This preview has intentionally blurred sections. Sign up to view the full version.View Full Document
Unformatted text preview: Megan Sanders HA &amp;A 1410 Realism and Impressionism Robert Herberts article City v. Country: The Rural Image in French Painting from Millet to Gaughin introduces the importance of urbanization during mid nineteenth century in France. Statistically, Paris and its surrounding suburbs population doubled between 1831 and 1851. This huge increase was due to the peasants leaving their land in turn for a piece of the textile jobs offered in the city. By 1860, one-sixth of farmers left their land, never to return again. In 1848, the National Assembly t ried to determine ways to shrink the flowing population, although the need for city labor was eminent. The depopulation of the country directly correlated with the rise of peasants in Paris. This massive emigration was noticed by all, including artists. The portrayal of the peasant was thus one of the first symbols of change because it could be associated with the new hero, the common man. Champion was Jean Francois Millet known as the peasant painter through the 1850s. Artists wanted to reincarnate the heroes found within Renaissance and Baroque art. Many subjects were painted with sweeping curves and continuous movements to induce a feeling of natural power. This way, the peasant is seen raw and direct in front of its audience. The novelty of peasant artwork was first seen as a radical symbol. Critics claimed that peasants could not be compared to the embellished themes from religion, mythology and history. Many believed the common man was meant to stir rebellion, as the memory of peasant revolts was still fresh in aristocratic memory. For Millet, the common man represented the struggle of a man for existence and his oppression by fate. Most famous, The Man with a Hoe depicts a static life full of weariness and devoid of strong emotions. The thorns in the corner of the painting allude to the passion of Christ. While other artists portrayed peasants as content with their peaceful tasks and pretty faces, Millet was consistently painting the real, and opposite. Another article Parisian Social Statistics: Gavarni, Le Diable a Paris and Early Realism written by Aaron Sheon discusses the need, then usage for a statistical census within Paris in the 1830s and 40s. The founding of the Parisian statistical bureau is due to the rapid change from an agricultural economy to the industrialization of the city. Unemployed farmers were forced to emigrate from their rural homes to their new urban lives. Therefore, Paris became densely populated by peasants with little industrial skills, who then took lower paying jobs, with no security and dangerous conditions for their health. This new lower paying jobs, with no security and dangerous conditions for their health....
View Full Document
- Spring '10
- peasants, Octave Tassert, Parisian Social Statistics, painter Octave Tassert