127

  • Messe en Bretagne

  • ca. 1895
  • Èmile Alfred Dezaunay (French 1854-1938 or 1940), printed by Eugène Delâtre (French 1864-1938)
  • Etching, aquatint and roulette, 4-color plate, 1/5 proofs apart from edition of 50
  • 32.1 x 42.1 cm., 12-5/8 x 16-9/16" image
  • Augustana College Art Exhibits Purchase as a Memorial Honoring William L. Beer, from Betty L. Beer, 1997.11

Essay by Mikeda Cannon, Class of 2007

Dezaunay was among several artists who studied under Paul Gauguin in Brittany, where he developed his etching skills and an understanding of Gauguin's Synthetism, which he later applied to his own work, Messe en Bretagne (Mass in Brittany). Synthetism aimed at achieving beautiful and powerful artwork through the fusion of nature, artistic training and medium (Bretell 26). Gauguin's theory challenged earlier Impressionist beliefs that one should paint nature just as it appears. Gauguin instead advised his followers that "the synthetist artist must dominate rather than be submissive to nature" (Bretell 26). He further suggested: "Paint in your room; finish it outside" (Hanson 81). His main ideology was to create a direct and bold composition through simplicity and concentrated color (Hanson 82). This artistic approach was one of the most prevalent ideas in art during the latter part of the nineteenth century (Bretell 26-27).

Dezaunay's scene depicts fin-de siècle (end of the century) religious practice in Brittany at a peasant devotional site. The people of Bretagne had a very rigorous and full religious life. The young women wore aprons and head coverings, part of their everyday dress, each region distinguished by a unique female head covering. The subject of the painting, according to the title, is a religious service. Young women in traditional costume dominate the foreground while the church and graveyard loom large and imposing in the background. The women appear to be socializing; some whispering to each other, others appear disinterested. One particular young woman leans against a crucifix, her eyes closed and turned away from the church and the doorway which appears dark with doors shut. The juxtaposition of the church, the young women and the graveyard seems to be making a statement about the closeness of life and death, as well as the role of religion in both. The young women are extremely vague and generalized. Only two faces are shown, in profile and without much detail. As a Symbolist, Dezaunay suggests meaning, but does not explain, inviting viewers to interpret. This work might also imply the idea of youth being wasted upon the young. Surrounded by death and spirituality, the women are perhaps no closer to faith in this setting than they would be in their own homes.