Edouard Cortes’ scenes of Parisian streets in Autumn – with rainy avenues, golden leaves falling on grey pavements, hustle, carriages, jade-coloured light of street lamps, tramways – form a perfect background for daydreaming in these cold, misty and gloomy days when winds roar and leaves that flutter in lonely parks bring thoughts of transience and melancholy to one’s mind.
French Post-Impressionistic artist Edouard Cortes captured the mood of Autumn in the city, Paris to be precise, like no other artist. Autumn scenes of the countryside are luscious, rich in colours and fruit of nature, exuberant and beautiful, but Autumn in La Belle Epoque Paris is incomparable by beauty; with carriages, street lamps, leaves fluttering in alleys, parks resting in solitude, tramways, pavements shining in the rain, hustle, trees with almost bare branches, kiosks on street corners, booksellers by Seine and people roasting chestnuts on the open fire, street musicians; everything warm, golden and flickering in Autumnal dusk. And still, there’s something fleeting in that beauty, something that the eye of the beholder can’t grasp. Cortes’ distinctly romantic, dreamy and lyrical portrayals of Autumn in Paris reminds me of these beautiful verses of Rilke’s poem Autumn Day:
‘…Because whoever has no house now will build no more.
Whoever is alone now will remain long alone
to wake, read, write long letters,
and wander in the alleys, back and forth,
restless, as the leaves flutter.’ (Autumn Day by Rainer Maria Rilke)
Original sounds even better:
‘Wer jetzt kein Haus hat, baut sich keines mehr.
Wer jetzt allein ist, wird es lange bleiben,
wird wachen, lesen, lange Briefe schreiben
und wird in den Alleen hin und her
unruhig wandern, wenn die Blätter treiben.‘ (source)
Cortes (1882-1969) lived in the heart of Paris, and in his art he strived to capture the fleeting moments, the change of atmosphere, and in that aspect he is similar to the British artist John A. Grimshaw who captured the changing looks of the late Victorian industrial cities of the North. But Cortes was a Post-Impressionist, which means he continued the task of the Impressionists, an impossible task sometimes – to capture the fleeting moment, and he loved portraying his beloved city of Paris in different weather or season; morning mists, sunlight as it hits the shining facades, dusks, summer nights, solitary winter afternoons, pavements shining with rain, windy days… He often chose one particular spot, and we all know that the architecture of Paris is a beautiful background by itself, such as Boulevard de la Madeleine, Avenue de l’Opera, Eiffel Tower or Boulevard Bonne Nouvelle Porte St Denis. He captured the changing seasons in Paris, portraying each with its unique beauty, but my favourites were his autumn scenes and I couldn’t resist not sharing this beauty.
Not only did Cortes chose beautiful and picturesque motifs for his paintings, but he also painted in a way which intensified the beauty of the scenes; capturing each golden gleam of a street lamp, each drop or rain on the pavement and each leaf in one brilliant brushstroke. This is especially noticeable in the painting ‘Flower Market at la Madeleine’ where faces of passer byes and flowers in the stalls are painted in rich, exuberant, heavy and thick brushstrokes, but when you observe the painting as a whole, the effect is a sight of flickering beauty, jewel colours melting into the greyness of the street. It’s interesting to me that if you compare his paintings from early 1900s to the ones from the roaring twenties, you see a difference, but they are equal in beauty. Shorter hemlines on dresses of the ladies, or the sight of cars – not a detail had compromised the romantic appeal of his Autumnal scenes of Parisian life.