Review Day 4

Neoclassicism, Revolutions overthrow monarchy and colonies declare independence – Enlightenment is thinking critically about rights of citizens, democracy, and religious seperations – Promotes scientific questioning of all assertions and embraced the doctrine of progress – Industrial revolution in England develops new building materials (iron) Excavations in Pompeii creates emphasis on classical and ancient art forms – Winklemann produces first Art History book, spurs on Neoclassicism – Roseau develops the social contract, but rejects progress for peasant life Artwork by the Academy showcased in the Salon – The taste for naturalism also led to the popularity of portrait paintings set against landscape backgrounds, – A focus on exemplum virtuitis, seen in Death of Marat, 1793 by David – Benjamin West represented the protagonists in his history paintings wearing contemporary costumes. Architecture and Sculpture: Return to classical order with iron substructures, working in marble (Houdin)

Romanticism, Neoclassical ideals celebrating freedom and equality, devolve into the Reign of Terror Bring about Romanticicsm, which celebrates individual thought, expression, and the pursuit of the sublime – Turner: Intense open brush strokes, emotion and sky connected intimately – Goya: Spirit of revolution, fear of religious isolation – Gericault: Spirit of humanity in midst of suffering, articulate Poussonistic compositions – Ingres: Sexual fervor and satire (Odalisque) – Lots of “neos”: Neo-Baroque (The Opera, 1860), Neo-Gothic (Parliament, 1834) Iron buildings like Crystal Palace (1850) Development of Photography (1830)

Late 19 th Century, Realism ( ) – Theory of positivism (proven only through logic and senses) – Courbet’s Burial at Ornans, 1849 rejection of supernatural for simple ceremony – Manet’s Luncheon on Grass, 1863 creates Salon stir due to sensual unabashed and modern nude. Also seen in Olympia, 1863 – Homer and Tanner show simple monumentality of Rural America Pre-Raphaelite Brotherhood ( ) – English team synthesize literature with art, rejecting Raphealian Chiaroscurro clear depictions of medieval (and erotic) content Impressionism ( ) – Working plein air, with avant-garde tendencies, emphasis on color range of fleeting and open strokes. Influenced by Japonism – Renior focus on human figure, Monet on the times of day, Cassat/Morisot on domestic feminism, Manet on psychological stare of isolated figures, Degas on dancers

Late 19 th Century, Post-Impressionism ( ) – Cezanne: Color swaths that create a patchwork, emphasizing underlying shapes. “Solid and Durable” (St. Victoire, 1902) – Lautrec: Parisian nightlife, absinthe induced joyless fun with fanciful lines on tone paper (At the Moulin Rouge, 1892) – Van Gogh: expressionistic brushstrokes in impasto, color=emotion, not reality (Starry Night, 1889) – Gauguin : focus on religious tradition using color and tilted perspective, later painting Tahiti girls (Vision after Sermon, 1888) – Seurat: Color theory and divisionism leading to pointillist work emphasizing shape while creating anonymity and separation ( The Grand Jatte, ) Symbolism (1890) – Rousseau: Mystical philosophies of dreams and inner experiences, flat and primitive (Sleeping Gypsy, 1897) – Munch: inner turmoil causing expressionistic line swirl and impasto, discordant colors (Scream, 1893) Art Noveau ( ) – Gaudi :(Casa Mila, 1907) represents organic shapes creating elegance and primitive, non-linear features. Vegetal and floral patterns with rock, amber and rosewood. – Klimt: Gold leaf entwined with phallic blanketed lovers, nature and elegance = sexuality (the Kiss, 1907)

Late 19 th Century, Architecture: – Movement towards skeletal structures of iron – Emphasis on verticality (tall pilasters with inset back windows) The Guaranty Building, 1894 – Richardson emphasizes Romanesque style with red brick and roman arches Marshall Field Warehouse, 1885 – Gustave Eiffel shows the triumph of wrought-iron, connected to modernism and democracy Sculpture: Rodin’s Gates of Hell (1897) and Kiss (1890). – Use of juxtoposed unfinished and finished surfaces – Molding in clay and creating tactile and impressionistic qualities of movement and vivacity