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Bazille's Studio (L'atelier de Bazille) is an oil-on-canvas painting created in 1870 by the French impressionist Frédéric Bazille in collaboration with Édouard Manet. The painting is also know as L'Atelier de la rue Condamine[1], The Studio, The Studio on the Rue La Condamine[2]. It has been kept at the Musée d'Orsay in Paris since 1986. It shows the artist himself surrounded by his friends and paintings in his studio, capturing the artistic and social conditions of Paris 1870.[3]
Description
[edit]Bazille shared the studio on the rue de la Condamine, in Batignolles northern Paris with Renoir from January 1868 to May 1870. Bazille is in center stage, holding a palette, next to a framed painting on the easel. Bazille wrote a letter that himself in the painting was painted by his fellow artist Manet. Manet with his reddish beard and hat is standing in front of Bazille. On the right, Edmond Maître, a friend of Bazille, is seated in front of the piano under Monet's still life. Identification of three remaining figures differs within art historians. Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Émile Zola and Zacharie Astruc were nominated as possible figures. Pitman suggests that Renoir and Monet are the ones near the stairs and Astruc is standing beside Manet.[4]: 165 There are other interpretations that Monet is next to Manet, Renoir is seated, and Zola is on the stairs.[2]
The painting placed on the easel is identified as Bazille's View of the Village. Some of the paintings depicted are unfinished La Toilette (Montpelier, Musée Favre) above the sofa, Fisherman with a Net (Zürich, Fondation Rau) on the high left, and the Fortune-Teller beneath the window. The Terrace at Méric (Ohio, Cincinnati Art Museum) on the right top of the wall and small Western Ramparts of Aigues-Mortes (Washington D.C, National Gallery of Art Museum) next to the window are also identified.[5] On the top right of the window, there is Landscape with Two Figures (Paysage avec deux figures) by Renoir of which only the lower left half survives (Woman with Bird). As mentioned, Monet's small still-life painting, Les Fruits is hanging above Maître.[4] The pictures on the wall surrounding the artists are ones that had been rejected at some time by the Salon and for which Bazille is expressing his support. Bazille also depicts the work in progress thus showing 'faithful record of the painting's development'.[4]: 157
X-radiograph
[edit]
The Centre for Research and Restoration of the Museums of France (C2RMF), the National Gallery of Art in Washington and other American museums examined Bazille's paintings through X-radiograph.[6] It revealed hidden compositions beneath Bazille's paintings. In Bazille's Studio, painting similar to Pierre Auguste Renoir's Diana the Huntress is revealed underneath the actual painting. Since Bazille shared his studio with Renoir, it is predicted that Bazille used Renoir's work as a model to practice and study.[4]: 158–159
Interpretation
[edit]Before late 20th, Bazille was just known as a fellow artist who supported famous Impressionists, such as Monet or Renoir. However, when the details of this painting were addressed and Bazille's paintings were displayed in Orsay on 1987, Bazille gained 'modest but secure position among painters'.[3]
Bazille and his fellow artists
[edit]This painting is repeatedly linked with Frantin-Latour's work A Studio at Les Batignolles. It is known to have given Bazille a direct inspiration while painting his studio. Both painting shows artists of Batignolles group gathered in the studio.[4]: 165
Bazille's Studio is a self portrait of Bazille himself, but also a group portrait of his fellow artists. They are all spread out in the studio, showing their usual attitude or favorite occupations. Regardless of their independent and dominant passion, they are all connected with their interest and love in art.[7]
Bazille and the Studio
[edit]Setting up the studio and being in the studio was fundamental in forming Bazille's identity as an artist. Bazille wrote a letter to his parents in 1862, addressing his passion about producing art in his own studio. Bazille moves his studio several times as his artistic group changes and grows.[8]
There are several paintings by Bazille that takes place in his own studio. Studio on Rue Furstenberg (1865) and Studio of The Rue Visconti (1867) are some examples. However, unlike his former paintings, Bazille's Studio particularly stands out due to the fact that the work mostly shows Bazille's own paintings. The figures in the painting are also looking at the works of Bazille, showing appreciations. This symbolizes that Bazille is the one who is responsible for the studio space, and he is the one who is managing everything we can see.[9]
See also
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- ^ François, Daulte; Frédéric, Bazille (1992). Frédéric Bazille : et les débuts de l'impressionnisme : catalogue raisonné de l'œuvre peint (in French). Paris: La Bibliothèque des arts. p. 127.
- ^ a b Jourdan, Aleth., Musée Fabre, Brooklyn Museum, and Dixon Gallery Gardens. Frédéric Bazille : Prophet of Impressionism. Brooklyn, N.Y.: Brooklyn Museum, 1992. 47
- ^ a b Pitman, Dianne W. Bazille : Purity, Pose, and Painting in the 1860s. University Park, Penn.: Pennsylvania State University, 1998. 5
- ^ a b c d e Bazille, Frédéric, Hilaire, Michel, editor, Perrin, Paul, editor, and Musée Fabre, organizer, host institution, issuing body, publisher. Frédéric Bazille (1841-1870) and the Birth of Impressionism. Paris, France : Montpellier, France : Paris, France : Washington, District of Columbia: Flammarion ; Musée Fabre ; Musée d'Orsay ; National Gallery of Art, 2016.
- ^ "L'Atelier de Bazille". Musée d’Orsay.
- ^ "Hidden Paintings in the Work of Frédéric Bazille". National Gallery of Art.
- ^ Daulte, François., and Bazille, Frédéric. Frédéric Bazille : et les débuts de l'impressionnisme : catalogue raisonné de l'œuvre peint. Paris: La Bibliothèque des arts, 1992. 127-130
- ^ Jourdan, Aleth., Musée Fabre, Brooklyn Museum, and Dixon Gallery Gardens. Frédéric Bazille : Prophet of Impressionism. Brooklyn, N.Y.: Brooklyn Museum, 1992. 33
- ^ Champa, Kermit Swiler., Pitman, Dianne W., Brenneman, David A, and High Museum of Art. Monet & Bazille : a Collaboration. Atlanta, Ga. : New York: High Museum of Art ; Distributed by Harry N. Abrams Inc., 1999. 72-74