Gustave Caillebotte And The Slasher Of Park

Gustave Caillebotte and The Scratching of hardwood. Gustave Caillebotte (1848 - 1894) One of the artists were unknown Impressionist Gustave Caillebotte. For many years his work went unnoticed and criticism not taken into account. But its role within the group was essential. It was the biggest contributor to the phenomenon impressionist ahead of any of the great masters. His pictorial work was important but perhaps not the same level as Monet, Renoir and Cezanne, but their economic and social position of patrons allowed to exercise in those moments when despair took possession of the painters to see that his paintings were not enough recognition because no one bought them. He died young and donated a large collection of paintings by the French state. Born in Paris on August 19, 1848 in the midst of a high class family. His father inherited a family of military uniforms, also was a judge of the Commercial Court. From 1860 during the summer begins to frequent the city of Yerres, located a few kilometers south of Paris and that is where, perhaps, at this time began to paint and draw. In 1868 he graduated from law school and two years later began to exercise jurisprudence.

And later also graduated in marine engineering. He was enlisted in the French army on the occasion of the Franco-Prussian War. After the war he entered the studio of Leon Bonnat academic painter where he began to seriously in the study of painting. In 1873 he passed the entrance examination of the School of Fine Arts in which he did not stay for long. In 1874 his father died. Four years later his mother pass away inherited a considerable fortune. But we flew to the year 1874. This is the year when it makes contact with the Impressionist painters who were staying in the French art academy. Prominent among them Degas and De Nittis. In the same year as curious go to the first Impressionist exhibition to attend the second meeting in 1876. Presented eight plays between highlighting The Scratching of hardwood (parquet raboteurs Les-see comment box). Caillebote style is part of realism that were precursors pictorial Jean-Francois Millet and Courbet Gustace. His work is strongly influenced by his fellow Impressionists who strove to paint reality as it exists in reality. Borrowed from each style and technique but without attachment to any particular style.

Degas is sometimes the most similar shape in its realism works with a broad wealth of color. In other works they acquire a pastel palette and loose brush strokes similar to those of Renoir and Pissarro.

The Bridge of Europe (1876, Geneva, Musee du Petit-Palais) and, above all, Paris, rainy season (1877, The Art Institute of Chicago) have the characteristics of the old paint and convert the Haussmann in Paris popular place for very personal perspectives Caillebotte. From next year, Caillebotte began to move away from the cold and serious style to create your own room fully Impressionist style. On the 1880 race is turned upside Caillebotte to move to a house opposite Argenteuil near the Seine, where he began his love of sailing and regattas. The works of this period are characterized by a moderation in the outlook, less forced than in most urban paintings in Paris, but continues with unusual compositions, either by strangers or points of view appear to be arbitrarily cut. The beautiful images of Caillebotte painting sailboats have a clear influence on Monet represented a few years before. Gustave Caillebotte died at age 45 in Gennevilliers on February 21, 1894. He is buried in Pere Lachaise cemetery in Paris. Caillebotte donated his works to the State. Your executor, Renoir, encountered great difficulties to fulfill the wish of his friend, and sometimes art dealer, to deliver the collection of paintings to the state.

Those responsible for cultural policy seemed inconceivable in a museum presenting the Impressionist paintings, which at that time were still rejected by a majority of the public. The Scratching of hardwood parquet raboteurs I, 1875 Oil on canvas, 102 x 146.5 cm. Gustave Caillebotte (1848-1894) The central theme of the painting is the depiction of laborers preparing the wood floor. The critics consider it vulgar and probably that was the reason why the work was rejected by the judges of the Salon of 1875. At that time, the art academy was acceptable representation of rustic peasants or farmers as acceptable topic on topics relating to the working class. This picture is one of the earliest depictions of the urban proletariat. Unlike Courbet and Millet, Caillebotte does not introduce any social discourse in his work, nor political or moralistic. His work is simply a desk study (gestures, tools, accessories) which places it among the most experienced realist artist. Caillebotte shows three workers on their knees, bare-chested on the floor of an empty room. Dominated by shades of beige-brown-black. The light coming through the balcony door from the bottom produces a great effect of backlighting, falls on the shoulders and arms of workers.

The perspective is reinforced by the effect of cut and alignment (the diagonals) of the floorboards. Stripes are dark varnish which contrasts with the other whites who have been brushed. This is a study of rhythmic movements, comparable to the ballet dancers or horses racing Edgar Degas. The painter drew one by one the parts of the picture before translating them into the canvas. The anatomy of workers is reminiscent of the gods of classical painting. One of the innovations of the Impressionists, who had pointed the royalists, it was subverting the conventions on the topics considered appropriate for a painting against preference for their own historical and mythological subjects of academic art, Impressionist aim to reflect the contemporary lifestyles, new ways of living and the new figures of a society in an accelerated process of modernization. It should be noted that within the theme of modern life, manual work was not the favorite themes of the Impressionists. Only Caillebotte and Degas himself treat it with some frequency (the latter in a masterly way with its series of ironing).

We now have the opportunity to see in Spain not only the work of Gustave Caillebotte but of many other artists under the title Impressionism, a new Renaissance presents the Mapfre Foundation. On their website you can check the exposure data http://www.exposicionesmapfrearte.com/impresionismo/ This article was published in Journal Atticus 5. José Luis Cuadrado http://revistaatticus.es/old/Revistas/Numero_5.pdf www.revistaatticus.es Gutierrez