1. Art History-19 th Century Birth of “Isms” Neoclassisim Romanticism Realism Impressionism Post-Impressionism

2. Neoclassism 1780-1820 Words associated with this period-virtue; patriotism; Tone: calm, rational Technique: stressed drawing with lines not color, smooth surface and glossy, no trace of brushstrokes ordered grids,

3. Neoclassical Values: Order, solemnity Subjects: Greek & Roman History Role of Art: Morally uplifting, inspirational Founder & leader of movement: David French & British Academies behind, preached that reason, not emotion, should dictate art

5. Oath of the Horatii Jacque Louis David 1784 Louvre, Paris, France

6. Romanticism Dramatic, emotional, violent energy; Themes-liberty power of nature; compare/associations to Baroque – ‘history repeats itself’

7. Romanticism Imaginative idealized creations Values: Intuition, Emotion, Imagination Inspiration: Medieval & Baroque eras, Middle and Far East Tone: Subjective, spontaneous, nonconformist

8. Romanticism continued… Color: Unrestrained, deep rich shades of color Subjects: Legends,exotica, nature, violence Genres: Narratives of heroic struggle, landscapes, wild animals Technique: Quick brushstrokes, strong light-and-shade contrasts Composition: Use of diagonals

9. Gericault (Raft of the Medusa, 1818) & Delacroix (Liberty Leading the People, 1830) Teacher and his student

10. Gericault (Raft of the Medusa, 1818) & Delacroix (Liberty Leading the People, 1830)

13. Early Photo-Realism Photo realism; tromp l’oeil-fool the eye Ultra realistic painting, American painter Harnett

14. Realism Unadulterated rendering; poor people in everyday situations; landscapes

16. Realism Courbet, the father of the Realist movement Portrayed drab figures at everyday tasks First one man show, when rejected by an art jury built a shed to show his painting Interior of My Studio Burial of Ornans, The Stone Breakers,

17. French Realism: Courbet Corot Millet, Barbazon School

18. American Realism Winslow Homer Eakins

19. Art for art’s sake James McNeil Whistler Arrangement in Grey and Black No. 1, 1872, Muse d’Orsay, Paris Nocturn in Black and Gold: the Falling Rocket, 1875

22. Manet Often called the “Father of Modern Art” 1832-1883 Never exhibited with the Impresionists Striped away idealizing mythology to portray modern life candidly Sketchy brushwork-images appear flat and hard

23. Manet, “Olympia”, 1863

25. “Dejeuner sue l’herbe” (1863) “ The Luncheon on the Grass”

26. Luncheon: Painting offended on moral and aesthetic grounds Indecent because the nude was not idealized (nudity was only acceptable if disguised in Classical trappings) Based on historic art precedent, Giorgione, Titian, Brushstrokes, applied in broad strokes

27. Impressionism En plein air-Paint outside Concerned with effects of light; Dabs of pure color painted side by side Viewer’s eye blends the colors Shadows not black but blends of colors Country, City associated with Impressionism-France, Paris

30. Compositions Japanese prints and new tool influenced Impressionists; cropping-cutting off Camera/photography

31. Impressionists Grouped together because of way painted and concern for light Purpose; to portray immediate visual sensations of a scene Impressionists: Manet, Monet. Renior, Degas Also: Pizzaro, Sisley, Marisot, Casatt 1862-1886

32. Impressionist subjects: Outdoors, seaside, Parisian streets and cafes

33. Post-Impressionism Grouped together because making art at the same time- but not because of similar style 1880-1905 Post Impressionists: Seurat, Toulouse- Lautrec, Cezanne, Gauguin, van Gogh

34. Different styles Small dots of pure color on canvas, Seurat Pointillists Textural paint, sick man van Gogh Reduce to basic shapes: cone, cylinder, Cezanne

35. “Starry Night”

38. Pointillism, Seurat, “A Sunday on La Grande Jatte” 1884-1886

39. Cezanne, “Still Life”

40. Cezanne Cezanne liberated art from reproducing reality by reducing reality to its basic compositions Cylinder, sphere, cone To create illusions of depth placed cool colors like blue, which seem to recede, at rear and warm colors like red, which seem to advance, in front ( Mt. St. Victoire, 1902)