Chagall’s magnificent ceiling at the Opéra Garnier

Marc Chagall, from Belarus, 1887-1985
The ceiling of the Opéra Garnier, started in 1963 and completed on the 23rd of September, 1964, nearly 240 m² canvas, Opera Garnier, Paris, France – Photo Credit: Amalia Spiliakou, May 8, 2023

Russian-born artist Marc Chagall once said that “the dignity of the artist lies in his duty of keeping awake the sense of wonder in the world.” And it is difficult to conceal one’s wonder beneath Chagall’s magnificent ceiling at the Opéra Garnier, a masterwork that was unveiled in 1964… This is exactly how I felt on the 8th of May, 2023, attending the Dante Project by Wayne McGregor… WONDER! https://www.architecturaldigest.com/story/marc-chagall-opera-ceiling

Today’s goal is to highlight the artistic significance of the Opera Garnier’s painted Dome, featuring the breathtaking work of renowned painter Marc Chagall.

Chagall’s work at the Opera Garnier in Paris stands as a captivating testament to artistic innovation within the confines of historical grandeur. The vivid colors and imaginative forms of Chagall’s masterpiece create a striking juxtaposition against the backdrop of the Belle Epoque building. As one gazes upon the ornate details and classical elegance of the Opera House, the unexpected burst of modernity and expression on the dome becomes a mesmerizing focal point. This dynamic interplay between tradition and avant-garde artistry enhances the overall aesthetic experience, inviting viewers to appreciate the harmonious coexistence of two distinct yet complementary artistic worlds within the iconic Parisian landmark.

Marc Chagall’s involvement in painting the dome of the Opera Garnier in Paris is a fascinating chapter in the history of both art and architecture. In 1963, French Minister of Culture André Malraux proposed the idea of commissioning a contemporary artist to contribute to the decoration of the historic building. Chagall, renowned for his dreamlike and symbolic works, was chosen for this ambitious project, hoping for this commission to mark a departure from the conventional approach of adorning opera houses with historical or mythological themes. The artist embraced the opportunity to infuse the space with his distinctive blend of colors and imaginative compositions. He embarked on the task with great enthusiasm, creating a 560-square-meter masterpiece that would become one of his largest and most celebrated works.

Completed in 1964, Chagall’s painted dome is a visual feast, featuring a rich tapestry of scenes and characters from famous operas. The vibrant hues and dynamic forms evoke a sense of lyricism and movement, encapsulating the essence of the performing arts.

The theme behind Marc Chagall’s painting of the dome of the Opera Garnier is a celebration of the world of music, dance, and the performing arts. Chagall’s approach to the commission was to create a vibrant and whimsical visual narrative that captured the spirit of opera and ballet. The dome serves as a vast canvas for Chagall’s imaginative interpretation of the cultural and emotional resonance found in the world of performing arts, featuring a kaleidoscope of colors, floating figures, and symbolic elements drawn from various operas. Dancers, musicians, and mythical creatures come together in a dreamlike composition, conveying a sense of lyricism and movement. The artist skillfully weaves together scenes and characters from famous operas, creating a harmonious and dynamic tapestry that reflects the magic and drama of the performing arts.

Marc Chagall, from Belarus, 1887-1985
The ceiling of the Opéra Garnier started in 1963 and was completed on the 23rd of September, 1964, nearly 240 m² canvas, Opera Garnier, Paris, France https://www.pariszigzag.fr/insolite/histoire-insolite-paris/lhistoire-du-plafond-de-lopera-garnier-par-marc-chagall

Chagall’s dome at the Opera Garnier received mixed reactions initially, with some critics appreciating the modern approach and others expressing reservations about its departure from tradition. However, over time, the masterpiece has come to be recognized as a pivotal work in the intersection of contemporary art and historic architecture. Today, Chagall’s contribution to the Opera Garnier stands as a testament to the enduring power of artistic expression and the willingness to embrace innovation within venerable cultural institutions. The painted dome continues to enchant visitors, offering a unique and immersive experience that transcends the boundaries of time and tradition.

For a full explanation of what Chagall’s ceiling composition presents, please check Google Arts & Culture… https://artsandculture.google.com/asset/marc-chagall%E2%80%99s-ceiling-for-the-paris-op%C3%A9ra-marc-chagall/RwHNmMsONyvObQ

For a Student Activity, inspired by Chagall’s magnificent ceiling at the Opéra Garnier, please… Check HERE!

Opéra Garnier in Paris filmed by a drone… is an interesting, short, video to watch: https://www.linkedin.com/pulse/marc-chagall-opera-love-never-died-look-paris-op%C3%A9ra-garnier-cruz-1/ 

On Marc Chagall: The artist of the Opera’s dome, Marc Chagall, was of Russian-French origin, known for his unique blend of fantasy, symbolism, and elements of folk art. He was associated with several art movements, including Cubism and Surrealism, but his work defied easy categorization. Chagall’s art often featured dreamlike and poetic scenes, filled with vibrant colors and floating figures. He painted a variety of subjects, including village life, biblical themes, and memories of his hometown Vitebsk. Marc Chagall’s contributions to the art world have left a lasting impact, and he is considered one of the most significant artists of the 20th century.

On the Opera Garnier: Officially known as the Palais Garnier, this is an architectural masterpiece and a cultural icon located in the heart of Paris, France. Designed by Charles Garnier and inaugurated in 1875, the opera house is a splendid example of Beaux-Arts architecture, characterized by its opulent ornamentation, grandiosity, and meticulous attention to detail. The exterior is adorned with sculptures, columns, and a grand staircase, while the interior boasts a lavish auditorium with a stunning chandelier, intricate frescoes, and a ceiling painted by Marc Chagall in the 1960s. The Opera Garnier has been a focal point for Parisian cultural life, hosting a myriad of operas, ballets, and other performances. Its rich history, architectural beauty, and artistic significance make it a symbol of Paris’s enduring cultural legacy.

The Lady and the Unicorn

The Lady and the Unicorn Tapestries, circa 1500, Wool and Silk, Musée de Cluny, Paris, France https://en.wikipedia.org/wiki/The_Lady_and_the_Unicorn#/media/File:Lady_and_the_Unicorn_1.jpg

In the heart of the Cluny Museum in Paris, six exquisite masterpieces from the late 15th century quietly captivate visitors—The Lady and the Unicorn tapestries. These splendid works of art, steeped in mystery and allure, weave a narrative that transcends time. As we embark on a visual journey through the intricacies of this enchanting work of art let’s remember the oldest reference to the Unicorn… there are in India certain wild asses which are as large as horses, and larger. Their bodies are white, their horns dark red, and their eyes dark blue… The quotation comes from the 4th century BC book Indica, a combination of geography, and zoology, by Greek physician, Ctesias from Cnidos. http://printedpearls.com/unicorns-in-medieval-manuscripts

Introduction

The Lady and the Unicorn is a series of six tapestries dating back to the late 15th century, widely regarded as masterpieces of medieval European art. Each tapestry depicts a Lady interacting with a Unicorn in a lush garden setting, with accompanying elements such as a lion, monkeys, and various flora and fauna. The symbolism within the scenes is rich, revealing the Medieval world of the human Senses and conveying themes of romance, chivalry, and morality. The precise meaning of the tapestries remains open to interpretation, adding to their mystique and enduring allure. Despite the passage of centuries, The Lady and the Unicorn tapestries continue to captivate viewers with their timeless beauty and enigmatic narrative.

The Patrons

Introducing the captivating narrative woven into The Lady and the Unicorn tapestry, the coat of arms featured, a vivid red shield with a blue band adorned with three silver crescent moons, offers a crucial historical clue. This distinctive heraldry connects the commission of the tapestries to the Le Viste family, notable figures in the Paris parliament during that era. The family’s ascent in social status is reflected in the tapestries, adorned with a profusion of heraldic symbols and emblems, a deliberate assertion of their collective and individual power. The full coat of arms, potentially linked to Jean IV Le Viste or his cousin Antoine, suggests a weaving date around 1500. The presence of the initials A and I in the “Mon seul désir” motto hints at a celebration, possibly related to an engagement between the groom and bride, particularly Jean IV and Jacqueline Raguier. Stylistic connections to the workshop of the Master of the Très Petites Heures manuscript and the intricate symbolism throughout the tapestries add depth to the rich tapestry, making it a fascinating exploration of familial power, social ascent, and symbolic storytelling.

The Discovery

Crafted around 1500, The Lady and the Unicorn tapestries have captivated the imagination and curiosity of admirers for centuries. Their historical emergence gained momentum in the 19th century when they were rediscovered at the Château de Boussac, a small castle in central France. Notably, novelist George Sand played a significant role in elevating their prominence by featuring the enigmatic tapestries in her 1844 novel Jeanne, where she described them as masterpieces with intriguing historical significance. Concurrently, Prosper Mérimée, the inspector general of historic monuments in France, became aware of their artistic importance through Sand and recognized their exceptional originality and quality. Motivated by concerns about their condition, Mérimée fervently advocated for the state’s acquisition of the tapestries. Following prolonged negotiations, the town of Boussac ultimately agreed to sell these exceptional artworks to the state in 1882. Since then, they have found a permanent home at the Musée de Cluny – Musée national du Moyen Âge in Paris, where they continue to inspire awe and admiration.

Description and Interpretation

The six tapestries of The Lady and the Unicorn form a harmonious ensemble characterized by balanced and understated compositions, unfolding against a striking red Mille Fleur background. Each tapestry features a central narrative where the protagonist, an elegant, aristocratic Lady, occasionally accompanied by her lady companion, is consistently flanked by a Lion and a Unicorn who carry banners with the Le Viste family coat of arms. The profound mystery embedded in these tapestries, a source of fascination for George Sand, primarily resides in their elusive meaning, subject to interpretations. While five of the six pieces are widely accepted as representations of the Five Senses, Touch, Taste, Smell, Hearing, and Sight, there is a sixth tapestry, the meaning of which, remains enigmatic, leaving viewers to ponder if this is a tapestry depicting a Sixth Sense!

The tapestry presenting Touch is captivating… The Lady demands attention with her commanding presence, her untamed tresses, and opulent attire, as she stands, her right hand firmly lifting the Le Viste family banner while her left delicately touches the Unicorn’s horn. A departure from the norm, this piece unveils unique elements like the Unicorn’s small size and the Lion’s bulging eyes, wide mouth, and pointed ears. The background introduces an array of captivating creatures, including two captive monkeys and collared animals – a wolf, a panther, and a cheetah.

Taste is the second scene presented in the Cluny tapestry series… Here, the protagonist engages in a delicate gesture, accepting a sweet from her lady companion to feed the parrot perched on her gloved hand. The harmonious arrangement centers around the triangular formation of the two women, their relaxed postures, and calm gestures in stark contrast to the lively movements of the Lion and Unicorn, adorned in billowing, armored capes. A rose-covered fence in the background adds depth and frames the elegant scene. The Mille Fleur background, however, teems with life, featuring a hornless young unicorn among other creatures.

The Lady and the Unicorn Tapestries, Smell, circa 1500, Wool and Silk, Musée de Cluny, Paris, France https://theconversation.com/explainer-the-symbolism-of-the-lady-and-the-unicorn-tapestry-cycle-91325

In this picturesque tapestry scene presenting Smell, the third Sense… the Lady is occupied in crafting a floral garland using carnations from a tray tendered by her lady companion. The symbolic gesture is accentuated by a monkey in the background, engaged in the act of smelling a rose. Both women are fashionably groomed, showing luxurious inner and outer garments. The Lady’s hair, mostly concealed, is adorned with a short headdress intricately divided by rows of pearls and bordered with gems, creating a regal allure. Contrastingly, the lady companion’s hair is elegantly styled on the sides, secured with ribbons, and covered with a modest short band, adding a touch of sophistication to this enchanting tableau.

Hearing is presented with a captivating tapestry moment… the Lady is immersed in the melodious pursuit of playing a portative organ, its bellows deftly operated by her lady companion. Set upon an oriental rug, the instrument’s posts are adorned with intricate depictions of a Unicorn and a Lion, lending an air of regality to the scene. The composition, though narrow, exudes elegance, with banners gracefully concealing the trees behind them.

In this poignant tapestry tableau depicting the fifth Sense of Sight… the Lady assumes a seated posture, tenderly caressing the Unicorn with her left hand. The Unicorn reciprocates by resting its front legs on her lap, its gaze fixated on a mirror, a precious piece of gold work. Meanwhile, in the background, a lion cub, a dog, and a rabbit participate in the looking game, enriching the tapestry with additional layers of charm and symbolism.

The Lady and the Unicorn Tapestries, Mon Seul Désir, circa 1500, Wool and Silk, Musée de Cluny, Paris, France https://theconversation.com/explainer-the-symbolism-of-the-lady-and-the-unicorn-tapestry-cycle-91325

In front of a captivating blue pavilion bearing the enigmatic inscription, Mon Seul Désir/My sole desire, a mysterious scene unfolds, prompting contemplation of its profound meaning. This is the sixth Tapestry in The Lady and the Unicorn series! Interpreted as a part of a larger allegory of the senses, this tableau is thought to convey the essence of a ‘sixth sense.’ In medieval symbolism, this transcendent sense could signify the soul, the mind, or the heart – the very core of moral life and carnal desire. The crux of the allegory lies in the phrase ‘My sole desire,’ which, while evoking courtly romanticism, also hints at moral reason or ‘free will.’ The ambiguity of the lady’s actions adds to the intrigue: is she adorning herself with jewels taken from the casket, or is her gesture one of renunciation? Whether embracing or rejecting the pleasures of the senses, her actions are driven by her own free will, epitomizing her ‘sole desire’ for agency and self-determination in this enigmatic tapestry scene.

The Lady and the Unicorn tapestry series at the Cluny Museum is an exquisite embodiment of medieval aesthetic refinement. Crafted around 1500, these masterpieces showcase a harmonious interplay of vibrant colors, intricate details, and symbolic depth. The balanced and elegant compositions feature an aristocratic Lady, a Unicorn, and a Lion against a rich Mille Fleur background, with each tapestry encapsulating a unique allegory of the human Senses. The tapestries’ aesthetic allure lies not only in their technical brilliance but also in the subtle conveyance of narratives, inviting viewers into a timeless world where beauty, symbolism, and craftsmanship intertwine seamlessly.

For a PowerPoint on The Lady and the Unicorn Tapestries in the Cluny Museum, please… Check HERE!

Bibliography: https://www.artgallery.nsw.gov.au/artboards/theladyandtheunicorn/ and https://bloginfrance.com/french%20life/2017/11/22/lady-and-unicorn.html and https://www.musee-moyenage.fr/en/collection/the-lady-and-the-unicorn.html and https://www.musee-moyenage.fr/media/documents-pdf/fiches-de-salles/fichesalle13damelicorne-histoireiconographie-ang.pdf

Musée de Cluny

View of the 3 architectural phases of the Musée de ClunyMusée national du Moyen Âge (Roman, 20th century, Renaissance) in Paris, France https://www.paris.fr/pages/reouverture-de-cluny-le-musee-qui-modernise-le-moyen-age-21099

The Cluny Museum, officially known as the Musée de Cluny – Musée national du Moyen Âge, is a captivating institution located in the heart of Paris, France. Housed in the former Cluny Abbey, a medieval Benedictine monastery, the museum is dedicated to the preservation and display of artifacts from the Middle Ages. Its rich collection spans from the Late Roman Period to the 16th century and includes a diverse range of artworks that provide a fascinating glimpse into medieval life. The architecture of the Cluny Museum itself is a marvel, blending the 20th century, Medieval, and Renaissance elements, with beautiful gardens adding to its charm. Visitors can explore the intimate courtyards, chapels, and thermal baths, which are among the best-preserved Roman baths in France. The Cluny Museum stands as a unique space, allowing visitors to immerse themselves in the art, history, and culture of the medieval period in an enchanting setting.

View of the Musée de ClunyMusée national du Moyen Âge, in Paris, France
https://joinusinfrance.com/episode/episode-8-cluny-museum-walking-tour/

Visitors to the Cluny Museum in Paris can explore a rich and diverse collection of artifacts from the Middle Ages. https://www.musee-moyenage.fr/en/ Some of the highlights include:

Medieval Sculptures and Architectural Fragments: The museum houses a remarkable collection of medieval sculptures, including statues, reliefs, and architectural fragments from churches and cathedrals. The sculptures depict saints, biblical figures, and scenes from religious narratives, revealing the profound influence of Christianity on medieval art. Additionally, the architectural fragments provide insights into the grandeur of medieval structures, allowing visitors to appreciate the ornate details and exquisite craftsmanship that adorned sacred spaces like the Notre Dame of Paris or Sainte-Chapelle.

Illuminated Manuscripts: The Cluny Museum features a splendid collection of illuminated manuscripts, showcasing the intricate and detailed illustrations found in medieval books. These manuscripts often include religious texts, literary works, and scientific treatises.

Stained Glass Windows: The museum displays a selection of medieval stained glass windows, offering a glimpse into the stunning visual artistry that adorned churches and cathedrals during the Middle Ages. These windows, meticulously crafted with vibrant colors and intricate designs, provide a vivid representation of the storytelling and symbolism embedded in medieval Christian traditions.

Musée de Cluny Faces, For more information on the depicted ‘Faces’, please check the attached PowerPoint https://www.musee-moyenage.fr/en/

Everyday Life Artifacts: Visitors can explore a variety of everyday objects from medieval life, such as ceramics, textiles, and metalwork. These artifacts provide insights into the daily lives, customs, and technologies of people during the medieval period.

The Lady and the Unicorn Tapestries: This famous series of six tapestries is considered a masterpiece of medieval art. Each tapestry represents one of the senses, and the intricate designs and vibrant colors are a testament to the craftsmanship of the time.

Roman Baths, Gardens, and Courtyards: The Cluny Museum is situated on the site of ancient Roman baths, and visitors can explore the well-preserved frigidarium (cold room) and caldarium (hot room), gaining an understanding of Roman engineering and architecture. Additionally, the museum features charming gardens and courtyards, offering peaceful spaces for visitors to relax and enjoy the historic surroundings.

Musée de Cluny – Musée national du Moyen Âge,  View of the interior, Paris, Francehttps://www.studiogardere.com/en/projects/museum/musee-de-cluny-musee-national-du-moyen-age/

The Cluny Museum in Paris offers a unique and alternative experience for visitors exploring the French capital due to its singular focus on the Middle Ages. Amidst the iconic landmarks and modern attractions of Paris, the museum provides a serene escape into the rich tapestry of medieval history, art, and culture. Its diverse collection offers an immersive journey into a bygone era. The atmospheric setting of the former Cluny Abbey, complete with Roman baths and picturesque gardens, enhances the distinctive charm of this museum. It provides a more intimate and specialized encounter, allowing visitors to delve into the intricate details of medieval life, religious practices, and artistic achievements, creating an enriching contrast to the contemporary allure of Paris.

For a PowerPoint Presentation of Masterpieces from the Cluny Museum, please… Check HERE!

Oedipus Rex and Jocasta by Renoir

Pierre-Auguste Renoir, French Artist, 1841-1919
Panel for Oedipus: Jocasta, and Panel for Oedipus: King Oedipus
Both Panels: circa 1895, Oil on Canvas, 96.1 x 36.5 cm, Private Collection
https://www.christies.com/lot/lot-6452011?ldp_breadcrumb=back&intObjectID=6452011&from=salessummary&lid=1

Citizens of my beloved Thebes!  See now your great Oedipus!
That famous man who knew the answers of great riddles.  That man whose good fortune every man in Thebes envied!  See now in what monstrous storm of misfortune he has fallen… Let’s not praise a man for his good Fate unless he has arrived at his final day, having escaped bad Fate…
The last Chorus lines of Sophocles’ tragedy Oedipus Rex convey a sense of profound realization and acceptance of the futility of human efforts against fate and destiny. Do the paintings of Oedipus Rex and Jocasta by Renoir reflect Sophocles’ point of view? How did the great Impressionist artist decide to explore such a subject matter? https://bacchicstage.wordpress.com/sophocles/oedipus-rex/

The myth of Oedipus revolves around a tragic prophecy that foretells Oedipus, the son of King Laius and Queen Jocasta of Thebes, would kill his father and marry his mother. In an attempt to avoid this fate, Oedipus is abandoned as a baby but is later adopted and raised by another royal family. Unaware of his true parentage, Oedipus grows up and, through a series of unfortunate events, unwittingly fulfills the prophecy by killing his father, King Laius, in a chance encounter on the road and subsequently marrying his mother, Queen Jocasta. When the truth is revealed, Jocasta tragically takes her own life, and Oedipus blinds himself in horror and shame. The Oedipus myth explores themes of fate, free will, and the inevitability of destiny, serving as a classic example of Greek tragedy.

Sophocles’ Oedipus Rex stands as a timeless masterpiece of Greek tragedy, skillfully weaving a narrative that delves into the complexities of fate and the human condition. The play’s exploration of the inevitable clash between individual free will and the predetermined course of destiny is masterfully executed. The intricate use of dramatic irony, the relentless pursuit of truth, and the psychological unraveling of Oedipus and that of his mother Jocasta, contribute to the play’s enduring impact, making it a powerful and thought-provoking work that continues to captivate audiences and provoke contemplation on the intricacies of human existence.

These characteristics of drama seem to have inspired none other than the famous Impressionist artist Pierre-Auguste Renoir, who, in 1895, created two panels moved by Sophocles’ tragedy, depicting the protagonists of the play, Oedipus Rex, and Jocasta.

When viewed side-by-side, Christie’s experts tell us, Renoir’s two panels depicting Jocasta and Oedipus illustrate the full tension of the tragedy, their bodies seeming to push away from one another, whilst an unseen magnetic connection– an allegory for the inescapable strength of the prophecy– pulls them together. Renoir skillfully employs dynamic poses to enhance the drama of the narrative, and his vibrant choice of red alludes to the bloodshed in the tale. The artist embellishes the central figures on both panels with grisaille bas-reliefs and trompe l’oeil imitation of columns and stone, a rare example of Antique-inspired decoration within the artist’s oeuvre. https://www.christies.com/lot/lot-6452011?ldp_breadcrumb=back&intObjectID=6452011&from=salessummary&lid=1

Pierre-Auguste Renoir, French Artist, 1841-1919
Panel for Oedipus: Jocasta, and Panel for Oedipus: King Oedipus
Both Panels:circa 1895, Oil on Canvas, 96.1 x 36.5 cm, Private Collection
https://www.christies.com/lot/lot-6452011?ldp_breadcrumb=back&intObjectID=6452011&from=salessummary&lid=1
https://www.mutualart.com/Artwork/Panneau-pour-Odipe–Odipe-roi/676741683B0A87196FE13FBA024B87C8

Both paintings are indicative of Pierre-Auguste Renoir’s interest in the world of Antiquity, and particularly his reaction to the Pompeiian wall paintings he saw, and deeply admired, when he visited Italy in the fall of 1881 to mid-January 1882. In an 1882 letter to Mme George Charpentiere, he wrote… J’ai beaucoup étudié le Musée de Naples, les peintures de Pompéi sont extrêmement intéressantes à tous points de vue… https://chat.openai.com/c/c667ff6c-ca07-41ec-a3b0-29c824c174c3 Renoir’s Trip to Italy by Barbara Ehrlich White, The Art Bulletin, Vol. 51, No. 4 (Dec., 1969), pp. 333-351 (29 pages) p.350

Mythology, figures of ancient tragedy, (Project for Oedipus), 1895, oil on Canvas, 41,2 x 24,4 x 2 cm, Musée Picasso, Paris, France
https://www.palazzoroverella.com/renoir-alba-di-un-nuovo-classicismo/
Mythology, figures of ancient tragedy, (Project for Oedipus), 1895, oil on Canvas, 41,2 x 24,4 x 2 cm, Musée Picasso, Paris, France
https://www.palazzoroverella.com/renoir-alba-di-un-nuovo-classicismo/

The paintings of Oedipus and Jocasta were part of a commission by Paul Sébastien Gallimard, one of the artist’s most important patrons, and a close friend. They were meant to decorate a room in Gallimard’s country house, dedicated to Greek theatre. Once more quoting Christie’s experts Renoir’s panels reveal a combination of influences, from Ancient wall painting, to Louis XVI panelling and the Directoire style of furniture and ornament. A related study depicting mythological figures that Renoir worked on for this commission is now in the collection of the Musée Picasso in Paris and was previously owned by Pablo Picasso himself. For reasons that remain unknown, the room was never completed and the panels remained in Renoir’s studio until the artist’s death. https://www.christies.com/en/auction/ancient-to-modern-art-from-the-mougins-museum-of-classical-art-part-i-29973/

Both paintings were auctioned by Christie’s on the 7th of December 2023 (Ancient to Modern Art from the Mougins Museum of Classical Art).

For a Student Activity inspired by Oedipus Rex and Jocasta by Renoir, please… Check HERE!

The Arts of the Gothic Period

Basilica of Saint Denis, completed in 1144, Paris, France
https://dianadarke.com/tag/saint-denis/

The Gothic period, spanning roughly from the 12th to the 16th century, was a transformative era in the history of art and architecture in Europe. Characterized by a departure from the preceding Romanesque style, the Arts of the Gothic Period sought to reach new heights—both literally and figuratively. One of the defining features of Gothic architecture is the Pointed Arch, allowing for taller and more graceful structures, exemplified in the soaring cathedrals that stand as iconic symbols of the period. Ribbed vaults and flying buttresses became integral elements, enabling the construction of large, light-filled interiors. Intricately detailed Stained Glass Windows played a crucial role in illuminating these spaces, with vibrant scenes from biblical narratives or depictions of saints. Sculpture, too, flourished during this period, with an emphasis on naturalistic forms and intricate detailing. The Gothic arts, including illuminated manuscripts and panel paintings, often reflected the religious fervor of the time, showcasing a blend of piety and artistic innovation. The Gothic period remains a testament to the creative and spiritual aspirations of medieval Europe, leaving an enduring legacy in its architectural masterpieces and finely crafted artworks.

Architecture

Gothic architecture, prevalent in Europe from the 12th to the 16th century, is characterized by its soaring verticality, pointed arches, ribbed vaults, and flying buttresses. In contrast to the massive and solid structures of Romanesque architecture, Gothic buildings exhibit a sense of upward movement and lightness. The pointed arches, a departure from the round arches of the Romanesque style, allowed for greater height and grace in the design. Ribbed vaults and pointed arches not only added aesthetic elegance but also distributed the weight of the roof more efficiently. The flying buttresses, external supports resembling arched piers, played a crucial role in supporting the walls and allowed for expansive windows, often featuring intricate tracery. These large stained glass windows, a hallmark of Gothic cathedrals, flooded the interiors with colored light, creating an ethereal and transcendent atmosphere. Overall, Gothic architecture represents a departure from the solid and fortress-like structures of the Romanesque period, embracing a vertical and ornate style that reflected a spiritual aspiration toward the divine.

Sculpture

Gothic sculpture is characterized by its intricate detailing, expressive figures, and a heightened sense of naturalism. Gothic sculptors moved away from the stylized forms of the preceding Romanesque period, instead focusing on capturing the human form with greater realism and emotion. Figures in Gothic sculptures are often elongated, with graceful, flowing lines that impart a sense of movement. Sculptures adorning cathedrals and other Gothic structures often depict biblical scenes, saints, and grotesque gargoyles. The use of drapery became more elaborate, creating dynamic and lifelike folds. Moreover, Gothic sculptors employed deep relief and innovative techniques, such as “stiff leaf” carving and elaborate tracery, contributing to the overall sense of delicacy and intricacy in their work. These sculptures not only served a decorative purpose but also played a didactic role, conveying religious narratives and moral lessons to a largely illiterate medieval audience.

The Stained Glass Rose Window of the North Transept of the Basilica of Saint Denis, completed in 1144, Paris, France https://commons.wikimedia.org/wiki/File:Basilica-of-Saint-Denis-Rayonnant-Rose-Window.jpg

Stained Glass Windows

Gothic Stained Glass Windows, a defining feature of medieval cathedrals and churches from the 12th to the 16th century, are characterized by their vibrant colors, intricate tracery, and narrative depictions. These windows played a crucial role in Gothic architecture, allowing the infusion of light into the sacred space while serving as a visual storytelling medium. Unlike the smaller and simpler windows of earlier periods, Gothic Stained Glass Windows became expansive, featuring elaborate tracery patterns that divided the glass into intricate segments. The use of intense, jewel-like colors, achieved through the inclusion of metallic oxides in the glass, created a breathtaking visual effect when illuminated by sunlight. Scenes from the Bible, the lives of saints, and other religious narratives were vividly portrayed, often covering entire walls and transforming the interior of the church into a luminous and ethereal space. The intricate craftsmanship of these windows, combined with their symbolic and narrative richness, reflects the Gothic era’s emphasis on transcending earthly confines and conveying spiritual narratives through the play of light and color.

For a PowerPoint on French Gothic Art, please… Check HERE!

Bibliography: https://smarthistory.org/gothic-architecture-an-introduction/ and https://smarthistory.org/gothic-architecture-explained/ and http://www.visual-arts-cork.com/sculpture/gothic-sculpture.htm#characteristics and https://www.khanacademy.org/humanities/medieval-world/gothic-art/beginners-guide-gothic-art/a/stained-glass-history-and-technique and https://buffaloah.com/a/DCTNRY/stained/gothic/gothic.html

Abbey of Vézelay

Tympanum of the Central Narthex Portal of the Abbey Church of Sainte-Madeleine at Vézelay, Top Left: Sign of Capricorn, Top Right: A seated man holding a cup of wine with the Inscription: OMNIBUS IN MEMBRIS DESIGNAT IMAGO DECEMBRIS (representing December) (marked by a blue star), circa 1120-1132, Abbey of Vézelay, Burgundy, France https://www.cieldujour.net/basilique-de-vezelay/

Shortly after its foundation in the 9th century, the Benedictine Abbey of Vézelay acquired the relics of St Mary Magdalene and since then it has been an important place of pilgrimage. St Bernard preached the Second Crusade there in 1146 and Richard the Lion-Hearted and Philip II Augustus met there to leave for the Third Crusade in 1190. With its sculpted capitals and portal, Sainte-Madeleine of Vézelay – a 12th-century monastic church – is a masterpiece of Burgundian Romanesque art and architecture. https://whc.unesco.org/en/list/84/

The Abbey of Vézelay is renowned for its exceptional aesthetic value, characterized by its stunning Romanesque architecture, intricate sculptures, and historical significance. The architectural design is a masterpiece of Romanesque art. The sculptural elements of the abbey are awe-inspiring. Elaborate carvings adorn the capitals of columns, depicting biblical scenes, figures of saints, mythical creatures, and intricate foliage. These sculptures not only showcase the artistic skill of the craftsmen but also serve as visual narratives for pilgrims, conveying religious stories and moral lessons.

The Abbey Church of Sainte-Madeleine at Vézelay, circa 1120-1150, Burgundy, France https://en.wikipedia.org/wiki/V%C3%A9zelay_Abbey

According to the latest interpretation of the tympanum scene the main components of the tympanum (the peoples of the world/the zodiac and months/Christ) function as the mundus/annus/homo of a Neoplatonic macro/microcosm, with the divine/human Christ in the center and the Magdalene at his feet, the purpose of which was to encourage the pilgrim to model himself or herself on Christ or on the Magdalene. https://www.journals.uchicago.edu/doi/10.1086/714579

Tympanum of the Central Narthex Portal of the Abbey Church of Sainte-Madeleine at Vézelay (figure of Christ), circa 1120-1132, Abbey of Vézelay, Burgundy, France https://www.basiliquedevezelay.org/agenda/?oaq%5Buid%5D=27328804

The composition presents an imposing figure of Christ with a halo, seated on a throne, surrounded by a mandorla, in a contorted pose, with His knees twisted to the right. Lines or rays of light come from his hands and go to smaller, highly agitated figures on his right and left sides, around six on each side. Most scholars read these figures as the Apostles because they’re holding books or scrolls. The figure with keys on the right side of Christ is identified as St. Peter.

Tympanum of the Central Narthex Portal of the Abbey Church of Sainte-Madeleine at Vézelay (including the 12 Zodiac Signs), circa 1120-1132, Abbey of Vézelay, Burgundy, France https://www.cieldujour.net/basilique-de-vezelay/

This scene, identified as the Pentecost by most scholars, is surrounded by a partial semicircle of sculpted compartments above and a fully sculpted lintel below depicting various “peoples,” including Cynocephali (people with heads resembling those of dogs), Sciritae (people with, in this case, pig-like noses), Panotii (people with extremely large ears), Pygmies, and Giants, all having their ultimate source in classical geographical and historical literature. It is these peoples, according to Dr. Conrad Rudolph, that have caused most scholars to see the portal as also referring to the Mission to convert all nations. The final part of the Tympanum Composition is an outer archivolt with 29 sculpted roundels of pictures of the 12 Zodiac Signs and 12 different Labours/Activities that happen during each month of the year. https://www.journals.uchicago.edu/doi/10.1086/714579

Tympanum of the Central Narthex Portal of the Abbey Church of Sainte-Madeleine at Vézelay (signs for December), circa 1120-1132, Abbey of Vézelay, Burgundy, France https://www.cieldujour.net/basilique-de-vezelay/

Today, in celebration of the Month of December, I present to you the Vézelay Zodiac Sign of Capricorn. Also, I share the scene of a banquet, where the sharing of bread and wine takes place. The symbolism of the banquet has its roots far back in the early Christian period, and celebrates the ending year and the new year, the eternal return of the cycles of heaven which ensure life on earth.

For the Vézelay pilgrims and viewers of this majestic scene, December is a month filled with energy and anticipation for the upcoming Holiday Season… Days of festivities and feasting are on the horizon. The peasants will soon complete their tasks, and they will be able to enjoy the fruits of their labour, savoring the remnants of their hard work. https://www.cieldujour.net/basilique-de-vezelay/

For a PowerPoint Presentation, please… Check HERE!

Important Articles to read… The Central Tympanum at Vézelay: Its Encyclopedic Meaning and Its Relation to the First Crusade by Adolf Katzenellenbogen, The Art Bulletin, Vol. 26, No. 3 (Sep. 1944), pp. 141-151 (15 pages) https://www.jstor.org/stable/3046949 and Macro/Microcosm at Vézelay: The Narthex Portal and Non-elite Participation in Elite Spirituality by Conrad Rudolph, Speculum, Volume 96, Number 3, July 2021 https://www.journals.uchicago.edu/doi/10.1086/714579

The Merovingian Dynasty

Augustinus Hipponensis, Quaestiones et locutiones, Heptateuchum, livres I-IV, 8th century. (around 750-770?), Cv-1r, Illuminated Manuscript, 305 x 220 mm, BnF, ms. Latin 12168, France https://archivesetmanuscrits.bnf.fr/ark:/12148/cc34697k and https://www.medieval.eu/the-merovingian-times/

Once upon a time, in the ancient land of the Franks, there lived a great warrior named Merovech. Merovech was no ordinary man; he had a legendary tale woven into the very fabric of his being. His mother was the Queen of the Franks, An intelligent and powerful woman, who held a mysterious secret… One day, as she wandered along the shores of the great sea, a magnificent sea monster named ‘Quinotaur’ appeared before her. This creature was unlike anything she had ever seen, with shimmering scales and gentle eyes. They spent joyful days together, swimming in the sea, sharing stories and laughter. Their coming together brought forth the child Merovech, a blend of both sea and land, destined for greatness. He became the founder of The Merovingian Dynasty of the Francs, strong and wise. His legacy lived on through generations, becoming a testament to the magical love that had once graced the land and the sea. (my own presentation of the Merovingian legend)

So, let’s explore the ‘who,’ ‘how,’ and ‘what’ of the Merovingian Dynasty by answering some questions!

‘Who’ were the Merovingians and ‘What’ defined their dynasty? The Merovingians were a dynasty of Frankish kings that ruled over a significant portion of what is now modern-day France and parts of Germany from the 5th to the 8th centuries. They were named after Merovech, a semi-legendary figure who was thought to be their ancestor.

The dynasty was founded by Merovech’s son, Childeric I, and expanded by his son Clovis I, who is credited with uniting the Franks and converting to Christianity, specifically to Catholicism. Under Clovis I and subsequent Merovingian kings, the dynasty expanded its territory through military conquests, incorporating various Germanic and Gallo-Roman regions. The Merovingian kings were initially strong warriors but later became somewhat figurehead rulers due to a system of decentralization, where local rulers and nobles gained significant autonomy. This led to a weakened central authority. Over time, the dynasty faced internal strife, infighting, and challenges from other Frankish noble families. The decline of the Merovingian Dynasty ultimately paved the way for the rise of the Carolingians, with Charlemagne becoming a central figure in consolidating power and reuniting much of Western Europe.

‘What’ historical and archaeological evidence supports the early history of the Merovingians? The early history of the Merovingians is primarily supported by a combination of historical texts, archaeological findings, numismatic evidence (coinage), and contemporary accounts from neighboring cultures. For instance, works like “Historia Francorum” by Gregory of Tours, a bishop and historian, provide valuable historical accounts of the Merovingian Dynasty, including the reigns of various Merovingian kings and important events during their rule. Additionally, “Fredegar’s Chronicle,” compiled by an anonymous Frankish chronicler known as Fredegar, covers the history of the Franks and the Merovingian Dynasty, offering insights into their early history and political developments.

Diplomatic communications between Merovingian rulers and other contemporary powers, such as Byzantine emperors and popes, provide historical context and shed light on their political relationships, alliances, and conflicts, while Ecclesiastical Documents from the Merovingian period provide information on religious practices, conflicts, and the influence of Christianity on the Merovingian rulers and society. By synthesizing information from these sources, historians construct a comprehensive understanding of the early history of the Merovingians and their contributions to the development of medieval Europe.

Numismatic Evidence, particularly coins minted during the Merovingian era, offers information about their political and economic activities, rulership, and trade relations with neighboring regions. The design, inscriptions, and use of different metals provide insights into their economy and society.

Finally, archaeological excavations of religious sites, graveyards, and tombs associated with the Merovingian period provide valuable insights into their society, beliefs, culture, and burial practices. The discovery of artifacts, grave goods, and the architecture of these tombs helps in understanding their beliefs and social structure. Excavations of royal residences, on the other hand, provide clues about the lifestyle, architecture, and level of sophistication of the Merovingian elite. These sites reveal aspects of governance, art, and material culture.

‘How’ did the arts and culture flourish during the time of the Merovingian Dynasty? During the time of the Merovingian Dynasty, spanning from the 5th to the 8th centuries, arts and culture experienced a distinctive evolution and expression within the Frankish Kingdom. However, it’s important to note that the available historical evidence regarding the arts and culture of this period is relatively limited compared to later medieval periods.

The artistic style during the Merovingian era was influenced by a blend of Germanic, Roman, and early Christian artistic traditions. The Merovingians adopted certain Roman artistic elements, such as architectural designs, while incorporating their own unique styles and themes. For instance, churches and monastic complexes showcased a fusion of Roman architectural features and Germanic influences, often displaying simple designs, rounded arches, and timber construction.

Intricate metalwork, especially in the creation of jewelry like brooches and buckles, held significant artistic value. These pieces often boasted elaborate patterns, filigree work, and the use of gemstones. Additionally, though the number of surviving illuminated manuscripts from this era is limited, some notable examples exist. Manuscripts, typically religious in nature and including Gospel books and psalters, were adorned with colorful illuminations and decorated initials.

In conclusion, the arts and culture flourished during the time of the Merovingian Dynasty, showcasing a unique blend of Germanic, Roman, and early Christian artistic influences. Despite the limitations in available historical evidence, the Merovingians left a lasting legacy through intricate metalwork, expressive jewelry designs, distinctive architectural styles in religious structures, and the production of illuminated manuscripts adorned with vibrant illuminations. These cultural and artistic achievements reflect the dynamic evolution and creative expression within the Frankish Kingdom during the Merovingian era from the 5th to the 8th centuries.

For a PowerPoint on Merovingian Art, please… Check HERE!

Bibliography: The Oxford Handbook of the Merovingian World, edited by Bonnie Effros, and Isabel Moreira, published on the 8th of October, 2020 https://books.google.gr/books?hl=el&lr=&id=xST3DwAAQBAJ&oi=fnd&pg=PP1&dq=The+Merovingian+Dynasty&ots=zyZ-N5vg-x&sig=TvAontTndZCF2UAkmxsmpawr97Q&redir_esc=y#v=onepage&q=The%20Merovingian%20Dynasty&f=false, https://www.oxfordbibliographies.com/display/document/obo-9780199920105/obo-9780199920105-0095.xml, https://gallica.bnf.fr/html/und/histoire/les-temps-merovingiens?mode=desktop and https://academic-accelerator.com/encyclopedia/merovingian-art-and-architecture  

The First Kiss of Sunlight      

Jean-Léon Gérôme, French Artist, 1824–1904
The First Kiss of the Sun, 1886, Oil on Canvas laid on Board, 54 x 100.4 cm, Private Collection https://www.christies.com/en/lot/lot-6438415

Characterized by Ackerman as “The most beautifully composed and painted of Gérôme‘s landscapes”. The First Kiss of the Sun was painted in 1886, six years after Gérôme‘s last trip to Egypt. https://www.christies.com/en/lot/lot-6438415 (G.M. Ackerman, Jean-Léon Gérome, London, 1986)

So… Who is Jean-Léon Gérôme? Why is his painting The First Kiss of the Sunso beautifully composed and painted? What do we know about his artistic achievements? Let’s explore Jean-Léon Gérôme’s oeuvre … by answering some questions!

Nadar, French Artist, 1820–1910               
Photo Portrait of French Artist Jean-Léon Gérôme
https://www.artrenewal.org/Artwork/Index/33046

Who is Jean-Léon Gérôme? He is a prominent 19th-century French academic painter, sculptor, and teacher known for his historical and Orientalist works. He was born on May 11, 1824, in Vesoul, France, and passed away on January 10, 1904, in Paris. Gérôme began his artistic training at an early age, studying under Paul Delaroche, a renowned historical painter. He later attended the École des Beaux-Arts in Paris, where he developed a meticulous and highly detailed style that characterized much of his work. His artistry drew heavily from historical and classical themes, often depicting scenes from ancient civilizations and mythology.

How and Why did Gérôme become famous? During the 1850s and 1860s, Gérôme gained widespread recognition and success for his paintings, which often featured archaeological and ethnographic elements. He was particularly acclaimed for his Orientalist pieces, showcasing scenes from the Middle East and North Africa, illustrating the exoticism and culture of these regions. He was a skilled draftsman as well, utilizing precise anatomical and architectural details in his work. His paintings were characterized by their careful composition, vibrant colors, and the depiction of intricate textures. He also explored themes of academic classicism, often depicting heroic or mythological figures.

How is an ‘Orientalist’ artist described? An “Orientalist” artist refers to a Western artist, usually from Europe or North America, who specializes in creating art that focuses on the depiction of the Orient. The Orient, in this context, typically referred to regions of the Middle East, North Africa, and parts of Asia. Orientalist artists were active primarily during the 19th and early 20th centuries, although the influence of Orientalism extends beyond this time frame.

Orientalist artists focused on portraying scenes, landscapes, people, and cultures from the Eastern world. These scenes often included depictions of daily life, historical events, architecture, landscapes, and various customs prevalent in the Orient. They often emphasized the exotic and romantic aspects of the Orient. Artists presented these regions as mysterious, alluring, and different from the Western world. The art was often intended to captivate and fascinate Western audiences.

Why is Gérôme considered to be an Orientalist artist? Gérôme is widely recognized for his artistic focus on depicting scenes, landscapes, and people from the Orient, particularly the Middle East and North Africa. He had, for example, a deep connection to Egypt that greatly influenced his artwork. This connection was primarily through his travels to Egypt, seven times to be precise, and his fascination with its culture, architecture, and history. Gérôme’s interest in Egypt is reflected in a significant portion of his body of work, particularly his Orientalist paintings and sculptures.

How is Gérôme’s painting ‘The First Kiss of the Sun’ best described? According to Christie’s, where The First Kiss of the Sun was auctioned in 2023, the painting dates from 1886, six years after Gérome’s last trip to Egypt. This is probably one of the artist’s most accomplished landscapes. It shows the pyramids of Giza suffused in the golden morning light of the desert sun. This view is from the west, as seen from the rising sun illuminating the summit of each pyramid. The ethereal appearance of the distant pyramids contrasts dramatically with the clearly detailed foreground. Moreover, the haze created by the sand and sunlight lends the picture an air of otherworldliness. The head of the Sphinx is just visible in the middle background. https://www.christies.com/en/lot/lot-6438415

In The First Kiss of the Sun Gérôme provides a carefully detailed and beautifully rendered scene of the Giza Plateau, one of the most iconic archaeological sites in Egypt. Interestingly, the painting features the Pharaonic funerary buildings in the background along with a contemporary Bedouin camp in the foreground. The artist captures the soft and ethereal light of the rising sun, which casts a cooler, in my opinion, golden/violet glow on the ancient structures and the surrounding landscape.

How did Gérôme manage to leave a lasting impact on the art world? In addition to his artistic achievements, Gérôme was an influential teacher, serving as a professor at the École des Beaux-Arts in Paris. He mentored many aspiring artists, leaving a lasting impact on the art world through his teachings. Throughout his career, Jean-Léon Gérôme received numerous awards and honors, solidifying his reputation as a leading academic artist of the 19th century. Despite changing artistic trends, his work continues to be appreciated and studied for its historical significance and technical mastery.

For a PowerPoint Presentation of Jean-Léon Gérôme’s Paintings of Egypt, please… Check HERE!

The use of light and shadow accentuates the form and texture of the Pyramids, enhancing the sense of depth and three-dimensionality. Gérôme’s meticulous attention to detail is evident in the accurate rendering of the architectural elements and the presentation of the ‘exotic’ Bedouin camp site. The overall composition conveys a sense of awe and reverence for the historical and cultural significance of the site.

October by Jules Bastien-Lepage

Jules Bastien-Lepage, French artist, 18480-1884
October, 1878, oil on canvas, 180.7 x 196.0 cm, National Gallery of Victoria, Melbourne, Australia https://en.wikipedia.org/wiki/October_(painting)#/media/File:Jules_Bastien-Lepage_-_October_-_Google_Art_Project.jpg

October is the treasurer of the year, / And all the months pay bounty to her store; / The fields and orchards still their tribute bear, / And fill her brimming coffers more and more… The painting October by Jules Bastien-Lepage fills October’s brimming coffers with… ordinary potatoes, and back-breaking labor. Yet, there is such dignity in Bastien-Lepage’s presentation of this unassuming composition, that I would like to explore it more… https://www.poemhunter.com/poem/october-39/comments/  

Jules Bastien-Lepage, French artist, 18480-1884
Self-portrait at 32 years old, 1880, oil on canvas, 31×25 cm, Musée Bastien-Lepage, Clos Raymond, France
https://www.vosgesmatin.fr/art-et-culture/2019/05/12/autoportrait

Bastien-Lepage produced a collection of deeply personal artworks, firmly establishing his position within the Naturalism movement’s historical timeline. His oeuvre is focused on three main areas of art, namely, depicting realistic genre themes, creating rural landscapes, and fashioning truthful portraits. The sincerity portrayed in his paintings gained him a loyal following not only in France but also across Europe. Beauty, I am convinced, Jules Bastien-Lepage once said, is the exact truth: neither to the right nor to the left, but in the middle!  https://www.theartstory.org/artist/bastien-lepage-jules/

The artist was born (November 1, 1848)  in Damvillers, France, and showed an early talent for art. He studied at the École des Beaux-Arts in Paris, where he was influenced by the works of the Barbizon School painters, particularly Jean-Baptiste Corot and Gustave Courbet. Bastien-Lepage’s style combined elements of Realism with a focus on capturing the effects of light and atmosphere. His approach to painting often involved working directly from nature, capturing the effects of light and the nuances of everyday life. His subjects included landscapes, portraits, and genre scenes, all characterized by meticulous attention to detail and a sense of honesty and seriousness.

Unfortunately, Jules Bastien-Lepage’s career was cut short when he died at the age of thirty-six. His work, however, had a significant impact on the development of Naturalism and influenced many artists who followed. Today, regarded as an important figure in the history of 19th-century French art, Bastien-Lepage is respected for the sincerity, and the dignity with which he depicted the Meuse region in which he grew up, and the workers and peasants who his brush rendered! https://www.theartstory.org/artist/bastien-lepage-jules/

For the Paris Salon Bastien-Lepage created and exhibited a pair of Harvest Scenes that marked a new direction in his career as a painter. The earlier of the two works, The Haymakers, (today, in the Musée d’Orsay), exhibited at the Salon in 1878, shows two weary haymakers resting in the summer heat. The second painting, exhibited at the Paris Salon of 1879, and titled October or The Potato Harvest, (today, in the National Gallery of Victoria, Melbourne, Australia) is an account of the bleak autumnal potato harvest, set in a bare, featureless landscape. Both paintings, powerfully rendered, and careful studies of life in the fields, had a considerable influence on the art scene of the time. Both paintings created a new trend in art, and, without intention on Bastien-Lepage’s part, the painter of the Meusian peasants became the head of an Art School. https://www.ngv.vic.gov.au/explore/collection/work/3768/

October or The Potato Harvest was an 1879 Salon success. Carried out on a large canvas, the painting indicates Bastien-Lepage’s ambitious artistic program but also bespeaks his confidence in his own technical virtuosity. The artist presents its theme in a solemn key, with warm yet sober colours, and an exquisite understanding of the country in the late summer. It was powerfully executed, full of vigor, serenity, and the ability to combine the high ‘finish’ expected of a conventional academic picture with the looser brushwork associated with the Impressionists. https://www.ngv.vic.gov.au/explore/collection/work/3768/

Jules Bastien-Lepage, French artist, 18480-1884
October (detail), 1878, oil on canvas, 180.7 x 196.0 cm, National Gallery of Victoria, Melbourne, Australia
https://www.flickr.com/photos/eoskins/19429557290

The Salon audience noticed the painting’s artistic power, and the Russian painter Vasily Surikov upon seeing it in Paris wrote to his colleague Pavel Chistyakov… I want to talk about those few works that have true dignity. Take Bastien-Lepage’s picture of a Woman Picking Potatoes. The face is both painted and written as living. Everything is written in the air. Reflexes, color, everything is so whole, unbroken, that it is a miracle. https://en.wikipedia.org/wiki/October_(painting)

For a PowerPoint on the artistic oeuvre of Jules Bastien-Lepage, please… Check HERE!

Interesting to read is the book Jules Bastien-Lepage and His Art. A Memoir. Written by the artist’s friend Andre Theuriet, the entire book is free and online at… https://archive.org/details/julesbastienlepa00theu/page/50/mode/2up

The Dance by Matisse at the Barnes Foundation

Henri Matisse, French Artist, 1869 – 1954
The Dance (view of the Main Room, South Wall), Summer 1932 – April 1933, Oil on canvas; three panels, Overall (left): 339.7 x 441.3 cm, Overall (center): 355.9 x 503.2 cm, Overall (right): 338.8 x 439.4 cm, the Barnes, Philadelphia, PA, USA https://collection.barnesfoundation.org/objects/6967/The-Dance/ensemble

My new BLOG POST titled The Dance by Matisse at the Barnes Foundation starts by quoting Professor Yve-Alain Bois, how Matisse himself describes, on two separate accounts, the moment at which he began work on the Barnes Dance composition and the immensity of the surface he had to master or as he phrased it ‘to possess’…. In the first version, it is an architectural rhyme that triggers the onset of this sense of possession: ‘ As I was pacing in front of my seventy-two square meters of white canvas destined to become the decoration of Doctor Barnes, not knowing which way to start, I noticed by chance a rope hanging from a window to a random spot in my studio, standing out and projecting a curve on my canvas. I suddenly had before me the relationship of this curve to the great rectangle of the edges of my decoration.

Unidentified Photographer
Henri Matisse using a bamboo stick to sketch The Dance in his studio in Nice, 1931, Photograph Collection, Barnes Foundation Archives, Philadelphia
https://www.ias.edu/ideas/2016/bois-matisse-barnes

The second documented account, once more quoting Professor Yve-Alain Bois, of what kicked off Matisse’s sense of taking possession, of the immensity of the space he had to cover, is perhaps more surprising than the first… ‘Faced with my huge white canvases, Matisse wrote, I took a model and began a study that had nothing to do with the decoration. At each of the model’s breaks, I relaxed by looking at these great surfaces, absentmindedly—or so I thought. Then, at a certain point, there came a flash of inspiration. I took my big charcoal, attached it to the end of a big bamboo, and began drawing the circle of my dancers, from one end to the other of my thirteen-meter surface. I’d got off the mark, taken possession of my surface entirely through the power of my imagination. That’s how I made my painting: entirely from feeling, without a model.’

It was the 27th of September, 1930, when Matisse, while touring the United States by train, made a detour to the Barnes Foundation because it housed a significant number of his artworks. He was a man in trouble… I have made several attempts to paint, he wrote to his daughter, Marguerite, in 1929, but when faced with the canvas, I find myself devoid of inspiration… The once-upon-a-time enfant terrible experienced a disheartening period of creative stagnation.

The artist was 60 years old, and lived in Nice, for the past thirteen years. Employing vibrant patterns and radiant colors illuminated by the Mediterranean light, he found himself falling into a repetitive style, capturing captivating female models within the confines of his studio. By 1927, certain critics questioned whether this once-radical artist had lost his innovative spark. They were wondering whether the aging painter of the odalisques was the man André Breton described as ‘a discouraging and discouraged old lion’.

Back in Philadelphia, in September of 1930, visiting the Barnes Foundation, and talking with its founder and owner, Dr. Albert Barnes, Matisse’s creativity ‘issue’ was put to test… According to Cynthia Carolan, a docent at the Barnes Foundation, Dr. Barnes approached the aging painter, engaged him in a gentle critique of his Nice paintings, and acknowledged their sensuous and captivating nature, but suggested they lacked the weightiness of his earlier works. Then, the collector extended an invitation to Matisse, offering him a commission to create a painting that would suit the lunettes, the grand arches above the windows, on the southeast wall of his newly established gallery.

It was a challenge Matisse could not refuse. It would be the only commissioned artwork within the Barnes collection, created specifically for an architectural area of the building. It was a ‘grand’ project as he was expected to create a ‘mural’ in a space that spanned a width of approximately 13.7 meters. It would consist of three distinct canvases, with borders that would converge. Barnes gave Matisse free rein in the choice of subject matter; the agreement simply specified the size of the mural and its place on the southeast wall of the Main Gallery. For Matisse, who had never created anything this large, it was a new beginning!

Henri Matisse, French Artist, 1869 – 1954
The Dance, Summer 1932 – April 1933, Oil on canvas; three panels, Overall (left): 339.7 x 441.3 cm, Overall (center): 355.9 x 503.2 cm, Overall (right): 338.8 x 439.4 cm, the Barnes, Philadelphia, PA, USA https://collection.barnesfoundation.org/objects/6967/The-Dance/

Matisse soon chose the subject of The Dance to embellish the three arches that extended above the French windows. The motif represented an expression of vitality and rejuvenation, a theme that had preoccupied him since he was inspired by the sight of the Catalan fishermen dancing the sardaña on the beach at Collioure in the summer of 1905. He rented the space of an old garage, big enough to work on the outsized canvases, turned to his 1909 and 1910 paintings of Dance 1 and Dance II for inspiration… and started facing the challenges!

Henri Matisse, French Artist, 1869 – 1954
Study for Barnes Mural, Ocher Harmony, 1930–31, oil on canvas, 22×88 cm, Musée Matisse Nice, France
https://philamuseum.org/calendar/exhibition/matisse-1930s

‘Possessing’ the magnitude of the space he had to cover was his biggest challenge. Designing his dancers with correct proportions for the architectural space they would ‘inhabit’ was another one. Using large zones of flat colors that resist the typical illusion of depth and invite the Foundation’s viewers to gentle contemplation was yet, another.

Matisse experimented for a whole year… By using a long bamboo pole attached to a pencil as an elongated drawing device to sketch the dancers’ shapes, Matisse invented a new drawing tool. By cutting large pieces of pre-coloured paper and pinning them up, he solved the problem he faced of setting the piece’s correct proportions. For the first time, Matisse used scissors as an art tool, ushering in the age of his renowned cut-outs. He also began using a camera to document his process so he could compare changes from day to day.

The Dance in Philadelphia, at the Barnes Foundation, marked a return to a modernist style, ultimately creating a dynamic composition depicting bodies that seem to jump across abstracted spaces of pink and blue fields. Matisse struggled and changed the course of action many times, but in the end, ever so innovative, reached his goal and reclaimed his position as a leading figure in the tradition of decorative mural painting… to do it publicly and on a grand scale.

For a PowerPoint on the theme of Matisse and Dance, please… Check HERE!

Bibliography: https://www.ias.edu/ideas/2016/bois-matisse-barnes and https://www.bbc.com/culture/article/20230118-matisses-the-dance-the-masterpiece-that-changed-history and https://collection.barnesfoundation.org/objects/6967/The-Dance/