The Work Emile Zola
art or life or how Zola defends modern art.
In the Rougon-Macquart family, you had already spoken here the first generation, which would determine the fates of their descendants. Skip a few years to take an interest in Claude Lantier, a son of Gervaise. Thanks to an old gentleman who had seen him as a budding artist, Claude left Paris at age nine years to receive, in the south, a serious education enabling him to escape family poverty. His ambition is, in adulthood, to become a great painter. Not one of these gentlemen of the Academy who have understood nothing of painting, but a visionary artist, able to report on the canvas of the Truth of the changing world, its colors and lights. A modern painter. In his small workshop, it persists in the work which should enable it to enter the Salon. A large painting about strange lunch in the woods where, alongside men dressed, a naked woman appears. The female figure eludes him, the models did not inspire. That chance encounter with Christine, an unhappy frightened by the small provincial city, which allows him to find inspiration and, eventually, true love. Because Claude is passionate in his art in his life. Bursts of creativity that can overwhelm and devour, now certain to be a genius, now convinced that he never will succeed in painting his dreams. The famous canvas, Outdoors , is clearly rejected at the Salon but will be exposed, and this is a first the Salon des Refuses. Creating desired by Napoleon III, this show off is a response to critics who question the choice of the Salon jury and the public can form its own opinion. And all of Paris to discover these artists that have not been legitimized by the official institutions. The canvas of Claude is the star of the show, not for his qualities, but by the incredible ridicule it triggers in the audience. The crowd just to gloat absurd image, breaking with the standards and tastes of the time. Despite the recognition of some of his peers who see him the leader of a possible new paint, this setback and humiliation for the artist cursed mark the beginning of the end.
Although this volume Rougon-Macquart is consistent with the general experimental novel by Zola wanted (the passionate temperament and borderline Claude was partly explained by its genetic) is above all an incredible document the beginnings of modern painting in Paris. Familiar Cezanne and Manet ( Outdoors returns so barely disguised his Luncheon on the Grass), demonstrates here ZOLA resistors academicism and the public face of this new way of painting in the second half of the 19th century. The fate of Claude is one of those artists who wanted to break with the official painting and, on leaving the workshops, trying to report on the work of light (like Monet, Claude tries to collect the light changes on the same subject at different times), attempting to approach the Truth, have revolutionized painting. It's almost like a gypsy for the lives of these destitute men ready to sacrifice everything for their art. And in this quest for modernity, ZOLA offered even a disguised self-portrait through the character of a writer who tries, against critics, and reinventing the novel to construct a vast cycle where heredity, environment and historical circumstances explain human behavior.
A novel and exciting about the artist at work or Zola succeeds in accounting for the writing of this modernity that tries to capture his character, through descriptions of scenes of crowds, the lights of Paris, movements on the web . Amusing that in her ardor ZOLA comes to lyricism sometimes a bit too much , while it is exactly that blames the writers Romantic.
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| Emile Zola by Edouard Manet (1868) |
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