19 th century Realism The term was coined in 1840, although the style appeared well before that date. The primary concerns of the Realist movement in art were direct observation of society and nature, and political and social satire.

19 th Century is an age of Revolutions; economic, social and political – all traced back to the Age of Enlightenment. Results in conflicts between different social classes that becomes implicit in works of art. (usually those rebelling against political oppression) Major force in polarization: Industrial Revolution in England. Inventions: Steam engine, use of iron and steel, photography, telegraph, telephone, passenger railroad Factories were established and people moved to cities to find work. New class separation between factory owners and workers, accompanied by social and political movements for worker’s rights. Karl Marx and Friedrich Engels, Communist Manifesto, 1848; same year, first convention for women’s rights was held in NY. Literature: Charles Dickens, Honore de Balzac, Gustave Flaubert, and Emile Zola – new social consciousness, broad panorama of society as well as psychological motivation of their characters. Science: observation of nature led to new theories of origins: Charles Darwin Newspapers and magazines carried stories of scientific discoveries, cartoons and caricatures of political satire. Crafts are replaced with manufactured goods. Guilds are no longer important. New figure in art world is the critic. Patronage comes from dealers, museums, and private collectors

Jean-Francois Millet, Gleaners, 1857, oil on canvas

Rosa Bonheur, Horse Fair, 1853, oil on canvas

Gustave Courbet, Stone Breakers, 1849, oil on canvas

Courbet, Interior of My Studio: A Real Allegory Summing Up Seven Years of My Life as an Artist from 1848 to 1855, 1855, oil on canvas videovideo

Honore Daumier, Third-Class Carriage, 1862, oil on canvas

Honore Daumier, Interior of a First-Class Carriage, 1864, crayon and watercolor

Daumier, Freedom of the Press: Don’t Meddle With It, 1834, lithograph

Daumier, Louis-Phillipe as Gargantua, 1831, lithograph

Camera Obscura

Niepce, View from His Window at Gras, 1826, heliograph

Louis-Jacques-Mande Daguerre, Still Life in Studio, 1837 Photograph videovideo

Gaspard-Felix Tournachon (Nadar), Sarah Bernhardt, 1864 videovideo

Daumier, Nadar Elevating Photography to the Height of Art, 1862, lithograph

Julia Margaret Cameron, Mrs. Herbert Duckworth, 1867, photograph

Matthew Brady, Lincoln “Cooper Union” Portrait, 1860, photograph

Matthew Brady, Robert E. Lee, 1865, photograph

Studio of Matthew Brady, Ruins of Gallego Flour Mills, Richmond, , albumen-silver print from a glass negative

The Pre-Raphaelites: A brotherhood founded in England by Hunt, Rossetti and Millais: Their belief that the aim of artists since (and including) Raphael had been to achieve beauty through idealization. The considered this to be artificial and sentimental, rather than natural and sincere. Therefore, they decided that their own inspiration would be drawn from the “truthful” crafts tradition that predated Raphael. Although Pre-Raphaelites follow Turner’s ideal of truth to nature, their pictorial style is quite distinct from his. Turner was impressionistic where the forms tended to get lost in the paint. Pre-Raphaelites were figurative, with clean edges, smooth surfaces and precise patterns. Their colors are pure and vivid and their subject matter ranged from portraiture and contemporary, mythological, medieval and Christian themes.

Dante Gabriel Rossetti, Ecce Ancilla Domini (The Annunciation), 1850, oil on canvas

John Everett Millais, John Ruskin, 1854, oil on canvas

Thomas Cowperthwait Eakins, Gross Clinic, , India Ink and watercolor on cardboard

Eakins, John Biglen in a Single Scull, 1873, watercolor on off-white wove paper

Henry Ossawa Tanner, Annunciation, 1898, oil on canvas

Tanner, Lion Licking Paw, 1886, oil on canvas

Tanner, The Banjo Lesson, 1893, oil on canvas

1. being without clothing or covering; nude: naked children swimming in the lake. 2. without adequate clothing: a naked little beggar. 3. bare of any covering, overlying matter, vegetation, foliage, or the like: naked fields. 4. bare, stripped, or destitute (usually followed by of): The trees were suddenly naked of leaves. 5. without the customary covering, container, or protection: a naked sword; a naked flame. 6. without carpets, hangings, or furnishings, as rooms or walls. 7. (of the eye, sight, etc.) unassisted by a microscope, telescope, or other instrument: visible to the naked eye. 8. defenseless; unprotected; exposed: plain; simple; unadorned: the naked realities of the matter. 10. not accompanied or supplemented by anything else: a naked outline of the facts. 11. exposed to view or plainly revealed: the naked threat in the letter; a naked vein of coal. 12. plain-spoken; blunt: the naked truth. adjective 1. naked or unclothed, as a person or the body. 2. without the usual coverings, furnishings, etc.; bare: a nude stretch of land laid waste by brush fires. 3. (of a photograph, painting, statue, etc.) being or prominently displaying a representation of the nude human figure. 4. Law. made without a consideration or other legal essential: a nude contract. 5. having the color nude. noun 6. a sculpture, painting, etc., of a nude human figure. 7. an unclothed human figure. 8. the condition of being unclothed: to sleep in the nude. 9. a light grayish-yellow brown to brownish-pink color.

Edouard Manet, Le Dejeuner sue l’Herbe, 1863, oil on canvas

Giorgione’s Fete Champetre

Manet, Olympia, 1865, oil on canvas, videovideo

Titian’s Venus of Urbino Giorgione’s Sleeping Venus

Courbet, Woman with a Parrot, 1866, oil on canvas

Joseph Paxton, Crystal Palace, London, , cast iron, wrought iron, and glass

John A. and W. A. Roebling, Brooklyn Bridge, New York, , stone piers with steel cables

Auguste Bartholdi and Alexandre- Gustave Eiffel, Statue of Liberty, New York, copper plate on a steel and wrought-iron framework

Eiffel, diagram of the construction of the Statue of Liberty

Eiffel, Eiffel Tower, Paris, , wrought-iron superstructure on a reinforced concrete base, 984 ft. high, 1052 ft. with TV mast

Louis Sullivan, Wainwright Building, St. Louis MI

Louis Sullivan, Carson, Pirie, Scott and Company Building, Chicago, Illinois, , Iron steel, glass and terra cotta restoration video

José María Velasco, The Valley of Mexico from the Hillside of Santa Isabel, 1875, oil on canvas, 17 3/4 x 25 inches