Joan Of Arc

Joan of Arc, was painted by the French realist artist Jules Bastien-Le Page
in 1879. After the province of Lorraine was lost to Germany following the
Franco-Prussian War in 1821, The Frenchmen saw in Joan of Arc a new and powerful
symbol. In 1875, Bastien-Lepage, a native of Lorraine began to make studies for
a picture of her. In the present painting, exhibited in the Salon of 1880, Joan
is shown receiving her revelation in her parents garden. Behind her are Saints
Michael, Margaret, and Catherine. (Caption next to painting in The
Metropolitan) Jules Bastien-Lepage creates a realistic atmosphere, including
a supernatural, religious-like presence within his painting. Oil on canvas was
used to create the realistic quality of the work. By closely examining the
artists technique, it is clear that he uses delicate brush strokes in a true
to life manner. The colors, and use of light seem to be painted in a layered
fashion to give the landscape a sense of depth. The background of the painting
is a garden which include foliage and brush that surrounds the primary focus of
the painting, Joan of Arc. The artist put a great effort into the details of the
scene. Bastien-Lepage uses a distinct realistic quality in his painting which is
visible in each individual leaf and branch. Various hues of earth tones, green
and brown being the most evident, are blended together in the garden scene. In
the foreground of the painting is Joan of Arc. She is painted with a seemingly
thicker paint technique. This makes her a more easily visible aspect in the
painting, and catches the onlookers eye. Joan is dressed in a long brown skirt
and blue-gray shirt with white underneath which is the typical clothing style of
the 19th century. The clothing is painted to show its wear and tear. Her
features and her figure are quite realistic. She seems to have a calm, but
troubled expression on her face, as though she is deep in thought. Overall she
is painted in a very detailed manner. A less visible, yet still present and
important aspect of the painting are the three figures positioned behind Joan,
and in front of the house. The figures are somewhat transparent, and ghostly.

Their presence adds a spiritual and or religious feeling to the scene. These
three figures presence blends into the scenery. Al three have halos above their
heads, and serene looks on their faces. The saint on the right is dressed in
what looks to be armor. He looks brave, and as if he is standing guard or going
into battle. The middle saint is a praying angel. She is in a dress with a
gauzy, white presence around her. This whiteness gives her an ethereal quality
which Bastien-Lepage has painted quite effectively, and adds to the spiritual
feeling of the scene. Her presence in the painting seems to represent chastity
and virtue. The last figure looks like a young girl or child, who is kneeling
with her face hidden in her hands almost as if she is upset. Perhaps
Bastien-Lepage painted these three saints not only to illustrate Joan receiving
her visions, but to illustrate the bravery, religious yet childlike figure that
she was. Behind Joan of Arc, in the background of the picture is a house.

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Bastien-Lepage painted the house so that the masonry is visible. The house seems
to be small in size, plain, and quaint. Surrounding the house is shrubbery,
trees, and more of the garden which is seen throughout the painting. This
painting of Joan of Arc is very significant. Bastien-Lepage is able to
effectively depict Joan as the true heroine that she was. This is significant
because at the time there were not so many women heroines like her.


Arts and Painting

Joan Of Arc

Joan Of Arc The historical novel is one of those flexible inventions which can he fitted to the mood or genius of any writer, and can be either story or history in the proportion he prefers. Walter Scott, who contrived it, tested its elasticity as fully as any of the long line of romancers who have followed him in every land and language. It has been a favorite form with readers from the first, and it will be to the last, because it gives them the feeling that to read so much about people who once lived and figured in human events is not such a waste of time as to read of people who never lived at all, or figured in anything but the author’s fancy. With a race like ours, which always desires a reason, or at least an excuse, for enjoying itself, this feeling no doubt availed much for fiction, and helped to decide the fate of the novel favorably when its popularity was threatened by the good, stupid Anglo-Saxon conscience. Probably it had the largest share in establishing fiction as a respectable literary form, and in giving it the primacy which it now enjoys. Without the success of the monstrous fables which the gentle Sir Walter palmed off upon his generation in the shape of historical fiction, we should hardly have revered as masters in a beautiful art the writers who have since swayed our emotions.

Jane Austen, Miss Edgeworth, Hawthorne, Thackeray, George Eliot, Mr. Henry James, might have sought a hearing from serious persons in vain for the truth that was in them if the historical novel had not established fiction in the respect of our race as a pleasure which might be enjoyed without self- reproach, or as the sugar of a pill which would be none the less powerful in its effects upon the system because it was agreeable to take. It would be interesting to know, but not very pertinent to inquire, how far our great humorist’s use of the historical form in fiction was prompted by love of it, or by an instinctive perception that it was the only form in which he could hope to deliver a message of serious import without being taken altogether in jest. But, at any rate, we can be sure that in each of Mark Twain’s attempts of this sort, in the Prince and the Pauper, in the Connecticut Yankee in King Arthur’s Court, and in the Personal Recollections of Joan of Arc, he was taken with the imaginative — that is to say, the true — nature of his theme, and that he made this the channel of the rich vein of poetry which runs through all his humor and keeps it sound whether it is grotesque or whether it is pathetic in effect. The first of these three books is addressed to children, but it is not children who can get the most out of it; the last is offered to the sympathy and intelligence of men and women, and yet I should not be surprised if it made its deepest and most lasting appeal to the generous heart of youth.

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But I think that the second will remain the enduring consolation of old and young alike, and will be ranged in this respect and as a masterpiece of humor beside the great work of Cervantes. Since the Ingenious Gentleman of La Mancha there is nothing to compare with the Yankee at the Court of King Arthur, and I shall be very much disappointed in posterity if it does not agree with me. In that colossally amusing scheme, that infinitely suggestive situation, the author was hampered by no such distinct records as he has had to grapple with in his Personal Recollections of Joan of Arc. He could launch himself into a realm of fable and turn it into fact by virtue of his own strong and vivid reality while in a scene whose figures and events are all ascertained by history his fancy has had to work reversely, and transmute the substance into the airy fabric of romance. The result will not be accepted without difficulty by two sorts of critics: the sort who would have had him stick closer to the conventional ideal of the past, as it has been derived from other romancers, and the sort who would have had him throw that altogether away and trust to his own divinations of its life and spirit from the events as set down and from his abundant knowledge of human nature through himself.

I confess that I am of these, and I have the least to complain of, I think. It would be impossible for any one who was not a prig to keep to the archaic attitude and parlance which the author attempts here and there; and I wish he had frankly refused to attempt it at all. I wish his personal recollections of Joan could have been written by some Southwestern American, translated to Domremy by some such mighty magic of imagination as launched the Connecticut Yankee into the streets of many-towered Camelot; but I make the most of the moments when the Sieur Louis de Conte forgets himself into much the sort of witness I could wish him to be. I am not at all troubled when he comes out with a bit of good, strong, downright modern American feeling; my suffering begins when he does the supposed mediaeval thing. Then I suspect that his armor is of tin, that the castles and rocks are pasteboard, that the mob of citizens and soldiers who fill the air with the clash of their two-up-and-two-down combats, and the well-known muffled roar of their voices have been hired in at so much a night, and that Joan is sometimes in an awful temper behind the scenes; and I am thankful when the brave Sieur Louis forgets himself again.

I have my little theory that human nature is elementally much the same always and everywhere, and that if the man of intelligence will study this in his own heart he will know pretty well what all other men have been in essentials. As to manners, I think that a man who knew the S …

Joan Of Arc

On the night of the feast of the Epiphany (January 6th) at the end of the Christmas season, in the year 1412 during the final waning period of the relative peace secured by the Truce pf Leulinghen, a baby was born to Jacques Darc and his wife Isabelle in the village of Domremy. She was christened Jehanne (Joan) after her godmothers Jehanne Royer and Jehanne de Viteau. Her childhood was spent among the forests and strawberry- covered fields of the Meuse River valley, far from the northern regions where the political situation was becoming increasingly troubled.

Against the problems that were occurring around them, members of the Darc family continued to farm their 50-some acres of land near the Meuse. According to the Domremy villagers whom later testified to Jehannes childhood upbringing, she was a dutiful child who helped her parents with the chore along with her other siblings: her three older brothers Jacquemin, Jean, and Pierre, and her little sister Catherine. She was deeply devoted to God and the Blessed Virgin. She also loved the ringing of the church bells.
In 1414 her father rented the nearby Chateau de I’ll from a local aristocratic family to serve as a secure sanctuary for the villagers and their livestock. In 1420 when Jehanne was eight, the Treaty of Troyes granted Henry V eventual title to the kingdom of France and the hand of Catherine, daughter of King Charles. In 1422 Henry V and Charles VI died within two months of each other, leaving the infant Henry VI as the nominal King of France.

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Around that time, perhaps in the summer of 1424, the young farm girl from Domremy said she began to experience visions. She would later explain: I was in my thirteenth year when I heard a voice from God to help me govern my conduct. And the first time I was very much afraid. And this voice came, about the hour of noon, in the summer time, in my fathers garden… A new chapter had begun for Jehanne and the various factions fighting for control of the Kingdom of France.

She believed that the voices came from God. She said the first of the voices were of Saint Michael. The voices told her two to three times a week that she must go away and that I must come to France; and my father knew nothing of my leaving. The voice told her that she should go to France and she could no longer stay where she was. It told her that she could raise the siege laid to the city of Orleans. The voice told her also that she should go to Robert de Baudricourt at the town of Vaucouleurs, who was the captain of the said town, and he would provide people to go with her.
Early in 1429, during the Hundred Years War, when the English were about to capture Orleans, the voices exhorted her to help the Dauphin, later Charles VII, King of France. Charles, because of both internal strife and the English claim to the throne of France, had not yet crowned king. Joan succeeded in convincing him that she had a divine mission to save France. A board of theologians approved her claims, and she was given troops to command. Dressed in armor and carrying a white banner that represented God blessing the French royal emblem, the fleur-de-lis, she led the French to a victory over the English. At the coronation of the Dauphin in the cathedral at Reims, she was given the place of honor beside the king.
Charles decided to send her to Poitiers, a little over 30 miles to the south of Chinton, to be questioned by a group of theologians who had relocated to the city.
Although Joan had united the French behind Charles and had put an end to English hopes of reign over France, Charles opposed any further campaigns against the English. Therefore, it was without royal support that Joan conducted in 1430 a military operation against the English at Compiegne, near Paris. She was captured by Burgundian soldiers, who sold her over to an ecclesiastical court at Rouen to be tried for heresy and sorcery. Joan was not an ordinary prisoner. The archer who had captured her knew he had to give her up to his under lord, who in turn gave her to his overlord, Jean de Luxemburg to hold her for prisoner. Joan even tried to commit suicide by throwing herself off of the tower she was locked in but she survived.
The University and the church only accepted those visionaries who had confided in and been approved by the church itself. Joan was thought to be a witch. She was kept in prison for seven months and in December, a few days before, Joan was taken by boat across the mouth of the Somme River to the city of Rouen where she was to stand trial.
There were many irregularities about Joans trial and imprisonment. Though she was to be tried by the Church, she was denied the right of being in church prison, where she would have better treatment. Even though the English considered her a prisoner of war, she was treated as a common criminal. And though the Church was going to try her, the English were going to pay for the trial.
By February 21 Cauchon was ready with his evidence against Joan. He had a long list of so-called crimes: wanton behavior, unseemly male dress, heretical beliefs, and from English and Burgundian sources, tales of her sorcery and witchcraft. The trial centered on Joans claim that she communicated with God through her saints. On March 17 the court adjourned to draw up articles of accusation in preparation for Joans indictment. On May 24 Joan was taken to a platform and threatened with execution. She recanted and was given the sentence of life in prison.
After 14 months of interrogation, she was accused of wrongdoing in wearing masculine dress and of heresy for believing she was directly responsible to God rather than to the Roman Catholic Church. Because she resumed masculine dress after returning to jail, she was condemned again, this time by a secular court and on May 30, 1431, Joan was burned at the stake in the Old Market Square at Rouen as a relapsed heretic.

Twenty- five years after her death, the church retried her case, and she was pronounced innocent. In 1920 she was canonized by Pope Benedict XV: her traditional feast day is May 30.

Though we dont know what she looked like, we know more about Joans character then about any other woman who lived before the modern age. And what we know comes largely from her own words in the trial that condemned her and from the people who knew and testified about her in the retrial that cleared her. The men who condemned her never would have dreamed how valuable her Trial Record would be to her. I fell as well as most people that the trial was her greatest challenge and showed her in a new kind of glory.

Joan has inspired more books than any other woman in history. Her fame is worldwide. There are many questions still unanswered about her though. She is spoke about in poetry, music, opera, drama, dance, and art. Most schoolchildren know who she is too.
I think of Joan as a very strong headed young girl dedicated to the Catholic religion of her countryside. I think that Joan was so sure that she was in touch with the supernatural, that it directed her whole life. Joan sincerely believed in the reality of the saints she could see. Yet I find her a very normal human being. She was a peasant girl and did have practiacl thoughts. Joans goal was heroic, to save her country and her King by fighting with courage and spirit.
The fact that Joan had to struggle to overcome some human weaknesses makes her, for me, all the greater as a human being, and makes her achievements all the more remarkable.

Joan Of Arc

Joan Of Arc “Joan of Arc,” was painted by the French realist artist Jules Bastien-Le Page in 1879. “After the province of Lorraine was lost to Germany following the Franco-Prussian War in 1821, The Frenchmen saw in Joan of Arc a new and powerful symbol. In 1875, Bastien-Lepage, a native of Lorraine began to make studies for a picture of her. In the present painting, exhibited in the Salon of 1880, Joan is shown receiving her revelation in her parents garden. Behind her are Saints Michael, Margaret, and Catherine.

(Caption next to painting in The Metropolitan)” Jules Bastien-Lepage creates a realistic atmosphere, including a supernatural, religious-like presence within his painting. Oil on canvas was used to create the realistic quality of the work. By closely examining the artists technique, it is clear that he uses delicate brush strokes in a true to life manner. The colors, and use of light seem to be painted in a layered fashion to give the landscape a sense of depth. The background of the painting is a garden which include foliage and brush that surrounds the primary focus of the painting, Joan of Arc.

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The artist put a great effort into the details of the scene. Bastien-Lepage uses a distinct realistic quality in his painting which is visible in each individual leaf and branch. Various hues of earth tones, green and brown being the most evident, are blended together in the garden scene. In the foreground of the painting is Joan of Arc. She is painted with a seemingly thicker paint technique. This makes her a more easily visible aspect in the painting, and catches the onlookers eye. Joan is dressed in a long brown skirt and blue-gray shirt with white underneath which is the typical clothing style of the 19th century.

The clothing is painted to show its wear and tear. Her features and her figure are quite realistic. She seems to have a calm, but troubled expression on her face, as though she is deep in thought. Overall she is painted in a very detailed manner. A less visible, yet still present and important aspect of the painting are the three figures positioned behind Joan, and in front of the house.

The figures are somewhat transparent, and ghostly. Their presence adds a spiritual and or religious feeling to the scene. These three figures presence blends into the scenery. Al three have halos above their heads, and serene looks on their faces. The saint on the right is dressed in what looks to be armor. He looks brave, and as if he is standing guard or going into battle.

The middle saint is a praying angel. She is in a dress with a gauzy, white presence around her. This whiteness gives her an ethereal quality which Bastien-Lepage has painted quite effectively, and adds to the spiritual feeling of the scene. Her presence in the painting seems to represent chastity and virtue. The last figure looks like a young girl or child, who is kneeling with her face hidden in her hands almost as if she is upset.

Perhaps Bastien-Lepage painted these three saints not only to illustrate Joan receiving her visions, but to illustrate the bravery, religious yet childlike figure that she was. Behind Joan of Arc, in the background of the picture is a house. Bastien-Lepage painted the house so that the masonry is visible. The house seems to be small in size, plain, and quaint. Surrounding the house is shrubbery, trees, and more of the garden which is seen throughout the painting. This painting of Joan of Arc is very significant.

Bastien-Lepage is able to effectively depict Joan as the true heroine that she was. This is significant because at the time there were not so many women heroines like her.

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