Charles-François DAUBIGNY - Un souffle d'air frais dans l'école de Barbizon
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| Charles-Francois Daubigny, Deer in the Forest, 1850, etching, ink on paper, 27.8 cm x 21.7 cm Gemeentemuseum Den Haag |
Dans le cadre d'une exposition consacrée aux gravures de l'École de Barbizon, le Musée Communal de La Haye présente une sélection de gravures de Charles-François Daubigny.
Gemeentemuseum
Den Haag has one of the Netherlands’ largest collections of
19th-century graphic art, including many prints by the most important
representatives of the Barbizon School: Theodore Rousseau, Jean-François
Millet, Jean-Baptiste Corot and Jean-François Daubigny. A selection of
45 prints of the finest landscapes and a small number of portraits will
be shown in the museum’s Berlage Room.
In
the mid-19th century a group of young artists settled in the French
village of Barbizon, close to the forest of Fontainebleau, just outside
Paris. There, taking a fresh look at the world, they painted the simple
rural life, free of all academic convention. Their practice of painting
‘en plein air’, in the open air, enhanced the realism of their work.
In
the years that followed the Barbizon School became an important role
model for artists from all over Europe. The quiet village of Barbizon
turned into an international artists’ colony, where artists from the
Netherlands, Germany, Sweden, Britain, Belgium and even the United
States went to paint the landscape as Rousseau and Millet had done. The
painters of the Hague School and German artist Max Liebermann also
regarded the Barbizon School as an important source of inspiration.
Liebermann, whose work will be on display at the Gemeentemuseum at the
same time, in a major retrospective, was for example a big fan of
Millet.
Etching and lithography
The
realism, or naturalism, of the Barbizon School was popular not just
because of the paintings. Artists like Rousseau and Millet were among
the first to embrace graphic techniques such as etching and lithography,
making clever use of these new techniques to reproduce their drawings
and paintings. The wide distribution of these prints allowed artists
from around the world to discover the realism of this small group of
artists in the village of Barbizon. After a time, graphic techniques
evolved from a medium for reproducing paintings into an independent art
form. Painters like Daubigny deliberately explored the graphic potential
of printing, experimenting with devices such as compositional tension
and strong light and shade contrasts.
(Source : Service de Presse du Gemeentemuseum Den Haag)
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| Charles-Francois Daubigny, Tree with Crows, 1867, etching, ink on Chine-collé, 28.8 cm x 37.3 cm Gemeentemuseum Den Haag |
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| Charles-Francois Daubigny, Return of the Flock, 1862, cliché-verre, ink on paper, 36 cm x 29 cm Gemeentemuseum Den Haag |
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| Charles-Francois Daubigny, Dawn (Song of the Cockerel), undated, etching, ink on paper, 36.2 cm x 27.4 cm, Gemeentemuseum Den Haag |
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