Les raboteurs de parquet (English title: The Floor Scrapers ) is an oil painting by French Gustave Caillebotte Impressionist. The size of the 102 canvas is 146.5 cm (40.2 inches at 57.7 inches). Originally given by the Caillebotte family in 1894 to Musà © e du Luxembourg, then transferred to Musà © e du Louvre in 1929. In 1947, he was transferred to the country of Galerie du Jeu de Paume, and in 1986, transferred again to MusÃÆ'  © e d'Orsay in Paris, where it is currently displayed.
The originality of Caillebotte lies in its efforts to combine precise depictions, modeling and tonal values ​​driven by the Acadà © à © nie with bright colors, bold perspectives, a keen understanding of natural light and the modern subject of the Impressionist movement. Painted in 1875, this work illustrates Caillebotte's continued interest in perspective and everyday life. In the scene, observers stood on three workers with their hands and knees, scraping wooden floors in a bourgeois apartment - now believed to be Caillebotte's own studio at 77 rue de Miromesnil, in Paris's 8th arrondissement. A window on the back wall recognizes natural light. The workers are all shown with bare torches and slanted heads, showing a conversation. Caillebotte's interest in naked men, arranged in a modern context, has been attributed to his alleged homosexuality. It should be noted, however, that it is part of a larger trend, not limited to homosexual artists, who were first introduced by Courbet in the painting of two wrestlers (SzÃÆ'  © pmÃÆ'¼vÃÆ'  © zeti Museum, Budapest). This is one of the first paintings featuring urban working class. It reintroduces the subject of naked men in painting, but in a very updated form. Instead of the heroes of antiquity, here is the hero of modern life - muscular and strong - in a bending pose that would seem patronizing if they did not convey a sense of masculine power and honest work. There are curly motifs in the picture, ranging from wood shavings on the floor, to the pattern of iron in the toaster window to the curved back and arms of the workers. Repetition in pictures, with three workers involved in different aspects of the same activity but having similar pose, is similar to Caillebotte's contemporary work, Edgar Degas.
Although Caillebotte's effort was incorporated into the painting, it was rejected by France's most prestigious art exhibition, Salon, in 1875. The depictions of the working-class people in their trade, not fully dressed, shocked the jury and considered "vulgar subjects". problem. "He was hurt by this refusal, and instead showed it at the second exhibition of the Impressionists, with whom he had associated himself, in 1876. He presented it with several other works, including a different second version of Raboteurs from 1876, and his earlier work Jeune homme ÃÆ' sa fenÃÆ'ªtre ( Youth in His Window) The description of the floor scratch is associated with Degas washing paintings, also presented at the same exhibition and also ridiculed as "vulgar".
The painting shares opinions among Parisians. Among the critics, Emile Porchoron, a critic of Impressionism, cursed Caillebotte with faint praise: "The worst of the exhibits One of the mission of Impressionism seems to have set for itself is to torture perspective: You see here what results can be obtained. "Zola's miles praised the technical execution, but later called it" anti-artistic painting, glassy paintings, bourgeois paintings, for precision of copying. " Louis ÃÆ' â € ° nault is not distracted by his portrayal ("The subject is certainly vulgar, but we can understand how it might tempt painters") but found fault with the loyalty of the image on the scene: "I just regret that the artist did not choose his type better. The army of the soldiers is too thin, and their breasts are too narrow... may your naked be handsome or not get involved with it! "
The painting received praise from many critics. Regarding the refusal of Salon, poet and critic ÃÆ' â € ° mi BlÃÆ'Ã… © mont call the decision "[a] a very bad sign for the official jurors". Maurice Chaumelin compared Caillebotte well to his contemporaries, writing that the work shows that he was "a realist as raw, but more humorous than Courbet, as cruel, but utterly more precise, than Manet." Philippe Burty makes comparisons with earlier generations of artists: "The images are original in their compositions, but, more than that, it's energetic to describe them as similar to early Florentines."
Video Les raboteurs de parquet
Cultural depictions
- Les Raboteurs , choreographed by Angelin Preljocaj, music by Thierry Lancino, filmed by Cyril Collard (co-prodaction with MusÃÆ' Â © e d'Orsay, La Sept, Opus 10-19 ; 1988).
Maps Les raboteurs de parquet
Note
References
- Herbert, Robert L. (1991). Impressionism: Arts, Comfort, and Paris Society . Yale Press University. p.Ã, 312. ISBN: 0300050836.
- Marrinan, Michael (2002). "Caillebotte as a Professional Painter: From Studio to the Public Eye". In Broude, Norma. Gustave Caillebotte and Fashioning of Identity at Paris Impressionists . Rutgers Press University. ISBN: 0813530180. Ã,
- Varnedoe, Kirk (2000). Gustave Caillebotte . Connecticut: Yale Press University. p.Ã, 55. ISBNÃ, 9780300082791.
- Petra Ten-Doesschate, Chu (2011). European art of the nineteenth century (third edition). Prentice Hall. p.Ã, 402. ISBNÃ, 9780205707997.
- "Gustave Caillebotte". EncyclopÃÆ'Â|dia Britannica . EncyclopÃÆ'Â|dia Britannica, Inc . Retrieved December 11 2014 .
Source of the article : Wikipedia
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