Research Point : Still Life (Part 2 :18th to 20th Century)

Explore the development of still life through the eighteenth, nineteenth and twentieth centuries. For example look at how traditional still life subjects were dealt with in some early cubist paintings by Braque and Picasso. Investigate how some contemporary artists are exploring this genre. 

In the 18th century, artists concentrated less on the symbolic content of their work.(1) One of the most famous 18th Century still life painters was Jean-Siméon Chardin: 

Chardin: The Silver Cup 1769. Oil on Canvas
(Source: Wikipedia)

Chardin: A Vase of Flowers. 1750. Oil
on Canvas (Source: Wikipedia)

Chardin chose the items in his still lives based on their appearance and textures rather than for any symbolic function. 'The Ray' is one of his earlier works which gained him recognition by the French academy. He continued to hone his style and his mature works are characterised by a quiet luminosity and simplicity. He worked very carefully to achieve balance in his composition and harmony in tones and colours.(2) This is in marked contrast to the dominant Roccoco style of the day with its curlicues and naughty cherubs exemplified by the painting below:

Jean-Honoré Fragonard: The Swing. 1767
Oil on Canvas. (Source: Wikipedia)

To a modern eye. the pared down simplicity of Chardin's compositions are more palatable and familiar than the over-the top Roccoco style. His work would influence may later painters of still life including Cezanne. 

In the 17th and 18th Century, the dominance of the French Academy still held and the hierarchy of genres put still life firmly at the bottom of the pile. Even a still life painted with great mastery such as 'Still Life with Peacock and Dog' by Jan Weenix would be considered as just an exercise for the artist to learn techniques before moving up to a more worthy Genre. (1)

Jan Weenix: Still life with Peacock and Dog. 1796
Oil on Canvas. (Source: Wikipedia)

With the start of the industrial revolution, people began to migrate into urban areas in search of wealth. There was a change in attitudes to religion and to the state bolstered by the French and American revolutions. People were therefore becoming less concerned with piety in this life to build up credit for a good afterlife and became more interested in the enjoyment of this life on earth. Still life also reflected this. 

Francisco de Goya: A Butcher's Counter
1810-12 Oil on Canvas

Francisco de Goya: Still Life with Golden Bream
1808-12 Oil on Canvas

Both of the above still lives by Goya are comments about abundance but they also hark back to the vanitas tradition because meat and fish are perishable items and so call to mind transience. (1) Rembrandt had preceded this with his Flayed Ox in 1655. In the 20th Century, Francis Bacon would also revisit this theme. His Crucifixion of 1933 and his Pope Surrounded by Sides of Beef of 1954 recall Rembrandt's earlier work and make more obvious the similarity of this image to the image of Christ on the cross. 

In Victorian times, the symbolism associated with still lives became much more bland. This was especially true of images of flowers as there was a codified meaning to flowers. It is well known that red roses would signify true love (they are still in widespread use as Valentine's day gifts today for this reason). However did you know that sunflowers were a symbol of haughtiness and a gift of hyacinths were given as an apology? (1) The work of French artist Henri Fantin-Latour was extremely popular in the UK at this time. To my eyes, accomplished somewhat insipid and repetitive but this reflects the tastes of the times.

In the second half of the 19th Century, paintings of everyday life and still life came to the fore with the rise of the impressionists. This was in part a reaction to the strict hierarchy of genres laid down by the French Academy. Edouard Manet was one of the earlier of the wave of artists pushing these boundaries. 

Edouard Manet: Still Life with Fish
1864 Oil on Canvas

In the above image, the bolder brushstrokes and interest in the effects of light which herald the start if impressionism can clearly be seen. 

Paul Cezanne pushed these boundaries further. His Still Life with Skull and Candlestick is a direct descendant of the vanitas still life but with much looser /more expressive brushwork. His later still lives show how much he had developed and honed his style. His Still Life with Apples of 1890-94 still looks modern today. He started to play with the rules of perspective and created forms with smoother brushstrokes than he had used previously. These developments went on to strongly influence the work of the Fauves and the Cubists. 

Paul Cezanne : Still Life with Skull and Candlestick
1866 Oil on Canvas

Paul Cezanne: Still Life with Apples
1890-94 Oil on Canvas

 

References:

(1)

(2) http://www.artyfactory.com/art_appreciation/still_life/chardin.htm

Picture References:
(1) http://en.wikipedia.org/wiki/Jean-Baptiste-Siméon_Chardin#/media/File:Jean-Baptiste_Siméon_Chardin_007.jpg

(2)http://commons.wikimedia.org/wiki/Category:Still_life_paintings_by_Jean_Siméon_Chardin#/media/File:Chardin3.jpg

(3)http://commons.wikimedia.org/wiki/Category:Still_life_paintings_by_Jean_Siméon_Chardin#/media/File:Jean-Baptiste_Siméon_Chardin_026.jpg

(4) http://en.wikipedia.org/wiki/The_Swing_(painting)#/media/File:Fragonard,_The_Swing.jpg

(5) http://upload.wikimedia.org/wikipedia/commons/e/e3/Jan_Weenix_-_Still-Life_with_a_Peacock_and_a_Dog_-_WGA25517.jpg