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42-725: Pillet is a surname. Notable people with the surname include: Albert Dubois-Pillet (1846–1890), French Neo-impressionist painter and a career army officer Alexis Pillet-Will (1805–1871), French banker Blanche Edwards-Pillet (1858–1941), French physician, medical teacher and leading social reformer for women Charles Pillet (1869–1960), French sculptor and engraver François Pillet (born 1950), French politician François Benjamin Pillet , French-Canadian fur trapper Julien Pillet (born 1977), French sabre fencer Léon Pillet (1803–1868), French journalist, civil servant and director of

84-879: A prisoner of war . After his release, he resumed a post in the Versailles army. Throughout the 1870s he was stationed at several different provincial posts. He received an appointment in 1879 or 1880 to la Légion de la Garde Républicaine (the Republican Guard) in Paris. Although self-taught, with no formal art education, he proved to be a talented artist. The official Paris Salon accepted one of his still lifes in 1877, and another one in 1879. However, after his arrival in Paris, he created paintings which were somewhat more experimental, and his submissions were rejected by The Salons from 1880 to 1883. Beginning in 1884, he attempted to hide his art-related activities from

126-450: A light delicateness; it is this firm modeled flesh under great spots of light, these tissues supple and strong, and particularly this delicious silhouette of a woman wearing a chemise who makes, in the background, an adorable dapple of white in the milieu of green leaves. It is, in short, this vast ensemble, full of atmosphere, this corner of nature rendered with a simplicity so just, all of this admirable page in which an artist has placed all

168-430: A lily in her left hand and stands upon a wolf skin rug (interpreted by some to represent masculinity and lust) with the wolf's head staring menacingly at the viewer. Countering criticism by traditionalists, Whistler's supporters insisted that the painting was "an apparition with a spiritual content" and that it epitomized his theory that art should be concerned essentially with the arrangement of colors in harmony, not with

210-498: A literal portrayal of the natural world. Whistler started working on The White Girl shortly after December 3, 1861, with the intention of submitting it to the prestigious annual exhibition of the Royal Academy . In spite of bouts of illness, he finished the painting by April. The white paint Whistler used contained lead, and his work on the seven-foot-high canvas had given the artist a dose of lead poisoning. The portrait

252-448: A memorial exhibition, organized by Signac and consisting of sixty-four of Dubois-Pillet's paintings, was mounted by Les Indépendants. Because of a fire which destroyed the majority of his work, as well as his rather early death, his extant oeuvre is relatively small. Salon des Refus%C3%A9s Today, by extension, salon des refusés refers to any exhibition of works rejected from a juried art show. The Paris Salon , sponsored by

294-454: A noted equestrienne of the period, however it was soon rumored that it was actually Catherine Walters , the notorious London courtesan . Whistler's painting was reminiscent enough of Landseer's that the judges were wary of admitting it. White Girl was submitted to the Academy along with three etchings, all three of which were accepted, while the painting was not. Whistler exhibited it at

336-452: A painting of his dead child. The Tuileries Exhibition was a one-time event with a goal similar to that of 1863's Salon des Refusés which showed works that had been rejected by the Salon. Dubois-Pillet envisioned a permanent alternative to the official Salon. He met with some of the other exhibitors, and he, Georges Seurat , Paul Signac , and Odilon Redon became the "founding fathers" of

378-543: A thousand visitors a day visited the Salon des Refusés. The journalist Émile Zola reported that visitors pushed to get into the crowded galleries where the refused paintings were hung, and the rooms were full of the laughter of the spectators. Critics and the public ridiculed the refusés , which included such famous paintings as Édouard Manet's Déjeuner sur l'herbe and James McNeill Whistler's Symphony in White, No. 1: The White Girl . The critical attention also legitimized

420-406: A woman, wearing a white dress, seated in an upholstered chair . The model's identity is unknown; exhibition curators tended to, at best, identify subjects by the initial of their last name. The Musée d'Art Moderne de Saint-Etienne refers to her as Madame P. , but art critic Félix Fénéon called her Mademoiselle B. In late 1889, Dubois-Pillet was transferred by the army to a post as commander of

462-499: Is different from Wikidata All set index articles Albert Dubois-Pillet Albert Dubois-Pillet ( French pronunciation: [albɛʁ dybwa pijɛ] ; 28 October 1846 – 18 August 1890) was a French Neo-impressionist painter and a career army officer. He was instrumental in the founding of the Société des Artistes Indépendants, and was one of the first artists to embrace Pointillism . Louis-Auguste-Albert Dubois

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504-463: The Société des Artistes Indépendants . Dubois-Pillet structured the organization and, within less than a week, wrote and published its statutes, which are largely still in effect. The society was officially formed on 29 July 1884, and their first exhibition, which opened on 1 December 1884, included work by Dubois-Pillet. He used his connections to secure desirable venues and terms for their exhibitions,

546-539: The gendarmerie in Le Puy-en-Velay , a south central French commune . His transfer may have been in response to his defying the orders to curtail his artistic activities. The churches and landscapes of the surrounding Auvergne region are the subject matter of his final paintings. He died in Le Puy-en-Velay on 18 August 1890 at the age of 43 during an outbreak of smallpox . The following year,

588-502: The 1863 Salon des Refusés. Déjeuner sur l'herbe depicts the juxtaposition of a female nude and a scantily dressed female bather in the background, on a picnic with two fully dressed men in a rural setting. The painting sparked public notoriety and stirred up controversy and has remained controversial, even to this day. There is a discussion of it, from this point of view, in Proust 's Remembrance of Things Past . One interpretation of

630-563: The 1888 and 1889 Les XX exhibitions in Brussels . His only solo exhibition during his lifetime was in 1888, at the offices of French symbolist journal Revue Indépendante . Some of his pointillist drawings were published in La Vie moderne in 1887. Dubois-Pillet and Louis Hayet were the two Neo-impressionists who were most focused on the theoretical aspects and scientific basis of their art. Starting around 1887, Dubois-Pillet explored

672-566: The French government and the Academy of Fine Arts , took place annually, and was an exhibition of the best academic art. A medal from the Salon was assurance of a successful artistic career; winners were given official commissions by the French government and were sought after for portraits and private commissions. Since the 18th century, the paintings were classified by genre, following a hierarchy; history paintings were ranked first, followed by

714-481: The Grass like a veritable work of art should be judged; they see in it only some people who are having a picnic, finishing bathing, and they believed that the artist had placed an obscene intent in the disposition of the subject, while the artist had simply sought to obtain vibrant oppositions and a straightforward audience. Painters, especially Édouard Manet, who is an analytic painter, do not have this preoccupation with

756-671: The Paris Opera from 1840 to 1847 References [ edit ] ^ "Pillet" . Nameslist.org . Retrieved 2017-05-04 . [REDACTED] Surname list This page lists people with the surname Pillet . If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Pillet&oldid=1030754035 " Category : Surnames Hidden categories: Articles with short description Short description

798-435: The dream of all painters: to place figures of natural grandeur in a landscape. We know the power with which he vanquished this difficulty. There are some leaves, some tree trunks, and, in the background, a river in which a chemise-wearing woman bathes; in the foreground, two young men are seated across from a second woman who has just exited the water and who dries her naked skin in the open air. This nude woman has scandalized

840-573: The emerging avant-garde in painting. The Impressionists exhibited their works outside the traditional Salon beginning in 1874. Subsequent Salons des Refusés were mounted in Paris in 1874, 1875, and 1886, by which time the popularity of the Paris Salon had declined for those who were more interested in Impressionism. Rejected by the Salon jury of 1863, Manet seized the opportunity to exhibit Déjeuner sur l'herbe and two other paintings in

882-399: The harsh jury decisions in 1863 Of the over 5,000 paintings submitted in 1863, 2,217 were rejected. In a letter to George du Maurier in early 1862 Whistler wrote of the painting: ... a woman in a beautiful white cambric dress, standing against a window which filters the light through a transparent white muslin curtain – but the figure receives a strong light from the right and therefore

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924-530: The military by disguising his name – he added "Pillet", his mother's maiden name, to his name, signing his artworks "Dubois-Pillet". His painting Enfant Mort ( Dead Child ), completed in 1881, was displayed at the May 1884 Tuileries Exhibition, where it caught the attention of Émile Zola , who used it as his inspiration for a scene in his 1886 novel L'Œuvre . In the book, artist Claude Lantier, distraught over his son's death, finds himself compelled to create

966-497: The painter Gustave Courbet and the poet Charles Baudelaire . The art critic Théophile Thoré-Bürger saw it in the tradition of Goya and Velázquez . There were, however, those who were less favourable; certain French critics saw the English Pre-Raphaelite trend as somewhat eccentric. Art historian Albert Boime wrote: "The Salon des Refusés introduced the democratic concept of a multi-style system (much like

1008-401: The particular and rare elements which are in him. Émile Zola incorporated a fictionalized account of the 1863 scandal in his novel L'Œuvre (The Masterpiece) (1886). In 1861, after returning to Paris for a time, James Abbott McNeill Whistler painted his first famous work, Symphony in White, No. 1: The White Girl . This portrait of his mistress and business manager Joanna Hiffernan

1050-466: The picture, barring the red hair, is one gorgeous mass of brilliant white. Whistler submitted the painting to the Academy, but according to Joanna Hiffernan, he expected it to be rejected. The previous year, in 1861, another painting had caused a minor scandal. Edwin Henry Landseer 's The Shrew Tamed showed a horse with a woman resting on the ground nearby. The model was named as Ann Gilbert,

1092-507: The portrait, the landscape, the " genre scene " and the still life. The jury, headed by the Comte de Nieuwerkerke, the head of the Academy of Fine Arts, was very conservative; near-photographic but idealized realism was expected. Much intrigue often went on to get acceptance, and to be given a good place in the galleries. In 1851, Gustave Courbet managed to get one painting into the Salon, Enterrement à Ornans , and in 1852 his Baigneuses

1134-531: The press and patrons, and limited the access of the artists to a small public. In 1863 the Salon jury refused two thirds of the paintings presented, including the works of Gustave Courbet , Édouard Manet , Camille Pissarro , Antoine Chintreuil , and Johan Jongkind . The rejected artists and their friends protested, and the protests reached Emperor Napoleon III . The Emperor's tastes in art were traditional; he commissioned and bought works by artists such as Alexandre Cabanel and Franz Xaver Winterhalter , but he

1176-426: The primary light colors is included in the passage from one hue to the next. Colors are scientifically decomposed by the artist, then they are recomposed in the viewer's eye, but with a greater luminosity than would have been possible if the colors had simply been mixed on the palette. How to apply his theory in practice wasn't entirely clear, and his fellow Neo-impressionists were not convinced. Neo-impressionism

1218-526: The public, who see only her in the canvas. My God! What indecency: a woman without the slightest covering between two clothed men! That has never been seen. And this belief is a gross error, for in the Louvre there are more than fifty paintings in which are found mixes of persons clothed and nude. But no one goes to the Louvre to be scandalized. The crowd has kept itself moreover from judging The Luncheon on

1260-428: The science of color perception as it related to Pointillism by investigating the work of English polymath Thomas Young (1773–1829), who concluded that the eye has three color receptors , each sensitive to one of the primary colors of light (green, red, and violet). Dubois-Pillet applied Young's findings into a triad color theory which he referred to as passage , whereby a touch of pigment corresponding to each of

1302-584: The small Berners Street Gallery in London instead. The next year, Whistler tried to have the painting exhibited at the Salon in Paris – the official art exhibition of the Académie des Beaux-Arts – but it was rejected there as well. Instead, it was accepted at the alternative Salon des Refusés – the "exhibition of rejects" that opened on May 15, two weeks after the official Salon . Although Whistler's painting

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1344-484: The subject which torments the crowd above all; the subject, for them, is merely a pretext to paint, while for the crowd, the subject alone exists. Thus, assuredly, the nude woman of The Luncheon on the Grass is only there to furnish the artist the occasion to paint a bit of flesh. That which must be seen in the painting is not a luncheon on the grass; it is the entire landscape, with its vigors and its finesses, with its foregrounds so large, so solid, and its backgrounds of

1386-512: The unofficial Neo-impressionist headquarters during the movement's early years. Some of his pointillist work is composed with "photographic precision". In 1886, he was ordered by the army to discontinue his participation in exhibiting his art, and to dissociate himself from Les Indépendants. Dubois-Pillet paid little attention to these orders. He remained active with Les Indépendants and continued to show his work, including regular Les Indépendants exhibits, an 1886 Nantes show, and participation in

1428-451: The work is that it depicts the rampant prostitution in the Bois de Boulogne , a large park at the western outskirts of Paris, at the time. This prostitution was common knowledge in Paris, but was considered a taboo subject unsuitable for a painting. Émile Zola comments about Déjeuner sur l'herbe : The Luncheon on the Grass is the greatest work of Édouard Manet, one in which he realizes

1470-439: Was accepted, scandalizing critics and the public, who expected romanticized nudes in classical settings, but in 1855 the Salon refused all of Courbet's paintings. As early as the 1830s, Paris art galleries mounted small, private exhibitions of works rejected by the Salon jurors. Courbet was obliged to organize his own exhibit, called The Pavillon of Realism , at a private gallery. Private exhibits attracted far less attention from

1512-578: Was also sensitive to public opinion. His office issued a statement: "Numerous complaints have come to the Emperor on the subject of the works of art which were refused by the jury of the Exposition. His Majesty, wishing to let the public judge the legitimacy of these complaints, has decided that the works of art which were refused should be displayed in another part of the Palace of Industry." More than

1554-656: Was born on 28 October 1846 in Paris. Shortly thereafter, his family moved to Toulouse , where he was raised. In 1867, he graduated from l'Ecole Impériale Militaire in Saint-Cyr and began his career as a military officer. He remained in the army for the rest of his life. From 1870 to 1871, he served in the Franco-Prussian War , during which the Germans captured him and held him in Westphalia , Prussia as

1596-477: Was created as a simple study in white; however, others saw it differently. The critic Jules-Antoine Castagnary thought the painting an allegory of a new bride's lost innocence. Others linked it to Wilkie Collins 's The Woman in White , a popular novel of the time, or various other literary sources. In England, some considered it a painting in the Pre-Raphaelite manner. In the painting, Hiffernan holds

1638-488: Was often focused on depicting brilliant colors in natural light, and perhaps because of this, the subject matter most commonly consisted of outdoor scenes such as landscapes , cityscapes , seascapes , or river scenes. While Dubois-Pillet painted all of these, as well as still lifes, he also created the first portrait of the Neo-impressionist movement  – La Dame à la Robe Blanche , a painting which depicts

1680-410: Was refused for exhibition at the conservative Royal Academy in London. Whistler then submitted the painting to the Paris Salon of 1863, where it was also rejected. The public was able to see the painting exhibited with other rejected works, in the Salon des Refusés. The Salon des Refusés was an event sanctioned by Emperor Napoleon III , to appease the large number of artists who joined forces to protest

1722-477: Was the primary organizer of the group until 1888, and was a regular exhibitor with them until 1889. Around 1885, probably influenced by his friendships with Seurat and others, he began experimenting with Divisionist techniques, and he embraced Pointillism  – one of the first artists to do so. By the next year, his works were fully Neo-impressionist . With Signac, he used pen and ink to create pointillist drawings. Dubois-Pillet's studio-apartment served as

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1764-439: Was widely noticed, he was upstaged by Manet's more shocking painting Le déjeuner sur l'herbe . The controversy surrounding the paintings was described in Émile Zola 's novel L'Œuvre (1886). The reception Whistler's painting received was mostly favourable, however, and largely vindicated him after the rejection he had experienced both in London and in Paris. The painting was greatly admired by his colleagues and friends Manet,

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