LATE 19the Century – Realism and More Late 19th Century--- 1848-1900 Realism 1848-1860’s Impressionism 1872-1880’s Post-Impressionism 1880’s-1890’s Symbolism 1890’s Art Nouveau 1890’s-1914 Europe shaken by revolutions in Sicily, Venice, Germany, Austria and Lombardy- challenging the old order. Louise-Philipe deposed and led to the Franco-Prussian War. Realism was based on the concept of postivism- all knowledge must come from scientifically based information- “SHOW ME AN ANGEL… and I will paint one.”– Karl Marx, Charles Darwin, Sigmund Freud Japanesme- influenced Impressionism and everyone else Plein-Art dominates the Impressionists Post Impressionists react against the “flighty light” of the Impressionists Symbolists are about personal vision SKYSCRAPERs- b/c of technology, elevators, expense of land Art Nouveau combines painting, sculpture, architecture in organic forms

1848- Revolutions in Sicily, Venice, Germany, Austria, Lombardy Louise-Philippe was replaced by Napoleon III who lead France into the Franco-Prussian War Germany became the dominant country Comte and positivism- knowledge is science Darwin Freud Marx All about rational thinking--- New inventions- telephone, movies, bicycle, cars change the world thinking Traditional artistic beliefs ( Academy) are challenged by the “ Avant Garde” MODERNISM- artists choose scenes, landscapes and still lives Archeology comes to life in Greece, Turkey, Egypt Salon des Refuse- against the Academy- held by Courbet Impressionist Salons of 1870’s and 1880’s and BIRTH OF THE ART GALLERY Paul Cezanne- artist as rebel, Gauguin, VanGogh

Innovations : Japanese prints- angles, lines, patterns, tilts, perspective, imagery Plein-air Cezanne- the struggling artist Gauguin escaped to Tahiti Works in a theme ( Manet, Monet) Photographers studied in a series- Eedweard Muybridge- projected with a zoopraxiscope Lithography became journalism’s outlet for art Delacroix, Goya, Daumier, and Henri Toulouse LaTrec- first poster maker

Image 113 Artist: Gustave Courbet Title: The Stone Breakers---- Show me an Angel Medium: Oil on canvas Size: 5'3" X 8'6" (1.6 X 2.59 m) Date: 1849 Source/ Museum: Formerly Gemäldegalerie, Dresden. Destroyed in World War II Radical socialist was inspired by Revolution of 1848 events when the July Monarchy was overthrown.Realistic movement was paralleled in literature – Victor Hugo, Charles Dickens, Emile Zola, Balzac. Novels became experiments of characters thrown into situations… science experiments. Courbet was showing the real life of the French peasant.. Breaking rocks for roads. Postivism- All knowledge must be proven … all painting must be shown. Human evolution and social equality. Submitted to Salon of 1850- reaction to labor unrest- in the grand, historical paintings in size and shape

Courbet’s The Studio Artist front and center, nude, drapery, child, dog (s), to the left woodsman, banker, village idiot, crucified Courbet? With skull, to the right ( patrons, urban academy officials and Charles Baudelaire with landscape in the back ground and on the easel? Is he painting from memory?

Image 114- Honore’ Daumier Nadar Raising Photography to the Height of Art 1862- lithograph- Brooklyn Museum Took aerial photos of Paris in 1858; influenced the use of balloon during the Civil War in US; Nadar was an excitable person; court decision in France that photography could be art- 1862- Daumier is the social commentary artist-

Honore Daumier Rue Transnonain, 1834, Lithograph Political workers were Killed by Government Soldiers- 3 generations in their beds Political cartooning were printed with lithography to make as many copies as possible to arouse the people.

Artist: Jean-François Millet Title: The Gleaners Medium: Oil on canvas Size: 33 X 44" (83.8 X 111.8 cm) Date: 1857 Critique did not like the subject matter and thought it was inflammatory because the gleaners looked noble. Very suspect work because of the revolution of 1848. Source/ Museum: Musée d’Orsay, Paris

Image 115 Artist: Édouard Manet Title: Olympia Medium: Oil on canvas Size: 4'3" X 6'2 ¼" (1.31 X1.91 m) Date: 1863 Source/ Museum: Musée du Louvre, Paris- Scandal at the Salon of 1865. Had seen the Venus of Urbino and other nudes by Titian, and Giorgione. She is not the accommodating nude of Ingres. Frank look, flat color, cat vs dog. Rented a nearby hall to exhibit along with Impressionists.

Manet Luncheon on the Grass, via

Image 118 Jose Maria Velasco- The Valley of Mexico from the Hillside of Santa Isabel 1882, Oil on canvas, National Art Museum in Mexico City Academic Landscape painter, broad panoramas, observer of nature, rejected both Turner and Courbet; settled near Mexico City; Glorifies the Mexican Landscape ( so …. Creative use of landscape tools?) Rejected the religious painting he was trained to do and sought out Naturalism

Henry Tanner The Banjo Lesson 1893- return to US from France Hampton University, Hampton, Virginia Tanner was a student of Eakins. Painterly brush stokes .Exchange of values from one person in the family to another. Sense of an emotional experience Painted an emotional experience.

Image 117 http://www. google. com/imgres. imgurl=http://cefn Eadweard Muybridge 1878 Famous bet with Leland Stanford- zoopraxiscope; influence on painters

IMPRESSIONISM Impressionists a true modern movement who lived the Avante-Garde life. Influenced by Japanese prints: figures from the back, or solid color without shading, and used off centered compositions, and strong diagonals Plein Air- in nature with a variety of hues- the beginnings of color theory landscape scenes of urban life still life-s Whistler- signed in Japanese anagrams and used flat color--- Japanese influence everywhere ANTI- Academic, ANTI- Bourgeoise Series of work – that hangs together dappled light

Image 116 Claude Monet, The St Image 116 Claude Monet, The St. Lazare Station, 1877, oil on canvas Musee de’Orsay, Paris Exhibited in Salon De Refuse Impressionism in 1877; series of train station; times of day; times of year- looking at the sun and the light; technology; hung together as in the haystacks; color overwhelms the form

Monet Haystack series- painted 30 of these 1891 Boston Museum of Fine Arts

Artist: Claude Monet Title: Rouen Cathedral: The Portal (in Sun) ; at dusk Medium: Oil on canvas Size: 39 ¼ X 26" (99.7 X 66 cm) Date: 1894 Source/ Museum: The Metropolitan Museum of Art, New York. Theodore M. Davis Collection, Bequest of Theodore M. Davis, 1915 (30.95.250) A series of work done at different times of day. Sublte gradations of light. A Haystack was first series to hang together.

Image 121 Mary Cassatt- The Coiffure, 1890-1, drypoint and aquatint ( print) , National Gallery of Art, DC Women, angles, Japanesme, backs, sides, awkward angles, incomplete imagery, no posing, feeling for women – no seen from the men, from Philly, came to France to paint, pastel colors, observation of women

Edouard Manet Bar at the Folies Bergere 1881-82

Artist: James Abbott McNeill Whistler Title: Nocturne in Black and Gold, the Falling Rocket Medium: Oil on panel Size: 23¾ X 8 ⅜" (60.2 X 46.7 cm) Date: 1875 Source/ Museum: Detroit Institute of Arts, Detroit, Michigan. 46.309 Subtle harmonies in music are reflected. Japanese signature. Atmospheric effects of fireworks. Study of harmonies and subtleties. Famous law suite. Whistler sued a critic over comments about a pot of paint being flung.

Post-Impressionism Cezanne wanted to make “Impressionism less impressionable and more Solid and durable like the art of museums”. Post Impressionists move toward abstraction with solidity. Cezanne Seurat Lautrec Van Gogh Gauguin

Henri de Toulouse-Lautrec Moulin-Rouge; The Rue des Moulins 1892 Chicago Tilted perspective of prints. Zig zag composition. Self portrait with tall cousin.

Image 120- Artist: Vincent van Gogh Title: The Starry Night Medium: Oil on canvas Size: 28 ¾ X 36 ¼" (73 X 93 cm) Date: 1889 Source/ Museum: The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest (472.1941) Swirls, scene from hospital room, emotionality with color and brush strokes, waves of color and pattern, distortion

Café Terrace at Night in Arles 1888 Cafe de Noche in Arles interior inside 1888

Image 123 Paul Gauguin, Where do we come from. what are we Image 123 Paul Gauguin, Where do we come from ? what are we ?where are we going? Where Do We Come From? What Are We? Where Are We Going? Paul Gauguin, 1897–1898 oil on canvas, 139.1 × 374.6 cm Museum of Fine Arts, Boston Said he would committee suicide after work was completed- colors, distortion, read from right to left like an altarpiece- from Peruvian display of mummies- died in 1903 of syphilis , painted after he heard of his daughter’s death, colors, positions, all symbolic. Right to left- story of life- baby with adults, picking the fruit of the world, blue figure is “ The Beyond”, Foreground figures are from Tahiti, and background figures are darker and less Eden-like, Egyptian influence, Tahiti influence,

Gauguin – Self Portrait Spirit of the Dead Watching, 1892

Artist: Georges Seurat Title: A Sunday Afternoon on the Island of La Grande Jatte Medium: Oil on canvas Size: 6'9 ½" X 10'1 ¼" (2.07 X 3.08 m) Date: 1884–86 Source/ Museum: The Art Institute of Chicago. Helen Birch Bartlett Memorial Collection

Image 125 Artist: Paul Cézanne Title: Mont Sainte-Victoire - one of 11 canvases of same Medium: Oil on canvas Size: 25 ½ X 32" (64.8 X 92.3 cm) Date: c. 1885–87 Source/ Museum: Courtauld Institute of Art Gallery, London. (P.1934.SC.55), one of a set of eleven, cool colors in front, warmer tones in back, simplistic look at shapes, said “ I can make everything in terms of the cylinder, the sphere, and the cone, the whole put into perspective so that each side of an object, or of a plane, leads towards a central point. Distortion, colors, lead up to cubsim

Symbolism Symbolists react to the world of Realism. They painted the unseen world, provided by Freud; painted inner dreams and landscapes. It is personal and mystical.

Image 122 Artist: Edvard Munch Title: The Scream Medium: Tempera and casein on cardboard Size: 36 X 29" (91.3 X 73.7 cm) Date: 1893 Source/ Museum: Nasjonalgalleriet, Oslo, Norway- stolen in summer 2010; colors symbolic of the unconscious world, the subconscious world and the dream world; Peruvian mummy from the hands….see Gauguin

Art Nouveau Developed in Brussels, Barcelona, Paris, and Vienna Lasted until 1914- Outbreak of WWI Eliminate the separation of artistic media and combine them as one Vegetative, floral patterns, complexity of design, undulating surfaces No straight lines- wrought iron for embellishments

Image 128 Artist: Gustav Klimt Title: The Kiss Medium: Oil on canvas Size: 5' 10¾" X 6' (1.8 X 1.83 m) Date: 1907–8 Source/ Museum: Österreichische Nationalbibliothek, Vienna

Barcelona, Spain: Casa Milà (La Pedrera): façade (1906-1912, architect Antoni Gaudí) Undulating forms, embellishments of iron, elestic walls, modern apartments, garages, elevators.

Architecture Skeletal architecture emerged; building held up buy the interior skeleton. The Exterior walls were glass or steel. Vertical emphasis. Land values went up so did the buildings. Architecture was still considered works of art an were covered in stucco or terra Cotta. Chicago School of Architecture developed after the Great Chicago Fire in 1871. Fire showed how iron was not so strong and bent, wood destroyed . What survived Was the ceramic-wrapped iron or steel. Wide open windows spaces for light and air allowed the first floor to hold displays and Use for ventilation. Elisha Otis- the elevator

Artist: Gustave Eiffel Title: Eiffel tower Medium: n/a Size: n/a Date: 1887–89 Source/ Museum: Paris Eiffel built bridges. Helped to construct the Statue of Liberty and the Panama Canal. Elevator swings diagonally up the side. Center of the Paris Universal Exhibition in1889. Symbolizes the people in a democracy all linked as one.

Reliance Building in Chicago, Daniel Burnham, ceramic covered iron; learned from the Chicago fire. 1871 and the double windows for light and air.

Image 124 Louis Sullivan Carson Pirie Scott building, Chicago, Illinois - 1903 Form Follows Function! Horizontal, not as vertical, shows the continuous flow of floor space. View to see inside, no exterior supports, attached to the L on the back, terra cotta tiles, original interior WINDOWS to give light and display wares on the 1st floor. Interior skeletal structure, exterior is not load bearing. Cast iron decorations on the first floor. Influence of Art Nouveau- small windows open next to the larger windows that do not; ornamentation on the bottom floor.

Image 124 Exterior of the Carson Pirie Scott Building; 2012

Image 124 Floor plan Carson Pirie Scott Building- Chicago

19th century Sculpture RODIN is the 19th century Sculptor. He is represented b/c you can see his handprints On his work because of the casting technique. Modeled in clay and then cast in bronze or cut in marble by his workshop Handprint= brushstroke

The Thinker Auguste Rodin 1902 Originally – the Poet Bronze cast

Image 119 The Burghers of Calais (Les Bourgeois de Calais) by Auguste Rodin was completed in 1888 and serves as a monument to an occurrence in 1347 during the Hundred Years' War, when Calais, an important French port on the English Channel, was under siege by the English for over a year. Each piece was sculpted by itself and then put together. Each figure has a different emotion. English king insisted that they wear sackcloth and carry the key to the city. New York Metropolitan Museum of Art