{"id":10211,"date":"2019-12-07T17:11:34","date_gmt":"2019-12-07T17:11:34","guid":{"rendered":"https:\/\/portraitonpastel.com\/?p=10211"},"modified":"2019-12-07T17:11:34","modified_gmt":"2019-12-07T17:11:34","slug":"pastel-painting-exhibition-touching-the-color-the-renewal-of-pastel-2","status":"publish","type":"post","link":"https:\/\/portraitonpastel.com\/en\/pastel-painting-exhibition-touching-the-color-the-renewal-of-pastel-2\/","title":{"rendered":"Pastel painting exhibition; “Touching the color, The renewal of Pastel” (2)"},"content":{"rendered":"

The 18th<\/sup>Century as a Mirror<\/strong><\/p>\n

Although pastel is a technique saw a formidable rise in popularity during the 18th<\/sup>century, to the pointed situating itself as an equal in comparison to other techniques, it never managed to fully conquer its legitimacy versus oil painting. Its intrinsic fragility and the fact that it is used as a tool for drafting placed it in an ambiguous position \u2013on the fringe- something that would paradoxically turn out to be its greatest value.<\/p>\n

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\u00c9mile L\u00e9vy (1826-1980), “Portrait of Madame Charles Steeg” 1887, \u00a9photo by Bogra art studio, 2019<\/p><\/div>\n

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\u00c9mile L\u00e9vy, “Portrait of Madame Charles Steeg” (detail), 1887, \u00a9photo by Bogra, 2019<\/p><\/div>\n

When reviewing pastel art during the 19th<\/sup>and 20th<\/sup>centuries we encounter somewhat of a trend: allusions to the 18th<\/sup>century configure a true narrative discourse. This can be observed in an artist as late as Jean H\u00e9lion whose pastel self-portrait explicitly references a renown self-portrait by another pastel artist precisely from the 18th<\/sup>century: Jean Sim\u00e9on Chardin.<\/p>\n

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Jacques-\u00c9mile Blanche (1861-1942), “Elegant in Yellow Dress”, 1890 \u00a9photo by Bogra, 2019<\/p><\/div>\n

These echoes are not only a play on tradition. Pastel artists are conscious that they are suspected to practice a type of painting that is second-tier; thus their invocation of the 18th<\/sup>century becomes a means to appropriate some of the legitimacy acquired by their predecessors.<\/p>\n

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Albert Edelfelt (1854-1905), “Louis Pasteur Vallery-Radot”, 1891, photo by \u00a9Bogra art studio, 2019<\/p><\/div>\n

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Albert Edelfelt, “Louis Pasteur Vallery-Radot” (detail), 1891, photo by \u00a9Bogra art studio, 2019<\/p><\/div>\n

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Albert Edelfelt, “Louis Pasteur Vallery-Radot” (detail), 1891, photo by \u00a9Bogra art studio, 2019<\/p><\/div>\n

Nevertheless, the homage to the prior century can also obey more specific aesthetics motives. 18th<\/sup>century pastels with their lightness, charm, elegance, and ease, constitute an invitation to free one\u00b4s self from the conventions and rules imposed by academic programs. Jules Ch\u00e9ret, for example, conveyed this notion by electrifying his compositions with energy that critics of the time defined as \u201cfanfare of colors\u201d and \u201cflashes of fantasy\u201d.<\/p>\n

The Society of French pastel Artists: An Eclective Collective<\/strong><\/p>\n

In 1885, Roger Ballu, Inspector of \u201cBeaux art de France\u201d, create the French Pastel artists society, specifically charged to \u201cshow, develop, and encourage the art of pastel\u201d.<\/p>\n

\"\"

Giovanni Boldini, (1842-1931), “Portrait of Gyp” ,1894, photo by \u00a9 Bogra art studio, 2019<\/p><\/div>\n

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Giovanni Boldini, (1842-1931), “Portrait of Gyp” (detail), 1894, photo by \u00a9Bogra art studio, 2019<\/p><\/div>\n

In a way, the creation of a structure dedicated to the protection of the pastel indicates that the legitimacy of the technique is still in question. In this sense, the first exhibition in 1885 of the society, which includes numerous works of the masters of 18th <\/sup>century, is an obvious sign; the pastelists, in pursuit of prestige and credibility, seek illustrious predecessors.<\/p>\n

\"\"

Pierre Carrier-Belleuse (1851-1932), “Ballerina Tying Her Shoe” 1892, (Pastel on canvas) photo by \u00a9Bogra art studio, 2019<\/p><\/div>\n

\"\"

Pierre Carrier-Belleuse, “Ballerina Tying Her Shoe” 1892, (Pastel on canvas) photo by \u00a9Bogra, 2019<\/p><\/div>\n

The Society, attentive to the talent of its members, does not impose any aesthetic, so that its exhibitions are characterized by eclecticism and thematic diversity; the views of towns that make Jean Charles Cazin famous are rubbing shoulders with the landscapes of Alexandre Nozal while the serene and classic figures of Pierre Puvis de Chavannes, contrast with the much more resplendent of Albert Besnard.<\/p>\n

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Pierre Puvis de Chavannes (1824-1898) “The model”, 1887, \u00a9photo by Bogra art studio, 2019<\/p><\/div>\n

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Pierre Puvis de Chavannes (1824-1898) “The model”, 1887, Detail, \u00a9photo by Bogra, 2019<\/p><\/div>\n

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Pierre Puvis de Chavannes (1824-1898) “The model”, 1887, Detail, \u00a9photo by Bogra, 2019<\/p><\/div>\n

In his thirty years of existence, the French Pastelist Society manages to place this medium under the spotlights. However, recognition ceases to be imperfect since, in the absence of renewal, the society ages and isolates itself from truly innovative artists.<\/p>\n

\"\"

Albert Besnard (1849-1934), “Woman with Parrot”, Pastel on paper, \u00a9photo by Bogra art, 2019<\/p><\/div>\n

\"\"

Albert Besnard (1849-1934), “Woman with Parrot”, Pastel on paper, \u00a9photo by Bogra art, 2019<\/p><\/div>\n

\"\"

Albert Besnard, “Woman with Parrot” Detail, Pastel on paper, \u00a9photo by Bogra art studio, 2019<\/p><\/div>\n

And the fact is that neither does it enter into the spirit of modern artists, how open they are to the unprejudiced use of different media, to adhere to a Society that defends one technique over another and continues to put the remote 18th century on the pedestal.<\/p>\n

(Texts from the exhibition; “Touching the color, The renewal of Pastel”, Casa Garriga Nogues, 2019.)<\/p>","protected":false},"excerpt":{"rendered":"

The 18thCentury as a Mirror Although pastel is a technique saw a formidable rise in popularity during the 18thcentury, to the pointed situating itself as an equal in comparison to other techniques, it never managed to fully conquer its legitimacy versus oil painting. 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