Tender Doves by Élisabeth Sonrel Art Nouveau Illustration - Natures Beauty

Tender Doves (Les Colombes; Tendresse)

“Tender Doves (Les Colombes; Tendresse)” is a beautiful work by Élisabeth Sonrel, created around the turn of the 20th century. Sonrel, a French artist born in 1874 and who passed away in 1953, is renowned for her symbolic and highly decorative approach to painting. This particular piece exemplifies her delicate mastery of Art Nouveau and her affinity for portraying women in idealized, ethereal settings. The work features a woman holding two doves, a motif rich with symbolism, conveying themes of peace, innocence, and tenderness.

Tender Doves by Élisabeth Sonrel Old Masters Vintage Art Reproduction Photographic Print

The Main Subject and Composition

The central subject of “Tender Doves” is a graceful woman standing in a serene, slightly blurred landscape. She exudes a sense of tranquility, gazing downward as she gently holds two white doves in her arms. Her face is calm and introspective, radiating both innocence and grace. The woman’s long flowing red gown, which cascades dramatically down her body, is meticulously painted in rich, warm tones. The folds of the fabric are carefully rendered, highlighting the artist’s sensitivity to the nuances of texture and light. The gown is the focal point of her form, elegantly sweeping down to the ground, enhancing her ethereal presence.

Her pose and the way she holds the doves emphasize softness and fragility. The birds, symbols of peace and love, are cradled delicately in her arms, their white feathers providing a sharp contrast to the warm, earthy tones of her clothing and the background. The composition emphasizes the connection between the woman and the birds, evoking a sense of harmony and a bond with nature. The doves are not merely ornamental but serve as an integral part of the narrative, reinforcing the peaceful mood of the piece.

The Setting and Background

In the background of the painting, the artist has chosen a soft and somewhat indistinct landscape, which allows the figure of the woman to dominate the scene. The soft colors of the sky and the trees in the distance create an almost dreamlike atmosphere, as though the figure exists in an idealized, otherworldly space. The muted tones of the environment, composed mainly of light greens, browns, and yellows, complement the warm tones of the woman’s gown, creating a sense of unity in the composition. This choice of background adds to the sense of serenity, offering the viewer a quiet, reflective space.

The trees, faintly visible in the background, stand tall but not imposing, blending into the soft, hazy light of the horizon. The use of nature as the setting is an integral part of the work, highlighting the peaceful, harmonious relationship between the human form and the natural world. The distant trees and rolling hills suggest a timeless, natural world, where the viewer can imagine the woman being one with the environment, adding to the calm and gentle mood of the piece.

The Symbolism of the Doves

The doves in the painting are a significant element in the overall composition. In Western art, doves are widely recognized as symbols of peace, purity, and love. Their presence in this piece is not only symbolic of the artist’s theme of tenderness but also reflects broader themes of femininity and grace. The fact that the woman is holding the doves so gently suggests a nurturing quality, reinforcing the motif of caring and peace. Doves are often associated with mythological and religious symbolism, and their presence here may also invoke ideas of spirituality and transcendence.

The white color of the doves further emphasizes purity and innocence, qualities often attributed to the feminine ideal. The doves in “Tender Doves” act as a counterbalance to the earthy tones of the woman’s attire and the landscape, providing a moment of lightness and transcendence. This balance between the earthiness of the scene and the purity of the birds reinforces the peaceful, harmonious atmosphere that is central to the painting’s mood.

Art Nouveau Style and Influence

Sonrel’s work is a classic example of the Art Nouveau movement, which emerged in the late 19th century and reached its peak in the early 20th century. Art Nouveau is characterized by flowing lines, organic forms, and a focus on the decorative and ornamental. “Tender Doves” embraces these stylistic elements, particularly in the intricate design of the borders and the floral motifs surrounding the woman’s figure. The sinuous, curving lines of the composition, particularly in the background and in the woman’s gown, are hallmarks of Art Nouveau’s influence.

The elegant framing of the piece, with its decorative borders adorned with roses and tendrils, reflects the movement’s focus on integrating art into daily life and its reverence for nature. The soft, flowing forms and the rhythmic repetition of organic shapes also point to the influence of Art Nouveau, which often sought to harmonize the human figure with the natural world.

Mood and Emotional Impact

The mood of “Tender Doves” is one of calmness, introspection, and purity. The delicate handling of the subject matter, along with the soft color palette and harmonious composition, creates a serene atmosphere. The viewer is invited to pause and reflect upon the symbolic message of peace, tenderness, and harmony that the piece conveys. The emotional impact of the artwork is subtle but powerful, evoking feelings of peace, tranquility, and a connection to nature. There is an air of gentle reverence in the way the woman is depicted, as though she is a guardian of peace, holding the doves as symbols of the fragility and beauty of life itself.

Sonrel’s work captures a moment of serene beauty, suspended in time. The attention to detail in the woman’s expression, the folds of her gown, and the delicate handling of the doves invites the viewer to engage with the artwork on a deeply emotional level. The piece conveys a sense of timelessness, allowing the viewer to experience a moment of peaceful contemplation, much like the woman herself, standing in quiet communion with nature and the symbols of love and peace.

Tender Doves is a retouched digital art old masters reproduction of a public domain image.

Artist Bio Courtesy Wikipedia.org

Elisabeth Sonrel (1874 Tours – 1953 Sceaux) was a French painter and illustrator in the Art Nouveau style. Her works included allegorical subjects, mysticism and symbolism, portraits and landscapes.

She was the daughter of Nicolas Stéphane Sonrel, a painter from Tours, and received her early training from him. For further study she went on to Paris as a student of Jules Lefebvre at the Ecole des Beaux-Arts.

In 1892 she painted her diploma work, ‘Pax et Labor’, a work to be seen at the Musée des Beaux-Arts de Tours. From then on she exhibited at the Salon des Artistes Français between 1893 and 1941, her signature pieces being large watercolors in a Pre-Raphaelite manner, which she adopted after a trip to Florence and Rome, discovering the Renaissance painters – some of her work having clear overtones of Botticelli. Her paintings were often inspired by Arthurian romance, Dante Alighieri’s ‘Divine Comedy’ and ‘La Vita Nuova’, biblical themes, and medieval legends. Her mystical works include ‘Ames errantes’ (Salon of 1894) and ‘Les Esprits de l’abime’ (Salon of 1899) and ‘Jeune femme a la tapisserie’.

At the Exposition Universelle of 1900, the primary theme of which was Art Nouveau, her 1895 painting ‘Le Sommeil de la Vierge’ (Sleep of the Virgin), was awarded a bronze medal, and the Henri Lehmann prize of 3000 francs by L’académie des Beaux-Arts.[3] From 1900 onwards she confined her painting to portraits, scenic Brittany landscapes, and the occasional flower study.

She made regular painting trips to Brittany, inspired by the forest of Brocéliande, and from 1910 to various places on the coast such as Concarneau, Plougastel, Pont-l’Abbé and Loctudy, often staying at inns and accompanied by one or two students. She painted several works in Le Faouët before constructing a villa in La Baule in the 1930s. Working mainly in watercolour and gouache, she discovered a ready supply of models among young girls in the area, and found Bretons generally to be friendly, honest and self-confident.

Her final exhibit at the Salon was in 1941 at the age of 67. There is also a record of her having exhibited at Liverpool. In her early years Sonrel produced posters, postcards and illustrations, in Art Nouveau style.