Couture, Romans of the Decadence발음듣기
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Couture, Romans of the Decadence
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(piano playing) Girl: To be an artist in the middle of the 19th century was to live with competing needs.발음듣기
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Man: It's probably similar in a way to being an artist now when there's a questions asked whether or not all the things that have defined what art is are still relevant.발음듣기
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What had made art relevant were things like serious moral subjects or painting in the classical style.발음듣기
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That no longer seemed to make sense in a country criss-crossed by rail roads, with a growing middle class culture, factories.발음듣기
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This is a culture that was in the middle of an enormous revolution, the industrial revolution.발음듣기
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This is a museum that is dedicated to the art and the trials that you were talking about, what it meant to invent an art that was modern.발음듣기
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Girl: The crisis for artists was, "Should I embrace the modern world or do I go back and paint the classical and the moralizing, the history painting?"발음듣기
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Man: This is so interesting because generally when we think of art that harks back to Ancient Rome, it's all about the heroism.발음듣기
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This is about the indulgence of ancient Rome at its end and his contrasting the figures who are seeking luxury and pleasure against the heroicized sculptures of these people's own heroic past drawing an equivalency to French culture in his day that France had lost the values of the revolution.발음듣기
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Girl: Symbolized not only in the sculptures of the heroes that we see but is also in that architecture which speaks of Roman republican ideals of what Roman culture was able to build and achieve, but the figures in the foreground are idle.발음듣기
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But the figures, in their indulgence, in their languid pleasure seeking are a series of arabesques, or curves, of horizontals.발음듣기
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Girl: They don't seem to belong within the space, and yet it's the debauchery that he represents clearly and the architecture begins to fade into the background as though there's a sense of that noble past becoming myth against the reality of the decadence of the Romans.발음듣기
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Everything behind them, the architecture, the sculptures and especially the landscape, all of that is inaccessible to us.발음듣기
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Girl: This painting was enormously popular when it was exhibited in 1847 and Couture was a very successful and important artist during this period.발음듣기
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Although his personal values politically were republican and by that we mean he was very much for France as a democracy and not as a monarchy.발음듣기
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I think he really personally felt this conflict for artists to look to the classical past but also this need to paint the contemporary world.발음듣기
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Man: The other thing to keep in mind is this is 1847, one year before France will change forever.발음듣기
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Girl: It's one year before the revolution of 1848 that topples the monarchy and brings in a brief period of France's democracy, the period we call the 2nd republic.발음듣기
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Man: This is so interesting 1848, one year after this is painted Marx and Engels will publish The Communist Manifesto.발음듣기
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This idea of the increasing power of the worker, of a modern worlds where labor unions will begin to form, where the nation is ruled by its cities as opposed to an agricultural economy.발음듣기
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Girl: It makes it all the more clear just how brave Courbet was in putting all of these mythology, all of these classical style behind him and embracing, on a scale just as large as Couture, the working classes, the middle classes of France.발음듣기
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