Intimacy I Dolo Criollo


Ídolo Criollo

posted by alias A.Davey on Wednesday 15th of November 2017 08:36:10 AM

Jean León Pallière (Rio de Janeiro, Brazil 1823 - Lorris, France 1887) ca. 1861 Oil on fabric 100 x 140 cm Museo Nacional de Bellas Artes, Buenos Aires, Argentina It's art history time! Grab a cup of your favorite beverage and enjoy a scholarly piece about the artist and the painting from the Museum's Web site: Born in Rio de Janeiro and belonging to a family of French artists, Jean Pierre Léon Pallière Grandjean Ferreira traveled to Paris at the age of seven, where he began his artistic training until returning to South America in 1848. After a brief stay in Buenos Aires, he settled in his hometown and went to the Academy of Fine Arts, where he obtained a scholarship to complete his education in Europe. In 1850 he entered the Academy of France in Rome, and in the following years he alternated short stays in Paris with tours of Italy and trips through Spain and Morocco. Pallière resided in Buenos Aires from the end of 1855 to 1866, year in which he returned to France definitively. Acute observer of a country in formation, seems to have found in the slope of costumbrismo a response to the challenge of visually representing the peculiar notes of the Pampas, favorite scene of his works. Pallière brought other resources into play to capture the vast plain in images. The pampa is the scene of his most important painting, known as Creole Idyl. The main subject of the work, the declaration of love of the gaucho to a young woman outside a ranch, was taken to the canvas by means of the combination of different elements that Pallière collected in his trips through the interior of the country and his excursions for the Buenos Aires campaign. Not surprisingly, as noted by Payró, the gaucho, the ranch and other details of the oil are presented with few variations in other paintings and lithographs, since they come from the "documentary archive of drawings and watercolors relatively small" that the painter managed. Rural sociability and romantic relationships exerted a strong attraction in Pallière, who highlighted them as curious features of life on the plain, both in his Diary and in the images he produced during his stay in Argentina. In effect, the reiterated references to the carefree and non-guilty way of relating that couples showed, and above all their happiness, show a look that, traversed by literary models, constructs an idealized version of life in the countryside. Thus, this and other works of Pallière seem to rest in a particular relationship between narration and landscape. In Idyll ... , that which belongs to the sphere of the story -the intimacy not yet consummated of the couple, which is expressed in the space between the two bodies-, functions as the central axis of the painting and concentrates the attention of the spectator. But the strip of land in the foreground, occupied by domestic animals and various objects, takes the view to the left, towards that portion of landscape in the form of a flat horizon on which a horse is framed perfectly framed between the two supports from the ranch gallery. The small spontaneous and rustic love story acquires meaning in reference to the simplicity of the place in which it develops. The moments of leisure of gauchos and countrymen and their laborious transit by the plain, that are subject of other paintings and engravings, turn out to be events linked to the geography of the pampa. The horizon line unites events, characters and surroundings giving visibility to the topic of rural outdoor habits. The artist represents the pampa as an element only in adjective appearance, a fragment that in metonymic form is enough to evoke the immensity of the plain. The historiography of Argentine art has insisted on pointing out the stylistic eclecticism of Pallière, an aspect that in some authors falls under a negative evaluation. In his meticulous study, Payró ruled that the painting "has net artistic values, but it will interest mainly from the documentary point of view," although he pointed out the more "plausible" than true character of Pallière's work. The Idyll ... shows the rigorous geometry that dominates the composition of many of the works of the artist, and that is typical of his academic training, while the workmanship reveals in some parts the romantic influence, in accordance with the main theme of the painting. This combination may explain the positive reception Pallière's images had in his time. In them, according to the Buenos Aires press, the extensions of the pampa acquired "majesty", the closed vegetation of the Chaco was "magnificent", and the customs of the gauchos, far from appearing rustic, were imbued with "poetry". The works of the traveling artist thus provided an ordered image of the surprising variety and disquieting disproportion of Argentine geography, and also of the lives of its inhabitants, under a sign of balance and beauty. A persuasive version of the country destined to last, judging by the subsequent critical fortune quoted by Payró, which highlighted Pallière as the faithful documentary maker of the customs of the past.


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