Importing the new painting to Britain
The paintings in this room show the dynamic new approach to the human figure and modern city life introduced to Britain by French artists in the 1870s.
This was a period of rapid change and innovation in society and politics, technology and the arts. Britain was in her imperial pomp, and London had become the worlds greatest metropolis. The spectacle of the contemporary city attracted British writers and painters, but it was French artists who first developed the means to represent the excitement of modernity. When their vibrant, startling images became known in Britain, some people were shocked – but others were inspired.
There were many points of contact between the British and French art worlds. Several influential French artists, like the painter James Tissot, moved to London. Significantly, it was in the 1870s that Degas first gained an appreciative critical following in Britain. He often exhibited in London and sold a number of important works. The friendships he formed helped to cement his reputation among the critics, artists and collectors of the next generation.
[London] pleases by accident, by contrast, and by the immensity of its scale. It is an enormous, opulent society expanding to the enjoyment of the privileges and responsibilities of wealth and power.
Henry James, 1877
Tissot shows two tourists scrutinising a guidebook on the steps of the National Gallery. The church of St Martin in the Fields is visible through the columns. The expression on the womans face suggests she is bored of her companion.
The unusual composition of the painting, such as the off-centre figures and large areas of stonework, concerned the critics. The reviewer of the Art Journal thought the picture [was] without distinct and intelligible meaning.
A young officer and two fashionable women look out towards the grimy docks of Portsmouth. The officer wears a wedding ring, but his thoughts are clearly directed towards the woman hiding her face behind a fan.
Tissot was born in France but settled in London in 1871. He became known for his highly-finished paintings of fashionable society, exhibited to critical acclaim at the Royal Academy and the Grosvenor Gallery. This painting was bought by a Scottish artist, John Robertson Reid.
Tissot shows a group of fashionable men and women on a warship beneath a canopy of flags. The ladies are gossiping or dancing, oblivious to the military presence in the background. Several of them, unusually, wear identical dresses.
Tissot formed a close friendship with Degas and the two artists regularly advised each other about their work. The cut-off edges and cropped figures in this painting were pictorial devices Degas often used in his ballet scenes.
From a young age, Degas was fascinated with the working life of ballet dancers. He often haunted the corridors of ballet schools and the backstage area at the Opéra in Paris. This is one of a number of paintings he made of young girls doing exercises and relaxing, unconscious of our watchful gaze.
Degas often used the theatrical stage to experiment with pictorial space. He frames this painting in like a snapshot, cutting off the left arm of the dancer on the right and showing only part of the tutu of a dancer in the background.
Degass pictures appeared so realistic that one critic thought After having seen these pastels, you will never have to go to the Opéra again. This painting was the first work by Degas to enter Captain Henry Hills collection.
The growth of the capital is suggested here by the group of labourers resurfacing a road in Camden, to allow for the increasing number of road vehicles travelling across London. In the foreground a fashionably dressed woman walks down the street. She holds some flowers she has just bought from the flower-seller behind her.
The unusual cropping of the figures suggests that Clausen was familiar with the work of the French artist, Tissot, and de Nittis.
Cicely Alexander was the eight-year-old daughter of a London banker. Whistler exerted considerable control over the picture, buying fine white muslin for her dress and painting the flowers and butterflies in the background in intricate detail.
The critics in 1874 saw Whistlers portrait as a disagreeable presentment of a disagreeable young lady. But it was later praised by the critic, George Moore, who thought it enchants with the harmony of colour, with the melody of composition.
The model for this work (above right) was the only sculpture Degas exhibited publicly during his lifetime. The girl was a ballet student at the Paris Opéra, where he often drew and painted. Contemporaries were shocked by the unprecedented realism of the piece, but some critics were moved by his representation of the pain and stress of ballet training endured by a barely adolescent girl.
The dancers pose and expression are strikingly similar to Whistlers portrait of Cicely Alexander, which Degas may have seen.
Degas shows the Italian artist, Pellegrini, in a comic attitude, holding a cigarette in one hand and a bowler hat in the other. Pellegrini came to England in 1864 and quickly became known for his caricatures in Vanity Fair. Degass humorous image echoes Pellegrini’s work.
The portrait matches a contemporary description of him as hardly more than five feet two in height, squat and stout, with a face like a masque of Socrates, and always curiously ill-dressed.
Fantin-Latour subverts conventional gender roles by showing Ruth Edwards as the dominant figure, her lofty figure overshadowing her husband.
Latour met Edwin and Ruth in the early 1860s through Whistler. They became his most important patrons in England, making a living by selling the still-life paintings for which Latour is best known to their British friends.
This painting (above right) shows a momentary exchange between the artists wife and their son. Orchardsons admiration for Degass work is suggested by the unusual pose of the woman, whose black dress takes up most of the picture space.
The intimate subject matter is unusual for Orchardson. He more often painted narrative subjects and Regency costume pieces. Master Baby reflects a movement towards more domestic subjects which also preoccupied the French sculptor, Jules Dalou, during the 1870s.