Understanding the Differences Between Naturalism and Realism

Introduction

In the study of nineteenth-century art, the terms Realism and Naturalism are frequently used interchangeably in everyday conversation. However, in art history, these terms represent two distinct, successive movements. Realism emerged in France around the revolutions of 1848, led by artists such as Gustave Courbet, Jean-François Millet, and Honoré Daumier, who insisted that art should focus on the present and the lives of ordinary people. Naturalism followed in the 1870s and 1880s, spreading from Paris to regions including Britain, Germany, and Scandinavia, becoming a widely exhibited style before the turn of the century.

The confusion between these movements often arises because they share a common goal: both reject idealized gods and heroes in favor of depicting peasants, workers, and the world as it truly exists. While they are linked by their subject matter, they differ significantly in their technical approach and their primary intentions. This article will help you distinguish between the two by examining the specific focus of each movement: the social and political message of Realism versus the precise, observational method of Naturalism.

The Method of Naturalism

Joan of Arc - Jules Bastien-Lepage

Interior of a Butcher Shop - Léon Augustin L'Hermitte

Free hour at Amsterdam orphanage - Max Liebermann

While Realism focused on the social message of a painting, Naturalism shifted the emphasis toward the method of representation. Painters of this movement sought to achieve a near-photographic truth regarding light, setting, and detail. To capture this accuracy, artists often worked outdoors to observe the effects of grey daylight and real fields, aiming for a precise record of the world rather than a political argument.

The technical execution of Naturalism is characterized by a specific visual structure. These canvases typically feature a tighter finish than those of the Realists, often utilizing crisp foregrounds and softer backgrounds. The lighting is frequently even and diffused, a quality that many historians suggest mimics the appearance of early photography. This approach allowed artists to document the environment with meticulous observation.

Several key works and artists define this movement:

• Jules Bastien-Lepage: A central figure of the movement, his work Joan of Arc (1879), currently held at The Metropolitan Museum of Art in New York City, serves as a cornerstone of the style. In this piece, he captures a sense of spiritual conviction through careful observation.
• Léon Augustin Lhermitte: He recorded rural life with a focus on careful drawing. His work Interior of a Butcher Shop (1881), located in the Cleveland Museum of Art, is a meticulous rendering in charcoal and white chalk that captures a modest scene in rural France. His work Paying the Harvesters (1882) is another example of his detailed approach to rural labor.
• Max Liebermann: This German painter moved toward Impressionism after working in the Naturalist style. His work Women Plucking Geese (1872) and The Net Menders (1887-1889) demonstrate his engagement with the movement's focus on everyday life.

The Subject Matter of Realism

The origin of the world - Gustave Courbet

The Angelus - Jean-François Millet

Honoré Daumier Nous voulons Barabbas (Ecce Homo) We want Barabbas (Ecce Homo) - Honoré Daumier

Realism emerged in France around the revolutions of 1848. This movement was defined by a refusal to paint idealized gods or historical heroes. Instead, Realist painters insisted that art should focus on the present moment and the lives of ordinary people. This shift was often seen as a provocation to the critics of the time because it brought the struggles of the working class into the high art of the salon.

The movement was characterized by several key artists and their specific approaches to subject matter:

• Gustave Courbet was a central figure who focused on raw, unadorned reality. In his 1849 work, The Stone Breakers, he depicted two anonymous laborers at life size. Another significant work is A Burial at Ornans (1849-1850), which used a vast format—usually reserved for important history paintings—to depict a provincial funeral. In 1866, he produced The Origin of the World, a direct depiction of a female torso that challenged conventional standards of beauty.
• Jean-François Millet focused on the dignity of rural life. His work The Angelus (completed between 1857 and 1859) shows two peasants pausing their potato harvest to pray at dusk. He also painted The Sower (1850) and The Gleaners (1857), which gave peasants a sense of gravity and importance.
• Honoré Daumier explored the complexities of modern urban existence and social justice. His 1852 painting, Nous voulons Barabbas (Ecce Homo), used a raw and expressive style to capture human vulnerability. He also depicted crowded city life in works such as The Third-Class Carriage (c. 1862-1864).

Technically, these artists often used a heavy, rough application of paint, utilizing dark, earthy colors to emphasize the weight of their subjects.

Comparing Message and Method

While Realism and Naturalism are linked by their shared interest in the lives of ordinary people, they differ in their primary focus. Realism was, above all, a statement about subject matter. It sought to challenge the status quo by depicting the present moment and the working classes. For example, Gustave Courbet produced The Stone Breakers (1849), which showed two anonymous laborers at life size. Similarly, Honoré Daumier captured the crowded reality of urban life in The Third-Class Carriage (c. 1862-1864). These artists used heavy, dark earthy colors and thick paint to make a social or political statement about the world as it was.

Naturalism, which followed in the 1870s and 1880s, shifted the emphasis from the message to the method. While Naturalists also rejected idealized heroes, they were more concerned with achieving near-photographic truth through technical precision. This movement focused on the meticulous observation of light, setting, and detail. Key differences include:

• Technique: Realist canvases often feel weighty and confrontational with broad handling. Naturalist canvases tend to have a tighter finish, featuring crisp foregrounds and softer backgrounds.
• Light: Naturalists often worked outdoors to capture diffused, silvery daylight, a technique that suggests the emergence of the camera.
• Execution: Where a Realist might use rough, expressive brushwork to argue a point, a Naturalist aimed for a precise record of an anecdote.

This shift is evident in the works of Jules Bastien-Lepage, such as Joan of Arc (1879), and Léon Augustin Lhermitte, who recorded rural life with careful drawing in Paying the Harvesters (1882). Ultimately, Naturalism turned the radical revolt of Realism into a respected, internationally recognized style.

Conclusion

To distinguish these two movements while standing in a museum, a visitor should look at the focus of the artist. When viewing a Realist work from the 1850s or 1860s, look for a sense of weight and confrontation. These paintings often use dark, earthy tones and broad, heavy brushstrokes to make a social or political statement about the subject matter. In contrast, a Naturalist work from the 1880s often feels like a precise, photographic record. Look for silvery, diffused outdoor light and a crisp, detailed finish that suggests the artist worked directly from nature to capture light and setting.

Despite these differences in method, the two movements share a fundamental ambition. Both Realism and Naturalism rejected the idealized gods and heroes of the past. Instead, they chose to depict the world as it truly was, focusing their attention on peasants, laborers, and the everyday lives of ordinary people.

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