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| The Dangerous Cooks by James Ensor 1896 |
This article from the BBC's website is an interesting read.
The Dark Side of the Belle Époque
Art at the turn of the last century was not all sun-kissed Monet gardens. It was a time of angst and decadence, expressed through some truly disturbing paintings, writes Fisun Güner:
SNIPS
Click on image for better view
Several artists mentioned in the piece have been featured in Arty Farty Friday posts in the past - among others:
James Ensor
Aubrey Beardsley
Munch and Lautrec
Paul Gauguin
Astrologically, around the turn of 19/20th century, Neptune and Pluto were often conjuct and in communicative Gemini, while Saturn and Uranus were both traversing Scorpio. The four outermost planets, then, carried tinges of paranoia, via Pluto and Scorpio, and "fed" them into the communal atmosphere.
The Dark Side of the Belle Époque
Art at the turn of the last century was not all sun-kissed Monet gardens. It was a time of angst and decadence, expressed through some truly disturbing paintings, writes Fisun Güner:
SNIPS
When we think about art at the end of the 19th Century, who and what comes to mind? Monet and Impressionism, certainly. Toulouse-Lautrec at the Moulin Rouge, perhaps. Post-Impressionism, of course: Cézanne and his heavy-set card players or Mont Sainte-Victoire shimmering on the horizon, magnificent and majestic; Gauguin in his Tahitian paradise; or the last ravishing landscapes of Van Gogh, who died just as the last decade of the century was getting into its stride.
Art at the end of the 19th Century is as far removed from Monet’s sun-dappled garden as you can get
But when we think of the art that’s actually characterised as the art of the fin de siècle, particularly the last decade of that century, the mood changes, and it darkens. We think of the art of anxiety and angst, of drama and febrile tension, of an acute sense of alienation.
So why did artists revel in such outward expressions of unease and dislocation? In an era of relative peace and stability and, for the few, economic prosperity (an era named, after the destruction of the Great War, as the Belle Époque or Golden Age and which stretched from the 1870s to the war’s outbreak) the art of fin-de-siècle Europe expressed something contrary to those outward signs of confidence. These were anxieties connected with a sense of society’s spiritual emptiness and its growing materialism. This was a rejection of the idea that progress and reason, ideas which intellectuals had embraced and promoted since the 18th Century as Enlightenment ideals, could sustain the spirit.
It signalled a deeper anxiety: our inability to control our own destinies.
But perhaps, in a way, these were also anxieties exacerbated by the end of any century. It might sound a trivial connection, but in our own age we might think back to the alarm over the Millennium Bug, where people actually imagined planes falling out of the sky due to programs having accommodated only two digits instead of four (computers would think, when the hour struck, they were back in 1900).
It signalled a deeper anxiety that is perennial: our inability to know and control our own destinies. Where Do We Come From? What Are We? Where Are We Going? the title from an 1897 painting by Gauguin, seemed to capture this quest for that deeper knowledge – and he and many other artists of the time looked for answers not in science but in esoteric spirituality, in mysticism and often the occult.
Click on image for better view
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| Where Do We Come From? What Are We? Where Are We Going? by Paul Gauguin. |
Several artists mentioned in the piece have been featured in Arty Farty Friday posts in the past - among others:
James Ensor
Aubrey Beardsley
Munch and Lautrec
Paul Gauguin
Astrologically, around the turn of 19/20th century, Neptune and Pluto were often conjuct and in communicative Gemini, while Saturn and Uranus were both traversing Scorpio. The four outermost planets, then, carried tinges of paranoia, via Pluto and Scorpio, and "fed" them into the communal atmosphere.
