Corot : le modèle enfant, l’impression d’enfance

Thème important de sa peinture, l’enfance que peint Jean-Baptiste Camille Corot (1796-1875) est intimement liée aux conceptions éducatives et esthétiques de son temps. En la présentant sous un jour simple et rustique, l’artiste s’affiche comme un héritier de Jean-Jacques Rousseau. En se concentrant sur le regard de l’enfant, Corot met en lumière son propre regard sur le monde et sa volonté de « voir et rendre la nature sans parti pris ». Un lien peut être établi entre certains traits stylistiques de la peinture de Corot – sa naïveté revendiquée, son travail par les masses – et cette insistante représentation de l’enfant, qui prend, dès lors, une dimension allégorique. Chez Corot, enfance de l’art et figure de l’enfant sont donc indissociables : l’enfant symbole de sa peinture invite à la comparaison avec d’autres artistes, en particulier Gustave Courbet (1819-1877).An important theme in his painting, childhood as painted by Jean-Baptiste Camille Corot (1796-1875) is intimately linked to the educational and aesthetic concepts of his time. By presenting it in a simple and rustic light, the artist reveals himself as an heir of Jean-Jacques Rousseau. By concentrating on the child’s gaze, Corot exposes his own gaze upon the world and his desire to ‘see and render nature without bias’. A link can perhaps be established between certain stylistic features of Corot’s painting —his avowed naïvety, his work for the masses— and this insistant representation of the child which thence takes on an allegorical dimension. With Corot, the childhood of art and the figure of the child are indissociable: the child-symbol of his painting invites comparison with other artists, particularly Gustave Courbet (1819-1877)

Catalogue of Etchings Presented to Bowdoin College by Charles A. Coffin of New York, May, 1923

Contains biographical sketches.https://digitalcommons.bowdoin.edu/art-museum-collection-catalogs/1009/thumbnail.jp

A paleta do Grupo Grimm

O artigo em questão tem como objetivo abordar algumas evidências encontradas nos arquivos do Museu Dom João VI, no Rio de Janeiro, acerca de uma fatura de compra pertencente à Academia Imperial das Belas Artes datada de 1883, com pedido de tubos de tinta incomum, como sendo de autoria de Georg Grimm. No qual é estabelecido para essa hipótese a comparação das paletas dos professores da Cadeira de Desenho e Pintura de Paisagem, Flores e Animais – Vítor Meireles de Lima e João Zeferino da Costa – além, das possíveis relações com os métodos de pintura empregados por Jean-Baptiste Camille Corot. Culminando estas evidências com as demais contidas no artigo no que acredito ser a paleta do Grupo Grimm

Paul Durand-Ruel and the market for early modernism

This thesis examines the art sales and marketing of Impressionism in the late nineteenth century, focusing on the dealer Paul Durand-Ruel. Throughout the nineteenth century in Paris, the Académie des Beaux-Arts wrote the history of art by supporting certain artists who followed its ideas of what art should look like. The artists that the Academy chose to support had lucrative careers; they were offered commissions from both the church and state to paint grand historical pictures. Throughout the nineteenth century and until World War II, Paris was the artistic center of the world, and the birthplace of many avant-garde groups. Forward-thinking artists gathered together in the city to discuss their ideas about the development of contemporary art. The first of these modern movements comprised a small group of artists who in the 1860s abandoned their traditional Academic training to be allowed the freedom to paint in their own chosen style. These artists defined themselves in opposition to the Academy, which had complete control over artists\u27 careers at the time, and in so doing were forced to find their own ways to make a living. The Impressionists\u27 independent spirit created a need for dealers free of the Salon\u27s constraints who would institute a new outlet for the display of works of art. Paul Durand-Ruel supported these artists by paying monthly stipends in advance for work produced to allow them to continue creating work. He created an intimate gallery setting which showed the individual work and artist more than the Salon setting, in order to cater to a new audience. He did not rely on the Salon for authorization, as dealers had done before him, and this decision has influenced the way private dealers and artists function to the present day. This thesis traces the Durand-Ruel Gallery from Paris to New York, and along with it the introduction of Impressionism to both French and American audiences