Impressions on the Evolution of Naturalism: Interiority, Exteriority, and the International/Interdisciplinary Nature of Naturalism

Cameron Dodworth

doi:10.3390/h8030128

Abstract

Naturalism, as a movement and genre, was heavily influenced by the work of Émile Zola, particularly by his essay, Le roman expérimental (1880). However, despite Zola’s strong influence, Naturalism was also significantly influenced by the ideas of others that go beyond and even predate those of Zola. As a result, Naturalism is generally accepted as having originated in France in the late 19th century, and having extended into the early 20th century, however it soon became an international as well as an interdisciplinary movement and genre. More specific examples of this international and interdisciplinary network of Naturalism can be seen in the writing of Zola, Joris-Karl Husymans, and Oscar Wilde, as well as the painting of Cécile Douard, Vincent van Gogh, Gustave Caillebotte, and Claude Monet. Furthermore, these examples reveal that Naturalism evolved into a more interior branch, as well as a more exterior branch, and they also reveal some strong evolutionary links between not only Naturalism and Impressionism, but also between Naturalism and Decadence/Aestheticism. These latter links have seen little discussion in relation to Naturalism, particularly on the basis of the roles that interiority and exteriority play in the international and interdisciplinary expressions of Naturalism.

Highlights

CécileGleaners,1891, 1891,oil oil on on canvas, Beaux-Arts, Mons, Belgium. The last passage taken from Hemmings uses the term ‘realist’ by no accident
Naturalism, as a movement and genre, was heavily influenced by the work of Émile Zola, by his essay, Le roman expérimental (1880)
These examples reveal that Naturalism evolved into a more interior branch, as well as a more exterior branch, and they reveal some strong evolutionary links between Naturalism and Impressionism, and between Naturalism and Decadence/Aestheticism

Summary

Cécile

Gleaners,1891, 1891,oil oil on on canvas, Beaux-Arts, Mons, Belgium. The last passage taken from Hemmings uses the term ‘realist’ by no accident. The Hansons observe van Gogh’s efforts in terms of artistic philosophy in their discussion of his motivation for painting The Potato Eaters, consistently using language that reflects the artifice discussed in relation to Degas, and that reflects the far more interiorized, subjective, psychological strain of Naturalism:. Despite Zola’s apparent efforts to focus on a scientifically objective study of physical exteriority in betray a more interiorized, almost psychological intimacy, such as the multiple sexual encounters, his Naturalism, many scenes and images from Germinal betray a more interiorized, almost the compacted living conditions, the encounters, setting of the claustrophobic psychological intimacy, such as and the multiple sexual the uncomfortable compacted livingand conditions, and interiors of the mines.

Vincent vanvan

Claude

Gustave