Cabanel’s “Birth of Venus” was a classic example of French Academicism. In the late 1800s in France, the Salon had been well-established for a while. The Academy had the most power over the Salon; they created a hierarchy of painting based on skill. The third type is “portrait,” which is what Cabanel does a lot of. The Salon of 1863 contained multiple female nude figure paintings. Cabanel’s was very popular, but it was not the only female nude painting in the Salon. Impressionism was the current art movement in which this particular painting was created. Cabanel did not associate himself with Impressionism, however. It was a new style and he liked to stick with tradition- while Impressionism was untraditional. Although Impressionism was the art movement in late 19th century France and Cabanel was not a part of it, he still fit into his social context by creating art that was valued by the Academy. One aspect of the exhibition that follows this paragraph is intended to convey that many Venus paintings were shown in the Salons around the time of Alexandre Cabanel’s Birth of Venus. Another message to be communicated from this curated exhibition is that works such as, Birth of Venus, by Cabanel were not uncommon during his time, proven by the elements of the work such as subject matter, smooth brushwork, and general style.
Alexandre Cabanel, The Birth of Venus, oil on canvas, France, 1875.The Metropolitan Museum.
This artwork exemplifies the time period it was created in, as it consists of many techniques/artist choices that were popular at the time. One very significant example is the subject matter. Female nude paintings have existed for hundreds of years. The idealized female body lying naked is something many people are commissioning and painting. The silky, smooth brushwork done by Cabanel is admired as well as expected in France at the time. Academicism, of which he was a part of, commonly consisted of silky brushwork and mythological subjects, both of which are in this artwork.
Gustave Courbet, The Woman in the Waves, oil on canvas, France, 1868. The Metropolitan Museum.
Goddess, Venus is depicted in this painting very largely. This mythological figure is nude and although not fully reclining, she is leaning backwards a bit. This, as seen for many years, includes a reclining female nude again. The Academy frequently chose works with mythological figures for the public to see. Also, amongst most paintings in the Salon, this work has silky brush strokes that make them look almost seamless. Idealistic, soft-skinned female nudes were popular in the mid-late 1800s.
William-Adolphe Bouguereau, The Birth of Venus, oil on canvas, French, 1879. Louvre.
Once again, Venus, the mythological Goddess is in the center of the canvas, nude. She is the largest/whole body of all the figures in the painting, which alludes to her significance. Unlike the other paintings of her shown in this exhibition, here there are many figures alongside Venus. There are cupids and other Gods and Goddesses. Here again is the mythological theme being presented. As for the history of female reclining figures nude, here she is not completely reclined, she is standing but has weight on one heel which tilts back the body.
Pierre-Auguste Cot, The Storm, oil on canvas, France, 1880. The Metropolitan Museum.
This work was shown in the Salon of 1880. The style of this painting is academicism. Something that sets this painting apart from the others above is the woman here is wearing clothing. What connects this painting to the others is the clothing is see through, therefore you can see her naked body underneath. Also, not only is the female not reclining, which is typical of nude woman paintings of this style, but she is instead leaning forward.
Honore Daumier, Still more Venuses this year... always Venuses!... as if there were any women built like that!, from 'Sketches from the Salon,' published in Le Charivari, May 10, 1865, Lithograph on newsprint; second state of two, France, 1865. The Metropolitan Museum.
The style of this work is not the focus, the message it portrays is. The title of the artwork makes the artwork self-explanatory. Daumier observed that nude paintings of Venus were always shown in the Salons. The Academy was very stubborn about changing beliefs relative to what they believe are the most difficult and important art skills. Therefore, talented artists could be confident in believing that their work can be included in the Salons if they include things the Academy highly values. Some of these things are silky brushwork, mythological figures, and idealism, all of which can be present in a painting of Venus, nude. The idealistic style that the Academy values misrepresents what nude women typically look like. This Impressionist piece exposes that.
Edouard Manet, Olympia, oil on canvas, France, 1863. Musee d’Orsay.
Manet’s Olympia is traditional in the sense that the subject matter contains a reclining, nude female. What sets this artwork apart from the others with the same subject matter is that it goes against the Academy. Instead of silky brushstrokes seen in paintings in the Salons, this painting has visible brushstrokes. This work was a part of the Impressionist movement. Manet wanted to get his work into the Salon, therefore he made a history painting that would stand out from the others alike.
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