UA-81275160-1 Woman Gathering Wood Barbizon School - Hart Paintings

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Woman Gathering Wood Barbizon School

£1,500.00 £800.00

 

 

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Woman Gathering Wood, Barbizon School

Oil on Canvas

Partial signature

Painted 1860’s

Frame size 65.75 ins (1670 mm) by 45.75 ins (1162 mm)

Canvas Size 58.5 ins (1493 mm) by 38.5 ins (978 mm)

The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870. It takes its name from the village of BarbizonFrance, near the Forest of Fontainebleau, where many of the artists gathered. Some of the most prominent features of this school are its tonal qualities, color, loose brushwork, and softness of form, including this oil Painting Woman Gathering Wood Barbizon School

History

In 1824 the Salon de Paris exhibited works of John Constable, an English painter. His rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes are the subjects of their paintings.. During the Revolutions of 1848 artists gathered at Barbizon to follow Constable’s ideas, making nature the subject of their paintings. The French landscape became a major theme of the Barbizon painters.[2]

The leaders of the Barbizon school were Théodore RousseauJean-François Millet, and Charles-François Daubigny; other members included Jules DupréConstant TroyonCharles JacqueNarcisse Virgilio DíazPierre Emmanuel DamoyeCharles Olivier de PenneHenri HarpigniesPaul-Emmanuel PéraireGabriel-Hippolyte LebasAlbert CharpinFélix ZiemFrançois-Louis FrançaisÉmile van Marcke, and Alexandre Defaux.

Millet

Millet extended the idea from landscape to figures — peasant figures, scenes of peasant life, and work in the fields. In The Gleaners (1857), for example, Millet portrays three peasant women working at the harvest. Gleaners are the poor people who gather the remains after the harvest. The owners and their laborers are in the background. Millet shifted the focus and the subject matter from the rich to the poor. To keep them anonymous he hid their faces. The women’s bowed bodies represent their everyday hard work.

Jean-Baptiste-Camille Corot

In the spring of 1829, Jean-Baptiste-Camille Corot came to Barbizon to paint in the Forest of Fontainebleau, he had first painted in the forest at Chailly in 1822. He came back to Barbizon in the autumn of 1830 and summer of 1831, tyo make drawings and oil studies, for his painting  “View of the Forest of Fontainebleau'” (National Gallery in Washington). Salon 1831. In 1832 he painted the same subject.. he mixed with Théodore RousseauPaul HuetConstant TroyonJean-François Millet, and the young Charles-François Daubigny.[3]

1860’s

In the late 1860s, the Barbizon painters attracted the attention of a younger generation of French artists studying in Paris. Several of those artists visited Fontainebleau Forest to paint the landscape, including Claude MonetPierre-Auguste RenoirAlfred Sisley and Frédéric Bazille.[4] In the 1870s those artists, among others, developed the art movement called Impressionism and practiced plein air painting.

Théodore Rousseau (1867) and Jean-François Millet (1875) died at Barbizon.

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