Grade Level: 5–8
Using Cazin’s painting The Quarry of Monsieur Pascal near Nanterre, students will hypothesize about the workings, setting, and size of this French quarry. Then, applying his working method of “memory painting,” they will draw or paint a setting from memory after close observation without taking notes or preparatory sketches.
The Quarry of Monsieur Pascal near Nanterre, c. 1875
oil on canvas
|4-C||Students analyze, describe, and demonstrate how factors of time and place (such as climate, resources, ideas, and technology) influence visual characteristics that give meaning and value to a work of art.|
|6-B||Students describe ways in which the principles and subject matter of other disciplines taught in the school are interrelated with the visual arts.|
Do you have a sense of how large this quarry is? Quarries can cover hundreds of acres. How did Cazin paint Monsieur Pascal’s quarry so that it looks very deep and wide? (The people are different sizes as they recede into the distance. The wall of the quarry takes up two-thirds of the painting. All that is seen beyond the fence is the sky.)
The quarry in this painting was probably located at the foot of Mont-Valérien in Nanterre, a small town located thirteen kilometers (about eight miles) west of Paris. The area, along the River Seine, is rich with limestone. It is thought that the man wearing a suit in the left foreground of the painting is Monsieur Pascal, the owner of the quarry. It isn’t known whether he commissioned Jean-Charles Cazin to paint the scene or whether the quarry simply caught Cazin’s eye.
The Windmill, probably after 1884
oil on wood, 40.5 x 32 cm (15 15/16 x 12 5/8 in.)
National Gallery of Art, Gift of R. Horace Gallatin
The Quarry of Monsieur Pascal was painted early in Cazin’s career, perhaps after his return to France in 1875 after living in England for five years. He painted realistic scenes from the world around him, in addition to being a ceramist and a sculptor—this may have added to his interest in the quarry. Around 1875, he created a number of other paintings of suburban workers, including dockworkers and boat wrights. All of these paintings, like The Quarry, have the same palette of yellows and browns and the same overcast sky.
Cazin studied with a teacher who advocated a method called “memory painting,” in which the artist relied on intense preliminary scrutiny rather than painted studies made during extended time on-site. Consequently, The Quarry almost certainly was painted in the artist’s studio in Normandy, based solely on his memory and without the aid of sketches.
Students will create their own “memory painting” of a place around their home, school, or neighborhood. No notes or preparatory sketches are allowed; rather they should use their keen sense of observation. Remind them the longer they look the more they will see and etch into their memory. Once they return to the classroom, they will draw or paint this scene from memory incorporating as many details as possible.
Depending on the setting of the student’s work of art, the class should either go to the site or the student artist should bring in a photo of the site for comparison. Critique should begin with comparing the remembered depiction versus the actual site. Students should discuss the hurdles they faced when confronted with drawing from memory. Was it hard to remember exact colors? sizes of objects in relation to other objects? placement of shadows and highlights? What was easier to remember? Why do you think this object or area stayed clearer in your memory? Is it something that holds a special significance or a more common object one sees often?