How artists at the turn of the twentieth century broke with traditional ways of posing the bodies of human figures to reflect modern understandings of human consciousness. With this book, Emmelyn Butterfield-Rosen brings a new formal and conceptual rubric to the study of turn-of-the-century modernism, transforming our understanding of the era's canonical works. Butterfield-Rosen analyzes a hitherto unexamined formal phenomenon in European art: how artists departed from conventions for posing the human figure that had long been standard. In the decades around 1900, artists working in different countries and across different media began to present human figures in strictly frontal, lateral, and dorsal postures. The effect, both archaic and modern, broke with the centuries-old tradition of rendering bodies in torsion, with poses designed to simulate the human being's physical volume and capacity for autonomous thought and movement. This formal departure destabilized prevailing visual codes for signifying the existence of the inner life of the human subject.Exploring major works by Georges Seurat, Gustav Klimt, and the dancer and choreographer Vaslav Nijinskyâ replete with new archival discoveriesâ Modern Art and the Remaking of Human Disposition combines intensive formal analysis with inquiries into the history of psychology and evolutionary biology. In doing so, it shows how modern understandings of human consciousness and the relation of mind to body were materialized in art through a new vocabulary of postures and poses.
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Twenty years after Blanc published this statement, the Grande Jatte debuted. With this canvas, Seurat inaugurated a movement that forcefully reasserted the traditional primacy figure painting had held within academic aesthetics. And yet, part of the polemical, programmatic aspect of Seuratâs manifesto painting was that it seemed to prioritize the human figure on a basis entirely different from the one Blanc had advocated, one no longer wedded to a notion of thought as the fundament of human existence.
Seurat began his career as a âregular and submissiveâ pupil at the Ăcole des Beaux-Arts (fig. 10), where for nearly four years he drew and painted on a daily basis from nude models and antique casts.14 But his manifesto painting conspicuously abandoned the proficiency of figural mimesis that, as Blanc recounted, Western art had achieved progressively over generations and centuries. Relinquishing the hard-won mastery of the human bodyâs âprodigious variety of forms, of contours, of depressions, of projections, of attitudes, of movements,â the Grande Jatte instead adopted a rigid, repetitive, formally abbreviated mode of figural presentation that startled nineteenth-century viewers with its seeming technical and expressive crudeness.
The debates around the Grande Jatteâs technique of figuration are vitally important not only for grasping the fraught status of the human figure within Seuratâs oeuvre but for understanding more broadly how at the turn of the century some of the most basic objectives of figural representation were reconceptualized by modern artists. At its core, the dispute around the Grande Jatte concerned the presumed obligation that an artist should endeavor to portray the indwelling physical and intellectual liveliness of the human being. While this debate was, in one sense, a debate about formal conventions, it was also inextricably bound to larger questions about how to define and represent human interiority.
A âReprinted, Corrected, Singularly Augmented Edition of the Grande Jatteâ
Among the seven figure paintings Seurat completed before his death, one holds singular importance for comprehending the problematic status the human figure came to assume within his oeuvre. Exhibited in 1888 under the idiosyncratic title PoseusesââPosers,â not âModels,â as the title is often improperly translatedâSeuratâs composition of three nude models assembled in his studio in front of a section of the Grande Jatte occupied him longer than any other of his notoriously labor-intensive canvases of combat.16 Produced over two years in âcloisteredâ secrecy, Poseuses (fig. 11) was a uniquely introspective as well as retrospective projectâa âgrande toile de lutteâ that self-consciously answered, and thematized, the dispute about figure painting that had emerged from the Grande Jatteâs contentious reception.17
A terse, two-line review published in 1889 aptly summarizes the discursive structure of Poseuses; it identifies the canvas as âa reprinted, corrected, singularly augmented edition of the Grande Jatte.â18 Pointedly deploying the terminology of print, the turn of phrase seems to allude to the influence of Seuratâs critics, underlin...