Jules Adler 1865-1952. Painting under the Third Republic.
Silvana Editoriale| N° d'inventaire | 21040 |
| Format | 24 x 28 |
| Détails | 240 p., 140 illustrations, hardcover. |
| Publication | Milan, 2017 |
| Etat | Nine |
| ISBN | 9788836636327 |
A painter from Franche-Comté born in Luxeuil-les-Bains, Jules Adler (1865-1952) was part of the movement of naturalist artists who embodied an alternative path in the last quarter of the 19th century between the Impressionist avant-gardes and a more official, so-called academic, art. A defender of an art in touch with the society of the Third Republic, Adler embodied it through his well-known dimension "as a painter of the humble," workers, modest laborers, or tramps who populate a whole section of his production. Beyond this dimension, the exhibition intends to shed light thematically on the different facets of the painter's approach: the social question prevalent in his work, the notion of regionalism, his role as an artist on the war front during the Second World War, his status as a painter of republican values, and more broadly the "ambiguities of Naturalism" between academicism and modernity. The exhibition will bring together the majority of the works held in public collections, the artist being present, notably due to state donations, in around thirty French museums, as well as a certain number of works held in private collections. As such, it is the first major exhibition devoted to this painter and contributes to the rediscovery and re-evaluation of the naturalist movement, in the direct line of the exhibitions of Jules Bastien-Lepage, Fernand Pelez, Alfred Roll in recent years or Emile Friant very soon at the Nancy museum.
A painter from Franche-Comté born in Luxeuil-les-Bains, Jules Adler (1865-1952) was part of the movement of naturalist artists who embodied an alternative path in the last quarter of the 19th century between the Impressionist avant-gardes and a more official, so-called academic, art. A defender of an art in touch with the society of the Third Republic, Adler embodied it through his well-known dimension "as a painter of the humble," workers, modest laborers, or tramps who populate a whole section of his production. Beyond this dimension, the exhibition intends to shed light thematically on the different facets of the painter's approach: the social question prevalent in his work, the notion of regionalism, his role as an artist on the war front during the Second World War, his status as a painter of republican values, and more broadly the "ambiguities of Naturalism" between academicism and modernity. The exhibition will bring together the majority of the works held in public collections, the artist being present, notably due to state donations, in around thirty French museums, as well as a certain number of works held in private collections. As such, it is the first major exhibition devoted to this painter and contributes to the rediscovery and re-evaluation of the naturalist movement, in the direct line of the exhibitions of Jules Bastien-Lepage, Fernand Pelez, Alfred Roll in recent years or Emile Friant very soon at the Nancy museum.