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BARBIZON

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Originally appearing in Volume V03, Page 389 of the 1911 Encyclopedia Britannica.
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BARBIZON , a See also:

French See also:village, near the See also:forest of See also:Fontainebleau, which gave its name to the " Barbizon school " of painters, whose leaders were See also:Corot, See also:Rousseau, See also:Millet and See also:Daubigny, together with See also:Diaz, See also:Dupre, Jacque, See also:Francais, See also:Harpignies and others. They put aside the conventional See also:idea of " subject " in their pictures of landscape and See also:peasant See also:life, and went See also:direct to the See also:fields and See also:woods for their See also:inspiration. The distinctive See also:note of the school is seen in the See also:work of Rousseau and of Millet, each of whom, after spending his See also:early years in See also:Paris, made his See also:home in Barbizon. Unappreciated, poor and neglected, it was not until after years of struggle that they attained recognition and success. They both died at Barbizon—Rousseau in 1867 and Millet in 1875. It is difficult now to realize that their work, so unaffected and beautiful, should have been so hardly received. To under-stand this, it is necessary to remember the conflicts that existed between the classic and romantic See also:schools in the first See also:half of the 19th See also:century, when the classicists, followers of the tradition of 0 Historia Utriusque Cosmi (See also:Oppenheim, 1617), tom. i. See also:tract ii. See also:part ii. See also:lib. iv. cap. i. p. 226. 7 See also:Lyra Barberina, vol. ii. See also:index, and also vol. i. p. 29. 8 " La Musique See also:des anciens," CEuvres completes (ed. See also:Amsterdam, 1727), tom. i. p.

306. 0 De Vita propria sermonum inter liberos libri duo (See also:

Haarlem, 1817). See also See also:Edmund See also:van der Straeten, La Musique aux Pays-Bas, vol. H. p. 349. 10 See The Seven Seas, a See also:dictionary and See also:grammar of the See also:Persian See also:language, by See also:Ghazi ud-din Haidar, See also:king of Oudh, in seven parts (See also:Lucknow, 1822) (only the See also:title of the See also:book is in See also:English). A See also:review of this book in See also:German with copious quotations by von See also:Hammer-Purgstall is published in Jahrbiicher der Literatur (See also:Vienna, 1826), Bd. 35 and 36; names of musical See also:instruments, Bd. 36, p. 292 et seq. See also R. G.

Kiesewetter, See also:

Die Musik der Araber, nach Originalquellen dargestellt (See also:Leipzig, 1843, p. 91, See also:classification of instruments). 1r The Seven Seas, part i. p. 153; Jahrb. d. Literatur, Bd. 36, p. 294. 12 Fr. See also:Ruckert, Grammatik, Poetik and Rhetorik der Perser, nach dem 7°s"Bde. des Hefts Kolzum (See also:Gotha, 1874), p. 80. See also:Barbiton, from a bas-See also:relief in the Louvre, " See also:Achilles at See also:Scyros." See also:David, were the predominant school. The romantic See also:movement, with Gerica.tlt, Bonington and See also:Delacroix, was gaining favour.

In 1824 See also:

Constable's pictures were shown in the See also:Salon, and confirmed tle younger men in their See also:resolution to abandon the lifeless peda 'try of the schools and to seek inspiration from nature. In those troubled times Rousseau and Millet unburdened their souls to their See also:friends, and their published lives contain many letters, some extracts from which will See also:express the ideals which these artists held in See also:common, and show clearly the true and firmly-bayed See also:foundation on which their See also:art stands. Rousseau wrote, "It is See also:good See also:composition when the See also:objects represented are not there solely as they are, but when they contain under a natural See also:appearance the sentiments which they have stirred in our souls. . . . For See also:God's See also:sake, and in recompense for the life He has given us, let us try in our See also:works to make the manifestation of life our first thought: let us make a See also:man breathe, a See also:tree really vegetate." And Millet—" I try not to have things look as if See also:chance had brought them together, but as if they had a necessary See also:bond between themselves. I want the See also:people I represent to look as if they really belonged to their station, so that See also:imagination cannot conceive of their ever being anything else. People and things should always be there with an See also:object. I want to put strongly and completely all that is necessary, for I think things weakly said might as well not be said at all, for they are, as it were, deflowered and spoiled—but I profess the greatest horror for uselessness (however brilliant) and filling up. These things can only weaken a picture by distracting the See also:attention toward secondary things." In another See also:letter he says—" Art began to decline from the moment that the artist did not lean directly and naively upon impressions made by nature. Cleverness naturally and rapidly took the See also:place of, nature, and decadence then began. . . . At bottom it always comes to this: a man must be moved himself in See also:order to move others, and all that is done from theory, however See also:clever, can never attain this end, for it is impossible that it should have the breath of life." The ideas of the " Barbizon school " only gradually obtained See also:acceptance, but the See also:chief members of it now See also:rank among the greater artists of their See also:time.

See D. Croal See also:

Thomson, The Barbizon School (1891), with a full See also:list of the French authorities to be consulted; Jules See also:Breton, Nos peintres du siecle, Paris, 'goo.

End of Article: BARBIZON

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