Gaston Bussière (1862 – 1928 or 1929) — French symbolist artist, graphic artist and illustrator, whose paintings advantageously combine the decorativeness characteristic of the Pre-Raphaelites with symbolism and small modernist experiments. True, the choice of subjects for his paintings was quite standard: episodes from Scandinavian myths and French folk tales, exotic naked beauties in Eastern harems, all sorts of nymphs and Nereids, real historical characters - usually girls of wondrous beauty, for example, Helen of Troy.
Helen of Troy. 1895
But the main thing is how all this was realized: impeccable in technique, with some symbolic understatement and very decorative paintings by Bussières deservedly attracted the attention of many art lovers. Perhaps he was not an innovator and a subversive of the foundations, but diligently followed all the most popular trends in painting, and created "as expected", sometimes adapting to the tastes of the public, but it is hardly possible to blame the artist for his desire to be in demand and sell paintings at a higher price.
Celtic Princess Isolde. 1911
His first painting lessons were given to him by his father, who specialized in decorative painting. Young Bussières showed good talent, and his father wisely decided that he should become a real artist, and sent him as an apprentice to the famous academician Cabanel. But the times of academicism were already a thing of the past, and so Bussières decided to enroll in the Fine Arts Academy in Lyon, hoping that thanks to the lessons there, his style would not be so anachronistic.
Revelation (Brünnhilde discovers Sieglinde and Siegmund). 1894
Then he studied at the Paris National Higher School of Fine Arts. There, thanks to the postimpressionist Pierre Cécile Pevy de Chavannes, he became interested in symbolism in painting. His creative development after his studies was especially influenced by his friendship with the symbolist Gustave Moreau. According to Bussière, painting should contain some hidden meanings, serve as a kind of riddle, thanks to the abundance of symbols and vague images.
Nereids. 1902
Sea Nymphs in a Grotto. 1924
On the shore
True, with the mystery in his paintings everything was not so clear: the market dictated its conditions, and works in which everything was clear and accessible were bought better. And the tendency towards decorativeness imposed from childhood did not fit in well with classical symbolism; for Bussière beauty and aesthetics were in the foreground, and only then the display of some hidden meanings.
Tristan and Isolde, circa 1895
Elsa and Lohengrin (1910)
Like the English Pre-Raphaelites, Bussières drew inspiration from folk tales and legends, primarily Scandinavian and French. He exhibited his paintings at the Symbolist salon "Rose and Cross", fortunately he was well acquainted with its founder Josephine Péladan.
Salammbô, painted by Gaston Bussière, 1907
But Bussières was especially successful in illustrating various books, including the most famous and respected authors. He created brilliant illustrations for Honoré de Balzac's novel "The Splendor and Misery of Courtesans", for the novel "The Lady of the Camellias" and the works of Flaubert.
Illustration for Honore de Balzac's novel "The Splendor and Misery of Courtesans"
Illustration for Honore de Balzac's novel "The Splendor and Misery of Courtesans"
He also illustrated Oscar Wilde; for example, his illustrations for the drama Salome became one of the most famous in the artist’s work and caused quite a stir.
Salome's Dance or Golden Butterflies. 1923
Two Dancers. 1912
Bussière was a master at painting nudes and loved doing so. The bodies of his heroines are academically flawless, and at the same time very aesthetic.
Dance of the Seven Veils. 1925
Perhaps there was also a certain attempt to meet the demands of the market and the audience, since such paintings depicting naked odalisques or charming nereids and nymphs sold very well and generally corresponded to the then ideas about morality.
Dance of the Seven Veils. 1925
This is not Manet's provocative painting "Olympia", which depicts a modern and self-confident courtesan, looking haughtily at the viewer, as if challenging society, but some images of "lovely maidens" who are supposed to be naked.
Exotic dancers
Two girls with colorful wreaths
Tahoser. 1886 г.
But in general, Bussières' work is masterful and high-quality, and it is no coincidence that his paintings are highly valued by collectors. He simply wanted to paint "as expected" and did not dare to go against the rules, reasonably reasoning that it is much easier to sell a painting that interests viewers than to make a revolution in art.
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