LEON BONNAT NASIL BİR RESSAMDI | 2.Bölüm #sanattarihi

Hello, how are you? Where were we in Leon Bono? Leon Bono was an academic painter and he was going to Egypt for a trip. He was painting Egyptian women, village women, village children. He also went to Italy for a trip. He was painting orientalist paintings. So, what was Leon Bono going to be after that? Or was he going to adopt different styles? At least, was he going to paint with these styles? In this episode, I'm going to talk about these as much as I can. After 1872, Leon Bono put more emphasis on painting orientalist paintings. Because he had already proven that he was going to prove in academic painting. One of them is the painting of Jesus on the cross in 1874. He gives us his amazing performance on the figure. He shows his talent. He proves it. He is a great example for his students. You will see it on the screen. In this painting, you see again. Look, the cross. How he gave the reality of that wooden board. He painted very well. Now, when we look at the body of Jesus, he tried to paint in a terrible way like Velazquez and Caravaggio. Of course, the experience he gained from academic painting is shown in this painting. Leon Bono. Again, look at the cross of Jesus. You can see the cross on his waist. How he painted it. Again, when we look at his legs, we see veins everywhere. On the legs of Jesus. This is something we are not used to in most painters. Most painters do not draw veins in the figure. There was no need to mention the veins. But Leon Bono painted the veins well in both the painting of Judas and the painting of Jesus on the cross. Of course, all of this is actually a fine brushstroke. Let's not forget this either. Again, when we look at the background, we see an orange-red sunset. It's evening. Jesus is alone on the cross. He is standing on the cross with other prisoners and criminals. By the way, it is useful not to forget that Jesus was also crucified as a political criminal. He was crucified by Rome as a political criminal. The reason for this is the characteristics of the prophethood. The people of that time thought that Jesus was Elijah. Elijah is also a prophet. They accused him of introducing himself as Elijah. But it has nothing to do with this. Jesus himself did not claim to be a prophet. He was talking about being a Messiah. Anyway, he was crucified as a political criminal. Again, when we look at the figure, you can see how he painted the muscles of the front arm and the wrist. Of course, I want to talk about this too. I will tell you about this picture in a short way. I won't give you too many details. I won't bore you. Maybe because you don't want to know how the painting was made. But I want to tell you briefly for those who are curious. While making this painting, we reach the notes of the students in the Leon Bonn Atelier. A painter from Denmark, or he may be from Sweden, I don't remember exactly. He is a painter from Scandinavian countries. He is a student who received education from Leon Bonn. Thomas Ekins is one of the American students of Leon Bonn. Leon Bonn used a real cadaver while making this painting. He talks like this in his diaries. His students have no right to lie. According to his students, Leon Bonn bought a cadaver when he was in France. Because as you know, because he is a painter, he has a wide circle of acquaintances. He knows doctors and doctors. He has a relationship with judges. He has a relationship with artists. In the sense of art, he is not the only one who has his own sources of communication. He is known in France. He is a self-proclaimed painter. Anyway, he asked for a cadaver from Mort. When we look at this now, there is a dangerous side. You know that a dead body is at home. It can smell. Even if it is taken out of the freezer. Because you hang it for hours. In the cage. I mean, it's probably a cage you made yourself or put it on the wall. It's not a cage, it's a wall. The dead body will stay at home. Because the blood has already been drawn, the body can also smell. It can also create a bad image. Leon Bona was not very busy with them. And he took the cadaver. After he took the cadaver, he drew it. He probably noted the colors. He looked at the light shadow. He made a quick blackout. He marked the place of the shadows. Then he handed over the cadaver. He handed it over to the morgue in Paris. He took the cadaver again. Anyway, this shows that Leon Bona went very far while drawing. Because no painter in history, especially when painting Jesus on the cross, never used a morgue. We don't have such a resource. But Leon Bona really used a cadaver, a dead body. We know. This is one of the interesting information. This is his real picture. It shows how far he went to make a faithful copy of nature. One of the crazy ideas. Anyway. In 1874, he made a portrait of Madame Pasca. Leon Bona. I want you to pay attention to the background here. When we look at the background, we see light earth colors on the left. In the middle of the picture you can see dark earth colors on the left and right. Don't forget the background in the picture. in portrait pictures. You shouldn't paint it from the beginning. For example, what color do you want the background to be? Green. If you paint it straight, your picture will look bad. But as Leon Bona did, if you paint a little dark green and a little lighter green on the bottom, or a dark green on the right, people will look at it and say, it's like a background. It's like a background. That's why the background is important. What do you think about the picture? You can share this with me. When we look at the figure again, regardless of the background, we see that it is a woman with open skin. This is also an important issue. No matter what the background color is, red, yellow, green, blue, white, black, the background and the colors of the shadows do not have to be the same. I mean, you're doing a green background. It doesn't mean that the shadow that falls on the left side of the woman's face or the inside of her eyes will be green. Stay away from these mistakes. Be careful. Anyway, we can understand that this picture was done very well in the portrait because Madame Pasca's real name was Alice Marie Angel Poschia. Alice Marie herself was a theater actress. Leon Bono saw her and made her portrait. Frankly, Madame Pasca, Alice Marie ordered this painting. As I said, you can see that Leon Bono is very cultured. He goes to the theater, he goes to the theater, he goes to watch theater plays, he has a relationship with sculptors, he has a relationship with doctors, he has a relationship with artists. Again, we can see that Leon Bono's interior is wide. Another painting, as I mentioned in the previous episodes, is a painting of a Roman girl with a head of a fountain . Again, this is 170 cm, 100 cm. When we look at a large picture on the screen, it looks like a small picture. I thought so at first. Anyway, this picture has a background. There are some uncertain mountains. Leon Bono went to simplify it. We call it simplification in English. What does simplify mean? Throw unnecessary things out of your picture. Who does this rule come from? It doesn't come from Renaissance painters or Rubens or Van Dyck. This rule came from Diego Velázquez. Velázquez had a rule. What is it? If there is something unnecessary in your picture, get rid of it. For example, a woman's necklace. Is a woman's necklace very necessary or unnecessary? If you think it's unnecessary, because you are the one who will decide this, throw away the woman's necklace. I'm not saying throw it away. Simplify, do not go to make it simpler. Don't make the woman's necklace very detailed. Show the woman's necklace with your brush strokes. When you look at people from a distance, because in art, paintings are looked at from a distance, this is the rule. It's not right to Here, what I'm saying is, simplify the necklace, the person who understands will say, ah, this is of course a necklace, and he will think that you are a good painter, because he did not go to simplify it. Apart from this, when Velazquez painted you Impressionistic, that is, with a loose brush stroke, no one would call you Impressionist, because the concept of Impressionist had not yet been invented, there was only style. Apart from this, we know that in 1882, Levon Bona was appointed as a professor at the School of Fine Arts in Paris, he became a professor. Then the Pantheons and so on, he got commissions for the Paris Municipal Building and Public Buildings, one of them was a long time he started in 1874 and finished in 1888. Maybe if most of us started painting in 1874, we wouldn't be able to wait until 1888, we would say, it's been 7 months, let me finish this, let me make another painting, Levon didn't tell me anything like that. Anyway, this painting is the Martyrdom of Aziz Deniz in French. In Turkish, the Martyrdom of Aziz Deniz. Bona again in 1874, this is an illustrative painting he made between 1874 and 1888. If we come to the story of this painting, Aziz Deniz, the protector of the city of Paris, was martyred on Montmartre Hill in Paris. And again, according to the story, you can see him in the painting right now, he took his head and mounted it on his own body and gave it a neck like that, it is believed. Frankly, we know that there are miracles of Jesus, he was a savior, he was a messiah, he resurrected Lazarus, Petrus, he was also a guest of Ayvazovsky. I forgot the name of the sea, Galilee, Galilee Sea, Galilee Lake, was it a sea right now, I don't know the geography, don't get me wrong. Anyway, in the Galilee Sea, in the lake, Petrus is seen again, he is seen in the air, he says come to me, he extends his hand. Of course, he also depicted for the lights, Ayvazovsky, but no one really thinks that the lights are shining. Christians do not think that the lights are shining, this is a description. Anyway, these are still believable things. And again, there are sources in the Roman canons about the life of Jesus. It is the history of the Roman sources that explain that Jesus of Nazareth, that is, Nazareth, is a political prisoner in the life of Jesus. But it is not believable that Aziz Deniz took his head and mounted it on his own body. Anyway, it is up to you to believe or not believe the story of the picture. But apart from that, when we look at the technique of the picture, we can see that Leon Bona uses cobalt blue, not ultramarine. Look at the top corner, how blue, again on the right side, again the beautiful blue sky has started to open it towards the bottom and the clouds are not real clouds. The clouds in the Renaissance. Leon Bona tried to make Renaissance-like clouds. Again, it is worth noting that Leon Bona has a classic respect here. The picture, as I said, was not made for him with a picture to hang at home. It was made for the municipal building. Anyway, in the martyrdom painting of Aziz Deniz, many broken heads are given, heads are cut off. He even painted them. The characters in the computer game are dressed. Again, Leon Bona's tremendous technique is shown to us here. Blood again, blood on the steps of the stairs. Another one on the left. I don't know if it's a haham or a fairy, there is someone. He looks at Aziz Deniz, of course, he is surprised. Of course, he opened his hand like this. Because if you see a man on the road, his head is cut off, his head is in the back of his mouth, you will be in amazement, you will swallow your tongue. Leon Bona did this in the picture. I will not say it without explaining it. What is the picture of the outburst? I used to think that most of you still think so. I used to think that outbursts mean painting pictures like Munch. So it's like a crowded, messy, crazy picture, etc. Actually, no. Outbursts may be expressionism in form. In the form of expressionism, it can be painting in a Munch-like style. It's called that today. But what is expressionism as a subject, what is being an outburst? It is to show your emotions in your picture. For example, if you draw a crying girl, your painting will be on the outburst side again. Because there is an emotion there. People laughing again. It shows you that you are an outburst. So if there is an emotion in a picture, As you can see in the painting of Leon Bona's martyrdom, The man on the left has opened his hands. What's going on? He's posing. This makes you an outburst. Outburst means, as you know, It is not called expressionism to make such strange pictures like Munch. Except for Leon Bona, who else is an outburst? R.I.P. R.I.P. can also express his emotions in his pictures. And this actually shows that he is an outburst. As a content, not as an expression. Anyway, this is again at the end of the Middle Ages. It was a subject at the end of the Middle Ages, Then Leon Bona met a businessman. His name is William Thompson Walters. He is an art lover. He met Leon Bona. A rich man said to Leon Bona, I will take your picture. He told me to make a self-portrait. Leon Bona made a lot of self-portraits. But he was the man of the day. In 1885, Leon Bona made a self-portrait of his friend Walters. Again, when we look here, the background is still He used light colors, especially in the lower left and lower right. Again very nice. When we look at the piece of handkerchief in his chest, It's in the jacket. Again, we can see that Leon Bona is making light impasto. They are a brush stroke. When we look at his face, He painted his ears, nose, eyes very beautifully. Of course, he did not neglect to use a little greenish colors. Especially on the right side of the face, on the shaded side. On the left side, he used a little warmer earthy colors. Again, he increased the chroma a little in his ears. I will call it various reds. With the red of Vermilion, With the red of Cadmium, Burnt Amber Burnt Sienna Burnt Sienna or Raw Sienna You can see the color. He used it to give the shadow of the ear. Again, you can use it in your pictures. Then he did this. He was a close friend of William Walters. After meeting Leon Bona. William Walters said, let's make a museum. There is a sculpture, let's store his sculptures. He worked on such things. Leon Bona, towards the end of his career. Because he will die in 1922. He started to focus on teaching. Because his orders have fallen. Unwillingly. Because the age is changing. Now the man is coming to the 20th century. When it comes to the 20th century. Now Fauvism. Dadaism. Surrealism. Outsiderism, etc. These are coming to the fore. Painters like Leon Bona. He started to be called Sakil. Actually, it's not Sakil. The man is doing classical art. I won't say they're attacking the man. Why would anyone attack the man? But he started to be criticized. Leon Bona. He's drawing me. He's making my portrait. People say, you're a useless man. Is this your art? Where are those vivid colors? Shadow, light, it doesn't matter. They're starting to experiment. The age is changing. Anyway, Leon Bona. Outside of teaching. He's focused on making portraits. A little academic. A little Orientalist. You can see Leon Bona in the painting of Samson in 1891. Samson is naked. He opens his mouth to a lion. Like this. The lion is Rubens. We can see that Rubens is a lion. Because you know, he was an artist who was known for his lion portraits and hunting scenes in the Baroque period. He was an artist. He didn't just make religious portraits. Anyway, if you look at the painting carefully, you can see how the brush stroke is one by one. Van Gogh and Arie. Other than that, what else was I going to tell you? Here's Samson again. In the painting, the only figure that is smooth is Samson. Again, you can see that the lion and the background are made up of brush strokes. So how did he make this painting? Leon Bona. I'm going to tell you about this briefly. Now most of you can think. Of course, that figure is a real figure. He made a nude figure sketch in front of a real model. He made this painting. I think he made the background from a dream. You will also notice. Because there are certain things in the background. There are bushes. There are light rocks. There's something like a mountain. These were made from a dream. And that lion was actually made from a dream. You will say, this man went to paint Jesus in the jungle and used cadavers. Why is the lion made from a dream here? There is a simple reason for this. You can never bring a real lion to that position and paint it. In fact, no painter in history has succeeded in this. Why? You can't capture the lion. You don't have the necessary tools. How are you going to protect the lion in your studio? The lion can't hold his head like this. He always plays. Why does he hold his head like that? It's not a model figure. Anyway. Why did he paint it from a dream? Because Rubens painted the hunting scenes from a dream in most of his paintings. No matter how much we support the reality of naturalism in painting, but you have to paint from a dream somewhere. Because it is almost impossible to capture a lion in this pose. You will look at a picture of a lion. And you will bend the lion's form in your dream and paint it. I mean, a painter is not only drawing what he sees, but also creating something from his imagination. Don't forget this. Eugène Delacroix and Rubens always painted from a dream while drawing lions. Leon Bona has many students again. I will tell you about him in the next episode. Because this video is almost half an hour long. Leon Bona continued to teach his students. He continued to teach drawing lessons. After this part of his life, in 1918, etc. He will die in 1922 anyway. He dedicated himself to his students. Because he did what he was going to do in his art. When we come to 1918, he painted the autoportrait you see on the screen now. This is one of the last autoportraits he painted before he died. I want to criticize Leon Bona here. You can sleep comfortably. The painting he made in 1918 and other autoportraits do not look very similar. Especially in the eyes. There is nothing on his head, beard and nose. He caught a very big resemblance there. But in the ear. Again, the anatomy of the head. But I can't see the eyes of Leon Bona. I'm a detail artist. If it doesn't look like anything, I understand that. Like detail artists. I don't think this autoportrait is Leon Bona. Leon Bona was already old in 1918. Maybe he had some diseases. He couldn't make himself look like him here. It's okay. He's a great painter. He doesn't care much about us. But we would like him to catch a resemblance in his last portrait. But remember, everything is not a resemblance. It doesn't matter if Leon Bona can't make himself look like him in his last autoportrait before he died, or if Velazquez changes himself everywhere. Because if you look at many of Velazquez's autoportraits, you will see a different man in each of his autoportraits. This shows us that Velazquez was a great painter. Even a great painter could often catch a resemblance. This doesn't mean Velazquez is bad. Today, Velazquez is still remembered as a great painter in history. And he will continue to be remembered forever. But I find it very interesting that he can't catch a resemblance. How can a painter like Velazquez lose his resemblance? For example, imagine that you are getting old, but your eyes never change. If I change in every portrait, you would say, Look at my autoportrait, brother. You made yourself look like him in your first autoportrait. This is a different man in the second one. You would say, this is a completely different man in the third one. What does this mean? This means that this man can't catch a resemblance or doesn't want to catch it. Again, this is not a small criticism. I'm telling this for your information. Because what if I criticize Leon Bono when he's dead? What if I don't criticize him? Because he didn't return from the grave and make another autoportrait. Again, there is no need for that. We remember Leon Bono as a great painter with respect. At least I remember. He made his last autoportrait in 1918 and died in 1922. I said, is everything over because he died? Did he find the end of the story here? Was this the end of Leon Bono? Was it the last episode? In the next episode, I will share with you anecdotes about Leon Bono's students, his work style in his studio. In this way, you will understand Leon Bono's life better. I hope this has been a fun video for you. I hope I didn't bore you. I need to tell you the story of the martyrdom of our ancestors, Jesus in the cross. Because most curators today don't care much about these things when telling a picture. They tell the story from the beginning. They don't touch on how the painter made the picture. I hope this video has been useful for you. Take care of yourself. Don't leave classical art. Make Orientalist pictures. If you want, make Impressionist pictures. But be careful not to go beyond Impressionism. Because Impressionism is the last stop for us. After Impressionism, it is nothingness and meaninglessness for us. I say goodbye to you. Stay with classical art. Goodbye.