Bastien's father grew grapes in a vineyard to support the family. His grandfather also lived in the village; his garden had fruit trees of apple, pear, and peach up against the high walls. Bastien took an early liking to drawing, and his parents fostered his creativity by buying prints of paintings for him to copy.
At the school he spent more time working alone and drawing than attending classes.
Jules fought in the Franco-Prussian war as a young man. After the war he returned home and painted the villagers. His first notable success came with his painting Song of Spring in A few points worth mentioning here is that both Jules and Joan grew up in the same village of Lorraine. Joan of Arc, the knight of faith from Lorraine, acquired new significance and meaning for the injured nation — the martyr became a figure that could help raise morale.
To begin with, there is the unusual, and beautiful figure of Joan. She looks overcome, flushed, her head titled and eyes wide, as though she is possessed, suddenly becoming aware to a divine presence and a higher state of being. The way Jules has rendered her is masterful. Of the posturing, what is perhaps most notable is the raised arm.
The hand seems to yearn toward, and carry the eye to the golden path, that leads out of the painting. There is a suggestion through color and composition, this is the divine path that Joan will walk once inspired, it is a golden path that leads out of the garden, away from the home.
She opens her hand to the path as though she is being led there by the Saints. She also shows the path to the viewer — we as viewers of this instant bare witness to the moment of divine inspiration and vision of future.
With the way the distant foliage is entering the hand of Joan, there is a sense that the future is merging with the present, or, what is far away is also close.
Still focusing on the arm, I noticed there was a curious compositional decision to place either chopped wood, or light roots of the tree beneath her raised arm. The wood begins to function as feathers of the wing, and there is again a strange synthesis between the raised arm and what would be the background of the painting.
The painting becomes more abstract, no longer abiding by rules of physical space perception — or rather, it simultaneously demonstrates representative understanding of physical space, and also a more abstract perception of the space of painting as a space removed from reality. This ambiguity, or synthesis, is carried out with such grace that it never becomes confusing, it allows the viewer to make choices on what to see and what to accept — the depiction functions both as a representative painting, and also in a space for the imagination.
There is a sense, with this painting, that Joan is being engulfed — the garden is bending the rules of physical reality — the light source is unclear or irrational as is faith — she has become immersed in this fertile faith — green, gold, alive, intense.
The depiction of the Saints takes place behind Joan, they are only there for the viewer — Joan has already internalized them, she listens, looks up and away, further. There is an understanding of the moment, Jules must have thoroughly felt the moment of inspiration and faith — a painting is understanding the instant of the depiction.Joan of Arc – – ″ x ″ – Jules Bastien-Lepage Jules Bastien-Lepage (), a French Naturalist painter, drawn to art at a young age, his family lived in a .
Joan Of Arc, by Jules Bastien-Lepage. Realism. history painting, genre painting. Metropolitan Museum of Art (Met), New York City, NY, US.
Leading the revival of realism in the visual arts, the Art Renewal Center (ARC), a (C)(3), non-profit, educational foundation, hosts the largest online museum dedicated to realist art only and includes works by the old masters, 19th century, and contemporary realists as .
Joan of Arc, the medieval teenaged martyr from the French province of Lorraine, gained new status as a patriotic symbol when France ceded the territory to Germany after the Franco-Prussian War (–71). The Artist: Jules Bastien-Lepage lived for only thirty-six years, but he made a large impact on the French art world of the second half of the nineteenth century (see fig.
1 above, and Augustus Saint-Gaudens’s medallion made in tribute to him, The Met, ).Like Joan of Arc, he was a product of a poor family from the rural province of Lorraine in the northeast of France.
Joan of Arc Review by: Jeff Patterson No other work for me of the Impressionist era (even tipping into Post-Impressionism for that matter) has had quite an effect on my eyes like Jules Bastien-Lepage's intriguing work Jeanne d'Arc of