Até ao final do século XIX a Arte Naïve, criada por artistas inexperientes e caracterizada pela espontaneidade e simplicidade, foi pouco reconhecida quer pelos artistas profissionais quer pelos críticos de arte. A pintura Naïve caracterizava-se pela sua clareza de linhas, cores vívidas e alegres, assim como pelas suas formas simples e precisas como aquelas representadas pelos artistas franceses tais como Henri Rousseau, Séraphine de Senlis, André Bauchant e Camille Bombois. Contudo, este movimento teve também outros aderentes tais como Joan Miró (influenciado por algumas das suas qualidades), Guido Vedovato, Niko Pirosmani e Ivan Generalic.

Naïve Art

Since his death 100 years ago, Cézanne has become the most famous painter of the nineteenth century. He was born in Aix-en-Provence in 1839 and the happiest period of his life was his early youth in Provence, in company with Emile Zolá, another Italian. Following Zolá's example, Cézanne went to Paris in his twenty-first year. 

 During the Franco-Prussian war he deserted the military, dividing his time between open-air painting and the studio. He said to Vollard, an art dealer, "I'm only a painter. Parisian wit gives me a pain. Painting nudes on the banks of the Arc [a river near Aix] is all I could ask for." Encouraged by Renoir, one of the first to appreciate him, he exhibited with the impressionists in 1874 and in 1877. He was received with derision, which deeply hurt him.

 Cézanne's ambition, in his own words, was "to make out of Impressionism something as solid and durable as the paintings of the museums." His aim was to achieve the monumental in a modern language of glowing, vibrating tones. Cézanne wanted to retain the natural colour of an object and to harmonise it with the various influences of light and shade trying to destroy it; to work out a scale of tones expressing the mass and character of the form.

 Cézanne loved to paint fruit because it afforded him obedient models and he was a slow worker. He did not intend to simply copy an apple. He kept the dominant colour and the character of the fruit, but heightened the emotional appeal of the form by a scheme of rich and concordant tones. In his paintings of still-life he is a master. His fruit and vegetable compositions are truly dramatic; they have the weight, the nobility, the style of immortal forms. No other painter ever brought to a red apple a conviction so heated, sympathy so genuinely spiritual, or an observation so protracted. No other painter of equal ability ever reserved for still-life his strongest impulses. Cézanne restored to painting the pre-eminence of knowledge, the most essential quality to all creative effort.

 The death of his father in 1886 made him a rich man, but he made no change in his abstemious mode of living. Soon afterwards, Cézanne retired permanently to his estate in Provence. He was probably the loneliest of painters of his day. At times a curious melancholy attacked him, a black hopelessness. He grew more savage and exacting, destroying canvases, throwing them out of his studio into the trees, abandoning them in the fields, and giving them to his son to cut into puzzles, or to the people of Aix.

 At the beginning of the century, when Vollard arrived in Provence with intentions of buying on speculation all the Cézannes he could get hold of, the peasantry, hearing that a fool from Paris was actually handing out money for old linen, produced from barns a considerable number of still-lifes and landscapes. The old master of Aix was overcome with joy, but recognition came too late. In 1906 he died from a fever contracted while painting in a downpour of rain.

Cézanne

Alfred Sisley (18391899) angol nemzetiség?, de Franciaországban él? és alkotó fest?m?vész, sokak szerint a legtisztább impresszionista. Összesen mintegy 900 olajfestményt alkotott. Tájképein, ahol embereket alig ábrázol, els?sorban a fények játéka dominál. Felt?n? a hó iránti lelkesedése. Egy barátjának küldtt levelében írta: Minden festmény olyan helyet ábrázol, amelybe a fest? beleszeretett.

Sisley

Pierre-Auguste Renoir  werd geboren in Limoges op 25 februari 1841 en stierf in  Cagnes-sur-Mer op 3 december 1919. Hij was een Frans impressionistisch kunstschilder. Al op zijn dertiende werkte Renoir als leerling-schilder. Hij schilderde bloemen op keramiek. Toen dit proces werd geautomatiseerd moest hij overstappen op andere objecten. In 1862 sloot hij zich aan bij de Atelier Gleyre van Charles Gleyre en maakte kennis met Claude Monet, Alfred Sisley en Frederic Bazille, later ontmoette hij ook Camille Pissarro en Paul Cézanne. Hij heeft samen met Monet de principes van het impressionisme uitgewerkt. In de jaren '80 liet hij de impressionistische stijl achter zich en begon hij een zoektocht naar een vastere vorm en compositie. Hij werkte heel precies en nauwgezet, met een koeler en gladder kleurgebruik. Later keerde hij terug naar de warme kleuren en de vrijere penseelvoering. Hij maakte veel naakten in warm zonlicht (Les Baigneuses). In 1888 kreeg Pierre-Auguste Renoir een eerste aanval van reumatoide artritis, een vorm van reuma. Een jaar daarna raakte zijn rechterarm verlamd. Ondanks de pijn werkte hij door, met een penseel aan zijn pols gebonden.

Renoir

Em cada período histórico revela-se uma nova definição da beleza feminina. As imagens da beleza feminina não só expressam o desejo íntimo dos pintores, mas revelam também os padrões de beleza contemporâneos. Um dos pintores que amou as mulheres, Renoir, reviu o corpo feminino do século XIX, conferindo-lhe um novo charme, principalmente através da utilização da côr. Nesta viagem pelas obras do artista, as mulheres de Renoir são apresentadas como criaturas de carne e osso, que sugerem ser capazes de dar e receber amor.

Symbolism appeared in France and Europe between the 1880s and the beginning of the 20th century. The Symbolists, fascinated with ancient mythology, attempted to escape the reign of rational thought imposed by science. They wished to transcend the world of the visible and the rational in order to attain the world of pure thought, constantly flirting with the limits of the unconscious.
The French Gustave Moreau, Odilon Redon, the Belgians Fernand Khnopff and Félicien Rops, the English Edward Burne-Jones and Dante Gabriel Rossetti, and the Dutch Jan Toorop are the most representative artists of the movement.

Symbolism

Paul Gauguin (Paris, 1848 - Atuona, Iles Marquises 1903)

Paul Gauguin fut tout d'abord marin puis agent de change émérite à Paris. En 1874, il commença à peindre pendant les week-ends, tel un peintre du dimanche. Neuf ans plus tard, après un crack boursier, il sentit qu'il pourrait faire vivre sa famille en peignant et il démissionna. Sur les pas de Cézanne, Gauguin peignit des natures mortes dès le début de sa carrière artistique. Il posséda même une nature morte de Cézanne, que l'on peut observer derrière le personnage principal de son Portrait de Marie Lagadu. En 1891, Gauguin quitte la France pour Tahiti où il resta jusqu'en 1893. Son séjour à Tahiti fut déterminant pour sa vie et sa carrière future. Après un retour en France, il repart à Tahiti en 1895 et y restera le restant de sa vie. Là, Gauguin découvrit l'art primitif, avec ses formes planes et ses couleurs violentes, celles de la nature à l'état sauvage. Avec une fidélité absolue, il les reproduisit sur sa toile. Toutes ses peintures sont le reflet d'un style caractérisé par la simplifications radicales du dessin, les couleurs brillantes, pures et lumineuses, une composition ornementale et une platitude délibérée des plans - le style qu'il appelait lui-même « symbolisme synthétique ».

Gauguin

"I paint what I see and not what it pleases others to see." What other words than these of Édouard Manet, seemingly so different from the sentiments of Monet or Renoir, could best define the Impressionist movement? Without a doubt, this singularity was explained when, shortly before his death, Claude Monet wrote: "I remain sorry to have been the cause of the name given to a group the majority of which did not have anything Impressionist."

In this work, Nathalia Brodskaïa examines the contradictions of this late 19th-century movement through the paradox of a group who, while forming a coherent ensemble, favoured the affirmation of artistic individuals. Between academic art and the birth of modern, non-figurative painting, the road to recognition was long. Analysing the founding elements of the movement, the author follows, through the works of each of the artists, how the demand for individuality gave rise to modern painting.

Naïve Art

Résumé

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