Aigles 1897

Editor: So, this is "Aigles," created by Maurice Pillard Verneuil in 1897, using watercolor. I’m struck by how flat and decorative it feels, even though it depicts eagles in what looks like a natural setting. It reminds me of a wallpaper design. What are your thoughts on this work? Curator: It’s fascinating how Verneuil synthesizes naturalism and decorative arts here, placing it firmly within the Art Nouveau movement. This blending was quite intentional; artists at the time sought to elevate craft to the level of "high" art, challenging established hierarchies. Note how the stylized eagles become almost symbolic, losing some of their individuality. Does that flattening diminish the animal’s power, or enhance a different kind of symbolism? Editor: I think it shifts the power. The eagles aren’t really *eagles* anymore, but symbols of eagles—more about what the animal *represents*. Maybe something about French national identity at the time? Curator: Precisely. In 1897, France was still grappling with the legacy of the Franco-Prussian War and the instability of the Third Republic. The eagle, a symbol of power and empire, would resonate with national aspirations. The controlled lines and color palette—watercolor chosen for its decorative appeal rather than dramatic realism—create a sense of order and idealized strength, functioning, in a way, like state propaganda, yet presented as "art". Do you see the role of nature, here? Editor: Yes, nature isn't "nature," it is "controlled" nature like gardens within city planning. So this watercolour really pushes art into civic life and national narratives. That's an interesting contrast! Curator: Indeed. By understanding this work within its historical and social context, we can move beyond aesthetic appreciation to explore its complex relationship with national identity and the public function of art. Editor: It's amazing to see how seemingly simple images can hold so much historical weight! It's changed my whole view of the piece.