Modern Art 109 From mid-19th century to mid-20th century (left) Édouard Manet (French Realist painter, ‘father’ of the avant-garde), photograph by Nadar, 1867 (right) Jackson Pollock (American ‘Action’ painter, 1949 Life magazine photo for article, “Is He the Greatest Living Painter in the United States?”

Realism and the Origin of the Avant-Garde in Paris Gustave Courbet and Edouard Manet

Gustave Courbet (French, 1819-1877) Self-Portrait, c. 1845

Gustave Courbet, Burial at Ornans, 1849 compare with Thomas Couture, Romans of the Decadence, 1847

Henri Fantin-Latour. Portrait of Édouard Manet Henri Fantin-Latour. Portrait of Édouard Manet. 1867, oil on canvas Art Institute of Chicago, Chicago Parisian dandy, flaneur, and “Painter of Modern Life”

(left) Titian or Giorgione, Venus of Urbino, 1510 (Louvre) source for (right) Edouard Manet’s Olympia 1863

Jean-Léon Gérôme (French Academic painter), Phrynee Before the Judges, 1861 Honoré Daumier cartoon: “Venuses Again, Always Venuses”

Alexandre Cabanel (French Academic Painter, 1823-1889) The Birth of Venus, 51 x 88 inches, 1863

William Bouguereau, Birth of Venus, 1879 and Paul Baudry, Venus and Cupid, c. 1857

From lecture and the Marshall Berman reading, “The Experience of Modernity,” be able to define these terms and address these questions: Modernity (What characterizes modern experience?) Modernism (What kind of culture did modern artists create in response to modern experience?) the avant-garde (Why is avant-garde art – radically innovative in form and content – considered historically significant and make up the modern canon that we study? Why not traditional art?)

Industrialization of Europe and U.S. about 1850

Gustave Courbet, Burial at Ornans, 1849 compare with Thomas Couture, Romans of the Decadence, 1847

ÉDOUARD MANET, Olympia, 1863, oil on canvas, 4’ 3” x 6’ 3” Musée d’Orsay, Paris

Alexandre Cabanel (French Academic Painter, 1823-1889) The Birth of Venus, 51 x 88 inches, 1863

Why was Manet’s Olympia ridiculed by the Parisian artworld of 1865?

Édouard Manet, Universal Exposition of 1867, 1867, oil on canvas The Painter of Modern Life

Emperor Napoleon III by Hipolyte Flandrin (Salon of 1863) with Plan of Paris – radical urban renewal of Paris 1853-1869 designed by Baron Haussmann,

Napoleon III and Baron Haussmann’s urban renewal of Paris:1853-1869 Contemporary view of Blvd. Haussman with Galeries Lafayette, finished in 1912, one of the first department stores: commodity culture

Interior of Galleries Lafayette finished in1912.

The Great Exhibition of 1851 in the Crystal Palace by Joseph Paxton architect, Hyde Park, London, England 1851, moved to Sydenham in 1852, burned down in 1936

Queen Victoria opens the Great Exhibition in the Crystal Palace in Hyde Park, London in 1851

Joseph Paxton, Crystal Palace, 1851, detail of exterior structure

Building The Crystal Palace from prefabricated iron parts

Cartoon from Punch, British satirical magazine

Crystal Palace Science Exhibit: Envelope Machine

Announcing the invention of photography (the daguerreotype) at The Joint Meeting of the Academies of Science and Fine Arts in the Institute of France, Paris, August 19, 1839, unsigned engraving

First Impressionist Exhibition 15 April 1874: “Exhibition of the Société Anonyme of Painters, Sculptors, and Printmakers” (left) Nadar (1820-1910) Nadar’s Studio at 35 Boulevard des Capucines’ (right) Claude Monet (French Impressionist, 1840-1926), Boulevard des Capucines, 1873 (31 1/4 x 23 1/4")

CLAUDE MONET, Impression: Sunrise, 1872 CLAUDE MONET, Impression: Sunrise, 1872. Oil on canvas, 1’ 7 1/2” x 2’ 1 1/2”. Musée Marmottan, Paris.

Claude Monet, Railroad Bridge at Argenteuil, 1874 (right) Anonymous, photo of the Argenteuil Railway Bridge, c. 1895 The Impressionist Eye is, in short, the most advanced eye in human evolution -Jules Laforgue

Nicole Myers, Associate Curator at the Nelson-Atkins Museum of Art, talks about Claude Monet's Water Lilies triptych during a press preview of the exhibit, April 1, 2011, in Kansas City, Mo. For the first time in 30 years the three panels are united.

PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas, approx. 4’ 3” x 5’ 8”. Louvre, Paris.

(left) Auguste Renoir, The Loge, 1874 (right) Mary Cassatt, In the Loge, 1880

Berthe Morisot, The Wet Nurse Angèle Feeding Julie Manet oil on canvas, 1880, private collection “Modernity is the transitory, the fugitive, the contingent.” - Charles Baudelaire

Modern Art in Africa, Asia, and Latin America: An Introduction to Global Modernisms “. . . .every Museum of Modern Art in the United States and Europe should be required, in the spirit of truth in advertising, to change its name to Museum of Western Modernism until it has earned the right to do otherwise.” Holland Cotter NYTimes, 2012

Open link below to follow the geographical history of European colonialism, 1492-2008 http://upload.wikimedia.org/wikipedia/commons/8/89/Colonisation2.gif

(left) Unknown, The Miraculous Mass of Saint Gregory, Mexico City, 1539, feather on wood, 26 x 22,” commissioned by the first colonial governor of Tenochtitlan (Mexico City) as a gift for Pope Paul III (center right) Giovanni Pietro Birago, Mass of Saint Gregory, painting, Milan, c. 1490 , typical source for feather painting (corner right) Pre-Conquest Aztec feathered shield, c. 1500 CE

Yoshikazu, Picture of Foreigners Enjoying a Banquet, December 1860, Yokohama, color woodblock Children dance at the May Festival Ball given in honor of the Japanese ambassadors Frank Leslie’s Illustrated Newspaper, June 6, 1860

(left) Ando Hiroshige, Kameido Ume (Japanese apricot) Garden, woodcut, ink on paper, 1857, from the series, One Hundred Famous Views of Edo (right) Vincent Van Gogh, Plum Tree in Bloom (after Hiroshige), oil on canvas,1887

(left) Yorozu Tetsugoro, Self Portrait with Red Eyes, oil on canvas, 1912 – Expressionist / Cubist / Futurist / Global avant-garde modernism (right) Ernst Ludwig Kirchner (German Expressionist, 1880-1938), Self Portrait with Model, oil on canvas, 1910

Transformative influence of African tribal sculpture Picasso’s epiphany in June 1907 at the ethnographic museum in Paris Georges Braque: “It is as if someone had drunk kerosene to spit fire." “My first exorcism painting…. For me the masks were not just sculptures. They were magical objects...intercessors...against everything - against unknown threatening spirits....They were weapons . . . to keep people from being ruled by spirits. To help them free themselves. . . . If we give a form to these spirits we become free."

(left) Aina Onabolu (Nigerian, 1882-1963), Portrait of a Lawyer, oil on canvas, 1910 (right) Egungun Mask, unknown Yoruba carver, Nigeria, late 19th/early 20th century Picasso, Les Demoiselles d’Avignon, 1907, icon of Western avant-garde painting

(left) Aina Onabolu, Portrait of a Man (Self Portrait (left) Aina Onabolu, Portrait of a Man (Self Portrait?), oil on canvas, 1954 (right) Onabolu, Nude Study, drawing, 1920(?)