Tag Archives: Renoir

Pretty Edwardian Girls: Hats, Bows and White Dresses

14 Apr

On this rainy, idle and grey Sunday afternoon, I am dreaming of sunnier, warmer and prettier places; of slow walks by the river, picking flowers and wearing straw hats, of first strawberries and little snails in the dew-drenched morning grass, of blooming roses, neat gardens and little houses of idyllic streets, of gentle green weeping willow leaves, lily ponds, romantic cottages, play of sunlight on the river, pink sunsets, picnics, picking fragrant wild flowers, blowing soap balloons, reading a book under a shade of a tree, life en plein air, like an Impressionist, breathing in the blueness of the sky! Free, happy and oblivious to the passing of time. This idyllic vision of life reminds me of Impressionist paintings and turn of the century, 1890s and Edwardian era, photographs. This is where my thoughts wander these days, and I found a lot of pretty pictures that mostly feature girls wearing white dresses, often with lace details, straw hats or bows in their long voluminous hair, Evelyn Nesbit for one had gorgeous hair.

“I felt like sleeping and dreaming in the grass.”

(Jack Kerouac,  Dharma Bums)

Olga Nikolaevna & Anastasia Nikolaevna in the Finnish Skerries, summer 1910

A lot of these girls are actually the Romanov sisters; Olga (1895-1918), Tatiana (1897-1918), Maria (1899-1918) and Anastasia (1901-1918), whose day to day life before the war and the revolution was pretty carefree and simple, which is unusual for the life at court. I found all the pictures of Romanov sister on this tumblr and there’s plenty to see, I just chose the pics that I found the prettiest. I love Edwardian fashion for girls; unlike grown up women, girls would wear their dresses shorter, reaching the knees, and their hair down, decorated with a bow or two perhaps, and I think this look is more than wearable nowadays too. It’s cute, charming and not unattainable! And the pictures all seem to tell a story. The past seems tangible and real. The girls are seen laughing, playing, hugging, drawing, celebrating birthdays or name days, and it makes me feel that they were girls just as I am, and I wanna join them in their pursuits.

Russian girl, c 1910.

“Sauvage, sad, silent,
as timid as the sylvan doe,
in her own family
she seemed a strangeling.”

(Pushkin, Eugene Onegin)

Anne of Green Gables, by John Corbet.

Really love this beach pic! The Grand Duchesses Tatiana and Olga Nikolaevna of Russia with Anna Vyrubova at the beach of the Black Sea near Livadia, 1909

Maria Nikolaevna with a bouquet of roses on her birthday, Peterhof 14th June 1907

Maria Nikolaevna painting a flower vase in the classroom at the Livadia Palace, 1912

Maria Nikolaevna at the Lower Dacha in Peterhof, 1911

Tatiana Nikolaevna Romanova

Grand Duchess Maria Nikolaevna of Russia with a cousin

Maria, Olga & Tatiana Nikolaevna at the Livadia Palace, 1912

Evelyn Nesbit (1913)

Pic found here.

Evelyn Nesbit photographed by Otto Sarony, 1901

Grand Duchess Maria Nikolaevna Romanova of Russia seagazing.

Anastasia Nikolaevna & Alexandra Tegleva in Tsarskoe Selo, 1911

Edwardian little girl, pic by Andy Kraushaar found here.

Maria Nikolaevna in Crimea, 1912

Tatiana Nikolaevna onboard the “Marevo”, 1906

Olga Nikolaevna in the Finnish Skerries, June – October 1908

Olga Nikolaevna holding a bouquet of roses surrounded by her sisters onboard the Standart, 11th July 1912, found here.

Grand Duchess Olga Nikolaevna in Tsarskoe Selo, spring 1909

Grand Duchess Olga Nikolaevna at the old palace in Livadia, September-October 1909

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Renoir – The Umbrellas

10 Mar

‘Some people feel the rain, others just get wet.’ – Bob Marley

1883. Pierre Auguste Renoir - Umbrellas1881-86. The Umbrellas

This afternoon, while casually listening to the song Motorcycle Emptiness by Manic Street Preachers for the hundredth time, the opening scene with James Dean Bradfield singing in the rain, under neon loneliness, in a Tokyo street crowded with people and umbrellas reminded me of Renoir’s painting The Umbrellas. Bustling street, in the rain, dark coloured umbrellas permeated with melancholy, and the feeling of alienation in the city, themes the painting and the song share in common,  have all alluringly drawn me into the story that lies behind Renoir’s magnificent painting The Umbrellas.

This paintings is very interesting for many reasons. Firstly, it was painted in two different stages, the right part indicating the Impressionistic style with its loose brushstrokes and slightly brighter colour palette, while the left portion, featuring a lady dressed in a dreary grey dress, was painted around 1885-86, the dress style indicating the precise years. In the middle of the 1880s Renoir became disillusioned with the Impressionism and sought inspiration in the works of Courbet and Manet, admiring their realistic approach, and also in the works of old masters such as Antoine Watteau and Francois Boucher, the sentimentality of whose paintings had always been deep-rooted into Renoir’s works. That so intriguing female figure on the left is actually a modiste or a milliner’s assistant, modeled by Renoir’s lover Suzanne Valadon, a very rebellious, passionate and seductive young lady, not even twenty years old when the painting was started. Bleak grey shades of her dress and those realistically sad brush strokes are the best legacy of Renoir’s change of style. The figure that he had so unhesitatingly repainted originally wore a white dress with lots of lace and frills and a lavishing hat. By changing her dress, Renoir changed her position in society, from an upper class lady, this figure became a grisette; a coquettish and flirtatious working class girl. The composition is quite unusual too; instead of a central composition one would expect, Renoir emphasised the left part of the canvas giving the figure of modiste even more depth and meaning. Behind the lady we see a vigorous young gentleman, a student or a dandy perhaps, that is about to engage her, maybe offer her shelter under his umbrella. She is not even remotely interested, instead she gazed longingly at the viewer. While her face appears rosy and innocent, her eyes are filled with melancholy, despair, and wistful reconciliation.

Renoir in general wanted to capture the mood of modern Paris; the bohemianism, the nonchalance, the laughter; an aim he fulfilled in works such as ‘Le Moulin de la Galette‘, but in the painting The Umbrellas, Renoir presented a rather different view on modern Paris, emphasising its isolation. The scene itself is very dynamic, the sky is almost hidden away by all the umbrellas, but the crowd of people are barely having any contact with each other. Apart from the gentleman on the left, all the other characters are rushing in their own ways, fairly uninterested for one another. It’s a rainy day and Parisian streets are busy, who has time for chatter!?

Essentially, isn’t it the same, the feeling of estrangement in the city, whether it is the 19th century Paris seen through the eyes of Renoir or the late 20th century alienation that Richey Edwards has so eloquently expressed, the feeling of being lost, isolated and trapped in a big city is universal.

Gustav Klimt – Beechwood Forest

5 Mar

Syd Barrett’s keen eye introduced me to Klimt’s painting ‘Beechwood Forest‘, thereby introducing me to Klimt’s landscapes; magical worlds where trees become femme fatales, sensual creatures of nature.

gustav klimt beechwood forest1902. Buchenwald I

Gustav Klimt is best known for his sensual and sinister femme fatales, but at the same time he enjoyed painting landscapes, which were usually created in moments of contemplation, peace and relaxation. Although he had been drawing numerous sketches for his portraits and allegorical scenes before painting them on canvas, Klimt painted nature while residing in it, painting flowers and trees without previous sketches, portraying nature in the most natural way.

Klimt found peace in painting landscapes, the same way Renoir had found it earlier, painting flowers with colours that were left after painting portraits. From 1897. Klimt had been spending his summer days in Litzlberg at Lake Attersee, enjoying the warm, sunny days with his life companion Emilie Flöge. He was known for starting his holiday days early, around 6 o’clock, with long strolls in the woods which prompted locals to call him ‘Waldschrat‘; someone who lives in the woods on his own. I can’t resist adding a few verses from Syd Barrett’s song ‘Octopus’; ‘Isn’t it good to be lost in the wood/Isn’t it bad so quiet there, in the wood.‘ Gustav Klimt undoubtedly drew inspiration from these long walks, connecting his soul to nature, breathing the fresh air. I wonder are the trees that he touched still there?

Beechwood Forest (Buchenwald, 1902) is one of my favourite landscape paintings by Klimt, along with The Swamp (1900). These two paintings are significant as one of the earliest examples of Klimt’s landscapes, daringly combining styles of Impressionism and Symbolism. Brush strokes evoke the painting style typical for Impressionism, while the simplified and symbolic treatment of surface, along with the influence of the Orient, make these paintings typical for Art Nouveau. Still, Gustav Klimt was never interested in the game of light and shadow, his landscapes, the same as his portraits, display his interest in allegories. The Swamp was painted on the shore of one of the ice ponds near Litzlberg. Paintings such as ‘Beechwood Forest‘ or ‘The Swamp‘ resemble a tapestry, filled with patterns that could easily be found on a dress of one of his femme fatales. Sensible trembling of his landscapes enhances their ornamentation and symbolic meaning. In ‘Beechwood Forest‘ dense beech trees blot the sky, and each leaf is captured in one golden brush stroke; such paintings were appealing to Syd’s Cantabrigian sensibilities.

1900. Gustav Klimt - The Swamp1900. The Swamp

Klimt approached painting landscapes the same way he painted women, with visible sensuality and liveliness. The absence of people in all of his landscapes suggest that Klimt perceived the landscape as a living being, mystical pantheism was always prevalent. The nature, in all its greenness, freshness and mystery, was a beautiful woman for Klimt.