"French poster and decorative images late XIX - early XX centuries" in the Hermitage
ARTinvestment.RU   01 февраля 2010

Since January 2010 at the Winter Palace of the Hermitage brought temporary exhibition "French poster and decorative images late XIX - early XX centuries" from the Hermitage

Since January 2010 at the Winter Palace, the Hermitage (Nadvornaya gallery, III floor) provides temporary exhibition "The French poster and decorative images late XIX - early XX centuries" from the Hermitage collection. Different samples of printed graphics (posters, covers and prints) brings together the typological similarity: printmaking understood not as an independent work, as well as product functionality, which aims, among other things, an ornament of the publication, interior or urban environment. It is no accident most of the exhibits related to 1890 years - an era characterized by a desire to aesthetization life and living space.

emergence of the poster is associated with the name of Jules Cheret. Since the late 1860's he regularly prints large-format color prints, advertising exhibitions, performances, theaters, recreational facilities (such as posters in the Russian tradition, denoted by the term "poster") or industrial products. Can not say that until this point the poster in principle did not exist (the prototypes are still in the XV century), but its modern shape was formed by Cheret. The artist joined the new features to arise in the advertising schedule mid-century (increase in size, emphasis on color and monumental sound), the complete formula, which through constant repetition has become canonical. Opportunities for replication advertising materials gave brilliantly mastered technique Cheret color lithography (with frequent replacement of stone zinc plate, which greatly facilitated the work in the large format).

Largely due Cheret, poster, previously the former rather lot of craftsmen received the status of independent art and began to attract major artists. Unlike their predecessors, who used techniques lubok and cartoons, Cheret was appealing to the aesthetics of the XVIII century (Boucher, Tiepolo, Fragonard). Paradoxically, this passeizm allowed to create a basis for subsequent avant-garde developments. Sanctified tradition of poster art from the category of marginalia to the level goes high, a recognized art. By the end of the century its popularity reaches its climax. Posters collect, exhibit, they devote sumptuously illustrated edition. Lovers Prints are ready in the night to shoot already pasted sheets, just to get them in your collection.

In the work of Cheret, Mucha, Steynlena, Toulouse-Lautrec poster becomes the most powerful means of visual impact. Advertising function is realized due to its decorative qualities. The poster attracts and persuades the expressiveness of the composition, bold pattern, effects of color - and only then inform and refine the details. Is significant that the inscription, which is mandatory for all finished products of this kind is subject to the style and image has become an integral part of its visual component. Font is constantly changing, it emphasizes the man-made, then the regularity of the text, its location on the plane and in space, its relationship with the image. In advertising tissue paper fly repeats the inscription «JOB» four times (which is clearly excessive if we consider it only as a carrier of information), and finally turns into the ornamental motif of "vizantiniziruyuschego" background. In "Japanese couch" Toulouse-Lautrec subtly plays with the similarity of letters and visual signs, forcing them to share their visual characteristics: font, as it were "alive", while succinctly referred to the figures tend to be in hieroglyphics. The black glove on stage singer - Yvette Guilbert - paint a «Y», the first letter of her name, which is in the caption to remain anonymous, just as the outside of the image left her face.

However, the problem of advertising and the rise to specific restrictions. The poster is aimed at the mass audience, and should take into account his tastes and preferences. Hence - the tendency to repetition, to the formation of stable stamps attraction to entertainment and kitsch, distinguished not only by artists of the second series (such as Paean, Lourdes, and Dhamar), but also a recognized master - Cheret and Muhu. If the terms of "high art" is undeniable shortcomings, then from the standpoint of functionality - perhaps the benefits. Naturally, the artist replicates the style and imagery, which is acclaimed success with the public and, accordingly, to ensure the attractiveness of the poster. In order to avoid stereotypes, you have artistic and aristocratic Toulouse-Lautrec.

combination of functionality and decoration is also characteristic for portrait and landscape cover. This type of printed graphics brought the brilliant work of the same Lautrec, which cleverly used the very form of a turn, giving the sequence of perception (front and back side).

At the turn of the century are spreading and prints, created specifically for interior decoration, as a replicable analog pictorial panels. These include a series of Eugène Grasset - one of the leading masters of Art Nouveau in its restrained-oriented tradition, form. Format panel hints at their intended location in the interior: elongated horizontal - desyudeporty, vertical - framing of doors or windows, the square - decorative "insert" on the free plane of the wall. Estampes Grasse are allegorical in nature - each of them represents a certain quality of mind or emotional state, which corresponds to a flower or plant. While it remains unclear is whether the basis for a series of any particular literary source or emblematic.

exposition was prepared MV balanitis, curator of French engravings XIX - XX centuries Department of Western Art of the State Hermitage.

Source: hermitagemuseum.org



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