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

2. 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 Fig

3. 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
Fig

4. 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, Fig

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

6. 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

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

8. 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, Fig

9. 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– Fig

10. 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

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

12. Post-Impressionism
VINCENT VAN GOGH, Starry Night, Fig

13. 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, Fig

14. 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? Fig

15. 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 Fig

16. 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

17. 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, Fig

18. 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, Fig

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

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

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

22. 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