1. Review Day 4

2. Neoclassicism, 1750-1850 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)

3. Romanticism, 1800-1850 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)

4. Late 19 th Century, 1850-1900 Realism (1848-1860) – 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 (1848-1860) – English team synthesize literature with art, rejecting Raphealian Chiaroscurro clear depictions of medieval (and erotic) content Impressionism (1872-1880) – 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

5. Late 19 th Century, 1850-1900 Post-Impressionism (1880-1890) – 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, 1884-1886) 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 (1890-1915) – 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)

6. Late 19 th Century, 1850-1900 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