Chapter Thirteen Europe and America, 1870-1900 Gardner's Art through the Ages, Concise Edition by Fred Kleiner Chapter Thirteen Europe and America, 1870-1900 Prepared by Kelly Donahue-Wallace Randal Wallace University of North Texas

Impressionism Dates and Places: 1870 to 1890 France, England, US People: Industrialization, urbanization Leisure Self-conscious modernity and modernism JAMES ABBOTT MCNEILL WHISTLER, Nocturne in Black and Gold (The Falling Rocket), ca. 1875. Fig. 13-1.

Impressionism Themes: Landscape, cityscape Urban life Leisure activities Forms: Fleeting effects of light Unblended brushstrokes Plein air (outdoor) painting Influence of Japanese prints MARY CASSATT, The Bath, ca. 1892. Fig. 13-6.

Impressionism Example: Impressionist Movement’s name derived from painting title First Impressionist show Honesty of materials Capture sensations of moment Painted outdoors CLAUDE MONET, Impression: Sunrise, 1872. Fig. 13-2.

Impressionism Example: Urban life Technology, travel, speed Fleeting effects of smoke Agitated brushwork CLAUDE MONET, Saint-Lazare Train Station, 1877. Fig. 13-3.

Impressionism Example: Leisure activities of city dwellers Dappled light through leaves Casual composition, forms cut off = continuity of space Incidental, momentary PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Fig. 13-4.

Impressionism Example: Leisure activities of city dwellers Influence of imported Japanese prints Japanese composition, viewpoint Photography for preliminary studies EDGAR DEGAS, Ballet Rehearsal, 1874. Fig. 13-5.

Post-Impressionism Dates and Places: 1890 to 1905 France People: Urbanization Café society Colonization Individual exploration of feeling, mental state PAUL GAUGUIN, Vision after the Sermon, or Jacob Wrestling with the Angel, 1888. Fig. 13-11.

Post-Impressionism Themes: Urban life Landscape Exotic themes Forms: No single approach Rejection of illusionism, window onto the world Expressive use of color, line, brush stroke PAUL CÉZANNE, Mont Sainte-Victoire, 1902–1904. Fig. 13-13.

Post-Impressionism Example: Café society Influence of Japanese prints Expressive exaggeration of forms, lines Expressive use of non-local color HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Fig. 13-7.

Post-Impressionism Example: Color theory Pointillism, divisionism Leisure activity of urban working class GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Fig. 13-8.

Post-Impressionism VINCENT VAN GOGH, Starry Night, 1889. Fig. 13-10.

Post-Impressionism Example: Formal properties to communicate his state of mind Feeling about landscape, not objective record Expressive distortion Expressive brush strokes VINCENT VAN GOGH, Starry Night, 1889. Fig. 13-10.

Post-Impressionism Example: Expressive power of color Flat color, outlines Sought “natural” people French colonialism in Tahiti Paints as exotic, primitive people PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are We Going? 1897. Fig. 13-12.

Post-Impressionism Example: Systematic representation of shapes and colors Properties of lines, planes, colors Solidity of forms Seen from different viewpoints PAUL CÉZANNE, Basket of Apples, ca. 1895. Fig. 13-14.

Post-Impressionism Example: Expressive use of light and shadow Emphasis on human emotion to tragic event Treatment of surface emphasizes reality, not smoothness AUGUSTE RODIN, Burghers of Calais, 1884–1889. Fig. 13-18.

Symbolist Painting Dates and Places: End of 19th century Western Europe People: Hedonism, pessimism, escapism at the end of century Influence of psychiatry and study of mind HENRI ROUSSEAU, Sleeping Gypsy, 1897. Fig. 13-15.

Symbolist Painting Themes: Fantasy, dreamlike images Mysterious, exotic Nightmarish Forms: Not a unified style Expressive use of form and color Rejected illusionism EDVARD MUNCH, The Scream, 1893. Fig. 13-16.

Symbolist Painting Example: Untrained artist Dreamlike theme Threatening lion Uneasy reminder of vulnerability Unconscious mind HENRI ROUSSEAU, Sleeping Gypsy, 1897. Fig. 13-15.

Symbolist Painting Example: Angst of modern, urban life State of mind, madness Expressive distortion of form Expressive non-local color EDVARD MUNCH, The Scream, 1893. Fig. 13-16.

Architecture 1870-1900 Example: Created for exhibition Honesty of structure and purpose Skeleton exposed Transparent ALEXANDRE-GUSTAVE EIFFEL, Eiffel Tower, 1889. Fig. 13-19.

Architecture 1870-1900 Example: New material: steel Skyscraper, open work spaces Rejects traditions “Form follows function” Limited ornament Honesty to interior organization LOUIS HENRY SULLIVAN, Guaranty (Prudential) Building, 1894–1896. Fig. 13-20.