Clair de Lune

Sunday, November 3, 2024

Charles François Daubigny - Moonrise at Barbizon, 19th century

Charles François Daubigny - Moonrise at Barbizon, 19th century
oil on canvas, 93.5 x 151 cm
Museum of Fine Arts Ghent

Around 1845 Charles-François Daubigny worked near the village of Barbizon in the Forest of Fontainebleau. Unlike Jean-Baptist Camille Corot and Théodore Rousseau, this painter did not belong to the core group of the so-called Barbizon School. Daubigny was one of the first landscape painters to show an interest in the fleeting aspects of nature. He tried to capture the changing look of nature in quick sketchy brushstrokes. However, what he did have in common with some members of the Barbizon School was a romantic approach, in which objective observation was softened by the artist’s empathy with his subject. In paintings like Moonrise at Barbizon, the motif of nature is subordinate to the sense of melancholy that the mysterious dusk of evening gave the artist.

Franz Marc - Reconciliation (Versoehnung), 1912

Franz Marc - Reconciliation (Versoehnung), 1912
woodcut in black on japan paper
32.2 x 36.9 cm
National Gallery of Art

Frank Myers Boggs - Quai de la Seine, Paris, au Clair de Lune, 1898

Frank Myers Boggs - Quai de la Seine, Paris, au Clair de Lune, 1898
oil on canvas, 65.4 x 54 cm
Museum of Fine Arts, Houston

Henry Pether - Port Of London, 1861

Henry Pether - Port Of London, 1861
oil on canvas, 61 x 92 cm
Private collection

Thorolf Holmboe - Pine Tree on the Coast in Moonlight, 1902

Thorolf Holmboe - Pine Tree on the Coast in Moonlight, 1902
oil on canvas, 75 x 65,5 cm
National Museum of Art, Architecture and Design, Oslo

Jessie Willcox Smith - On the top of the great beech-tree, 1919

Tsukioka Yoshitoshi - New Forms of the Thirty-six Ghosts: Omori Hikoshichi, 1889

For those who say that Yoshitoshi was a madman haunted by demons, this series New Forms of the 36 Ghosts must be a disappointment. Drawn towards the end of his life, the series is reflective and restrained and contains none of the bizarre creatures of the imagination he is associated with. The title contains a double meaning; the word shinkei can also mean nervous, and there is more suspense and edginess in these prints than there are shrieking ghosts or hideous devils. The subtlety contributes to the powerful and highly regarded work and this print is a fine illustration of Yoshitoshi’s achievement.

At first glance we see the selfless act of a samurai carrying a woman across a river on his back. Look more closely and the print reveals clues to its true meaning. The hero, Omori Hikoshichi - a samurai from the 14th century - is persuaded by a young woman to carry her across a stream. Halfway across Hikoshichi looks down and sees the reflection of a demon’s horns - a hanya demon - in the water in front of him. Yoshitoshi has pictured the moment; we see the reflection of the horns and we see the troubled expression on Hikoshichi’s face as his right hand reaches beneath his robes and prepares to draw his sword.

There are two explanations for the story, the first is straightforward - Hikoshichi draws his sword and slays the demon just in time. The second is not supernatural and tells the story of the daughter of the defeated warlord Kusonoki Masashige seeking retribution for her father’s suicide, putting on a hanya mask before exacting revenge. I am inclined to believe that Yoshitoshi is referring to the former since the subject matter for the series is supernatural and the girl is not holding the mask from which we see the reflection. It is common in Japanese prints for the ghostly aspect of a character to be revealed through the use of mirrors, shadows and reflections. The series is the last significant work before Yoshitoshi’s death in 1892. The border of the image is drawn frayed, as if eaten by worms. Burnishing to Hikoshichi's hat and sword hilt; and embossing to the white robe. Exquisite bokashi (shading) to the robe.