painting in a minor key

this whole rather stream-of-con- sciousness meandered from one inspiration to another (i'll get to that), and since much of this travel was through the nabis' neighborhood, i tried to find that tune in my head. forgive my synaesthesia, but i realised that the only way i could describe it was through sound.

this adventure began when i when i saw the elmes poster at the (below right). i knew it reminded me of something,
and it was clearly indebted to nabi music.
(see more at this amazing blog!)

i looked through my nabi books, and i think that this vallotton (above left) comes the closest, and that perhaps the ones i was seeing in my mind's eye were conflations of a few of the other ones.

the next two are just echos, the synapses skipping.

while bernard was the only one of these two who were part of the pont-aven crowd, you can surely see the route. but all this made me want to grasp what message i was getting from their work.

and i found that for me, it is non-verbal. it like the minor- key in the key- strokes of symphony, like a rotation that leaves every- thing rotated, not quite in

free-fall...........

three of these bottom images are from another won- derful site, i added the fourth, from ernest batch- elder, but its original artist is not attributed. personally, i think the bonnard more matches the batchelder.

there is something terribly attractive about that skewing, that minor key; it can be almost unbearable to come right-side up again. yes, the artists were heavily influenced by japanese prints, their flatness, their blocks of color, and their their knowledge of the importance of the non-linear line, and symbolism, and a response to the impressionists. but i believe that the goal, probably unconscious, was to play by the music that they heard, not anyone elses.

which is like so many of us today.

the summer light

from THE LOTOS-EATERS

There is sweet music here that softer falls
Than petals from blown
roses on the grass,
Or night-dews on still
waters between walls
Of shadowy granite, in a gleaming pass;
Music that gentlier on the spirit lies,
Than tir'd eyelids upon tir'd eyes;
Music that brings sweet sleep down from the blissful skies.

Here are cool mosses deep,
And thro' the moss
the ivies creep,
And in the stream the long-leaved flowers weep,
And from the craggy ledge the poppy hangs in sleep.

...

Lo! in the middle of
the wood,
The folded leaf is woo'd from out
the bud
With winds upon the branch,
and there

Grows green and broad,
and takes no care,
Sun-steep'd at noon,
and in the moon
Nightly dew-fed;
and turning yellow
Falls, and floats adown the air.

Lo! sweeten'd
with the summer light,
The full-juiced apple,
waxing over-mellow,
Drops in a silent autumn night.
All its allotted length of days

The flower ripens in its place,
Ripens and fades, and falls,
and hath no toil,
Fast-rooted in the fruitful soil.

...
How sweet it were,
hearing the downward stream,
With half-shut eyes ever to seem
Falling asleep in a half-dream!

To dream and dream,
like yonder amber light,
Which will not leave the myrrh-bush on the height;
To hear each other's
whisper'd speech;
Eating the Lotos day by day,
To watch the crisping ripples
on the beach,
And tender curving lines of creamy spray;

To lend our hearts
and spirits wholly
To the influence of
mild-minded melancholy;
To muse and brood
and live again in memory,
With those old faces
of our infancy
Heap'd over with
a mound of grass,
Two handfuls of white dust,
shut in an urn of brass!

Alfred, Lord Tennyson

when brittany was a place

gauguin stressed the need for firm outlines filled with flat areas of color. some call it cloisonne-ism, but i'd call it something else.

frequently, he used the same yellow paper for his prints as hokusai used as covers for his manga.

it is said he both used and was influenced by emile bernard. it is also said that the reverse is true.

with the advent of railroads and portable painting kits, artists rushed to the edges of france, to brittany, to pont-aven and beyond. artists from throughout the world, even japan.

As an artist escaping in search of “primitivism,” Gauguin was not the first to find Pont-Aven, Brittany. According to historian Caroline Boyle-Turner, the small French village had been drawing in artists since the early 1860’s. Artists were attracted to the region because of its strong local culture and religious fervor. The village, located on the Aven river, was populated by a group who, as Boyle-Turner puts it, maintained qualities of “a cultural past that was governed less by French culture then by a fascinating amalgam of Celtic, Druidic and medieval Christian folklore.” This blend of ancient elements created an environment where artists believed they could encounter a more “primitive” and “true” people.

As Gill Perry points out, this “primitivism,” while still in existence, had diminished by the 1880’s, the peak of Pont-Aven’s popularity among artists and the period when Gauguin was working there. Technical advances in farming as well as the continuing increase in revenue from tourism had helped to move Brittany forward into the modern world and away from the timelessness artists had come looking for. Thus, Perry asserts that artists working in Brittany were more specifically recreating ideas of the “primitive” they were in search of rather than representing the true Breton culture around them. 1

gauguin said, ""Study the silhouette of every object; distinctness of outline is the attribute of the hand that is not enfeebled by any hesitation of will." is this not the heart of calligraphy as well?

"Gau- guin paid little attention to classical perspective and boldly eliminated subtle gradations of colour, thereby dispensing with the two most characteristic principles of post-Renaissance painting." again.

whatever the context, the explanation, or audience, the impressionists, the nabis, and the pont-aven circle of printmakers, benefited themselves from exposure to the prints from japan, and changed western art forever.

courtesans, prostitutes & whores: Part II Prostitutes

as you study this subject the realization that begins to dawn on you that the two main reasons prostitutes were such favored subjects in france were that the artwork sold well, and artists were often encouraged to paint life in the brothels by their galleries and agents; as we saw in the discussion about grun, an illusion was being constructed, and all forms of artist were enlisted in the name of this goal. but more importantly, many a lonely painter could find insufficient human warmth and solace elsewhere. toulouse-lautrec, degas, van gogh... men known to have never formed a long-term, settled relationship in their lifetimes. the holy grail.

further, visual artists could often escape censorship of their work by its acceptance as illustration, or as art. it was written in guidebooks that whores posted for photographs but it was nicer girls who posed for the paintings. some, like bernard, had never been in a brothel himself, but painted up an entire series of 'visits' and mailed them to van gogh!

van gogh's response: ...And now that I have started thanking you, I thank you furthermore for the batch of sketches entitled “At the Brothel.” Bravo! It seems to me that the woman washing herself and the one saying, “There is none other like me when it comes to exhausting a man,” are the best; the others are grimacing too much, and above all they are done too vaguely, they are too little living flesh, not built up sufficiently. But no matter, these other ones too are something quite new and interesting. At the brothel! Yes, that's what one ought to do, and I assure you that I for one am almost jealous of the damned fine opportunity you will have of going there in your uniform, - which these good little women dote on. 1

There were several different kinds of brothels in Paris during the time of Victor Hugo's Les Miserables, and like the varying levels prostitutes which corresponded to each social class, there were also several different levels of brothels.




On one side of the spectrum were luxury brothels, which catered to wealthier, bourgeois clients. These offered more elaborate setting as well as more elaborate sexual spectacles and practices. They cost approximately 100 francs a night. The most common whorehouse was geared towards the working class, and offered more traditional settings and practices. (These types usually cost 5-10 francs for a "brief encounter" and 10-20 to spend the night.)

Meanwhile, lower class whorehouses which cost only one franc, were even more stripped down. With each step down in quality and price, the brothel became less refined, as did the clients who frequented them. 2





it has been written that the strong prostitution presence in new orleans came from being settled by the french.





His first commercial poster, Moulin Rouge: La Goulue (1891), contrasts the seductive performance of La Goulue (The Glutton), one of the dance hall's most famous stars, with an anonymous, predominantly male audience identifiable as middle class by the ubiquitous top hat. Such sexually suggestive images—a direct result of the loosening of censorship laws in 1881—created a sensation with the Parisian public as they both assaulted bourgeois morals and transformed Montmartre's working-class performers into overnight celebrities.

By the time of the World's Fair held in Paris in 1900, Montmartre had developed into a veritable entertainment industry, boasting over forty venues comprised of cabarets, café-concerts, dance halls, music halls, theaters, and circuses. The area's underground bohemian culture had become a part of mainstream bourgeois entertainment through the rapid commercialization and marketing of its venues and performers.

As a result, Toulouse-Lautrec and his avant-garde contemporaries lost interest in Montmartre's nightlife and sought their modern subjects elsewhere. What had begun as a critique of decadent society had become a symbol of decadence itself.

Nicole Myers
Department of Nineteenth-Century, Modern, and Contemporary Art,
The Metropolitan Museum of Art 3

The nineteenth-century brought about a radical transformation of the role of the European artist. Instead of working on commission for aristocratic patrons, artists in all media were more and more left to their own devices, creating works of art alone in their studios and then sending them into the market place hoping to attract a buyer and secure a sale. Innovative forms, new subjects and styles emerged from the changing economic structure brought about by the dawning of the industrial age and the importance of urban cities.

The new clientele the artist sought to attract was increasingly comprised of the nouveau riche and the urban bourgeoisie and by the mid-nineteenth century the involvement of an anonymous public in artistic matters was an irrevocable fact that had been secured by mass production. New processes in lithographic printing and of the photographic print made art available to the general populace – the democratization of art coincided with the diversity of the japonisme movement of nineteenth-century France. 4