The image of harvest or farming has nostalgic or familiar connotations for most people due to how it has been romanticised as a calming, more natural or “real” way of living. But is this something that’s always been the case or just a modern idea about it? Up until relatively recently (around the industrial revolution), farming was what almost everyone done, and viewed as one of the least desirable jobs. People who were doing this task were viewed as the lower class, hence why the word “peasant” has such negative connotations now. However the industrial revolution changed this. The possibility of working in big cities, the growing opportunities, and the emergence of a larger middle class gave people other options. As a result, it became less and less common; and as culture has changed, it’s slowly grown into a beautiful, romantic image of people being closer to nature. This can be seen through the art made throughout time, and how it slowly became more and more romantic as time progressed. One of the countries that was in existence during the entirety of this change and which also is known for its art is France, which is perfect for demonstrating this change. This exhibition will take you through five different pieces of French art, from 1600-1900. Each piece from a different century.
The Harvesters
Artist:Pieter Bruegel the Elder
Date:1565
Medium:Oil on wood
Accession Number:19.164
This first image, though not without a small amount of nostalgia, paints a rather negative image overall of the peasant life. You can see the people’s exhaustion and how they almost just resign themselves to their position, even though they aren’t satisfied with it. This leaves the viewer with an overall bleak impression of their future: they really don’t have much to look forward to in terms of anything changing from this life, or things getting easier. In fact, the beautiful weather and large amount of harvest seems to imply rather that it’s the best it will get.
Plate 9: a cow ascending a bank, a peasant woman leading two cows across a bridge in background
Artist:Stefano della Bella
Date:ca. 1644–47
Medium: Etching
Accession Number:17.50.17-212
This piece continues the prior idea, almost in a sadder and more depressing manner. While Bruegel still had some hope or at least some positive sides, this one just is rather sad and despairing overall. The woman leading the cows looks almost broken in her stance and how she looks down. Meanwhile, even the cows look almost starved, as you can see some of their ribs, and they all look rather shabby. This brings forward very negative emotions towards this, where we almost want to save the person in it from this place and bring the cows to somewhere where they can eat enough. This is all clearly done on purpose to give the viewer a strong reaction to the conditions. Della Bella is trying to communicate his view of how the conditions are at this time.
The Little Farm Girl
Artist:Claude Augustin Duflos le Jeune
Date:ca. 1753
Medium:Etching and engraving
Accession Number:53.600.1031
This engraving takes a swift turn from the previous one. This one seems to almost glorify farming, Putting a little girl tenderly feeding chickens in a rather happy place. This is a huge turnaround from the exhaustion and despair shown in the previous ones. This one doesn’t necessarily say that farming isn’t something that you have to do with no option, and just have to give up. Rather it almost seems to push the idea that while you are stuck in a way, it’s not a bad thing, but rather almost asking why you wouldn’t want to be in this position anyhow. The fact that it’s a little girl furthers the overall happy feeling, as the child further brings out the beauty or almost happiness that le Jeune seems to associate with farming.
The Harvest, Pontoise (La Récolte, Pontoise)
Artist:Camille Pissarro
Date:1881
Medium:Oil on canvas
Accession Number:1975.1.197
This painting goes even further. As with the previous one, it suggests that farming is something desirable that anyone would enjoy doing. The figures in this painting are happy and chatting to each other as they work. The colors are vibrant, the work seems rather light, the weather is beautiful, and everything is green and lush. This painting overall shows a very positive view of harvest. There is so much life and energy in all the features of it, especially in the three figures in the foreground.
The Farm at Les Collettes, Cagnes
Artist:Auguste Renoir
Date:1908–14
Medium:Oil on canvas
Accession Number:61.190
This is the final installment, and the most relaxed and happy. Though it does not have the energy and happiness of Pissaro’s work, this painting adds to the relaxed feel. While this is a farm, nobody is actually working, and the only figure we see is far in the distance, gazing out over the scenery. Everything is still colorful and clearly abundant. This painting takes the romanticizing of farm life even further, removing the work aspect entirely and leaving us with a sort of Eden, a perfect place. There is no hardship or sadness here, it’s almost unimaginable it could exist in this place.
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