Affichage des articles dont le libellé est A5 - Le dix-neuvième siècle. Afficher tous les articles
Affichage des articles dont le libellé est A5 - Le dix-neuvième siècle. Afficher tous les articles
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mardi 21 avril 2009
dimanche 12 octobre 2008
La Liberté guidant le peuple - Eugène Delacroix, 1830
visto no Louvre
Delacroix painted his work in the autumn of 1830. In a letter to his brother dated 12 October, he wrote: "My bad mood is vanishing thanks to hard work. I’ve embarked on a modern subject – a barricade. And if I haven’t fought for my country at least I’ll paint for her." The painting was first exhibited at the official Salon of May 1831. Delacroix rejected the norms of Academicism in favor of Romanticism.
He depicted Liberty, personified by Marianne, symbol of the nation, as both an allegorical goddess-figure and a robust woman of the people, an approach that contemporary critics denounced as "ignoble". The mound of corpses acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolise liberty during the French Revolution of 1789.
The fighters are from a mixture of social classes, ranging from the upper classes represented by the young man in a top hat, who is said to be Delacroix himself, to the revolutionary middle class or (bourgeoisie), as exemplified by the boy holding pistols (believed to be the inspiration for the character Gavroche in Victor Hugo's Les Misérables). What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre Dame.
The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians [1]. In the late 19th century, it was suggested the model was the theatre director Etienne Arago, but there is no firm consensus on this point.
He depicted Liberty, personified by Marianne, symbol of the nation, as both an allegorical goddess-figure and a robust woman of the people, an approach that contemporary critics denounced as "ignoble". The mound of corpses acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolise liberty during the French Revolution of 1789.
The fighters are from a mixture of social classes, ranging from the upper classes represented by the young man in a top hat, who is said to be Delacroix himself, to the revolutionary middle class or (bourgeoisie), as exemplified by the boy holding pistols (believed to be the inspiration for the character Gavroche in Victor Hugo's Les Misérables). What they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the distance flying from the towers of Notre Dame.
The identity of the man in the top hat has been widely debated. The suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians [1]. In the late 19th century, it was suggested the model was the theatre director Etienne Arago, but there is no firm consensus on this point.
mardi 23 septembre 2008
Soleil levant -Claude Monet, 1973
No quadro, antes de tudo, consegue imaginar-se fielmente uma grelha por detrás da pintura, que Monet terá utilizado, sobre a qual, solidamente, são sorepostas pinceladas de tinta sem grandes misturas, ou seja, as tintas originais. A sobreposição de cores originais, cruas, sem misturas, é uma grande característica da técnica impressionista, continuada a partir do momento em que os espectadores e os artistas se deram conta de que conseguiam obter resultados mais próximos da realidade.
A partir desta tela nasceu o movimento impressionista. Foi exposta pela primeira vez no antigo estúdio do fotógrafo Nadar, a 15 de Abril de 1874,numa fracassada exposição, abatida pela crítica, que troçou, inclusivé, do próprio nome do quadro. Na exposição constavam igualmente obras de Boudin, Sisley, Degas e Renoir.
Embora fracassada, a exposição converteu alguns dos expectadores mais liberais a esta nova tendência, que viria, mais tarde, a resultar na Arte Moderna. Esta pintura rompeu com todos os padrões tidos até à altura e com as barreiras realistas que ainda sobressaiam. Como tal, a pintura marcou uma profunda revolução social, embora demorada.
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