430:, a journalist. Although Zola was a writer and Ibels was an artist, both became involved in the Dreyfus debate and vocalized their thoughts. Both would introduce in their work shared ideas about violence and lies. In addition, Ibels' text âEst-ce une Croix ou un Sabre?...â, presented in his artwork, and Zola's âLettre Ă la Franceâ both shared their shared ideas about a âsicknessâ France was suffering in their citizen's support of anti-Dreyfusard. Ibels expressed this ideology of a sickness by utilizing imagery of exhausted and tired soldiers in his drawings to demonstrate uniformed, conformity amongst citizens in support of anti-Dreysford. As Zola has famously said, "Discipline means obedience," Zola expressed an overarching view of soldiers unwilling to rule against a commander in chief for fear of punishment, an ideology that is also reflected in Ibels' work.In addition, they both had a share of language. Ibels' âLe Coup de PĂšre Françoisâ and Zola's use of words such as âtyrannyâ, âbootâ, âswordâ, and âdictatorâ created a sense of menace.
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early
Dreyfusards (Those who supported Alfred Dreyfus, a Jewish captain in the French Army) to prove the innocence of Alfred Dreyfus in his conviction of selling military secrets to the German government. As a result, this caused a series of anti-Jewish controversies that Ibels addressed in his artwork, knows as âDreyfusard artâ. Before the Dreyfus affair, Ibels was like a vigilante artist supporting the cause but would soon publicly come out and change his stance in the Jewish newspaper, La Libre Parole. In specific, Ibels' artwork of caricatures was created in an effort to present how the Dreyfus Affair was more of a French rather than Jewish issue. It was through his artwork that he would campaign to counteract ideas of national identity in France, that attempted to exclude Jews, in an effort to go against the ideas of anti-Dreyfusism and become an activist for social change.
446:, and collaborate due to their common fight for Dreyfus and rivalries with anti-Dreyfusard artists. Artwork such as LaTerre would present his, and Zola's, involvement in political-activism during this time. In addition, because he had experienced a position in both sides, his iconography during the Dreyfus Affair would become recognized as an encyclopedia of blogger-like pro- or anti-Dreyfus imagery. For example, Ibels' visuals, such as the cover of his 1898 âAllons-y! Histoire Contemporaine,â was published in an effort to mock and question military's interference in civilian court, and indicate the Jewish had no association in the movement that grew around Dreyfus. As a result, Ibels became recognized as the driving force behind the popularization of "Allons-y!" as a catchphrase associated with artwork aimed at exposing and criticizing anti-Dreyfusard propaganda.
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and entertainment, and attacked bourgeois values. Ibels is known for his skillfully crafted and precise lines. Ibels' first exhibit also took place in 1891 at the Salon des
Independants. And in 1892, he created eight color lithographs for the 1892-93 season of the Theatre Libre in Montmartre. Inspired by contemporary life, Ibels' work consisted of subjects drawn from modern Paris such as the cafe, boxing rings, and the circus. The characteristics in subject and technique of simplistic colors and shapes within his work can also be likened to artists such a as Henri de Toulouse-Lautrec, Adolphe Willette, and Theophile Alexandre Steinlen.
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199:, with whom he developed a personal relationship and professional camaraderie. Henri-Gabriel painted various fans and one was similar to the style of Toulouse-Lautrec who used the theme of clowns in his paintings and lithographs. This resulted in a friendship as they would go to the circus together frequently for hours. This is where he would get his starting points for his drawings and pictures. He developed a style in his profiles of clowns , circus houses, and acrobats. In 1893, they also produced lithographs together for an album titled
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technique, in which he used tiny dots of color to create a sense of light and form in his paintings. His work often focused on capturing the effects of light and color through flat silhouettes, which can be seen is his work such as the Cafe
Concert. On the other hand, Ibels's lithographs often showcased a more narrative-driven approach, with bold lines and rich textures. Regardless of differences, the incorporation of Ibels' lithographs into other artist's drawings suggest that Ibel's work was influential.
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147:. At the beginning of the term at the AcadĂ©mie Julian, Paul SĂ©rusier gathered his friends around, including Ibels, and gave them the name Nabis. This is a Hebrew word for âprophetâ and Ibels was a member since its 1889 founding. Though he was a part of the Societe de Independants "from a young age," he made his debut during the Nabi movement when he became one of the original members of Les Nabis. Other members included Bonnard, Vuillard,
377:, Ibels' work included. The critical response varied as some found the designs here strange and the style too basic. Revue Franco-Americaine was one individual who actually applauded the idea of using young and talented artists full of new ideas. The Nabis often worked with avant-garde producers who helped restore theater during the last twenty years of the 19th century. They created these friendships at the
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as their styles were more similar. His designs did not always receive praise from the public; a journalist named
Courrier Francais expressed his displeasure of the art. He insinuated that Antoine was only trying to promote Ibels instead of good work. They disbanded in 1899 ,after 10 years, to develop
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As a prominent French artist who spoke through his art, Henri-Gabriel Ibels played a significant role in shaping the narrative around the
Dreyfus Affair during the late 19th century. The Dreyfus affair was a political scandal in which antisemitism was practiced. There was a difficult struggle of the
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in which the leading members of the Les Nabis group members are presented in a painting made by
Maurice Denis. Despite Ibels being a leading member of Les Nabis, it excludes Ibels. Sauvage recalls Ibels stating, âWhy am I not among them? It's my fault, my great fault! Because of their wise and calm
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The Nabis were most interested in
Japanese art and they worked on decorative projects together. The Nabis studied Japanese prints to find new ideas and possibilities for color. They were against Impressionist art altogether and wanted art forms that were more expressive. They created screens in the
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He contributed to several publications on anarchism. As photomechanical processes allowed lithographs and drawing to be cheaply reproduced in the press, editors and publishers began to incorporate caricatures within their journals during the 1890s. Illustrators such as Henri-Gabriel Ibels, Adolphe
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With
Vuillard and Denis he soon caught the public eye and earned the nickname âle Nabis journalisteâ. Ibels earned this nickname as he frequently made regular publications to numerous newspapers and magazines. His main focus was drawing and lithography. He was passionate, loved the form of theater
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in Paris, where the drawing was likely made. Although both Ibels and Seurat shared an emphasis on drawing and a fascination with the circus as a subject matter, the work of Henri-Gabriel Ibels and
Georges Seurat shares some distinct differences. Except Seurat is best known for his pointillist
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Along with painting, Ibels mastered the techniques and aesthetics of printmaking and a style suited for lithography for book illustration commissions, sheet-music covers, and advertisements. His participation in the Belle Epoque color revolution in lithography, for example, assisted in the
163:. Their early works consisted of bright colors and vibrant contour lines. Some of their goals were to reintroduce painting as a decorative art and make it part of everyday life. As his inspiration here, he used labor workers that he ran into at local bistros.
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development of Jules Cheret's use of the multi-chromatic processes, an art practice that overlapped colors in an attempt to create more depth and shade in print. He is described as a "consummate practitioner" by Andre
Mellario in
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Although a driving force in politics, Ibels expressed underlying regret in becoming distant from Les Nabis as a result of his political and social commitments. Anne Marie Sauvage recalls Ibels reflecting on
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Willette, and Jean-Louis Forain began to contribute to all types of journals. Though their "anti-bourgeois attitudes" were not always anarchist, they contributed to anarchist leaning journals such as
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for allowing the use of color and line drawing more accessible in print. His career was marked in 1891 when he took part in Les Nabisâ exhibitions at
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Arnold, Eric A. (January 2003). "The Dreyfus Affair: Derfler, Leslie: Westport, Conn.: Greenwood Press 164 pp., Publication Date: April 2002".
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203:. Toulouse-Lautrec would then become the godfather to Ibels' son and the two artists would remain friends until his death in 1901.
628:"L'Art pour l'Art or L'Art pour Tous?: The Tension Between Artistic Autonomy and Social Engagement in Les Temps Nouveaux, 1896â1903"
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314:"Circus (Au Cirque) (Circus Ring)," lithographic print for L'Estampe originale, Album I. JanuaryâMarch, 1893
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Kaplan, Zvi Jonathan (2013). "Henri-Gabriel Ibels, the Jews, and the Francization of the Dreyfus Affair".
369:. In April 1895, there were 13 glass stained windows that were created from sketches and displayed at the
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O'Toole, Judith Hansen (1982). "Henri-Gabriel Ibels and Georges Seurat: An Attribution Confirmed".
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Henri-Gabriel Ibels had created a work titled âThe Circusâ which was initially thought to be by
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During the time of the Dreyfus Affair, Ibels shared similarities in art work with
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Katz, Maya Balakirsky (2013). "Henri-Gabriel Ibels, Nineteenth-Century Blogger".
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1890s that were the most original during that period along with artists such as
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which grew their interest in theater. Some of these producers included
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127:(1867â1936) was a French illustrator, printmaker, painter and author.
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Anticlerical illustrations and visual satire in 'anti-Jewish affairs'
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environment, I preferred the turbulence of political struggles.â
780:(Ph.D. thesis). University of Leeds. pp. 45, 46, 48, 91â91.
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Maitron, Jean; Dupuy, Rolf; Chuzeville, Julien (2022-11-23).
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as individuals and to be able to express themselves fully.
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Ibels would come across other artists, such as one named
298:"Pierrot," collaboration with Toulouse-Lautrec depicting
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International Journal for History, Culture and Modernity
263:"AprÚs les fameuses révélations de M. Cavaignac" :
575:"Henri-Gabriel Ibels | People | The MFAH Collections"
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710:Frenches-Thory, Claire; Terrasse, Antoine (1991).
422:"The Circus," gouache print by Henri-Gabriel Ibels
851:Sauvage, Anne-Marie (1993). "Henri-Gabriel Ibels
608:(in French). Paris: Maitron/Editions de l'Atelier
712:The Nabis: Bonnard, Vuillard, and Their Circle
175:gallery, "Impressionist and Symbolist Painters
35:Photo published in Je Sais Tout in March, 1914
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482:10.1093/benz/9780199773787.article.B00091721
371:Salon de la Societe Nationale des Beaux-Arts
740:The Bulletin of the Cleveland Museum of Art
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135:He was born in Paris and studied at the
118:Abstract art, symbolism, early modernism
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855:: l'Ćuvre graphique des annĂ©es 1890".
774:Moss, Allison Hilary (November 2022).
267:, collapsed to the ground. Drawing in
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283:Portrait of Henri-Gabriel Ibels by
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664:Gliem, David E. (July 20, 2012).
1131:19th-century French male artists
1121:20th-century French male artists
666:"Revisiting Bonnard's Japonisme"
402:Similarities among other artists
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1126:20th-century French printmakers
192:to mock the revolution itself.
805:10.1080/03612759.2003.10527590
626:Prins, Laura (28 March 2016).
320:Faksimile-Poster published in
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793:History: Reviews of New Books
676:(7) – via ResearchGate.
474:Benezit Dictionary of Artists
1116:20th-century French painters
1106:19th-century French painters
434:Ibels in the Dreyfus Affair
139:along with artists such as
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16:French painter (1867â1936)
828:10.1163/9789004256958_008
520:10.1163/9789004256958_006
285:Henri de Toulouse-Lautrec
70:31 January 1936 (aged 68)
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1022:Toulouse-Lautrec Cooking
472:"Ibels, Henri Gabriel".
322:Les MaĂźtres de l'Affiche
195:Ibels collaborated with
1101:Académie Julian alumni
857:Nouvelles de l'Estampe
600:"IBELS Henri, Gabriel"
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375:Salon de L'Art Nouveau
173:Le Barc de Boutteville
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1111:French male painters
822:. pp. 199â215.
670:Open Inquiry Archive
190:La Courrier Francais
1086:French illustrators
1049:L'Estampe originale
949:Henri-Gabriel Ibels
853:le nabi journaliste
265:Commander Esterhazy
125:Henri-Gabriel Ibels
23:Henri-Gabriel Ibels
1065:Post-Impressionism
969:Ker-Xavier Roussel
514:. pp. 79â83.
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395:Théùtre de l'Odéon
249:Galerie Pierrefort
1141:French anarchists
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1030:Homage to CĂ©zanne
837:978-90-04-25695-8
529:978-90-04-25695-8
452:Homage to CĂ©zanne
231:Poster for first
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104:illustration
1136:Nabis (art)
1096:1936 deaths
1091:1867 births
984:Jan Verkade
964:Paul Ranson
367:Ămile GallĂ©
247:Poster for
215:Poster for
79:Nationality
1080:Categories
869:1320611048
799:(3): 117.
612:2023-03-16
605:Le Maitron
584:2024-03-14
557:2009-05-22
459:References
428:Ămile Zola
346:Poster 138
269:Le Sifflet
66:1936-01-31
47:1867-11-30
1060:Lugné-Poe
998:Paintings
863:: 25â33.
391:Lugné-Poe
387:Paul Fort
352:The Nabis
131:Biography
87:Education
1055:Intimism
917:Painters
865:ProQuest
752:25159782
476:. 2011.
334:Poster 6
217:MĂ©visto
186:La Plume
115:Movement
107:printing
101:painting
1041:Related
300:Pierrot
1033:(1900)
1025:(1898)
1017:(1893)
1009:(1888)
867:
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