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拍品专文
Franois Bonvin's commitment to depicting the theme of 'family values' was well established during the Second Empire and he occasionally received official commissions from the government who sought artists that were supportive of their policies. In the present painting, Bonvin portrays a young woman winding wool in the quiet of her domestic environment, echoing the Second Empire's interest in supporting the values of home life while also encouraging the industrious nature of the people.
As a realist, linked with the burgeoning interest in recording life's daily abilities, Bonvin has centered his composition on a single young woman whose work is given as much attention as her dress. Positioned in the foreground, seated on a simple chair, and working at her task, the young woman is brilliantly illuminated while the background remains dark. The colors of the the wool - red and blue - are set off from the white bodice and cap of the young woman emphasizing her activity through the use of color.
To the left, pinned to the rear wall, is a popular print suggestive of the images d'Epinal that were frequently collected and hung in homes. This print also has another importance. Since it represents a religious figure, placed under a canopy, the artist is drawing parallels with church symbolism and the value of spiritual experience. Bonvin's religious dedication and his interest in liking the spiritual and the secular experience are reinforced by this secondary detail. He implies that daily work undertaken by the young girl is also, in its own way, informed by humility and sanctified by commitment to a specific activity. Bonvin's use of paintings or prints within a larger composition frequently lend a deeper meaning to his compositions.
Preparation for this painting was done in an unusual way. Bonvin completed a drawing (fig. 1) where a different model was used for the young woman; an engraving of the drawing was also prepared (fig. 2) suggesting that the image attracted considerable attention at the time necessitating that a print be completed. Once this was accomplished, the painting was done with Bonvin adding the print on the rear wall and slightly modifying the face of his model. The final result reinforced the message of honesty, dedication and sincerity which were hallmarks of the realist tradition while remaining the fundamental aesthetic of Bonvin's entire artistic career.
This painting will be requested for an exhibition being prepared on Franois Bonvin in early 1999.
We are grateful to Professor Gabriel Weisberg for his assistance in preparing this catalogue entry.
(fig. 1) Franois Bonvin, La Dvideause, drawing
(fig. 2) Franois Bonvin, La Dvideause, engraving
As a realist, linked with the burgeoning interest in recording life's daily abilities, Bonvin has centered his composition on a single young woman whose work is given as much attention as her dress. Positioned in the foreground, seated on a simple chair, and working at her task, the young woman is brilliantly illuminated while the background remains dark. The colors of the the wool - red and blue - are set off from the white bodice and cap of the young woman emphasizing her activity through the use of color.
To the left, pinned to the rear wall, is a popular print suggestive of the images d'Epinal that were frequently collected and hung in homes. This print also has another importance. Since it represents a religious figure, placed under a canopy, the artist is drawing parallels with church symbolism and the value of spiritual experience. Bonvin's religious dedication and his interest in liking the spiritual and the secular experience are reinforced by this secondary detail. He implies that daily work undertaken by the young girl is also, in its own way, informed by humility and sanctified by commitment to a specific activity. Bonvin's use of paintings or prints within a larger composition frequently lend a deeper meaning to his compositions.
Preparation for this painting was done in an unusual way. Bonvin completed a drawing (fig. 1) where a different model was used for the young woman; an engraving of the drawing was also prepared (fig. 2) suggesting that the image attracted considerable attention at the time necessitating that a print be completed. Once this was accomplished, the painting was done with Bonvin adding the print on the rear wall and slightly modifying the face of his model. The final result reinforced the message of honesty, dedication and sincerity which were hallmarks of the realist tradition while remaining the fundamental aesthetic of Bonvin's entire artistic career.
This painting will be requested for an exhibition being prepared on Franois Bonvin in early 1999.
We are grateful to Professor Gabriel Weisberg for his assistance in preparing this catalogue entry.
(fig. 1) Franois Bonvin, La Dvideause, drawing
(fig. 2) Franois Bonvin, La Dvideause, engraving