"Go and drink absinthe! Bole offending
flee before him as nightmares ...
He will bring forth the free field,
Where the sun shines lazurach spring;
On your wings develop the Falcon,
That the desires of your daily ulecisz,
I slave you - I prefer working -
will feel a sudden in this valley of tears,
Because you are mighty, who are Lenne
All capitals, army camps all
And all the kings castles złotościenne ...
In God will lift you
Absinthe metamorphosis of all higher alcohols "
This is the second verse of the most famous of the Polish text of absinthe that is one of the" Ballad drunken "Anthony Lange. As you can see today, so once again time to post about używce, which quite often appears in European art (at first it was opium link and recently gin: link ). Of all the three, but that absinthe has played the largest role, because Who does not remember those grim men (and sometimes women) face sitting before a bottle of green wine. The question that could easily ask themselves probably every reader, looking at these works is quite simple - why just absinthe? Who drank it knows that the substance is highly addictive and eating the same thing it is not simple. But it was during the late nineteenth and early twentieth century the problem of absinthe was similar to that which existed in London in the eighteenth century and was already described as an example of gin. However, this time, most artists depend on something completely different ...
At the beginning I decided to toss one of the most famous advertising end of the nineteenth century. Belgian poster Henri Privat-Livemont in my humble opinion, one of the best masters in their profession, now dimmed somewhat underestimated and heritage of French artists. It is, however, look at him, because, as already recognized in the books written in Europe in the late nineteenth century preferred the first really large scale posters. You can even suggest that some of his works were an intermediate form between the posters and billboards, which are often lighted up slowly began to decorate the busiest streets of the cities on the other side of the Atlantic.
very evocatively drawn, placed beside the woman on the poster from 1896 (which advertises alcohol, "Absinthe Robetta") is almost certainly Madeleine Brown, his first wife, whom he met in Paris and who has long served him as a model. Attention is not only economical composition, but also specific, intentionally wysmuklona out a form that disguises but not her body. Well, despite a very feminine face and body morphology, the viewer immediately sees a bit more "rubensowskie" shapes models (and even when I do not have it so many complexes, as in piszczelowatych girls in the paintings of Botticelli). But in the meantime absinthe really need such a sophisticated advertising, which so far largely was present only in the case for the great cultural events and sceniczych?
Drinking alcohol (with a focus at that enigmatic greenish liquid) was then something analogous to the current wear piercings and chains around his neck, and thus a form of contestation of social rules. This is mainly because Verlaine has lost almost all his wealth, which he inherited, and under the influence of alcohol his behavior did not differ much from current drinkers (read: sex with others who have consumed this drink). As he wrote, he loved absinthe-color, but such Rimbaud, we learn from that and other forms are not despised. As a result, Verlaine became a sort of symbol of the 80s in Paris. Some regarded him as a model bohemistycznego writer, even a genius destroyed by alcohol. Young, however, it was a "for sale" and slowly began to create the perception that the "green muse" is closely linked with the activity of writing. Not
But this only inspired the muse of operating the text, but also the image. Van Gogh often literally "go out" with each other under the influence of absinthe, while Gauguin alcohol and eat this in the French colonies in the Pacific (imagine a drunken libertine entertaining themselves with their 12 -, 13-year-old wife, then? - Brrr, scary ...). Statistics are alarming. Within a dozen years from 1875 to 1913, consumption of absinthe in France increased fifteen times, but not only in the Third Republic raczono this brew. Similar behavior was on the agenda in Berlin and Scandinavia, and the known artists - simply replace absinthe fans Munch and Strindberg. Only in Britain tried to prevent addiction, where he portrayed absinthe as a kind of "Devil in a Bottle", the word downfall of the then not only elites, but entire societies and countries of the continent.
presented in this picture actress Ellen Andree probably not looking for inspiration, but relief. Edgar Degas, sensitive at all to some social restrictions and conventions, the "absinthe" from 1876 (Musee d'Orsay in Paris) appeared lackadaisical faces destroyed from the outside and inside, devoid of hope and plunging the depths of drunken thoughts. I think that at that time created more or less plausible elegies of absinthe as a "power mover" artistic talent. Even in the "Library of Warsaw," which in "The Chronicles of Paris" tried to provide the latest information on what is trendy in the French capital, ironizowano: "The purpose of running at a gallop: the newspaper in a hurry, the theater can not wait ... how they wydążyć? The four of us work at night ... and zkąd strength? You will drink the coffee. And the inspiration? You will drink absinthe. " I think that out forms to prepare for the session and final exams do not differ from the above-mentioned (that the ideas of trainees studying for tests and examinations did not mention ...). So why the sudden interest in such a great absinthe in the nineteenth-century France? Because I can hardly explain this observation on one of the lithography owned by Degas, whose author was adored by his Honore Daumier. Well-known cartoonist and illustrator held that "there is nothing else than the absinthe that does not put on his feet." As you can guess, based on his own experience as an old inhabitant of the club Hotel de Pimodan, where coming in after the "inspired me" as Baudelaire and Delacroix.
This here's muse had to see Victor Oliva, who in 1901 painted this image ("Absinthe Drinker," is still hanging in the Cafe Slavia in Prague). Apart from the fact, where the alcohol-intoxicated man looks green arrives, you can see, what else but a glass or glass on the table. Well, just nothing that clearly underlines the negative effects of absinthe on human consciousness. Back in 1870, the French "Grande Encyclopedia" it reported, that absinthe is one of the best liquors used for the aperitif. As shown in the above two images, usually ended up on this ... What is interesting, however, this cheap liquor also had a very negative impact on the French economy. Because of its massive consumption (90 per cent of the existing fans of wine przerzuciło to green alcohol), decreased production of wine, which alarmed the authorities, and even sometimes appeared in the foreign press. The Paris correspondent, writing for the "Atlanta Constitution" in 1894 made even with the absinthe, the symbol of the French capital, but on the occasion hinted that the most pronounced dependence party in the south of the country, yet faithfully standing on the side of the wine as the main source of bewilderment.
"Southerners," complained that the "aperitif" so has spread that hardly anyone buys the wine now even at prices of production. Journalist while he was horrified the critical number of drinkers from the department of Gironde to the Pyrenees, where (as inconceivable in Paris) drank not only in coffee shops, and homes but at the table, stirring the drink of water. I think that taking such enjoyed a drink, whose bitterness can be felt even an ounce of absinthe mixed with 524 gallons of water ...
course the one hand, art popularized the consumption of absinthe (as one of the rules of advertising - no matter how about you say, but it is important that it was said), but on the other popular image Degas manifested in the fact that he fully grasped the devastating nature of addiction. In turn, these mary Oliva presented and ghosting, which engulfed the drinker, much less what happens in the case of other alcohols. The very popular not only lasted for a drink at the turn of the millennium. Even before the war Sarah Bernhardt appeared in commercials, stressing the positive aspects of alcohol consumption, and Ernest Hemingway, which can involve bringing liquor from Tarragona in 1922, wrote that absinthe has both good and bad effects on the mind and genitals. And what influence he had on artists absinthe? Seem to appear that could harden a bit Edourda Manet, whose "Absinthe Drinker" from 1859, was rejected by the committee evaluating the work, which should hang at the Paris Salon. I wonder, therefore, whether the artist has decided to drown the angry their sorrows in alcohol and the manifestation of his "Green muse," predicted an event similar to the "Breakfast on the Grass" four years later.
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