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bongreviewbd ¡ 9 days ago
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The Reflection of Female Rage: An Analysis of Auguste Tomo and 'The Hesitant FiancÊ' Painting
Auguste Tomo's (Auguste Tomaud) famous 1866 painting, 'The Hesitant FiancÊ,' remains a significant portrayal of feminine emotions and thoughtful expressions in French art. This masterpiece, a shining example of the Realism movement, boldly and simplistically captures the mental state of a woman. In this article, we will explore the history of this painting, the Realism movement, and the depth of Tomo's work.
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Background and Significance of ‘The Hesitant FiancÊ’
Painted in 1866, ‘The Hesitant FiancÊ’ reflects the mental state and reluctance of a woman. Here, we see a bride who is doubtful and sorrowful about her impending marriage. Her emotions and mental state are clearly shown in her facial expression and body language. From the painting’s title alone, we can understand that it depicts a hesitant bride who feels little excitement about marriage. This portrayal not only reflects the bride's lack of enthusiasm but also questions women’s independence and social subordination.
‘The Hesitant FiancÊ’ in the Context of the French Realism Movement
The French Realism movement emerged after the French Revolution and emphasized the realistic depiction of common people's lives, emotions, and experiences. The main objective of this movement was the honest reflection of real life. Works from this period focused on ordinary people, the working class, and their daily struggles.
Auguste Tomo (Auguste Tomaud) was an influential artist within the Realist movement. His work prominently portrays women’s feelings, thoughts, and internal struggles. His paintings particularly emphasize the emotional and contemplative portraits of French women. In ‘The Hesitant FiancÊ,’ he illustrates a woman’s reluctance and the pressure surrounding her marriage.
Analysis of ‘The Hesitant FiancÊ’ Painting
In the painting, we see a bride whose hands are held by two women. One woman is kissing the bride’s forehead, while the other kneels by her side, possibly trying to comfort her. This scene expresses both the bride's state of mind and becomes a symbol of the fight for women’s freedom.
This artwork represents women’s individuality, independence, and social obligations. The bride's unwavering expression and hesitation raise a profound question: Is marriage a reflection of the bride’s own choice, or is it a social obligation?
‘The Hesitant FiancÊ’ and Contemporary Social Context
‘The Hesitant FiancÊ’ remains equally relevant in today’s context. It raises significant questions about women’s social status, their wishes, and their rights. In modern times, the importance of women’s independence and self-expression is increasing. Therefore, this painting can contribute to raising awareness about contemporary social conditions and women’s rights.
Now, 157 years later, this painting sheds light on the social pressures and personal crises of women. It has gained unique popularity in social media and meme culture. The bride’s hesitant expression has become a meme, symbolizing various dilemmas, social pressures, and mental states faced by women.
The Depiction of Women in Auguste Tomo’s Other Works
In many of Auguste Tomo’s other paintings, the portrayal of women’s emotions and contemplative thoughts is evident. In his work, he not only emphasizes women’s external beauty but also captures their mental and emotional conflicts with particular importance.
Conclusion: Why This Painting is Still Relevant
Auguste Tomo’s ‘The Hesitant FiancÊ’ remains relevant today, evolving in meaning with each generation. This masterpiece of French Realism has become a reflection of women’s resilient mentality, symbolizing the feelings and the fight for women’s freedom across all eras.
Watch More: The Effects of Bee Stings and Venom: Why is a Bee Sting Fatal for the Bee?
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Tags: #facts #fyp #reels #viral #highlights #FemaleRage #AugusteTomo #TheHesitantFiance #RealismArt #FrenchArt #WomenEmpowerment #ReluctantBride #FrenchRevolution #WomenRights #FineArt #FrenchPainting #WomenMentalState #WomenSocialStatus #ArtMovement #Painting #āĻ¨āĻžāĻ°ā§€āĻ°āĻ•ā§āĻ°ā§‹āĻ§ #āĻ…āĻ—ā§āĻ¸ā§āĻ¤āĻŸā§‹āĻŽā§‹ #āĻĻā§āĻ¯āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸāĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡ #āĻ°āĻŋāĻ¯āĻŧā§‡āĻ˛āĻŋāĻœāĻŽāĻļāĻŋāĻ˛ā§āĻĒ #āĻĢāĻ°āĻžāĻ¸āĻŋāĻļāĻŋāĻ˛ā§āĻĒ #āĻ¨āĻžāĻ°ā§€āĻ°āĻ¸ā§āĻŦāĻžāĻ§ā§€āĻ¨āĻ¤āĻž #āĻŦāĻŋāĻŦāĻžāĻšā§‡āĻ°āĻ…āĻ¨āĻŋāĻšā§āĻ›āĻž #āĻĢāĻ°āĻžāĻ¸āĻŋāĻŦāĻŋāĻĒā§āĻ˛āĻŦ #āĻ¨āĻžāĻ°ā§€āĻ°āĻ…āĻ§āĻŋāĻ•āĻžāĻ° #āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ˛āĻž #āĻĢāĻ°āĻžāĻ¸āĻŋāĻšāĻŋāĻ¤ā§āĻ°āĻļāĻŋāĻ˛ā§āĻĒ #āĻ¨āĻžāĻ°ā§€āĻ°āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ•āĻ…āĻŦāĻ¸ā§āĻĨāĻž #āĻ¨āĻžāĻ°ā§€āĻ°āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ•āĻ…āĻŦāĻ¸ā§āĻĨāĻžāĻ¨ #āĻļāĻŋāĻ˛ā§āĻĒāĻ†āĻ¨ā§āĻĻā§‹āĻ˛āĻ¨ #āĻšāĻŋāĻ¤ā§āĻ°āĻļāĻŋāĻ˛ā§āĻĒ
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e-bruni ¡ 2 years ago
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Bouquet de tendresse, 2023- Eric Bruni, France Acrylique, Huile sur Toile - Dimensions : 20x20cm #art #artistsoninstagram #contemporarypainting #flowersofinstagram #flowerspainting #arte #artwork #artpainting #ericbruni #frenchartist #frenchpainting https://www.instagram.com/p/Cp2WYY1oETa/?igshid=NGJjMDIxMWI=
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angelheartcottage ¡ 2 years ago
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My father was a photographer by avocation. He became a professional picture framer later in his life & he loved it. He was a collector of old frames, photos, artâ€Ļanything that could be framed or using those old frames collected. This was painting was among some of the beautiful things that outlived him & which my mama saved. It came home with me after she moved from the house she shared with my stepfather & into a new nest after his death. I love this painting. How the artist left the somber & statuesque churches far into the background and giving them little or no color. The life of the painting is the cluster of charming cottages along the water & each with their own boat garages (I assume). This was home & I’m sure his heart painted all that quaint charm onto the paper. On the back there’s a note that indicates that it as painted in France. The second photo shows the signature but I’m unable to make it out. I imagine the artist selling his paintings at a village market or fair. Someone bought this one & held onto it. I love the torn corner on the top left corner of the mat. It gives that painting a delicious bit of mystery. The paper on the mat & the painting have aged beautifully giving both a most magnificent patina. #thechroniclesoffarnia #thingssoamazeme #magic #wonder #vintageart #oldpainting #french #art #patina #frenchpainting #charm #antique #collection #ilovethis #treasure #athingofbeauty #soprecious https://www.instagram.com/p/CmBTuXaOSq7/?igshid=NGJjMDIxMWI=
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myfrenchantiqueshopetsy ¡ 2 years ago
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for sale #boutiqueetsy : Antique framed oil painting landscape on wood , small signed French 1900s school of Barbizon oil painting European impressionist art #encadre #paysageetdecor #vertical #boisetcartonrigide #frenchpainting #antiquepainting #antiqueoilpainting #schoolofbarbizon https://etsy.me/3OWQOur https://www.instagram.com/p/ClquXg3IZDS/?igshid=NGJjMDIxMWI=
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theunabashedepicurean ¡ 2 years ago
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Spanish Women on Balcony, Georges Jules Victor Clairin, c. 1919. #georgesjulesvictorclairin #spanishwomenonthebalcony #art #artwork #artist #20thcentury #20thcenturyart #frenchart #frenchartist #painting #painter #frenchpainter #illustrator #frenchorientalists #orientalist #orientalistart #movement #artmovement #arthistory #artcollection #artdetail #details #flowers #balcony #ironwork #drapes #costume #dress #beauxarts #sarahbernhardt (at Somewhere) https://www.instagram.com/p/CpVm5Yzomr3/?igshid=NGJjMDIxMWI=
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victorpoirel ¡ 2 years ago
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"PPM X (Petite Peinture Merdique) 55x46 Acrylique Sur Toile 2022 #victorpoirelstudio #victorpoirel #acrylicpainting #canvaspainting #abstractpainting #painting #contemporarypainting #modernpainting #artnow #newart #newartists #artofthiscentury #vincentvangogh #abstractexpressionism #expressionism #automatism #surrealism #frenchpainter #frenchartist #frenchcontemporaryartist #parisfrance #robertjanitz #alainkirili #davidreed #actionpainting #artgallerys #artcollectors #ensba (à Paris, France) https://www.instagram.com/p/Crvzi0xoRgg/?igshid=NGJjMDIxMWI=
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paulstudiostudio ¡ 2 years ago
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sadiqssolitude ¡ 4 days ago
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#Bouguereau #WilliamAdolpheBouguereau #19thcenturypainter #FrenchPainter #TheMasterofAcademicArt #LAurore #essenceofdawnpersonified #Figuredrawing #pencildrawing
Full vid: https://youtu.be/-_oGFbnXoy4 Shorts: https://youtu.be/UXcGrZJ_fMg
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artlada1 ¡ 5 months ago
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Camille Pissarro, Woman Sewing 1881
Camille Pissarro (1830 – 1903) was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas (now in the US Virgin Islands, but then in the Danish West Indies). His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.
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juliettelamarca ¡ 1 year ago
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Maison et corneilles au ciel rouge, Maison et corneilles au ciel violet, acrylique sur toiles + encadrements bois à dÊcoupes et corneilles peintes, septembre 2023
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lizalena ¡ 2 years ago
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J’ai peint cette toile ÂĢ Impression 2 Âģen 2013â€Ļ et la voilà en situation chez son propriÊtaire !🤩 This artwork from 2013â€Ļ now in it’s new home ! #abstractart #acrilicpainting #artabstrait #yellow #artwork #goodvibes #instaart #colors #abstractpainting #abstractartwork #artistoninstagram #frenchpainter #frenchartist https://www.instagram.com/p/CpdVVSLoMMB/?igshid=NGJjMDIxMWI=
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bongreviewbd ¡ 9 days ago
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āĻ¨āĻžāĻ°ā§€āĻ° āĻ•ā§āĻ°ā§‹āĻ§ā§‡āĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻšā§āĻ›āĻŦāĻŋ: āĻ…āĻ—ā§āĻ¸ā§āĻ¤ āĻŸā§‹āĻŽā§‹ āĻāĻŦāĻ‚ ‘āĻĻā§āĻ¯ āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸ āĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡â€™ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽā§‡āĻ° āĻŦāĻŋāĻļā§āĻ˛ā§‡āĻˇāĻŖ
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‘āĻĻā§āĻ¯ āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸ āĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡â€™ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽā§‡āĻ° āĻĒāĻŸāĻ­ā§‚āĻŽāĻŋ āĻ“ āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦ
ā§§ā§Žā§Ŧā§Ŧ āĻ¸āĻžāĻ˛ā§‡ āĻ†āĻāĻ•āĻž ‘āĻĻā§āĻ¯ āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸ āĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡â€™ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽāĻŸāĻŋ āĻāĻ•āĻŸāĻŋ āĻ¨āĻžāĻ°ā§€āĻ° āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ• āĻ…āĻŦāĻ¸ā§āĻĨāĻž āĻāĻŦāĻ‚ āĻ…āĻ¨āĻŋāĻšā§āĻ›āĻžāĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻĢāĻ˛āĻ¨ āĻ˜āĻŸāĻžāĻ¯āĻŧāĨ¤ āĻāĻ–āĻžāĻ¨ā§‡ āĻāĻ•āĻœāĻ¨ āĻ•āĻ¨ā§‡āĻ•ā§‡ āĻĻā§‡āĻ–āĻž āĻ¯āĻžāĻ¯āĻŧ, āĻ¯āĻŋāĻ¨āĻŋ āĻ¤āĻžāĻ° āĻ†āĻ¸āĻ¨ā§āĻ¨ āĻŦāĻŋāĻŦāĻžāĻš āĻ¸āĻŽā§āĻĒāĻ°ā§āĻ•ā§‡ āĻĻā§āĻŦāĻŋāĻ§āĻžāĻ¨ā§āĻŦāĻŋāĻ¤ āĻ“ āĻĻā§āĻƒāĻ–āĻŋāĻ¤āĨ¤ āĻ•āĻ¨ā§‡āĻ° āĻ†āĻŦā§‡āĻ— āĻāĻŦāĻ‚ āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ• āĻ…āĻŦāĻ¸ā§āĻĨāĻž āĻ¤āĻžāĻ° āĻŽā§āĻ–āĻŽāĻŖā§āĻĄāĻ˛ āĻ“ āĻļāĻ°ā§€āĻ°āĻ­āĻ™ā§āĻ—āĻŋāĻ¤ā§‡ āĻ¸ā§āĻĒāĻˇā§āĻŸ āĻšāĻ¯āĻŧā§‡āĻ›ā§‡āĨ¤ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽāĻŸāĻŋāĻ° āĻļāĻŋāĻ°ā§‹āĻ¨āĻžāĻŽ āĻĨā§‡āĻ•ā§‡āĻ‡ āĻŦā§‹āĻāĻž āĻ¯āĻžāĻ¯āĻŧ āĻ¯ā§‡, āĻāĻŸāĻŋ āĻāĻ• āĻĻā§āĻŦāĻŋāĻ§āĻžāĻ—ā§āĻ°āĻ¸ā§āĻ¤ āĻ•āĻ¨ā§‡āĻ° āĻ›āĻŦāĻŋ, āĻ¯āĻžāĻ° āĻŦāĻŋāĻŦāĻžāĻšā§‡āĻ° āĻĒā§āĻ°āĻ¤āĻŋ āĻ•ā§‹āĻ¨āĻ“ āĻŦāĻŋāĻļā§‡āĻˇ āĻ†āĻ—ā§āĻ°āĻš āĻ¨ā§‡āĻ‡āĨ¤ āĻāĻ‡ āĻĒā§āĻ°āĻ¤āĻŋāĻ•ā§ƒāĻ¤āĻŋ āĻļā§āĻ§ā§āĻŽāĻžāĻ¤ā§āĻ° āĻ•āĻ¨ā§‡āĻ° āĻŦāĻŋāĻŦāĻžāĻšā§‡āĻ° āĻ…āĻ¨āĻžāĻ—ā§āĻ°āĻšāĻ‡ āĻ¨āĻ¯āĻŧ, āĻŦāĻ°āĻ‚ āĻ¨āĻžāĻ°ā§€āĻ° āĻ¸ā§āĻŦāĻžāĻ§ā§€āĻ¨āĻ¤āĻž āĻāĻŦāĻ‚ āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ• āĻĒāĻ°āĻžāĻ§ā§€āĻ¨āĻ¤āĻžāĻ° āĻ“āĻĒāĻ° āĻāĻ•āĻŸāĻŋ āĻĒā§āĻ°āĻļā§āĻ¨ āĻ¤ā§āĻ˛ā§‡ āĻ§āĻ°ā§‡āĨ¤
āĻĢāĻ°āĻžāĻ¸āĻŋ āĻ°āĻŋāĻ¯āĻŧā§‡āĻ˛āĻŋāĻœāĻŽ āĻ†āĻ¨ā§āĻĻā§‹āĻ˛āĻ¨ā§‡āĻ° āĻĒā§āĻ°ā§‡āĻ•ā§āĻˇāĻžāĻĒāĻŸā§‡ ‘āĻĻā§āĻ¯ āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸ āĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡â€™
āĻĢāĻ°āĻžāĻ¸āĻŋ āĻ°āĻŋāĻ¯āĻŧā§‡āĻ˛āĻŋāĻœāĻŽ (Realism) āĻļāĻŋāĻ˛ā§āĻĒ āĻ†āĻ¨ā§āĻĻā§‹āĻ˛āĻ¨āĻŸāĻŋ āĻĢāĻ°āĻžāĻ¸āĻŋ āĻŦāĻŋāĻĒā§āĻ˛āĻŦā§‡āĻ° āĻĒāĻ°ā§‡ āĻĒā§āĻ°āĻŦāĻ°ā§āĻ¤āĻŋāĻ¤ āĻšāĻ¯āĻŧā§‡āĻ›āĻŋāĻ˛ āĻāĻŦāĻ‚ āĻāĻ‡ āĻ§āĻžāĻ°āĻžāĻŸāĻŋ āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻŽāĻžāĻ¨ā§āĻˇā§‡āĻ° āĻœā§€āĻŦāĻ¨āĻ¯āĻžāĻ¤ā§āĻ°āĻž, āĻ†āĻŦā§‡āĻ— āĻ“ āĻ…āĻ­āĻŋāĻœā§āĻžāĻ¤āĻžāĻ° āĻĻā§ƒāĻļā§āĻ¯āĻžāĻ¯āĻŧāĻ¨ā§‡āĻ° āĻ“āĻĒāĻ° āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦāĻžāĻ°ā§‹āĻĒ āĻ•āĻ°ā§‡āĻ›āĻŋāĻ˛āĨ¤ āĻāĻ‡ āĻ†āĻ¨ā§āĻĻā§‹āĻ˛āĻ¨ā§‡āĻ° āĻŽā§‚āĻ˛ āĻ˛āĻ•ā§āĻˇā§āĻ¯ āĻ›āĻŋāĻ˛ āĻŦāĻžāĻ¸ā§āĻ¤āĻŦāĻœā§€āĻŦāĻ¨ā§‡āĻ° āĻ¸āĻ¤ā§āĻ¯ āĻāĻŦāĻ‚ āĻ¸ā§Ž āĻĒā§āĻ°āĻ¤āĻŋāĻĢāĻ˛āĻ¨āĨ¤ āĻ āĻ¸āĻŽāĻ¯āĻŧā§‡āĻ° āĻļāĻŋāĻ˛ā§āĻĒā§€āĻĻā§‡āĻ° āĻ•āĻžāĻœāĻ—ā§āĻ˛ā§‹ āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻŽāĻžāĻ¨ā§āĻˇ, āĻ•āĻ°ā§āĻŽāĻœā§€āĻŦā§€ āĻļā§āĻ°ā§‡āĻŖā§€ āĻāĻŦāĻ‚ āĻ¤āĻžāĻĻā§‡āĻ° āĻĻā§ˆāĻ¨āĻ¨ā§āĻĻāĻŋāĻ¨ āĻ¸āĻ‚āĻ—ā§āĻ°āĻžāĻŽāĻ•ā§‡ āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦ āĻĻāĻŋāĻ¯āĻŧā§‡ āĻ‰āĻĒāĻ¸ā§āĻĨāĻžāĻĒāĻ¨ āĻ•āĻ°ā§‡āĻ›ā§‡āĨ¤
āĻ…āĻ—ā§āĻ¸ā§āĻ¤ āĻŸā§‹āĻŽā§‹ (Auguste Tomaud) āĻ›āĻŋāĻ˛ā§‡āĻ¨ āĻāĻ‡ āĻ°āĻŋāĻ¯āĻŧā§‡āĻ˛āĻŋāĻ¸ā§āĻŸ āĻ†āĻ¨ā§āĻĻā§‹āĻ˛āĻ¨ā§‡āĻ° āĻāĻ•āĻœāĻ¨ āĻĒā§āĻ°āĻ­āĻžāĻŦāĻļāĻžāĻ˛ā§€ āĻļāĻŋāĻ˛ā§āĻĒā§€āĨ¤ āĻ¤āĻžāĻ° āĻ•āĻžāĻœā§‡āĻ° āĻŽāĻ§ā§āĻ¯ā§‡ āĻ¨āĻžāĻ°ā§€āĻĻā§‡āĻ° āĻ…āĻ¨ā§āĻ­ā§‚āĻ¤āĻŋ, āĻšāĻŋāĻ¨ā§āĻ¤āĻž, āĻāĻŦāĻ‚ āĻ†āĻ­ā§āĻ¯āĻ¨ā§āĻ¤āĻ°ā§€āĻŖ āĻ¸āĻ‚āĻ—ā§āĻ°āĻžāĻŽā§‡āĻ° āĻšāĻŋāĻ¤ā§āĻ°āĻžāĻ¯āĻŧāĻŖ āĻĻā§‡āĻ–āĻž āĻ¯āĻžāĻ¯āĻŧāĨ¤ āĻ¤āĻžāĻ° āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽāĻ—ā§āĻ˛āĻŋāĻ¤ā§‡ āĻŦāĻŋāĻļā§‡āĻˇāĻ¤ āĻĢāĻ°āĻžāĻ¸āĻŋ āĻ¨āĻžāĻ°ā§€āĻĻā§‡āĻ° āĻ†āĻŦā§‡āĻ—āĻŽāĻ¯āĻŧ āĻāĻŦāĻ‚ āĻšāĻŋāĻ¨ā§āĻ¤āĻžāĻļā§€āĻ˛ āĻĒā§āĻ°āĻ¤āĻŋāĻšā§āĻ›āĻŦāĻŋ āĻĢā§āĻŸāĻŋāĻ¯āĻŧā§‡ āĻ¤ā§‹āĻ˛āĻž āĻšāĻ¯āĻŧā§‡āĻ›ā§‡āĨ¤ ‘āĻĻā§āĻ¯ āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸ āĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡â€™-āĻ, āĻ¤āĻŋāĻ¨āĻŋ āĻāĻ• āĻ¨āĻžāĻ°ā§€āĻ° āĻŦāĻŋāĻŦāĻžāĻšā§‡ āĻ…āĻ¨āĻŋāĻšā§āĻ›āĻž āĻāĻŦāĻ‚ āĻĒāĻžāĻ°āĻŋāĻĒāĻžāĻ°ā§āĻļā§āĻŦāĻŋāĻ• āĻšāĻžāĻĒāĻ•ā§‡ āĻšāĻŋāĻ¤ā§āĻ°āĻžāĻ¯āĻŧāĻŋāĻ¤ āĻ•āĻ°ā§‡āĻ›ā§‡āĻ¨āĨ¤
‘āĻĻā§āĻ¯ āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸ āĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡â€™ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽā§‡āĻ° āĻŦāĻŋāĻļā§āĻ˛ā§‡āĻˇāĻŖ
āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽāĻŸāĻŋāĻ¤ā§‡ āĻāĻ•āĻŸāĻŋ āĻ•āĻ¨ā§‡āĻ•ā§‡ āĻĻā§‡āĻ–āĻž āĻ¯āĻžāĻ¯āĻŧ āĻ¯āĻžāĻ° āĻšāĻžāĻ¤ āĻĻā§āĻŸāĻŋ āĻŽāĻšāĻŋāĻ˛āĻž āĻ§āĻ°ā§‡ āĻ†āĻ›ā§‡āĻ¨āĨ¤ āĻāĻ•āĻœāĻ¨ āĻ•āĻ¨ā§‡āĻ° āĻ•āĻĒāĻžāĻ˛ā§‡ āĻšā§āĻŽā§ āĻ–āĻžāĻšā§āĻ›ā§‡āĻ¨, āĻ†āĻ°ā§‡āĻ•āĻœāĻ¨ āĻ¤āĻžāĻ° āĻĒāĻžāĻļā§‡ āĻšāĻžāĻāĻŸā§ āĻ—ā§‡āĻĄāĻŧā§‡ āĻŦāĻ¸ā§‡ āĻ†āĻ›ā§‡āĻ¨ āĻāĻŦāĻ‚ āĻ¸āĻŽā§āĻ­āĻŦāĻ¤ āĻ¤āĻžāĻ•ā§‡ āĻ¸āĻžāĻ¨ā§āĻ¤ā§āĻŦāĻ¨āĻž āĻĻā§‡āĻ“āĻ¯āĻŧāĻžāĻ° āĻšā§‡āĻˇā§āĻŸāĻž āĻ•āĻ°āĻ›ā§‡āĻ¨āĨ¤ āĻāĻ‡ āĻšāĻŋāĻ¤ā§āĻ°āĻŸāĻŋ āĻāĻ•āĻĻāĻŋāĻ•ā§‡ āĻ¯ā§‡āĻŽāĻ¨ āĻ•āĻ¨ā§‡āĻ° āĻŽāĻ¨ā§‹āĻ­āĻžāĻŦ āĻĒā§āĻ°āĻ•āĻžāĻļ āĻ•āĻ°āĻ›ā§‡, āĻ¤ā§‡āĻŽāĻ¨āĻŋ āĻāĻŸāĻŋ āĻ¨āĻžāĻ°ā§€āĻ° āĻ¸ā§āĻŦāĻžāĻ§ā§€āĻ¨āĻ¤āĻžāĻ° āĻœāĻ¨ā§āĻ¯ āĻ˛āĻĄāĻŧāĻžāĻ‡āĻ¯āĻŧā§‡āĻ°āĻ“ āĻāĻ•āĻŸāĻŋ āĻĒā§āĻ°āĻ¤ā§€āĻ• āĻšāĻ¯āĻŧā§‡ āĻĻāĻžāĻāĻĄāĻŧāĻŋāĻ¯āĻŧā§‡āĻ›ā§‡āĨ¤
āĻāĻ‡ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽāĻŸāĻŋ āĻ¨āĻžāĻ°ā§€āĻ° āĻ¸ā§āĻŦāĻ¤āĻ¨ā§āĻ¤ā§āĻ°āĻ¤āĻž, īŋŊīŋŊā§āĻŦāĻžāĻ§ā§€āĻ¨āĻ¤āĻž āĻāĻŦāĻ‚ āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ• āĻŦāĻžāĻ§ā§āĻ¯āĻŦāĻžāĻ§āĻ•āĻ¤āĻžāĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻĢāĻ˛āĻ¨āĨ¤ āĻāĻ–āĻžāĻ¨ā§‡ āĻ•āĻ¨ā§‡āĻ° āĻ…āĻŦāĻŋāĻšāĻ˛ āĻŽā§āĻ–āĻžāĻŦāĻ¯āĻŧāĻŦ āĻāĻŦāĻ‚ āĻ¤āĻžāĻ° āĻ…āĻ¨āĻŋāĻšā§āĻ›āĻž āĻāĻ•āĻŸāĻŋ āĻ—āĻ­ā§€āĻ° āĻĒā§āĻ°āĻļā§āĻ¨ āĻ¤ā§āĻ˛ā§‡ āĻ§āĻ°ā§‡ – āĻŦāĻŋāĻŦāĻžāĻš āĻ•āĻŋ āĻ•āĻ¨ā§‡āĻ° āĻ¨āĻŋāĻœā§‡āĻ° āĻ‡āĻšā§āĻ›āĻžāĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻĢāĻ˛āĻ¨ āĻ¨āĻž āĻ•āĻŋ āĻāĻŸāĻŋ āĻāĻ•āĻŸāĻŋ āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ• āĻŦāĻžāĻ§ā§āĻ¯āĻŦāĻžāĻ§āĻ•āĻ¤āĻž?
‘āĻĻā§āĻ¯ āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸ āĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡â€™ āĻāĻŦāĻ‚ āĻŦāĻ°ā§āĻ¤āĻŽāĻžāĻ¨ āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ• āĻĒā§āĻ°ā§‡āĻ•ā§āĻˇāĻžāĻĒāĻŸ
‘āĻĻā§āĻ¯ āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸ āĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡â€™ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽāĻŸāĻŋ āĻŦāĻ°ā§āĻ¤āĻŽāĻžāĻ¨ āĻĒā§āĻ°ā§‡āĻ•ā§āĻˇāĻžāĻĒāĻŸā§‡āĻ“ āĻ¸āĻŽāĻžāĻ¨āĻ­āĻžāĻŦā§‡ āĻĒā§āĻ°āĻžāĻ¸āĻ™ā§āĻ—āĻŋāĻ•āĨ¤ āĻāĻŸāĻŋ āĻ¨āĻžāĻ°ā§€āĻ° āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ• āĻ…āĻŦāĻ¸ā§āĻĨāĻžāĻ¨, āĻ¤āĻžāĻ° āĻ‡āĻšā§āĻ›āĻž āĻāĻŦāĻ‚ āĻ…āĻ§āĻŋāĻ•āĻžāĻ° āĻ¨āĻŋāĻ¯āĻŧā§‡ āĻāĻ• āĻ—āĻ­ā§€āĻ° āĻĒā§āĻ°āĻļā§āĻ¨ āĻ¤ā§‹āĻ˛ā§‡āĨ¤ āĻŦāĻ°ā§āĻ¤āĻŽāĻžāĻ¨ āĻ¯ā§āĻ—ā§‡ āĻ¨āĻžāĻ°ā§€āĻ° āĻ¸ā§āĻŦāĻžāĻ§ā§€āĻ¨āĻ¤āĻž āĻāĻŦāĻ‚ āĻ¨āĻŋāĻœāĻ¸ā§āĻŦ āĻŽāĻ¤āĻžāĻŽāĻ¤ āĻĒā§āĻ°āĻ•āĻžāĻļā§‡āĻ° āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦ āĻ•ā§āĻ°āĻŽāĻļ āĻŦāĻžāĻĄāĻŧāĻ›ā§‡āĨ¤ āĻāĻ‡ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽāĻŸāĻŋ āĻ¤āĻžāĻ‡ āĻ†āĻŽāĻžāĻĻā§‡āĻ° āĻŦāĻ°ā§āĻ¤āĻŽāĻžāĻ¨ āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ• āĻ…āĻŦāĻ¸ā§āĻĨāĻž āĻāĻŦāĻ‚ āĻ¨āĻžāĻ°ā§€āĻ° āĻ…āĻ§āĻŋāĻ•āĻžāĻ° āĻŦāĻŋāĻˇāĻ¯āĻŧāĻ• āĻ¸āĻšā§‡āĻ¤āĻ¨āĻ¤āĻž āĻŦīŋŊīŋŊāĻĻā§āĻ§āĻŋāĻ¤ā§‡ āĻ…āĻŦāĻĻāĻžāĻ¨ āĻ°āĻžāĻ–āĻ¤ā§‡ āĻĒāĻžāĻ°ā§‡āĨ¤
āĻ†āĻœ ā§§ā§Ģā§­ āĻŦāĻ›āĻ° āĻĒāĻ°, āĻāĻ‡ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽāĻŸāĻŋ āĻ¨āĻžāĻ°ā§€āĻ° āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ• āĻšāĻžāĻĒ āĻāĻŦāĻ‚ āĻŦā§āĻ¯āĻ•ā§āĻ¤āĻŋāĻ—āĻ¤ āĻ¸āĻ‚āĻ•āĻŸā§‡āĻ° āĻ‰āĻĒāĻ° āĻ†āĻ˛ā§‹ āĻĢā§‡āĻ˛āĻ›ā§‡ āĻāĻŦāĻ‚ āĻ¸ā§‹āĻļā§āĻ¯āĻžāĻ˛ āĻŽāĻŋāĻĄāĻŋāĻ¯āĻŧāĻž āĻāĻŦāĻ‚ āĻŽāĻŋāĻŽā§‡āĻ° āĻĻā§āĻ¨āĻŋāĻ¯āĻŧāĻžāĻ¯āĻŧ āĻāĻŸāĻŋāĻ° āĻ…āĻ¨āĻ¨ā§āĻ¯ āĻĒā§āĻ°āĻ•āĻžāĻļ āĻ˜āĻŸā§‡āĻ›ā§‡āĨ¤ āĻ•āĻ¨ā§‡āĻ° āĻĻā§āĻŦāĻŋāĻ§āĻžāĻ—ā§āĻ°āĻ¸ā§āĻ¤ āĻŽā§āĻ–āĻžāĻŦāĻ¯āĻŧāĻŦ āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ• āĻŽāĻžāĻ§ā§āĻ¯āĻŽā§‡ āĻāĻ•āĻŸāĻŋ āĻŽāĻŋāĻŽ āĻšāĻŋāĻ¸ā§‡āĻŦā§‡ āĻ›āĻĄāĻŧāĻŋāĻ¯āĻŧā§‡ āĻĒāĻĄāĻŧā§‡āĻ›ā§‡ āĻ¯āĻž āĻ¨āĻžāĻ°ā§€āĻ° āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āĻ¨ āĻĻā§āĻŦāĻŋāĻ§āĻž, āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ• āĻšāĻžāĻĒ āĻāĻŦāĻ‚ āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ• āĻ…āĻŦāĻ¸ā§āĻĨāĻžāĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻ¨āĻŋāĻ§āĻŋāĻ¤ā§āĻŦ āĻ•āĻ°ā§‡āĨ¤
āĻ…āĻ—ā§āĻ¸ā§āĻ¤ āĻŸā§‹āĻŽā§‹-āĻāĻ° āĻ…āĻ¨ā§āĻ¯āĻžāĻ¨ā§āĻ¯ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽā§‡ āĻ¨āĻžāĻ°ā§€āĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻšā§āĻ›āĻŦāĻŋ
āĻ…āĻ—ā§āĻ¸ā§āĻ¤ āĻŸā§‹āĻŽā§‹-āĻāĻ° āĻ…āĻ¨ā§āĻ¯āĻžāĻ¨ā§āĻ¯ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽā§‡āĻ“ āĻ¨āĻžāĻ°ā§€āĻ° āĻ†āĻŦā§‡āĻ—āĻŽāĻ¯āĻŧ āĻ“ āĻšāĻŋāĻ¨ā§āĻ¤āĻžāĻļā§€āĻ˛ āĻšāĻŋāĻ¤ā§āĻ°āĻžāĻ¯āĻŧāĻŖ āĻ¸ā§āĻĒāĻˇā§āĻŸāĨ¤ āĻ¤āĻžāĻ° āĻŦā§‡āĻļāĻŋāĻ°āĻ­āĻžāĻ— āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽā§‡āĻ‡ āĻ¤āĻŋāĻ¨āĻŋ āĻ¨āĻžāĻ°ā§€āĻĻā§‡āĻ° āĻĻā§ˆāĻ¨āĻ¨ā§āĻĻāĻŋāĻ¨ āĻœā§€āĻŦāĻ¨ āĻāĻŦāĻ‚ āĻ†āĻŦā§‡āĻ—ā§‡āĻ° āĻĻāĻŋāĻ•āĻ—ā§āĻ˛ā§‹ āĻ¤ā§āĻ˛ā§‡ āĻ§āĻ°ā§‡āĻ›ā§‡āĻ¨āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻļā§āĻ§ā§āĻŽāĻžāĻ¤ā§āĻ° āĻ¨āĻžāĻ°ā§€āĻĻā§‡āĻ° āĻŦāĻžāĻšā§āĻ¯āĻŋāĻ• āĻ¸ā§ŒāĻ¨ā§āĻĻāĻ°ā§āĻ¯āĻ‡ āĻ¨āĻ¯āĻŧ āĻŦāĻ°āĻ‚ āĻ¤āĻžāĻĻā§‡āĻ° āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ• āĻāĻŦāĻ‚ āĻ†āĻŦā§‡āĻ—āĻ—āĻ¤ āĻĻā§āĻŦāĻ¨ā§āĻĻā§āĻŦāĻ•ā§‡ āĻŦāĻŋāĻļā§‡āĻˇ āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦ āĻĻāĻŋāĻ¯āĻŧā§‡ āĻšāĻŋāĻ¤ā§āĻ°āĻžāĻ¯āĻŧāĻŖ āĻ•āĻ°ā§‡āĻ›ā§‡āĻ¨āĨ¤
āĻ‰āĻĒāĻ¸āĻ‚āĻšāĻžāĻ°: āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽāĻŸāĻŋ āĻ•ā§‡āĻ¨ āĻāĻ–āĻ¨āĻ“ āĻĒā§āĻ°āĻžāĻ¸āĻ™ā§āĻ—āĻŋāĻ•?
āĻ…āĻ—ā§āĻ¸ā§āĻ¤ āĻŸā§‹āĻŽā§‹-āĻāĻ° ‘āĻĻā§āĻ¯ āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸ āĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡â€™ āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ°ā§āĻŽāĻŸāĻŋ āĻ†āĻœāĻ“ āĻĒā§āĻ°āĻžāĻ¸āĻ™ā§āĻ—āĻŋāĻ• āĻāĻŦāĻ‚ āĻ¤āĻž āĻ¯ā§āĻ—ā§‡āĻ° āĻ¸āĻžāĻĨā§‡ āĻ¸āĻžāĻĨā§‡ āĻ¨āĻ¤ā§āĻ¨ āĻ…āĻ°ā§āĻĨā§‡ āĻ¸āĻ‚āĻœā§āĻžāĻžāĻ¯āĻŧāĻŋāĻ¤ āĻšāĻšā§āĻ›ā§‡āĨ¤ āĻĢāĻ°āĻžāĻ¸āĻŋ āĻ°āĻŋāĻ¯āĻŧā§‡āĻ˛āĻŋāĻœāĻŽā§‡āĻ° āĻāĻ‡ āĻ•ā§€āĻ°ā§āĻ¤āĻŋāĻŸāĻŋ āĻ¨āĻžāĻ°ā§€āĻ° āĻ…āĻŦāĻŋāĻšāĻ˛ āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ•āĻ¤āĻžāĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻšā§āĻ›āĻŦāĻŋ āĻšāĻ¯āĻŧā§‡ āĻĻāĻžāĻāĻĄāĻŧāĻŋāĻ¯āĻŧā§‡āĻ›ā§‡ āĻ¯āĻž āĻĒā§āĻ°āĻ¤āĻŋāĻŸāĻŋ āĻ¯ā§āĻ—ā§‡ āĻ¨āĻžāĻ°ā§€āĻ° āĻ…āĻ¨ā§āĻ­ā§‚āĻ¤āĻŋ āĻāĻŦāĻ‚ āĻ¤āĻžāĻ° āĻ¸ā§āĻŦāĻžāĻ§ā§€āĻ¨āĻ¤āĻžāĻ° āĻœāĻ¨ā§āĻ¯ āĻ˛āĻĄāĻŧāĻžāĻ‡āĻ¯āĻŧā§‡āĻ° āĻĒā§āĻ°āĻ¤ā§€āĻ• āĻšāĻ¯āĻŧā§‡ āĻ°āĻ¯āĻŧā§‡ āĻ¯āĻžāĻŦā§‡āĨ¤
āĻ†āĻ°āĻ“ āĻĻā§‡āĻ–ā§āĻ¨āĻƒÂ āĻŽā§ŒāĻŽāĻžāĻ›āĻŋāĻ° āĻšā§āĻ˛ā§‡āĻ° āĻŦāĻŋāĻˇ āĻ“ āĻāĻ° āĻĒā§āĻ°āĻ­āĻžāĻŦ: āĻŽā§ŒāĻŽāĻžāĻ›āĻŋāĻ° āĻšā§āĻ˛ āĻĢā§‹āĻŸāĻžāĻ¨ā§‹ āĻ•ā§‡āĻ¨ āĻŽāĻžāĻ°āĻžāĻ¤ā§āĻŽāĻ•?
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Tags: #facts #fyp #reels #viral #highlights #FemaleRage #AugusteTomo #TheHesitantFiance #RealismArt #FrenchArt #WomenEmpowerment #ReluctantBride #FrenchRevolution #WomenRights #FineArt #FrenchPainting #WomenMentalState #WomenSocialStatus #ArtMovement #Painting #āĻ¨āĻžāĻ°ā§€āĻ°āĻ•ā§āĻ°ā§‹āĻ§ #āĻ…āĻ—ā§āĻ¸ā§āĻ¤āĻŸā§‹āĻŽā§‹ #āĻĻā§āĻ¯āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸāĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡ #āĻ°āĻŋāĻ¯āĻŧā§‡āĻ˛āĻŋāĻœāĻŽāĻļāĻŋāĻ˛ā§āĻĒ #āĻĢāĻ°āĻžāĻ¸āĻŋāĻļāĻŋāĻ˛ā§āĻĒ #āĻ¨āĻžāĻ°ā§€āĻ°āĻ¸ā§āĻŦāĻžāĻ§ā§€āĻ¨āĻ¤āĻž #āĻŦāĻŋāĻŦāĻžāĻšā§‡āĻ°āĻ…āĻ¨āĻŋāĻšā§āĻ›āĻž #āĻĢāĻ°āĻžāĻ¸āĻŋāĻŦāĻŋāĻĒā§āĻ˛āĻŦ #āĻ¨āĻžāĻ°ā§€āĻ°āĻ…āĻ§āĻŋāĻ•āĻžāĻ° #āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ˛āĻž #āĻĢāĻ°āĻžāĻ¸āĻŋāĻšāĻŋāĻ¤ā§āĻ°āĻļāĻŋāĻ˛ā§āĻĒ #āĻ¨āĻžāĻ°ā§€āĻ°āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ•āĻ…āĻŦāĻ¸ā§āĻĨāĻž #āĻ¨āĻžāĻ°ā§€āĻ°āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ•āĻ…āĻŦāĻ¸ā§āĻĨāĻžāĻ¨ #āĻļāĻŋāĻ˛ā§āĻĒāĻ†āĻ¨ā§āĻĻā§‹āĻ˛āĻ¨ #āĻšāĻŋāĻ¤ā§āĻ°āĻļāĻŋāĻ˛ā§āĻĒ
āĻ¨āĻžāĻ°ā§€āĻ°āĻ•ā§āĻ°ā§‹āĻ§, āĻ…āĻ—ā§āĻ¸ā§āĻ¤āĻŸā§‹āĻŽā§‹, āĻĻā§āĻ¯āĻšā§‡āĻ¸āĻŋāĻŸā§‡āĻ¨ā§āĻŸāĻĢāĻŋāĻ¯āĻŧāĻžāĻ¨ā§āĻ¸ā§‡, āĻ°āĻŋāĻ¯āĻŧā§‡āĻ˛āĻŋāĻœāĻŽāĻļāĻŋāĻ˛ā§āĻĒ, āĻĢāĻ°āĻžāĻ¸āĻŋāĻļāĻŋāĻ˛ā§āĻĒ, āĻ¨āĻžāĻ°ā§€āĻ°āĻ¸ā§āĻŦāĻžāĻ§ā§€āĻ¨āĻ¤āĻž, āĻŦāĻŋāĻŦāĻžāĻšā§‡āĻ°āĻ…āĻ¨āĻŋāĻšā§āĻ›āĻž, āĻĢāĻ°āĻžāĻ¸āĻŋāĻŦāĻŋāĻĒā§āĻ˛āĻŦ, āĻ¨āĻžāĻ°ā§€āĻ°āĻ…āĻ§āĻŋāĻ•āĻžāĻ°, āĻšāĻŋāĻ¤ā§āĻ°āĻ•āĻ˛āĻž, āĻĢāĻ°āĻžāĻ¸āĻŋāĻšāĻŋāĻ¤ā§āĻ°āĻļāĻŋāĻ˛ā§āĻĒ, āĻ¨āĻžāĻ°ā§€āĻ°āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ•āĻ…āĻŦāĻ¸ā§āĻĨāĻž, āĻ¨āĻžāĻ°ā§€āĻ°āĻ¸āĻžāĻŽāĻžāĻœāĻŋāĻ•āĻ…āĻŦāĻ¸ā§āĻĨāĻžāĻ¨, āĻļāĻŋāĻ˛ā§āĻĒāĻ†āĻ¨ā§āĻĻā§‹āĻ˛āĻ¨, āĻšāĻŋāĻ¤ā§āĻ°āĻļāĻŋāĻ˛ā§āĻĒ, FemaleRage, AugusteTomo, TheHesitantFiance, RealismArt, FrenchArt, WomenEmpowerment, ReluctantBride, FrenchRevolution, WomenRights, FineArt, FrenchPainting, WomenMentalState, WomenSocialStatus, ArtMovement, Painting
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barkframeworks ¡ 2 years ago
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Curve appeal: detail and design of a custom Mahogany frame we created for an oil on canvas by French painter Francis Picabia (1879-1953). The design, finished in a custom stain and wax, is a modification of our Scotia profile. #framedesign #woodworking #woodshop #Picabia #barkframeworks #customframes #mahogany #specialmilling #framedbyBark #frenchpainters #oiloncanvas #interiordecor https://www.instagram.com/p/CmpTx_vSonu/?igshid=NGJjMDIxMWI=
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tynatunis ¡ 2 years ago
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#Repost @woolfknits The street of Saint-Denis, Montmartre,1880, Gustave Caillebotte,1859-1894.#street#saintdenis #montmartre #gustavecaillebotte #tree#trees #treesofinstagram #view#streetview #frenchpainter #frenchartist #artgallery #artdaily #artwork #artoftheday #artofinstagram #artoninstagram https://www.instagram.com/p/Clo18NRLEIK/?igshid=NGJjMDIxMWI=
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theunabashedepicurean ¡ 2 years ago
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The Embarkation for Cythera, Jean-Antoine Watteau, 1717. #jeanantoinewatteau #theembarkationforcythera #museedulouvre #paris #18thcentury #18thcenturyart #rococo #rococostyle #rococoart #art #artwork #artist #frenchart #frenchartist #frenchpainter #painting #royalacademyofpaintingandsculpture #fetegalante #love #cupid #mythology #cherub #artdetail #arthistory #historypainter #allegory #allegoryoflove #allegoricalpainting #younglove #frenchrococo https://www.instagram.com/p/CqYRuSHI_59/?igshid=NGJjMDIxMWI=
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victorpoirel ¡ 2 years ago
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"NumÊro 83 (MÊtamorphose)" 162x130 Acrylique Sur Toile 2022 #victorpoirelstudio #victorpoirel #acrylic #acrylicpainting #acryliconcanvas #modernart #contemporaryart #abstract #abstractpainting #metamorphosis #biomorphism #biomorphic #frenchartist #gesturepainting #actionpainting #newartists #studiopainting #frenchpainter #jacksonpollock #davidreed #christopherwool #andremasson #ashilegorky #lyndabenglis (à Paris, France) https://www.instagram.com/p/Cn4n-kqo2IE/?igshid=NGJjMDIxMWI=
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