Delight or Despair at the Moulin de la Galette - Lecture 3 - Renoir and Toulouse-Lautrec

[Music] well in the other lectures that we've had we've actually been looking at the woman question so it's two speakers so what I'm really trying to do with these series of lectures sort of explore all different aspects of Impressionism in the second one we looked at landscape and and pigments and technique and I want to thank you very much for for doing research for me this is what I find so interesting in in these lectures is that people really get very interested in go home and look things up you know the details and things that I don't know and it's very valuable so thank you very much for that work on on titanium white what I want to do today is go back then to the concept of modernity which we looked at in the first lecture under the impetus of of money now remember modernity was this idea of change this idea of transience and the idea of being the painters of modern life you know this new art was to have new subject matter it was about a new vision of society well what I want to look at today is what two artists of this time did with this concept of modernity and the two people that we're going to be looking at will be Toulouse Lautrec and Renoir and I want to contrast their approach to the city and to modernity and in particular to to a very important aspects of nineteenth-century society one which was the gigantic Lud shed bloodbath of 1871 and the second aspect is the question of woman's place in society which we didn't explore very much in relation to the two ladies who worked with the Impressionists because I was so busy trying to tell you that you shouldn't actually be looking at as the women so nothing like a bit of contradiction alright so the interesting thing with these two artists is of course that they consider this quintessentially impressionist where of course Toulouse Lautrec who was born in 1864 in other words he was only ten years old at the time of the first impressionist exhibition never exhibited with the Impressionists however he came under the influence of Duga in particular and was under the influence of the things that influenced the impressions in particular Japanese prints with you you can't underestimate that how much effect this had on all of these artists people also think of Renoir of course when you think of Impressionism probably the first thing that flashes into your mind is the Moulin de la galette or a canvas by Renoir Renoir worked with the impressionist for a very short period of his life he quite rapidly turned back towards the salon and in the 1880s begins a completely distinct part of his career where he becomes portraitist to the bourgeoisie which is in many ways almost exactly the opposite of what the Impressionists were trying to do and by the end of his life has become extremely conventional and he is going back to a kind of classicism both in his technique and in his subject matter now I've called this poet purgatory or paradise because there are two extremely different attitudes to towards more matter of the time both of them lived in Montmartre by the time Toulouse Lautrec was in his early 20s he was living a couple of streets away from Renoir there was living a street away from Duga and so on so they were for acquainting exactly the same physical location they frequent they had the same models they had the same mistresses but that you really need to look at different ways in which they portray them now something which is absent and this is curiously absent from Impressionism is an homage to shock you deliberately with this slide now this are the bodies of the commune of 1871 all right twisted small working-class people and probably and not exactly peppier mache coffins but exposed for view to as a you know prevention of other people going down the same revolutionary path what was the commune the second empire that we've been talking about in relation to the salon de ville Suzie the second empire under Napoleon the third came to an end and 1870 with a massive defeat at Sudan by the Prussians the Prussians come and the siege Paris by now the Third Republic has been voted in as the French government under a historian well-known historian of adult chair chair they in the republican government sign a treaty or an armistice with the Prussians there is an absolute uproar amongst the Parisians and in particular the people who live around momart and I'll be talking about this special significance of Montmartre in in a moment and the people from Montmartre has set up what is called a communica Munich which was a sort of a socialist based sort of government and reject the peace treaty things get so difficult that the republican government is obliged to move outside paris and operate from their side so effectively you have a split in in for us as to what are they going to do about the Prussians it's almost like something out of Monty Python's Life of Brian have you seen that in the sewers well ever the Romans are sort of watching well you know that it's not you know I shouldn't joke about it but it really was quite ridiculous the communal then hold out against the French forces who eventually invade Paris and get in through the walls which are unguarded and in 1871 they fight street by street barricades pull up all the cross barricades there across the plus like Concord I mean that round the Hotel de Ville every area is barricaded off and the of course aver say he troops which are superior managed finally to get up to Montmartre where the cannons and everything in which the moma thought there were stationed the last of the commune are chased through parishes cemetery lined up against a wall and shot down and this is one of the great places whenever there is a socialist government or anything manifestation or what takes place people always go to this war which is almost like the wall of martyrs well to put it mildly it was a bloodbath in a week in what is called la semaine sanglant the bloody week fifty thousand Parisians died fifty thousand I mean the French you don't hear about the French Revolutions nothing in comparison seven thousand were deported to New Caledonia I don't know how many to Devil's Island and this is what happened in the aftermath it wasn't just that it was his bloody bath it was neighbors against neighbors people denouncing people and here you have the the Parisians amongst two more women and this is this is the real worry for people like Renoir is that women took part and here what some of the women actually shooting the commune are now these people being lined up against walls and shot down so it was really quite an appalling time do we have any five years four years later five years later when this is exhibited do we have any idea that something is divisible on what does her in white paint three hundred well not even three hundred meters 200 meters down the road right which is the Moulin de la galette just down the road from where all of this took place a Mamba we have a Sun a sunlit day dappled Sun in the afternoon or an actual effect the moon and I get usually worked on a Sunday evening we have all classes mingling sociably here we have the bourgeoisie who would have come up to have a look at these little girls the fact that these little girls we know that this one is 14 and this one is probably fifteen and a half probably here to see if they can get a bit of money from Renoir as friends who are painters and art critics and that doesn't come into it at all they're so happy they're leaning for this idea of this flirtatious eternal so interchange between men and women is what takes over the all canvas the colors blend the shapes blend it's all out in nature and one looks as though it looks as though it's a kind of like alien atmosphere in fact this was just in down the road from this wall where people had been shot and this which is now of course one of the dominant features of Paris was being constructed now by this the Third Republic who was extremely conservative and was driven in many ways by a conservative aspect of the church who were devoted to the Sacred Heart and so the Sacred Heart which is where what perpetual prayer it goes on 24 hours a day was built with the idea of it being to atone for the sins of the communi and others the sins of those people who had risen up against the government now of course the official rhetoric with the French government is that this was to atone for the sins of some of this of civil war but originally it wasn't now what do we have who is another person who paints the moulin de millau holes which is also just down the road he's painting however something like 20 years later but here we see a different reaction to what these stresses in society we now get a society which is driven headlong into a kind of hedonistic pursuits sort of sex drugs and rock and roll of us the rock and roll of course was the can-can which was invented well developed at this time is frenetic gymnastic kind of dance and the drug of choice was of course absinthe all right now here you get this sense of energy the sense of mingling the sense of people living on the edge of existence so they were very two very different aspects now I just wanted to quickly remind you as to why you got this situation happening in 1871 it was due to the reconstruction of Paris under Napoleon the third remember when he cuts down the inside part of Paris and turns it over to the bourgeoisie and pushes the working-class to the outer boulevards and here we have painters who have represented the disenfranchised clustered in poverty around the edge all right so this social division really was what was at the basis of this last bloody uprising of the working class in the 19th century another aspect which was extremely important at this time was the question of the place of women first of all we have Louise Michel who was known as the red virgin she was one of the great instigators of the fight final fight on the hills of Montmartre she was on the barricades as indeed many women were and afterwards of course women were blamed you know for for the violence that took place under the the commune she was caught and deported to New Caledonia which is an unusual woman she was a teacher and he always got to watch out for these people and she was deported to New Caledonia instead of being shot which was very lucky she actually stood in front of the firing squad and said you know fire you know kill me unless you can be too you too much of the cowards to kill me and in the end they saw cities we are will deport you she was deported in her day there she actually is finally freed and then takes place in and up stirring up the uprising of the K'NEX against the French so they bring her back to Paris and then she starts all over again so as you can see people were right she was a dangerous woman the other person the other things that were going on at this time was this push for women the suffragette movement was later in Paris but it was alive under about you know Claire who is pushing for the rights of women so women are beginning to be visible politically and socially now you cannot overemphasize the importance of the woman issue in the Belle époque in particular remember we've been talking about Darwinism this this idea of the you know the rise of mistakes especially the survival of the superior and so on but it also had ended up in a sort of gendering of society not just with women you know at home and men in public spaces but all aspects of society were given sort of gender sort of markers for example race was gendered you know the the superior white race was considered sort of the height of masculinity whereas the primitive races were seen as feminine all right they were considered because they couldn't think their brains were smaller as women's brains have been shown so primitives were feminized the higher races ie the whites was sort of seen as masculine society was also gendered in the sense that the the the male bourgeois entrepreneur you know the idea of carriage and spirit that was very masculine whereas the crowd which was working-class was seen as feminine why because the crowd is fickle it changes it's hysterical medicine also had had this sense of normality as being masculine and women as being pathological women were kleptomaniacs women were hysterical they actually would if you didn't watch out would lead to the degeneracy of society as a whole and of course you're beginning to get the development of knowledge about diseases such as syphilis and and so on so women was something that were it was almost an obsession with society at the time the sort of this the dangerous feminine side of things it was also I always seen as a negative and however the problem was that this was all right this muscular ethos in the 1870s when France really thought that they had a chance to actually fight and win against the Russians or the Prussians and the Germans however by the 1880s and 1890s in particular France realized that they were not going to ever be a great military power again and began to emphasize their power as a cultural center which is really in many ways what is still the case the way of France actually sees itself on the world world stage and so what is culture related to it was more to women you know those of the the arts of women and also women were needed in the time of the Industrial Revolution and the time of the commercial explosion of the great shops they were needed to come out of the family home to become a consumers alright so you get this but what's gonna happen you know are they going to succumb to hysteria kleptomania the dark side of women and was very evident so this you're going to get this sort of obsessional representation of women in particularly in the work of the two artists that we're going to look at very very different here we have Rosalie who's who a model for toulouse-lautrec skinny looking we have someone who's you know a fairly vibrant character and here we have a typical Renoir now Renoir was not alone in fearing that society was coming to an end you know the traditional Society of France would come to an end if women moved away from their traditional role women were seen as embedded in nature and men were seen as the cultured one so as culture versus nature culture relates to energy and intelligence nature relates to inertia and sort of biological aspects and so you will see very much in Renoir's work which becomes progressively more atoned and so this idea of women as nature this is a way in which the woman here is totally absorbed in her owns of bodily and function if you know what I mean that this white woman here is looking away he or she is looking doing something to do with her own toilet she's either peeking doing your shoelaces that was noticeable women often up caressing their own hair it's sort of a completely internal space and the shapes around her don't differentiate her very much right the shapes here very much like the shapes of her body alright she's always seen in curves almost like some kind of a flower or something that you really would like to touch so women and or in why I couldn't find very much to their biological function to their physicality and you're not going to get very much in the way of individual women right women are sort of a category and she certainly wasn't interested in intelligent women I want a distance of you know if this is a further example of a woman who figured quite prominently in the lives both of toulouse-lautrec and Oren wha a woman called Suzanne balla dong who will we'll talk about later I'm going to an awful lot to get through here you see representation by clues would trick a woman in a social situation and and also living in on the edge of that social situation she's drunk she looks despairing but she's seen in relation to the cafe you know this this edgy society of the Belle époque here we have the same woman who's been what would I say Ren word and in many ways that this is very very typical he he shortens the face of all of his women that they and enlarge ins the eyes so that they end up with that very sort of baby animal look which people who work in zoology say that this you know all baby creatures look like this because they live the large eyes the short face and the puffed out cheeks elicit us at a very positive emotional response and when were as you will see with even with his portraits and always reduces his women to this and so you could not get it a more different view of the same woman they lived in Montmartre and I've just I'll talk about mama in a little bit later the first person I want to look at and I'll probably spend considerably more time on him comparing his work with Renoir is mathie only man he do Toulouse Lautrec Martha who has a very short career as you see possibly about 37 as opposed to something like 79 of Renoir this is no a self-portrait and we have some early photos of looks as a promising delightful intelligent child however here he is in his castle in his mansion with his father who was really quite eccentric and mad now what is important about him and what you know about him to Lautrec probably is the fact that he was very short people said that he was a dwarf and he wasn't a dwarf he was afflicted by an illness which i think is poor Piko dose which will be another one for you to look at which is a syndrome if you would call it that of the brittleness of the bones and at the age of three he accepted to grow normally then at 13 he broke one leg and then at 14 he broke another and his legs didn't ever grow from that time onwards which meant that his trunk and the rest of his body developed but his legs didn't but also with this particular syndrome it also meant that you he had terrible teeth I think there's a also his lips grew very large and so he drawled and slobbered so he was it was very an a very unfortunate body for this man to inhabit now the reason he had this particular problem what was because of his ancestry right now he belonged to the Truths Lautrec which was an aristocratic family going back the crusades however he belonged to a very minor branch of it people say he belonged to the aristocracy by the time his father had claimed you know the title of count it was really almost a non-issue there were so many other counts in this family that he really belong and he lived on a property which was very large and it ended quite a large home but he certainly wasn't one of the great aristocrats however after in 1980 no-one Napoleon had passed a law forbidding that the aristocrats pass on all of their property to the first child the primogeniture which meant that aristocratic families to conserve their land and their Goods intermarried and what had happened in the toulouse-lautrec family is that his mother and father were first cousins but they each were the progeny of first cousins so in other words his grandmother's were sisters so you have this incredible you know like doubling or tripling or 16 thing of the genetic pool and you can actually see here in this family I think there were three other members three other cousins who had this same genetic problem this little girl here could never get out of a baby carriage even at the age of 12 his favorite cousin you can see the problems that they've got with their legs she dies also very young now what this means is that was a trick and the family don't actually want to accept it they you know the father is a huntin shootin eccentric absolutely mad as a snake you know spent his life dressing up you know keep trying to catch bets with elastic bands in the in the in the tower you know and they you know when they realized that their only child couldn't do anything they made up this story that he broken his legs hunting and the poor child from then arm was sort of taken from one sort of spar to another with these ghastly sort of operations with whites pulled on his legs to try and lengthen them he went through huge times of pain and suffering and he was under morphine for a lot of the time which is very interesting because of course he will die eventually of alcohol abuse or alcoholism probably a kind of a death wish because of the world the life that he had to live with this very stunted ludicrous sort of body in many ways but also possibly a habit which was brought you know given to him very early now his mother he rarely paints Preta supposes of his mother pictures of his mother face on because she also had terrible problems with her eyes she was cross-eyed so you notice that she's shown as looking downwards I mean he really he made the best of an awfully difficult life it was a very cheerful positive sort of person who probably who drank too too you know escaped in many ways his mother was wracked with guilt by thinking that she probably because of this marriage and produced these problems for her child and was obsessively maternal accompanied him everywhere now of course because he couldn't actually go out he spent hours sitting with the other member female members of the family and you it's very interesting to see in his brothel paintings what he emphasizes is this sense of waiting the sense of nothing you know the boredom of time going while women sit around and wait and also the sense of camaraderie amongst women who are enclosed in a brothel in the in his paintings but many ways he would have felt the same sort of atmosphere at his ancestral home he as you can see he wasn't petechial II a [ __ ] he's told it was a [ __ ] he was about five foot now when you think that soldiers in the French army only had to be five foot two to get into the army it's it's not excessively small if you try and think back of your ancestors a couple of generations ago now he looks incredibly small here in comparison to his very very tall cousin who probably had something else wrong with him but he actually ended up as a doctor so but and he was a great rake and under drinking companions of the pair of them were an extraordinary sort of pair but as you can see even though he's got the hat on probably too elongated himself it's not wildly shorter than this is one of the great doctors at the salary hospital all right so I wanted to so disappointing fan of himself because that's what most people did so he also denim he got this is you know this like dressing out from his father who was always dressed up in the motors he never knew where the father was going to arrive dressed up as a milkmaid or something now he when the parents realized that he probably couldn't pursue an acting career he he was given paints and things when he was in bed and one of a member of the family who was a great was a friend of the family was the painter pass talk but no one has heard of nowadays who was a very fashionable society painter he painted animals and horses in particular and he very interestingly was a deaf-mute and so he felt great sort of empathy or toulouse-lautrec is really the most extraordinary sources number of circumstances and took him under his wing and when Toulouse Lautrec actually goes to Paris he is instrumental in persuading Alphonse the father to allow him to go and paint and this is one of Toulouse restricts early paintings as of his father driving study is given the coaching drive helpful over virtually around the property and getting up and go back up the tower and here you have this sort of this idea of movement already taken from presto this is Toulouse Lautrec at the time when he goes to London up to Paris he arrives in Paris with his mother and is allowed to paint in these various of bourgeois salon and the first person he's enrolled with his Leon Bonner who produces these extraordinary visions of society ladies which really rather beautiful but I mean as simply portraits bar doesn't have much time for him closes his studio and advises him to go to another studio which is the studio of an arco and here you see at Toulouse Lautrec with the other pupils listening to or watching the great master paint now called mile specialty were these extraordinary some prehistoric things what did you defeat the kind of influences that he had on his art now I'm Toulouse Lautrec met some very interesting people there he meets van gock and this is his first portrait of van gog and magog also meets another person louis octa who becomes interested in the same sort of painting as Goga this was called not divisionist but the large things of light or colors with almost like stayin guys em jinx I wanted to compare these two paintings you can see the influence of town on Van GOG it this time that Toulouse Lautrec comes into contact with the work of Durga who is living nearby and this really makes him decide that he is going to disappear from academic painting in the meantime of course every night he hits dinner with his mother and then sneaks up to Montmartre and he's already part of this avant-garde bohemian group now what was special about mom at it first of all you have to remember that mom art was a separate village outside the walls of Paris until 1860 when it's annexed by Napoleon the third right Napoleon the third wanted to expand Paris so he pulled down the walls around the boulevards to build boulevards and annexes bel vlv let and all of these other areas which were working-class villages if you go to Montmartre now and you go away from the plus teeter tour all the painters are and all of the super tourists you go down the side behind sacre coeur and it is still very much a little village as you as you can see here now of course extremely expensive but it hasn't really lost that village atmosphere and the Montmartre were right up until the first world war even the Second World War considered themselves as as separate from Paris you know they would say oh I'm going down to Paris to do my shopping or going into Paris to do my shopping you know this sense of living apart why did the painters go there well first of all it is on a mountain more mad which meant that the light was very clear secondly up until the 1860s people went there because food and drink brought across the walls and had to be text which meant that if you went outside the walls you've got drink and everything like that much cheaper so on a Sunday in particular which is when you get the Moulin de la galette really booming working-class people would move outside too these little bars called gang get because of the word for a cheap wine which is ant gangee so one of the reasons why you get the painters migrating up there is because of the like the cheap accommodation and also a very great availability of young working-class girls who are prepared to stay jazz sit as models so it is around this vibrant area that you're going to get the first cabarets and the first CAF across there we're getting the development of the working-class traditions of song in particular here you have arrested boo wrong a character of ever there was one and this is the people at Toulouse Lautrec is going to portray exaggerated individualism as opposed to what we will see with simply categorization of people with Renoir Toulouse Lautrec here you see this is one of the first posters that flew so trick will develop portaloos arrested duan who asks him to work for him the influence of Japanese prints as you can see with the great blocks of color the unusual perspective but this was a great advertising I'm Alice T boyo had his sort of logo in many ways used to wear the hat the scarf at the Cape in fact by now he's so well known he can turn his back and people still know who he was now he was a great he I'm set up he bought the shadow art turned it into the Miller Tom had this great act where he wouldn't salt people as they came in they had extraordinary people dressed up as waiters and from the Middle Ages and so on but his songs were what people went to hear he was an aggressive singer he made up songs in Parisian slang which were very difficult to understand in fact it by the end of his life he had to publish a dictionary that's translate so people could had access to his songs but he the basis of subject matter of his songs was one of each of these little villages around Paris which had been willy-nilly pulled into greater Paris but still felt they had an autonomy and here is one of the songs called la Villette lability which was where the abattoirs was a very nitty gritty Mesa it wasn't 20 years old didn't know his parents like they called in total re-catch a la Villette and what happens is it's actually being written by his girlfriend who saw the last time I saw him he was stripped to the waist with his head under the guillotine a la Villette and so on but all of the songs have this same very easy I mean even if I if I can sing it it must be easy da da da da da almost like a hunting dirge and they were incredibly popular and the bourgeoisie used to come up and listen to them now this is what the Shinhwa looked at unfortunately it no longer exists now I'm Toulouse Lautrec frequented these the marathon and the Shinhwa became very friendly with arrested or who asked him to do some canvasses to decorate his new cabaret which was called the melon top and Toulouse Lautrec obliges with these paintings of women and calls them after each of the songs alright so there's a song like I love you did he they would have been a painting like that which is it isn't available but you notice that he emphasizes heard as he used to emphasize as the essence of a woman a working-class woman or scene sometimes from the back in the sense of Ag desperation this is the new he is painting the modern life pushed to the furthest degree here he is at the militant now probably the emblematic or two of the emblematic and places in more mud were the Moulin Rouge and the Moulin de la galette the mula the mills were very important because at the time what the 1860 there were 30 Mills Oman that they were used to grind the gypsum taken out of the soil which was ground up and brought down to build the great buildings in the center of Paris they all some of them also used to grind flour and this is the Moulin Rouge which has an interesting provenance but I haven't got time to tell you about that really now at the Moulin Rouge they this is a painting by Toulouse Lautrec of this bohemian counterculture and he makes reference to absence or in most of his paintings and that's the green because website was known as the Green Fairy so that's why you get a green tinge to his palette but also the influence of Japanese prints with this strange almost makes you feel seasick type perspective with the woman here who is a well-known actress staring out at us now and all of these people these are people who really exist it this is the other thing that's so interesting you can actually pick them out this is lug Wu the great dancer this is his cousin remember that great tall fellow who becomes a doctor these are this is Jana veal and this is Mei Milton he paints the extraordinary excessive characters the great individuals of the time who flattered all of social conventions now this is la Gullu with her girlfriend the cheesy girl I'm of homage now what is so disturbing I know the names are amazing no one knows what a real name was she here is this arrogant in-your-face individual now when you think of the bourgeois ideal of women corseted in the the boudoir only allowed out when they're they're accompanied here you have a woman who earns her living dancing who's independent who is not afraid to appear half-naked who invents a very gymnastic game at the time when bourgeois women really was thought that you know getting up but before 9 o'clock would be bad for your health so not only is that but she's a lesbian as well alright and so you get a toulouse-lautrec painting people who live right on the far edge of individuality and who have really pushed the boundaries completely as he felt that he was doing himself and this is lagu Lu she was called the Guru because it means greedy and she was she ended up being so effect she couldn't dance and this is why she's shown here now she other things she invents what doesn't invent she develops the can-can the can-can was already developed from a Fandango type dance but she and the others who develop it into this poetic high-kicking routine not wearing any underwear and of course this was what was so incredibly scandalous and what made her actually become a star so what thinking of that isn't it all right now this is when she gets too fat to dance she starts trying to sub set herself up in ass in a booth at one of the great fairs and she asked to lose a trick to paint two canvases for her and to remind people of her glory days and this is how friendly he was with these people and so he's shown here as a can-can dancer which she could no longer do this is the man she appeared with Valentine the boneless but here with what is interesting are the people around who are looking at her this is Felix Fenian do you remember the anarchist who was a great friend of Pizza [ __ ] so these are the politically the people who the Friends of Toulouse Lautrec Jean of Lille another great can-can dancer also a lesbian Oscar Wilde of course also the outcasts from from London and of course also a same-sex person and these are other characters here and other greats of avant garde pianists so this is the world that he is portraying to Jennifer here I think we've spoken about her she it was the daughter of account of a count an Italian count and a courtesan had psychiatric disorders many because of ill treatment as a child was sent to LA so Pierre where she began dancing as a kind of therapy and she was known to serve it be very graceful it quite different from that glue it was you know vulgarity in Canada and she used to go on to go into a kind of trance on the dance floor people said she was like a dynamic Lily and you can so see this seniority of her that toulouse-lautrec is managed to get in this wonderful sort of poster these are the for them dancing together this was an innovation for women dancing the can-can together now his Toulouse Lautrec again dressing up as cross-dressing again as he loved to in Jonathan's clothes and here is Jahnavi and here you get the the difference between this the frenetic can-can dancing and this extremely prim lady as she did she was she her lover was Wordsworth's grandson hence the name Jean / ill oh to be in England at April's there I believe April and she ended up she used to also for quaint a literary circle and so on so he's given extra great dignity and elegance to this woman who frequents these extraordinarily hedonistic nightclubs the other person whom he paints is Yvette Gill bear who's another great singer in this in the tradition of buong sings little ditties in this cute little voice but they're so rude if you actually listen to them that it's unbelievable and of course she underlines her prim and proper problem that's because in the sort of schoolteacher mode with the black gloves of a slightly outdated dress and says the most terrible things and here and he has captured and this is what about Toulouse Lautrec that I want to emphasize the individual he captured that just that one tray this the gloves the lines and the tilt of the face and the same thing here he was a picture photo of her at the time and the way he was portrayed by Toulouse Lautrec so within a few lines he's actually managed to capture the essence that she doesn't represent womanhood she represents not even just a class of singer that is her it's the essence of Yvette Gill bearbette kinkiness other people who were outrageous whom he painted and not many men you'll notice these are women these are women who were going against the the ethos of the time is kosher moo-cow and i'll show you was the word for the french can can show you and cowled chaos so in other words she was a chaotic dancer in fact she sometimes even dad's nude here she also here she is she was rather large and she became a clown so you couldn't get anything less like the sort of bourgeois lady if you tried and this was even a new innovation in the circus is having a female clown she of course also was interested in women as well here she is coming in with her partner so again this emphasis on same-sex relationships and another place which was a hangout for their spins at the time was the dead rat I mean that the name was at this wonderful and here you have one of the courtesans in fact even in Zola's book in nano naina also has a lesbian relationship with another prostitute and they go to the dead rat and this is this person here who is dressed up in a smoking is most ladies well certainly is a woman well we now get to the Moulin de la galette Segel it is a kind of a pancake or a flat biscuit which was served at the lab so you it was a originally started out as a kind of well it kind of not a restaurant but it was an open-air area where people came particularly on the Sunday to dance and it was between two windmills two of the few remaining windmills by the 1880s the Prussians had destroyed many of them hmm so this is actually this is ultra low Suzanne Vella dance son who has painted this not what you'd call paradise on earth this is what it looked like and I actually want to just give you a view of the Moulin de la galette painted by other people at the time it was one of the well most important but most people frequented it it was it was part of the the cabaret culture not the most important it has become very well known mainly because of Renoir's painting but here you see van Gogh steak on it it's you know this is very much the countryside at the time here it looks a bit dark and foreboding in fact the other side of the Moulin de la galette was where well the ragpickers lived it was the monkey it was a dangerous area here we have Xander man Iggy who were painted at the same time with people going in it listen look extraordinary and here we have a woman later this is in the 1890s sitting and looking out at the mill nothing much seems to be happening here at all well we now go to Renoir's rendition of the afternoon at the Moulin de la galette and as we saw before it looks the most harmonious of places all classes both men and women people who are intelligentsia people who work as mill and as all interacting together people are touching each other she's got around around her they were these people are in laced you know these are actually friends of Renoir people are dancing it all looks as though you could not find a more wonderful place than Paris on a Sunday afternoon exploitation of young women absolutely not mentioned the fact is down the road they're constructing the sacre coeur to make up for the 50,000 did not mentioned well I suppose them because I'd have to mention everything you know the little thing on the edge length or by the way what is interesting though is a painting made by Toulouse Lautrec a few years later which gives you a very different view of what it was like at the Moulin de la galette and we still have people dancing but there's not really much emphasis on this you know early flirtatiousness the joy of you know initial male/female encounters you have people dancing but it looks a bit sort of crowded and it looks a bit so dark also bit ambiguous what's this foe here is he actually charging people with you know with sedition or something because of course this would have been under surveillance at the time because of the anarchists who frequented it but the other thing pisses is boredom basically I mean the people are sitting here very different from the flirtatious interest of the school leaning forward showing herself off here we have someone thinking our goodness I must be eight o'clock by now other people redheads important I'll talk about that later not much interaction going on at all another painting of this is the beginning of the quality we have one of the dancers who doesn't look particularly sexy or interesting or young yes well just about to pull up a skirt and start the high kicks so there's all that sort of sexuality is sort of absent from this it's really a place which is crowded and that's it and this is very much like the Japanese prints you'll see as well with the large character in the foreground this is actually a picture a photo of Toulouse Lautrec at the Moulin de la galette and they were with Lagoo Liu and one of the other dancers the trees which looks so wonderful in in Renoir painting were little spindly are Katia's now a person who will link Renoir with a Toulouse Lautrec is a woman who will become an artist and who is now being looked at seriously as a very interesting artist in her own right is Suzanne Bell I don't like most of the young girls who were models or who lived on the Buddha mom at she was a daughter of a laundress she was an educated her name was Maggie and it's only when she comes into contact with Toulouse Lautrec that she will start to call herself Suzanne here we see her in her early career as a circus rider she falls off the horse as most bareback riders do and becomes a model she for most of the artists that we know cuvee do Siobhan for digger who will become a great friend and mentor of her and will encourage her art she models for Renoir and his most likely his mistress and also becomes the lover of Toulouse Lautrec and one stage it looked as though he was even going to marry her he was she it didn't come to that but he was devastated when they broke up she also broke the heart of another of a musician epic Satine so she clearly was a very sort of vibrant woman with in turns to painting herself and here but here in the early days we have Suzanne voila don't by Renoir typical of the male-female interactions that were in white prefers the woman sort of coy turned away being courted by a much more aggressive male met women literally embraced by men as as women's place in life it's certainly not to be out there being independent making things happen yourself I want to just to give you this sort of comparison this is Suzanne balla don't buy it Toulouse Lautrec again this sense of a real individual facing the world facing us in the world which is not a happy place again in an ambiguous space but all you get is this sort of an expression as opposed to paintings of Renoir of women in cafes looking extremely cute always encircled by men women's space is one which should be a space protected by by men again I just wanted to rub it in a little bit here we have again Suzanne balla doll and painting a little bit later of her by Renoir now here you see you could not get a better example of the way in which individuality is erased from Renoir's painting of women women are a category always something which is sexually available here she is in this dick hole you know you know with a cleavage here always they're always showing basically with very little on the top not looking at as she's simply presenting herself as a body great physicality combing her hair is sort of self grooming almost as an invitation for you to groom her hair as well very different from this woman who is intensely contemplating her own future Suzanna Adam was the mother of Trillo out of you know the great the painter of and is that these are her own paintings I want I'm running out of time because I've got to get to a Renoir at some stage Judy moolah and we get into the great brothel painting series of Toulouse Lautrec he frequented brothels assiduously he was sort of you know very highly sort of sexed I suppose I don't know but I mean he had nowhere else to live very much he actually had a room that was given over to him when he could keep his easels and his paints and this was a great concession to him because there was a law forbidding men to actually live in brothels at the time but he obviously frequented them and sort of knew the inmates very well and had great sympathy for them and this idea was that you know he was an outcast than they were outcasts of society so therefore they had a lot in common it's more that he had a lot in common with these people who was sort of involved in many ways on the edge of society and who were struggling to survive between two concepts of what it was to be in that society at that time anyway and this was one of his favorites all his women most prostitutes at the time had their hair dyed red redheaded women was supposed to be the you know kissimmee of sensuality they were supposed to smell different there was supposed to be sexy air you know all these little things and so you'll see that the majority of women and take most of Renoir's women up are redheads now you get this sense of waiting I mean you don't get any of the sense of boredom there's no sex there's no fun it's oh god you know you know only half past nine I mean if this feeling that he obviously um had experienced watching these women also became very interested in photography and here is a photograph of him with one of his models and you can actually see there's not tremendous difference in the height between them again I haven't time to talk about his interest in photography he's taken a photo of himself and placed it so again this watching the intricacies of the brothels now that prostitution was a very important topic of the time in the 19th century but there were prostitutes everywhere in the boulevards in that in the high society salons right out to the out of boulevards people came to Paris to see the courtesans they were in literature they were in art you could no longer distinguish a woman who was walking down the street was she a courtesan was she wasn't was she or wasn't she and there was the great problem of course with the spread of syphilis people who have discovered syphilis as a disease they thought it was hereditary how we going to stop this going through the bourgeoisie well couldn't stop men going to brothels of course 99% of them did so you had to control women themselves and here you have these women going for their weekly visit and the sense of the here she is of course the bright red hair the the idea of the sort of humility humility women went through daily and you very much get that feeling that he has captured which is very different from the kind of paintings we'll have Bo Renoir and also the utter boredom of living in the brothel and a lot of these paintings here you have the women in the canteen I mean this could be sort of you know Hawthorne West you know mothers club couldn't you I mean it really you have you have none of none of the sense of you know that at least saw but being in a brothel a high-class brothel they're all just discussing I don't like the bread much and so on here they are passing time as they did for hours what did you do in the morning in the afternoon playing cards but also a lot of these women in the brothels and a lot of the courtesans were lesbians and turn to it probably because they hated men I mean probably having been raped or something at the age of 12 or 13 forced to live in you know not a slavery but forced to put up with extraordinary sorts of things turn to other women for their affection and here you have he captures this very well the sort of tenderness between these two women embracing he they are actually dancing at the Moulin Rouge together and so you're getting this subset of a subset of unusual people whom he portrays and he portrays a lot of scenes of women embracing in bed now of course they had to sleep to by bears bed because often that weren't enough beds for them so this is what really ends up happening even the posters that he has of the performers that if this Mary Belfort was an english performer he used to come in carrying a little cat and used to sort of list being terrible French and for a while let's of work because they're all these innuendos about cats and poor sneeze and things and and that and that sort of was funny for a while but she wasn't what you call an extraordinary performer and the headdress looks a bit like the Moulin Rouge the windmill and the lesbian friend was another English woman may Milton I just wanted to show you the probably the first of the great posters now Toulouse Lautrec will be remembered more perhaps for his development of posters the chromolithography which will now be put up all throughout Paris and what we sort of think of at the Belle époque are these posters by Toulouse Lautrec where he towards the end of his life he manages in one sort of stroke to get the dynamism the edge and the angst of this extraordinary place the mother horse I won't talk to you about that this is Toulouse Lautrec two weeks before he dies he had been interned for alcoholism was getting progressively madder possibly under the influence of syphilis and finally dies at his mother's property at the age of 36 but having contributed immensely to our understanding of what it was like to live through the Belle époque in Paris the energy the escapism the dynamism and the unusual characters that had been engendered by the truth the turmoil of the 1871 revolution and people racing towards the Millennium wasn't you know the year 1900 was something that they really thought something awful was going to happen on the mean time we have sort of Renoir and I've only got half an hour for him now Renoir was born into in Limoge moved with his father who was a tailor to Paris they were from a poor family in fact his father business was bankrupted during the communit was destroyed and Renoir was interested in painting and begins his life painting porcelain indifference of ceramic vases around Paris now this means that he early on encounters the 18th century such as fraggin are and Boucher now these sort of the fete gallant you know people having fun in nature in other words decorative arts right and this is something which will come out throughout his painting career even when he's in his impressionist stage his works are appreciated generally more than the other impressionist because they're prettier they're more they have more paths and they have more color and this starts from his early training in line and and 18th century imitations and he was a copier he also when that didn't work he ended up decorating fans which is why I've actually bought out this particular slide and he decorated blinds for missionaries so I mean anything you know what's the name of that group weddings funerals anything alright so here we have early painting effective snuggle 1879 of a girl and you can see the decorative nature of this we're not far from what will be taken over by my teeth with a whole picture plane is brought together so here we have the flowers which are one of his great forties and in fact he saw women as flowers right women as basically part of nature positive part of nature a pretty part of nature but similar to flowers and so here you see her produced as one as well now this is one of his typical girls he loves painting girls up to the age of 18 or 19 by the time you've got to 19 you'll rip it over the hill right and even his wife doesn't isn't represented very much over about 19 or 20 he actually when he represents his children he represents them with a younger nurse as he likes people really young the woman there who was in this particular painting was probably Janet Summerlee who was an actress of the time here in a sort of typical Renoir style at least she does have some individuality but she's not seen acting history she's just seen as an elegant woman in the slightly enticing of female pose of looking attractive for the viewer now he at the he enters the fine art school and paints at the glare academy remember shall glare where monet painted and Bazzi as well now Renoir has no money at all so he ends up sharing a flat with baazi near the bazaar and from his Monet influences him amazingly in it is during this time that he begins to paint in at the impressionist style now Renoir is never someone who is interested in ideas he's not if you call an intellectual someone whose life is governed by ideas he certainly is not that he's someone who does what he wants he says I paint what gives me play you know that's that's what I will continue to do so for a very short time he's influenced by the very strong personality of money and as we've spoken about before he goes outside Paris with him and they paint side by side both of them you know have no money but of this this is an attractive painting all right but he manages to if you compare that with what was produced by money you find much more in the way of color the palette ISM is livelier and there's more emphasis on figures in the landscape he's never interested simply in landscape and the idea of the breaking up of light as was money here his portrait of Monet who was influencing that at the time this is in the 1860s again remember we looked at this with Monet people going outside Paris to the cabarets here you have the interest in the Impressionists period now this is the time when he's learning he's experimenting with light with the new palette but even then if you compare that with the same scene by Monet of course there is much more emphasis on on the people and on the dressers there are number of paintings of Paris at this time again under the influence of the Impressionists but he now by 1870s is become much less interested in Street scapes and in fact will abandon these more or less from this time onwards now this was painted at the time of the first exhibition of the independence or the anton's even as they were called or as we now call them the Impressionists I've commented on this particular painting before when we're talking about Maurice saw very much as a woman as a decorative object in 1876 he is now installed at Monmouth painting this very adil ik types of scenes where you get a family you know the subject matter is very much the traditional role of women in the family protected by a man in the dappled sunlight so he's working very much with the Impressionists idea of the light breaks up surfaces and this is where he will live we will actually be going up there to the museum or Matt see where that was painted and then he moves a little bit for a couple of hundred yards further along would to a place now called the shuttle de Bourgh yeah where he spent the rest of his life painting until he actually goes down to the South of France around about the time of the first world war now in the 1870s in fact 1876 he's begun to feel that exhibiting with the Impressionists isn't really going to do it for him he's less interested in the concepts that are being constantly discussed by them he really wants to sell his canvases and he persuades ma his so and I think another one I can't remember which one to actually set up a public auction of their art this occurs not much is sold but it does work in Renoir's favor because a very wealthy industrial well industrials he was actually great publisher Charpentier sees his work and buys one and then asks him commissions him to paint his wife and it is from this period arm that we're going to get a series of portraits of the upper bourgeoisie some this bush was he who want to see themselves as interested in art you know the member the bourgeoisie wanted to show their respectability their leisure their wealth and these more people more interested in the arts would choose Renoir of the Impressionists because he was the most well closer I supposed to their idea of a you know a pretty picture and so we get this painting of Madame Charpentier now Madame Charpentier was one an important woman who grouped around her a lot of the intelligence here of the time she invited people from different walks of life she saw it was a bit of like a Mary on Toinette and we get actually sort of letters but Renoir will miss spelt I must say sent to him you know rather sort of groveling letters saying all see you as a sort of the queen of the salon and so on anyway it is through Madame Charpentier that he will get a number of commissions and start to sell his work now Pizza [ __ ] who always generous or says well good for him starvation is awful and it's from that time on that he will begin to be bought now he is then gets the commission of another wealthy banker so he's really now working and he's working in the sons of the upper-middle classes so forget about the starving impressionist bit right he's beyond this by the 1880s and it's a very this is an interesting painting when I didn't like painting men he much preferred to paint women and particularly female little girls because it was thought also that painting men was more difficult because you had to get in a resemblance you know was women you know even that critics were saying you know portraits of women it's all just cosmetics and frou-frou it's whereas men you've clearly got to get that likeness but um I think it's very interesting because you have a slightly effeminate man it appears to me he's feminine in many ways in actual fact he wasn't you know he was a tough nut but he was like many of these great Jewish banking families extraordinarily active in the arts and this man was a great composer well a great composer he composed and Monet has shown his elegance with his cigarette shell holder and his Corvette class Pierre but also quite managed to integrate the wallpaper with his with his moustache it's kind of slightly witty painting which is quite effective now he then also went on to paint the daughter of one of the daughters of the cow and over there as he painted many women now he was much more at home with young girls what why young girls because they innocent the they're attractive they're sort of future you know future young beauties the sense of the tactile nature of their skin and their hair and this is sort of a portrait not a portrait because you'll notice that it's girl braiding I mean this is again this idea of generic references to women right you very rarely get someone who's individualized but if you look back at this paint that this portrait this what is it that says that that's our vein count on there nothing much it could be this girl they're very very similar always with the same color here now I very very much doubt whether the count on their girl was a redhead she came from a background that was probably Portuguese I very an unlikely that she was a redhead but this idea of redheads as being the utmost beauty in women Renoir brings her forward like that again this is so grooming this has been writing also the emphasis on this was pearly tactile nature of the skin you know women were sort of like fruit you know which you could crunch and and sort of you know drilling well he actually sort of says now I haven't finished painting and nude until it's so rounded I could pinch it right okay and here we have another one little girl gleaning I mean that they're very very similar faces he also began painting bourgeois interiors and but again where the other little boys I have no idea there's always several girls and this emphasis on the piano those of you that came to the series that we had on house white Desperate Housewives will remember that one of the legitimate outlets for a girl's feelings was the piano was called the hashish of women and they this idea of women in the right place and particularly young women who are being trained to be Brides you know and sort of future sort of mother's kept very much the emphasis on the enclose event it's almost like a surreal you know the curtain and then you've got you know as a kind of couch behind and this girl's jammed into the piano and into the space here and there leaning on top of each other this sort of very female space and the same thing here the innocence these girls are caught unaware as they so innocently reach now they don't nothing of the world you know it's up to men to actually teach them all about this all that having been said this is quite an attractive composition again 1884 he's been given us quite a number of commissions to paint the children of families and here again we have at least these little girls are doing something and little girl playing dolls very much in a bourgeois interior rather wooden but anyway I just wanted to show you that by the end of his life in 1910 when asked to do portraits you see that even his portraits now virtually reverting to type this is Madame de Belleville whatever she looked like I'm sure she didn't look anything like this she has the typical round face the large mouth rather undressed for a bourgeois woman I would have thought in her afternoon outfit and the child here is also rather generic we now get to 1881 where we have one of these emblematic sort of Renoir paintings now if you think of Renoir and you think oh yes I like Renoir there's probably three or four paintings that you think of and you don't know of these others and this would be one of the ones that you know again this a Dilek scene of male/female encounters you know the courting aspect which is very much like the subjects of regular and the 18th century fit gallant you know with a courting couples going up to the island of keturah very much like this this is the island at shed to outside Paris and women there no there place there to look pretty you know because the French would say you know swab let2 I you know look good and shut up and that's basically what you've got here so you've got a triangle always with a woman one woman and two men the triangle here you've got this triangle here with one woman and another woman another triangle here heavily this this is a lean sherry ball who will become his wife and the emphasis here is on her playing with the little dog and remember when we talked about the roles of pets the importance of pets in bourgeois households it was to emphasize the sort of futile huge role that women were supposed to play as well so that's why we have the dog very much as warm as in a kissing position with Arlene also they're drinking wine wine the traditional drink of France not absinthe which represents of course deprivation au depravity and the city which was supposed to be the ruin of women here we have a painting of his wife now very few this is she was only 17 when she met him and he was 42 I just let that one pass and this is one of the few paintings that we have of her now she is presented here as very much a sort of a stock character of fecundity in many ways she is large she's doing the most of all most maternal of maternal things which is breast feeding which by the way was relatively unusual at the time but Renoir insisted that his children be breastfed one wonders why and here we have this painting that of the domesticity a woman completely encoded in her biological role this is and she's in nature so a woman as nature men as culture he Arlene had a distant cousin Gabrielle Gabrielle Horner who came to live with them when Gabrielle a lien had her second child and most of the paintings of that you know of Renoir with a child will be of this woman that Gabrielle who stays with them even after the little boy grows up you know because she had other services to render and here we have with the little boy now again this this rose-colored view of womanhood and man and and childhood this is very much in this downwind ian's of social Darwin I dia that women were very much like children you know they had small brains women were happier with children because they you know they were both sort of undeveloped physically and mentally and so there are many paintings of Gabrielle his wife obviously had to put up with this and here we have Gabrielle was jewelry Gabrielle with a rose again emphasis on the sort of lashes nature of the skin of the woman you know you the idea was that you wanted to touch her she's very much like her skin and her cheeks are very much like the sort of flowers of the roses here and the sheen on her breast is very much like the sheen on the material here I wanted as a contrast to give you a painting by to lose a trick of a woman we don't know who it is it's not a portrait but the edgy individuality the the the characterless woman hit you in the face whereas here basically people to another head on it wouldn't really make very much difference there are a few paintings of the Renoir family by the time Arlene was in her 20s she was considered probably not worth painting with her you know breasts uncovered and so she only appears in in this family painting here clearly her Bosch a woman sort of background is coming to the fourth because she's not looking exactly sort of fashionable and anyway look I won't be [ __ ] about this here of course in many ways the main character will the main part of this painting is Gabrielle with the little boy and again she's always seen in this role of woman's of servicing the next generation the maternal that the affection at the sweet the and judging and so on well I've just got five minutes so I might go five minutes over I want to look at now what preoccupied Renoir for the last period of his life and that is a development of painting of the nude now in the eighteen first of all this one here in 1875 a nude in sunlight now remember we were talking about the first lecture we talked about the scandal of or Lampe a mayonnaise or lampião where people have thought her flesh looked result was decomposing remember this is the scandal you know she wasn't painted properly and one of the problems about this was that the whole woman question that I've been talking about the the worry about prostitutes and and syphilis and you know women in many ways being an icon on one hand but on the other side of it you've got her as associated with disease and decomposing flesh relating to syphilis caught through prostitution so one of the out cries against this is when you know flesh wasn't painted as it shouldn't be and they thought it was making reference to disease to flesh so this was an early painting by Renoir when he's still in his impressionist period experimenting with light and so on and of course it did not receive any critical positive acclaim but in the 1880s he goes to Italy he also goes to Algeria and he decides he's going to break in many ways with the Impressionists a lot of the impressionist ideas and he wants to go back to the classics and he will go back and paint nudes now I mean this is the whole thing that the painting of modern art was not about remember the idea was to paint not modern life the edginess of life the the modern developments was paint what you see don't paint from your imagination so on and now we get Renoir using still some impressionist brush works and styles and pigments but going back to nudes right back even beyond the Renaissance back to these of really early paintings of news but they're always nudes in his own way their nudes who aren't really nude I mean in the sense that they're always making reference to touching them themselves alright she's drying herself she's not a heroic nude she's not a new representing a goddess or truth or Beauty she's this very sensual nude so here we have this very young girls you will note it's not just your imagination they are probably 14 15 this was his the period he like 16 17 year-olds women in nature just having cooled crawled out of the primeval sludge probably all right again the seated Bay that the long hair you know caressing in the back the cute face turned away the background you know you know in she's in nature she's definitely not doing anything she simply is a body and I thought this was really gives you a very much this idea by 1894 again you get nudes bathing I don't know how many people bathe nude people just didn't bathe the full stop you know in the 19th century but as sort of you know nymphs and Shepherds cavorting in in the sort of sludgy out those of the sin I don't think so so this in many ways are totally of his imagination so how far has he gone away from impressionist technique and subject matter so he's turning his back on it he's going back to trying to catch the eternal alright which is exactly the opposite of what the painting of modern life was about catch the transient the minute that passes are at change this is going back to the eternal and what could be more eternal than women you know right back to the garden of these they were there got mean there that would naked in the Garden of Eden still naked in the sin large bathers 1887 again very he's now influenced by Rubens as you as you can see women here you can very much see this idea of women a very large backside in a small head alright intelligence you know it with social Taoism wasn't something and in fact Renoir makes outrageous statement smoke too which I will refrain from saying that one one of which is you know fancy going to bed with an intelligent woman you know there's nothing or nothing was than that and also oh I paint with a certain part of my anatomy etc and so on this was Suzanne validol I think she was actually quite elderly at that stage probably twenty-two but he's managed to make her look like someone who's you know having fun splashing her friend who's sort of that's why she's actually got her foot in the air so Arcadian women as nature and an individualized simply women as the eternal feminine by 1910 this is he's sort of getting very much older now but these paintings are becoming more and more monumental by now he is actually moved out of Paris and is attempting to live in he's living in the South of France and can use your mail which isn't can it's Canyon on the Mediterranean coast with the light is very bright this will be where many of the painters go to paint and he will be actually there during the second world first world war and in fact one of his last paintings is bathers at connoisseur mare as France is being bombarded he is going further and further back into the past these paintings so far as I'm concerned don't say anything about society and they certainly haven't move good forward to a new style and new opening as to what represents in a society which is falling apart toulouse-lautrec snervous brushstrokes and his development of his posters move out forward do Garwood as well this going backwards in subject matter and also in style really I feel it comes to a dead end and in fact there was a dead end he will know it's not quite what I was I thought it was another this is a self-portrait in 1910 he'll die in nineteen almost in 1920 at the age of 79 he paints right up to the end his family are with him two of his sons are quite will become quite famous Jean will become the great director as the filmmaker and a Pierre becomes an actor and right until the end even though he's crippled with arthritis he continues to pain so here's someone who's and he says at the end I think I've almost got it but he but I think he paints best flowers and I think they really are very well rendered but if you actually look at some of those nude you see that the way he painted women as I said as they were flowers well while this flower painting and nude painting is continuing on the coast France is falling into this murderous collective suicide of Europe the great very long 19th century dies in the trenches of the First World War the society that emerges will have to have an art which represents a total fragmentation in fact you will get surrealism which will come out of this art which will have to deal with the death of God in many ways in the great war I'm sorry so the two artists we have looked at are then really taken this idea of modernity in two different directions to lose a trick dying very young but pushing the boundaries in his subject matter and in his style developing new methods of treating art and society when were playing or in world with us a word that I'm trying to look for working in the style of the Impressionists can continue to use some of their techniques but eventually going back to selling through the bourgeoisie through the salon and finally going back to subject matter which is very far from being able to represent the convulsions of Europe at the time thank you [Applause] [Music] [Applause] [Music]

Channel: Sylvia Sagona

Views: 3,455

Keywords: Sylvia Sagona, Travels Through Time, Toulouse-Lautrec, Renoir, Impresssionists, Paris, French art

Id: 9APNlspXHyE

Length: 86min 46sec (5206 seconds)

Published: Sun Dec 10 2017