In the middle of the 19th century some painters
settle in the village of Barbizon meadows of Fontainebleau.
They have as a name : Theodore Rousseau,
Narcisse-Virgile Diaz of Peña, Constant Troyon,
Charles-François Daubigny, Jean-François Millet,
and during a time, Camille Corot.
They are called the painters of the school of Barbizon.
They seek to represent the forest in a romantic and rustic
way which draws from the Dutch tradition, in opposition to
the academic style of heroic painting of Claude Le Lorrain.
Theodore Rousseau like Constable and John Chrome,
is the first painter of this school to have tried to paint
in the open air in 1832, although on the level of the
dates one never tightened sure of nothing.
In Le Havre, a little later, Eugene Boudin initiates
Johan Barthold Jongkind and Claude Monet with painting
outside at the seaside. What seeks these painters in the
middle of the forests and at the edge of the sea ?
Reflections changing of the light in contact with
moisture and effects of fogs.
At the end of its life suffering Monet of cataract will
have all the sorrows of the world to complete the fresco
of the nymphea which was due to him so much in heart.
Insane of rage against the doctors who operated him
of an eye and against itself Monet destroyed at his place
in Giverny tens of paintings which it did not like any more…
It was not satisfied with its work.
Anne Vignau does not have a problem of cataract.
She seizes all the nuances of the reflections of the light in
the wet atmosphere of the forest. Here what is impressionism,
the moment fixed on the painting where the light takes care of
fugacious and subtle reflections which in reality last only one moment.
Technically contrast between the colors complementary
to the background is reinforced by clearly-obscure contrast between
the shade of the foreground and the clearness of the background.
It’s difficult to know if it is voluntary on behalf of the artist
but if it had been announced to you that the painting
had been found in an attic of Giverny or of Argenteuil
and that it was of Monet would certainly have believed it to you
and you would have been right.
Because this painting has the same artistic value
and the same precision in the key as a picture of Monet or Daubigny.
Impressionism is always alive !
Point of view :
The point of view of the spectator is just
at the top of the center of the picture.
The glance of the spectator first of all follows the
way to the foreground which leads it
to the luminous zone with the background.