1. LATE 19the Century – Realism and More
Late 19th Century
Realism ’s
Impressionism ’s
Post-Impressionism 1880’s-1890’s
Symbolism ’s
Art Nouveau ’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

2. 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

3. 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

4. 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 reaction to labor unrest- in the grand, historical paintings in size and shape

5. 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?

6. Image 114- Honore’ Daumier
Nadar Raising Photography to the Height of Art 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 Daumier is the social commentary artist-

7. 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.

8. Artist: Jean-François Millet
Title: The Gleaners
Medium: Oil on canvas
Size: 33 X 44" (83.8 X 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

9. 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.

10. Manet Luncheon on the Grass, via

11. Image 118 Jose Maria Velasco- The Valley of Mexico from the Hillside of Santa Isabel , 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

12. 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.

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

14. 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

15. 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

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

17. 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 ( )
A series of work done at different times of day. Sublte gradations of light. A Haystack was first series to hang together.

18. Image 121 Mary Cassatt- The Coiffure, , 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

19. Edouard Manet
Bar at the Folies Bergere

20. 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
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.

21. 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

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

23. 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 ( )
Swirls, scene from hospital room, emotionality with color and brush strokes, waves of color and pattern, distortion

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

25. 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, × 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,

26. Gauguin – Self Portrait
Spirit of the Dead Watching, 1892

27. 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

28. 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

29. 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.

30. 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

31. Art Nouveau Developed in Brussels, Barcelona, Paris, and Vienna
Lasted until 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

32. 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

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

34. 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

35. 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.

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

37. Image 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.

38. Image 124 Exterior of the Carson Pirie Scott Building; 2012

39. Image 124 Floor plan Carson Pirie Scott Building- Chicago

40. 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

41. The Thinker
Auguste Rodin
1902
Originally – the Poet
Bronze cast

42. Image 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