19th Century Labor: Dignified

 Starting in the 19th century, we begin to see the working class appear as main subjects in art pieces. Prior to the 19th century, artists kept their focus on those who helped them attain high class association, recognition, and money. This usually would exclude the working and lower class of society. This changes when artists like Gustave Corbet and Edouard Manet act towards moving from Romanticism to realistic art. We see a shift in interest to painting what you see in the everyday and the grittier side of life. The labor of the working class becomes noticed as something that is important and in need of appreciation and notice. Artists were given a push to paint the hard labor of the lower class. However the danger of well known artists painting the real pain and struggle these people were facing was that viewers would romanticize the difficult experiences of the lower class. This collection explores pieces from Japan, Egypt, France, America, and the Netherlands during the late 19th century that portray labor necessary for the economy and individual lives to move forward. We cannot say that every piece in this collection accurately presents the experience the individuals were living in, however we can recognize that each person in these pieces are made in the image of God with dignity and they had an important and individual role in each society and community.

Robert Frederick Blum, The Ameya, 1893

  Oil on canvas, 25 1/16 x 31 1/16 in., The Met Fifth Avenue

Robert Frederick Blum is American born with a large interest in the Japanese culture. He visits Japan and creates a series of non westernized paintings which includes this The Ameya. The Metropolitan Museum Journal says, “In 1892 no Japanese artist would have chosen the simple street peddler as a subject.” The ameya, a candy-blower, is capturing all of the eyes of the children around him, which further captures the viewers' eyes. This gives him a dignified respect from the children, Blum, and then the viewer. Blum values the craftsman in this piece and is honoring the necessary talent one needs to turn sugar into its own form of art. Other viewers including Oscar Wilde, the New York Times, and American Paintings notice this piece as impactful and it in turn dignifies these subjects even further.

Honore Daumier, The Laundress, ca. 1863

Oil on oak, 19 ¼ x 13 in., The Met Fifth Avenue

It has been said that Daumier would see women come to and fro from laundry boats on the Seine River in Paris. This inspired this painting, The Laundress, of a woman toting her large bundle of clothes while helping a young child up the stairs alongside her. They are painted fairly dark while the background is more exposed. This pulls the viewers focus to the city and away from the front two subjects. Does this give them more dignity or take away any dignity they might of had? Daumier is most likely painting this woman and child in the light that he sees them or how society sees them. Her dignity comes out of her humility and in a way her character makes her stand out instead of Daumier’s color choice or her stance.

Charles Sprague Pearce, The Arab Jeweler, ca. 1882

Oil on canvas, 46 x 35 ⅜ in., The Met Fifth Avenue

Charles Pearce paints a focused Arab making his jewelry in a bed of coals. He uses a tool to focus his blowing to intricately form his jewelry. Pearce went down the Nile for four months finding inspiration for his pieces, and this life size piece is one that came out of his travels. Not much is said of Arabian jewelers, but it is important to note the language used in speaking of this man in this piece. The Metropolitan Museum of Art calls it “Arab subject matter” and “artistic material.” This is concerning because this man remains nameless and is described as exotic (which is defined as “strikingly unusual, or strange in effect or appearance), however it brings light to a culture that is left in the dark. The piece may dignify this man’s craft, but leaves gaps about other painful sides of life that may be forgotten because things appear romanticized.

Charles Frederick Ulrich, Glass Blowers of Murano, 1886

Oil on wood, 26 ⅛ x 21 ⅛ in., The Met Fifth Avenue

Charles Frederick Ulrich paints this scene of glass blowers in Murano, Italy. He was inspired on his trip to Venice with Robert Blum, the artist of The Ameya. Because of the time spent together, this piece has many similarities to Robert Blum’s The Ameya. Similarities include: the subject matter of glass blowing and the loose and realistic style of painting the figures. According to American Paintings, there is a lot of influence across cultures in Ulrich’s piece. Ulrich is an American under the influence of European art who is painting in Italy after getting training in Germany. Because of this cross culture inspiration, it is hard to say how much of this painting is truly what glass blowers in Murano would do in their labor or if Ulrich is romanticizing their reality because of examples like the women around the furnace laughing as the men create their blown glass or the fact that Ulrich portrayed all of the glass blowing as if it were simple and easy.

Edgar Melville Ward, The Coppersmith, ca. 1898

Oil on canvas, 23 ⅞ x 21 in., The Met Fifth Avenue

In this painting by Edgar Ward of a coppersmith in New York diligently analyzing his work, we see the eyes and hands of a craftsman. According to The Met, “Ward ennobles a metalworker by presenting him as a dignified artist in his studio.” Ward is known for his interest in tradesmen and craftsmen, and it is obvious he knows how to portray them with dignity and respect. This piece is an artist appreciating an artist in his workspace.

Thomas Anshutz, The Way They Live, 1879

Oil on canvas, 24 x 17 in., The Met Fifth Avenue

The Way They Live is a painting by Thomas Anschutz that portrays life of African Americans post slavery in rural America. There is no way to say how accurate this portrayal is, however it is important to recognize that this woman is working for food on her table and most likely not for an income. Because this was only fourteen years after slavery was abolished, it doesn’t mean they were freed fourteen years ago. In the book Homer, Eakins, and Anshutz: The Search for American Identity it is said that Anshutz painted these African Americans more “specific” and “portrait-like” which gave her a “retained dignity.” It was said most artists of that day illustrated African Americans with the viewer more removed and often pieces were condescending and “humorous.” Her history, hard labor, and children watching her gives the viewer a push into respect for her and her family.

Vincent Van Gogh, The Potato Peeler, 1885

Oil on canvas, 16 x 12 ½ in., The Met Fifth Avenue

Vincent Van Gogh paints this woman in Amsterdam who is peeling potatoes. Van Gogh is interested in painting this figure’s real character. He says he paints with “intentional neglect of those details which do not belong to the real character and are only accidental.” He also says that he wishes to paint the figures in this piece and his other piece, The Potato Eaters, with their roughness and not give them a “conventional charm.” This is important to note because Van Gogh was not attempting to romanticize this woman’s experiences, but he was trying to depict them accurately in their roughness. This figure is dignified in her quiet role of peeling potatoes for her and whoever else to eat.

Hiroshige III, Picturing the Products of Great Japan (Dai Nippon), 1877

Woodcut print, 17.5 x 23.7 cm, The University of British Columbia - Meiji at 150

Hiroshige III presents these Japanese women working on sericulture which is the production of silk from silkworms. The artist is focusing on different famous goods from each region in Japan. In a way, the focus is not on the women at all, but because they represent the making of these goods in Japan, that is an individual honor of itself. This was a complex job these women would most likely do once a year for about a month. This brings dignity not only to the individuals, but to the community as a whole. The series that this piece is a part of was meant to develop a sense of industriousness, collaboration, and inventiveness.