned to simple landscape work and this desire was further enhanced when in 1824 John Constable’s landscape works were exhibited at that year’s Salon.

The Plough Boy by Henry Herbert La Thangue (c.1900)
The Plough Boy by Henry Herbert La Thangue (c.1900)

In the warm summer months artists would leave the French capital and move to the tranquillity of the Parisian countryside around the Forest of Fontainebleau with its dense forest and meadowlands.  Small hamlets were situated around the periphery of the forest which made ideal stopping-off places for the artists and one such hamlet was Barbizon which proved to be the ideal temporary home for many landscape painters, such as Théodore Rousseau and Constant Troyon, who had rejected the Academic tradition of historical landscape painting and embraced a more realistic representation of the countryside and life in the country.  Later in the 1840’s, artists such as Jean-François Millet and Charles-François Daubigny came to Barbizon.

The Boat Builder's Yard by Henry Herbert La Thangue (1881)
The Boat Builder’s Yard by Henry Herbert La Thangue (1881)

In 1881 after completing his studies at the Ecole des Beaux-Arts, La Thangue travelled to Brittany, another popular region with landscape painters, and worked alongside the English landscape painter, Stanhope Forbes.  Whilst here, he met the renowned master of rustic realism, Jules Bastien-Lepage.  That year, he visited the small coastal commune of Concale, east of St Malo and completed his painting entitled The Boat Builder’s Yard. He remained in Brittany until mid 1882 and the following year he travelled south to the Rhone Valley commune of Donzère with his friend, the sculptor James Havard Thomas.

Resting after the game, Kate La Thangue by Henry Herbert La Thangue
Resting after the game, Kate La Thangue by Henry Herbert La Thangue

When he returned to England in 1884, La Thangue first lived at South Walsham on the edge of the Norfolk Broads before moving to Rye in East Sussex for a brief time in 1885.   This was an eventful period in La Thangue’s life for in 1885 he married the actress, Kate Rietiker.  It was also at this juncture in his life that he became interested in politics surrounding art and art establishments.  La Thangue was a radical thinker and believed fervently that the Royal Academy had to change.  La Thangue proposed that it should be a more democratic society open to all and based on the principles of ‘universal suffrage’  Much was written about his views in the press but ultimately nothing changed.  La Thangue remained unhappy with the administration of the hallowed society and so he, along with a number of his like-minded contemporaries, having failed in their attempt to revolutionise the establishment, founded the New English Art Club in London in 1885 as an alternate venue to the Royal Academy

Portrait of the Artist's Wife by Henry Herbert La Thangue
Portrait of the Artist’s Wife by Henry Herbert La Thangue

In 1886, despite his misgivings surrounding the Royal Academy, he continued to exhibit works at the art establishment.  The Royal Academy was not the sole outlet for his works as the paintings were also exhibited Royal Society of British Artists and the Grosvenor Gallery, which had opened in 1877 by Sir Coutts Lindsay, and was a welcoming home for those painters, such as Edward Burne-Jones and Walter Crane, whose works the more conservative Royal Academy shunned.  His paintings could also be seen at the New Gallery which was founded in Regent Street in 1888 by Comyns Carr and Charles Edward Hallé who had once been co-directors of the Grosvenor Gallery but because of all the Grovesnor Gallery problems, had resigned and set up this new gallery.  The New Gallery was also a home for the works of the Pre-Raphaelite and  Aesthetic movement artists and artists such as Lawrence Tadema-Alma, William Holman Hunt, Lord Leighton and George Frederic Watts exhibited works at this establishment.  La Thangue also exhibited at the Royal Institute of Painters which he had joined in 1883.

The Return of the Reapers by Henry Herbert La Thangue (1886)
The Return of the Reapers by Henry Herbert La Thangue (1886)

In the summer of 1886, La Thangue  moved home to the Norfolk countryside and the small fenland village of South Walsham.  During these years La Thangue produced head studies of farm hands and fisherfolk and it was whilst living here that he completed his landscape painting entitled Return of the Reapers.  This was a typical example of La Thangue’s rustic realism style.  La Thangue was probably influenced by the works of the French artists Jules Bastien-Lepage and Gustave Courbet and the en plein air works of the French Impressionists.

Study of a Boy with a Black Hat, before a Cornfield by Henry Herbert La Thangue

Five years later La Thangue left Norfolk and moved home south to the neighbouring county of Suffolk and the coastal village of Bosham just a few miles from the town of Chichester.  He carried on painting rural scenes, often large-scale works, with their realism connotations.

I

The Man with the Scythe by Henry Herbert La Thangue (1896)
The Man with the Scythe by Henry Herbert La Thangue (1896)

n 1896 he completed a work The Man with the Scythe, which is now housed in the Tate Britain gallery in London.  This proved to be a controversial work.  At first glance one ponders as to the reasoning behind the title.  However, look closely and in the background you can make out a man carrying a scythe but this is not just a country scene with a man off to work in the fields whilst the mother tends her daughter.  This is a more solemn and symbolic piece,  as what we are witnessing is a mother horrified to discover that her young daughter has died,.  At the very instant of her tragic discovery a man arrives at the gate carrying a scythe, which is one of the traditional symbols of death, often referred to as the ‘grim reaper’.    This tragic and somewhat melodramatic depiction by La Thangue was a definite change in his subject matter and may have been influenced by the pair of paintings by Frank Holl in 1877 entitled Hush and Hushed (See My Daily Art Display Feb 9th 2012)

The March Month by Henry Herbert La Thangue
The March Month by Henry Herbert La Thangue

His English base from 1898 and into the early 1900’s was in the West Sussex village of Graffham.  His painting motifs still concentrated on rural life.  His works, depicting both arable and livestock farming, documented life in the fields from the harrow and the harvest, to  animal husbandry and fruit growing.  He was always searching for the perfect portrayal of the countryside and countryside practices during the different seasons.  In his painting entitled The March, completed around 1900,  he depicted the orchard near his house which was also used as nursery areas during lambing time.   We see the farmer scattering turnips from his cart which would feed the sheep and fatten up the lambs.  It could be that this depiction by La Thangue was influenced by the famous novelist and gentleman-farmer Rider Haggard, a contemporary of the artist, for in his 1899 book A Farmer’s Year  he talked about fattening lambs:

“….’The flock is being penned at night on the three-acre [field] with a view to improving the bottom of his young pasture which has grown somewhat thin. In the daytime they run out to one or other of the meadows, where root is thrown to them, and every night they are shut in a new fold on the three-acre and receive a ration of corn, hay and beet…”

Selling Chickens in Liguria by Henry Herbert La Thangue (1906)
Selling Chickens in Liguria by Henry Herbert La Thangue (1906)

At the turn of the century La Thangue became more and more interested with the work of the French Impressionist painters and their fascination with light and in 1901 he travelled to Provence.  From 1903 to 1911 he spent much of his time in the Italian region of Liguria building up a large collection of work. Despite La Thangue’s earlier outspoken criticism of the Royal Academy he became an Associate of the Royal Academy in 1898 and became a full Member in 1912.

Violets for Perfume by Henry Herbert La Thangue (ca. 1913)
Violets for Perfume by Henry Herbert La Thangue (ca. 1913)

His diploma work for the Royal Academy was one entitled Violets for Perfume.  The notable English artist, George Clausen (see My Daly Art Display May 30th & June 8th 2015) wrote about La Thangue’s work:

“…Sunlight was the thing that attracted him: this and some simple motive of rural occupation, enhanced by a picturesque surround…”

This work stemmed from his time in Provence and depicts a woman tipping a basket of freshly picked violets onto a muslin sheet in preparation for perfume making. All through his artistic career La Thangue developed his subject matter from labourers working in fields, vineyards and orchards. The depiction of the lady working in this work highlighted the back-to-basic work practice.  Gone was the mechanised practice of harvesting which La Thangue disliked and which he saw creeping into the rural life of England, destroying the old-fashioned rural practices which he had so loved to paint.

A Mountain Frontier by Henry Herbert La Thangue (1910)
A Mountain Frontier by Henry Herbert La Thangue (1910)

In 1914, just prior to the beginning of the Great War, the Leicester Galleries in London  staged a one-man exhibition of La Thangue’s southern European landscape works,  which concentrated on his paintings completed whilst he was in Provence and Liguria.  One of the works exhibited was entitled A Mountain Frontier which La Thangue completed around 1910.  The exhibition was a great success and praised by the critics.  The artist William Sickert wrote about La Thangue’s skill as a painter in the May 1914 issue of the British literary magazine The New Age stating:

“…What renders La Thangue’s work particularly interesting is that while using the language of the day in painting, that is to say an opaque mosaic for recording objective sensations about visible nature, he is using it in a personal manner…”

Sickert went on to write that La Thangue, through his talent at developing relations of colour with a warm colour at the base,  was able to build on it a series a series of beautiful and interesting sensations of nature which is what he,  and not somebody else, had to say.

A Ligurian Bay by Henry Herbert La Thangue
A Ligurian Bay by Henry Herbert La Thangue

In the 1920’s after the Great War had ended La Thangue returned to Liguria and the motif of his paintings changed from the arable land of the English countryside to the sunlit orange groves and gardens of Italy.  La Thangue spent those days in southern Europe painting en plein air directly on to large canvases.  This belief is based on the fact that very few smaller versions of his paintings or sketches exist.

Wreck of the S.S. Manuka December 16th 1929
Wreck of the S.S. Manuka December 16th 1929

Henry Herbert La Thangue died on December 21st 1929, just a few weeks before his seventy-first birthday.  Less than a week before his death La Thangue had been devastated and depressed when he was given the news that a vessel, the S.S. Manuka, during a voyage from Melbourne/Bluff/Dunedin was wrecked on Nugget Point near Long Point, South Otago.  Part of the cargo on the vessel was two of La Thangue’s paintings.  La Thangue was never to know, that five days after his death, the paintings were recovered and said to have been in “reasonable condition”.

 His wife Kate died in 1941.

Sir George Clausen. Part 2 – More rural works and the War artist

Sir George Clausen 1852 - 1944
Sir George Clausen
1852 – 1944

In this concluding part looking at the life and works of George Clausen, later Sir George Clausen, I will focus on his love of depicting workers labouring in the fields in a genre of art which was often referred to as rustic naturalism and have a look at a couple of works he completed whilst he was employed as a war artist.

Agnes Mary Webster by George Clausen (1882)
Agnes Mary Webster by George Clausen (1882)

In 1881 George Clausen married Agnes Mary Webster of Kings Lynn and they went on to have three sons and a daughter.  Clausen had met her brother, Alfred, at South Kensington Art School where he was also studying art.  The following year Clausen painted his wife’s portrait.

Henry La Thangue, an English landscape painter, who had visited Brittany to paint and was a friend of Stanhope Forbes, another landscape artist, persuaded Clausen to take a trip there to discover the countryside and light the French area had to offer.  And so, in 1882, Clausen sett off for Brittany with his wife and visited the artist colony at Quimperlé, a small town, fifteen kilometres east of the other popular haven for artist, Pont Aven.   Here they met up with the Dublin-born artist, Stanhope Forbes who, two years later, moved to Newlyn in Cornwall and became a leading figure in that growing colony of artists.  Stanhope Forbes was excited that Clausen was to join him at Quimperlé writing to his mother in September 1882:

“…Thangue tells me he is sending G.Clausen the painter and his wife.  Very glad as he is a really good painter in fact belongs to the sacred band whom even I admire…”

 It was whilst here that Clausen produced a number of wonderful paintings depicting local peasant farm workers and their families.

Peasant Girl Carrying a Jar, Quimperlé by George Clausen (1882)
Peasant Girl Carrying a Jar, Quimperlé by George Clausen (1882)

One such work was entitled Peasant Girl Carrying a Jar, Quimperlé which he completed in 1882.  This is a portrait of a young girl seen standing in a field, hand on hip, holding an earthenware pot.  She is dressed in a peasant costume, the quality of which indicates that she is from a family of limited means.  She is surrounded by tall spherical flowering onion plants. It is interesting to look closely at the way Clausen has depicted the pose of the young girl.   This is not the pose of a professional model.  This is a peasant girl displaying the uncomfortable pose of a young child, which makes the image of her appear so realistic.  There is no harshness about the way Clausen has depicted her facial expression.  It is a face that exudes gentleness.  What must be going through the child’s mind as she poses for this foreigner, the artist?

The Return to the Fields by George Clausen (1882)
The Return to the Fields by George Clausen (1882)

The next featured work of Clausen is a small watercolour (35 x 26 cms) which he again completed in 1882.   The painting, entitled The Return from the Fields depicts two young workers carrying bundles of brushwood which had been obtained by thinning out the copses.  This brushwood was used for hedging, or as beating implements used for fire fighting or sometimes used to construct sheep hurdles.  That year, the painting was exhibited at Institute of Painters in Watercolours, in London, under the title of Boy and Man and the art reviewer of the Magazine of Art commented favourably on the work:

“… the most artistic work on the walls……a small drawing, but it is so strong, and at the same time so tender and full of feeling, that it arrests attention more powerfully than the other pictures together.  It is evidently inspired by Millet…….he has struck the right road…”

Head of a Peasant Woman by George Clausen (1882)
Head of a Peasant Woman by George Clausen (1882)

Clausen painted two close-up portraits of peasant labourers.  The first was entitled Head of a Peasant Woman which he completed in 1882.   This is a wonderful portrait.  It is a triumph of realism as Clausen has depicted the woman, “warts and all”.  We see her weather beaten face caused by the many days and weeks of working the fields and her wrinkled bow is testament that she has endured a hard and worrisome life.  She doesn’t look directly at us as she rests her hands on a long stick.  The ring on her wedding finger glints in the sunlight.

Labourers after Dinner by George Clausen (c.1882)
Labourers after Dinner by George Clausen (c.1882)

The second portrait was an oil and canvas study of a young boy who was to figure in a work entitled Labourers after Dinner.  This painting is held in a private collection in Australia and I have not been able to find a colour copy of it so have just scanned a black and white version which I found in a magazine.   The painting was the first indication that Clausen was moving away from the emotional depiction of peasant pictures which had been popularised in England and France by Jules Bastien-Lepage.  Clausen veered towards more naturalistic, if brutal, genre subjects. This work was one of the most studied of Clausen’s early compositions.   It is a depiction of a boy sitting between his mother and father who were taking a rest from their work in the fields.  The controversial Irish novelist and art critic, George Moore, on seeing the painting, wrote scathingly about the group depicted in the painting in his 1893 book entitled Modern Painting. In it he commented on the depiction of the boy’s mother and father:

“…the middle aged man and woman who live in mute stupidity – they have known nothing but the daily hardship of living and the vacuous face of their son tells how completely the life of his forefathers has descended upon him…”

Head of a Peasant Boy by George Clausen (1884)
Head of a Peasant Boy by George Clausen (1884)

A “vacuous face” wrote Moore.  I will let you decide as the oil sketch Clausen made prior to the large scale painting, entitled Head of a Peasant Boy is awash with detail.  George Moore was not a lover of realism in art as in the same book he condemned it saying:

“…Realism, that is to say the desire to compete with nature, to be nature, is the disease from which art has suffered most in the last twenty years.  The disease is now at wane, and when we happen upon a canvas of the period like Labourers after Dinner, we cry out, ‘What madness! Were we ever as mad as that?”…”

Harsh words indeed and yet I like this painting.

The Shepherdess by George Clausen (1885)
The Shepherdess by George Clausen (1885)

Clausen was a founder member of the New English Art Club (NEAC) of London which was set up in 1885 in competition with the Royal Academy.  It was a club which attracted many young inspiring artists who were returning to England after their artistic studies in Paris.  One of Clausen’s first paintings to be exhibited at an NEAC exhibition was The Shepherdess which he completed in the Spring of 1885 and which is now art of the National Museums, Liverpool collection.   Clausen had sold the painting to John Maddocks an artist and art collector, and borrowed it back to show at the exhibition.  The orchard in which the young girl stands was to feature in a number of Clausen’s works.  In 1891, the art critic of The Magazine of Art, Butler Wood, commented on the work:

“…admirable specimen of Mr Clausen’s best manner, and displays feeling and atmosphere.  His colour scheme is simple, yet satisfactory and skilfully elaborated.  The girl’s figure is modelled with almost sculpturesque strength and the face painted with that ruddy glow of health which he is so clever at rendering…”

In 1891 Clausen moved from the Berkshire village of Cookham Dean and went to live in Widdington, a small picturesque village in the county of Essex.  He had been exhibiting most of his works at the New Gallery and the NEAC but as his paintings became larger in size they were not easily accommodated at these venues and so he had to once again look at exhibiting his larger works at the Royal Academy in London.  Clausen had fallen out with the Royal Academy years earlier over their teaching methods and their strict and antiquated rules but now, with an ever expanding family, he needed the support of the Academy if he was to sell his larger works.  In 1895, Clausen was elected an Associate of the Royal Academy.  The art world noted his election to an establishment he had once roundly criticised but many saw Clausen as an excellent addition to the RA.  The scholar and prolific art critic of the time, often referred to as “one of the most powerful figures in the late Victorian art world”, Marion Spielmann, wrote about Clausen’s appointment in the February 1895 edition of weekly illustrated newspaper, The Graphic:

“…Mr Clausen was…… a signatory of the open letter which years ago set fire to the inflammable material which we young hot-bloods had….pile up  against the door of the Academy…. much amelioration has been brought since then;  the girls may now study from the semi-nude; then standard of probationership has been raised….”

Clausen now worked within the Academy system, a system which he had once heavily criticised.   He gave up his time, a couple of months each year, to teach students at the Royal Academy Life School Between 1904 and 1906 and in that year he became Professor of Painting at the Academy and, because of the large number of students who attended his lectures, was regarded as one of the most popular professors since Joshua Reynolds.

Bird Scaring by George Clausen (1896)
Bird Scaring by George Clausen (1896)

One of the works Clausen completed in 1896 was entitled Bird Scaring: March, and which is housed in the Harris Museum and Art Gallery, Preston.  In Victorian days bird scarers were employed by farmers to act as human scarecrows. Their task was simple; they just had to position themselves in the farmer’s field and scare off the birds which swoop down to eat the farmer’s crops.  This onerous job was for very young children who had to be working in the fields, dawn to dusk, no matter what the weather was like.  In the painting we can see the young boy who, despite the cold weather, wears only sack-cloth.  A small fire has been lit on the ground to keep him warm.  The blue/grey smoke from the fire wafts behind him giving us the sense that it is not only cold but also windy.  He is energetically swinging around, holding a wooden clapper in his right hand which made sufficient noise to deter birds from landing nearby.

Youth Mourning by George Clausen (1916)
Youth Mourning by George Clausen (1916)

For my next two featured works by Clausen you will notice a complete change of style.  The first one was completed in 1916 and entitled Youth Mourning.  The work you see is not the original version but one altered on the request of the purchaser.  Clausen, who was sixty-four when he painted this work was too old for military service in the First World War, however he was not untouched by the many tragedies of the Great War for his son-in-law, the husband of his daughter Kitty, was killed in battle in 1915 and it was that sad event which moved him to paint this work.  It was his personal expression of grief for the thousands who perished during the conflict.  This was an artistic departure of his favoured rustic naturalism style and more towards the French Symbolist genre.

In the original work there were three white crosses in the ground just behind the female and further in the background many more white crosses could be seen.  When the owner of the work, a Mr C.N.Luxmoore, who bought this and many other paintings from Clausen presented it to the Nation in 1929 the crosses had been painted out just leaving a barren shell-holed hillside.  We have no definitive reason why the owner got Clausen to re-paint part of the work.   The resulting work has a powerful symbolic aura of anguish and sorrow captured by the nude female figure hunched over in the foetal position.  The finality of death is depicted by the barrenness of the landscape where nothing lives.

In the Gun Factory at Woolwich Arsenal, 1918 by George Clausen (1918)
In the Gun Factory at Woolwich Arsenal, 1918 by George Clausen (1918)

George Clausen was later appointed an official war artist and took part in the ambitious British War Memorials Committee art scheme in 1918. He produced a large 183 x 318cms oil on canvas work in 1918 entitled In the Gun Factory at Woolwich Arsenal, 1918.  This urban scene once again is huge shift away from rustic idylls of the countryside we saw in his earlier works.  The painting was a commission Clausen received from The Ministry of Information who said they wanted a “Uccello” sized work of art which would be exhibited in the Hall of Remembrance.  Clausen visited the gun factory on a number of occasions and had originally intended that the painting would be in an upright format but eventually realised that it had to be of a horizontal format.  The work was finally completed in December 1918 and was first exhibited at the Royal Academy Winter Exhibition of 1919-20.  Critics believed it was one of the best works on display.  In 1926, due to his successful war commission he was commissioned to paint murals, notably Wycliffe’s English Bible for the Houses of Parliament and on completion of this task he was knighted.  He continued to regularly exhibit work at the Royal Academy during the 1930’s.

My Back Garden by George Clausen (1940)
My Back Garden by George Clausen (1940)

One of last paintings by Sir George Clausen was one he completed in 1940 entitled My Back Garden.  It was a depiction of the back garden of his house at 61 Carlton Hill, London.  He was eighty-eight years of age when he painted this picture.  It was almost a farewell painting as a year later; he had left his beloved house and garden because of the almost continuous bombing of London by the Nazis.  He decided that he and his wife should move to Cold Ash, a Berkshire village some two miles from the town of Newbury and seventy miles west of London.  Clausen continued to sketch and complete watercolours which he sent off for inclusion in the Royal Academy Summer Exhibitions of 1942 and 1943.   Clausen’s wife’s health had deteriorated in 1939 and she remained poorly until her death in March 1944.  Sir George Clausen died eight months later in November 1944, aged 92.   In June 1944, just five months before Clausen’s death, he was approached by Kenneth Clark, the Director of the National Gallery, proposing a retrospective exhibition of his work at the National Gallery.  Clausen was delighted with the proposal and wrote back to Clark:

“… I think such an exhibition as you suggest would be more appropriate when I am dead and indifferent to praise or censure !   However I will help you all I can…”

Sadly the exhibition never took place.