1. Realism and the Origin of the Avant-Garde in Paris Gustave Courbet and Edouard Manet

2. Gustave Courbet (French, 1819-1877) Self-Portrait, c. 1845

3. Gustave Courbet, The Cellist, Self-Portrait, 1847, Oil on canvas 46 1/8 x 35 1/2 in (117 x 90 cm) Nationalmuseum, Stockholm

4. Courbet, Portrait of the Artist (Wounded Man) 1844-54 Oil on canvas 31 7/8 x 38 1/4 in (81 x 7 cm) Musée d'Orsay, Paris

5. Courbet, Man With a Pipe, 1946

6. Gustave Courbet, Self-Portrait with Dog, 1842

7. Gustave Courbet, The Stonebreakers, 1849 (destroyed in WW II)

8. Gustave Courbet, Portrait of Proudhon, 1853

9. Gustave Courbet, A Burial at Ornans 1849-1850, oil on canvas, 10' 3’ x 21' 9" Musée d'Orsay, Paris

10. Thomas Couture, Romans of the Decadence, 1847

11. Gustave Courbet, Burial at Ornans, 1849 compare with Thomas Couture, Romans of the Decadence, 1847

12. Jean-Baptiste-Siméon Chardin, Grace at Table, 1740 (19"/15") Louvre, Paris Genre painting like this was a traditional genre in European academies of art, which enforced a strict hierarchy of genres that determined a painting’s value: first history, then portrait, genre, landscape, and still life.

13. William Bouguereau, (left) Mother and Children, The Rest, 1879 (right) Home From the Harvest, 1878, Cummer Museum of Art, Jacksonville, Florida

14. William Bouguereau, The Broken Pitcher, 1891, the De Young MA, San Francisco

15. Honoré Daumier, Third Class Carriage, o/c, 1862, c. 25“ x 35"

16. Honoré Daumier (French) Rue Transnonain April 15, 1834, 1834, lithograph, 290 x 445 mm, Bibliothèque Nationale, Paris

17. Honoré Daumier, The Uprising, 1849, oil on canvas

18. Gustave Courbet, The Studio: An Allegory of Seven Years of the Artist's Life, 1855, oil on canvas, over 20 feet wide, Musée d'Orsay, Paris

19. “I have studied, outside of any system and without prejudice, the art of the ancients and of the Moderns. I no more wanted to imitate the one than to copy the other; nor, furthermore, was it my intuition to attain the trivial goal of art for art's sake. No! I simply wanted to draw forth from a complete acquaintance with tradition the reasoned and independent consciousness of my own individuality" "To know in order to be able to create, that was my idea. To be in a position to translate the customs, the ideas, the appearance of my epoch, according to my own estimation: to be not only a painter, but a man as well: in short, to create living art - this is my goal.“ Gustave Courbet, statement for his Pavilion of Realism, build next to the Paris International Exhibition of 1855

20. (left) Destruction of Paris following the Franco-Prussian war, siege of Paris, and (right) the Commune 1871, Communards shot by firing squad of French soldiers in the streets of Paris

21. Courbet, the Communard, and the destruction of the Vendome column, symbol of Napoleonic (French) imperialism "Inasmuch as the Vendôme column is a monument devoid of all artistic value, tending to perpetuate by its expression the ideas of war and conquest of the past imperial dynasty, which are reproved by a republican nation's sentiment, citizen Courbet expresses the wish that the National Defense government will authorise him to disassemble this column.“ – Courbet

22. Gustave Courbet, Self-Portrait at Sainte-Pelagie, 1872 Last self-portrait as prisoner for Communard activities

23. Henri Fantin-Latour. Portrait of Edouard Manet. 1867, oil on canvas Art Institute of Chicago, Chicago Parisian dandy, flaneur, and “Painter of Modern Life”

24. Edouard Manet, At the Café, lithograph, 1869

25. Edouard Manet, Concert at the Tuileries, 1862 o/c, c. 46 x 30,” National Gallery, London. Two portraits of Charles Baudelaire by Manet on left, 1865 Modernity is the transient, the fleeting, the contingent; it is one half of art, the other being the eternal and the immovable. - Charles Baudelaire

26. Edouard Manet, Dejeuner Sur L’Herb (Luncheon on the Grass), 1862

27. Titian, Concert Champêtre (Italian Renaissance) 1510 compare with Edouard Manet (French Realism), Déjeuner Sur L’Herbe, 1862

28. Marcantonio Raimondi, Judgment of Paris, (engraving after Raphael), 1520 compare with Edouard Manet, Déjeuner Sur L’Herbe, 1862

29. Edouard Manet, Olympia, 1863, oil on canvas, 51 x 74¾ in Musée d'Orsay, Paris

30. Titian or Giorgione, Venus of Urbino, 1510 (Louvre) compared to Olympia 1863

31. Alexandre Cabanel (French Academic Painter, 1823-1889) The Birth of Venus, 51 x 88 inches, 1863

32. Jean Leon Gerome (Academic classicism), Phrynee Before the Judges, 1861 Daumier cartoon: “Venuses Again, Always Venuses”

33. William Bouguereau, Birth of Venus, 1879 and Paul Baudry, Venus and Cupid, c. 1857

36. Edouard Manet, Universal Exposition of 1867, 1867, o/c Painter of Modern Life

37. Emperor Napoleon III by Hipolyte Flandrin (Salon of 1863) with Plan of Paris – radical urban renewal designed by Baron Haussmann, 1853-1869

38. 1867 Paris International Exhibition

39. Napoleon III and Baron Haussmann urban renewal, Paris:1853-1869 Blvd. Haussman with Galeries Lafayette, one of the first department stores: commodity culture

40. Edouard Manet, Civil War in Paris (the Commune) 1871, lithograph

41. Edouard Manet, The Bar at the Folies Bergere, 38 x 51 in, 1881, Courtauld, London

42. (left) Gustave Courbet, Portrait of Jo, the Beautiful Irish Girl, c. 1865, oil on canvas, 21 x 26 in. Nationalmuseum, Stockholm, Realism (right) James McNeil Whistler (US), Symphony in White, 1864, Japonisme, aestheticism. Same model, Jo Hiffernan

43. James McNeill Whistler (United States expatriate) Nocturne in Black and Gold: The Falling Rocket, c. 1875, oil on panel, 23 x 18 in, Detroit Institute of Arts “Oh, I knock one off in a couple of days.” (Whistler) Why is a painting made so quickly so highly valued? What are the issues around “art for art’s sake” raised by the Whistler vs. John Ruskin trial? How are they “modern”?

44. Modernity is the transitory, the fugitive, the contingent, the half of art, of which the other half is the eternal and the immutable.... Charles Baudelaire Architecture as Emblem of Modernity

45. Top: Joseph Paxton, The Crystal Palace, Hyde Park, London, 1851 Below right: Charles Barry (1795–1860) A. W. N Pugin (1812–52), Houses of Parliament, London, Gothic Revivalism, largely completed by 1858 Contemporaneous English buildings: one emblematic of the future, one emblematic of the past.

46. The House of Lords in the Palace of Westminster (Houses of Parliament), London, designed by A.W.N. Pugin. Neo-Gothic interior design

47. Roger Fenton (British, 1819–1869) The Queen and the Prince, wet plate 1854 Britain’s Queen Victoria reigned from 1837 to 1901 Her name and values identify the Victorian era in Europe Edwin Landseer (British), Windsor Castle in Modern Times, 1841-5, oil on canvas 44 x 56” Victoria and Albert “at home”

48. The Great Exhibition of 1851 in the Crystal Palace by Joseph Paxton architect, Hyde Park, London, England 1851, moved to Sydenham in 1852, burned down in 1936

50. Queen Victoria opens the Great Exhibition in the Crystal Palace in Hyde Park, London in 1851

51. Joseph Paxton, Crystal Palace, 1851, detail of exterior structure

52. Building the Crystal Palace with prefabricated truss

53. Building The Crystal Palace from prefabricated iron parts

54. “Waiting for the Queen,” Orientalist décor of Crystal Palace, Illustration by Joseph Nash for Dickinson's Comprehensive Pictures of the Great Exhibition of 1851 Ornamental cover for joints of girders (disguising modernity)

55. Cartoon from Punch, British satirical magazine

56. Crystal Palace Science Exhibit:- Envelope Machine

57. Compare bed and new railroad cars exhibited at Great Exhibition of 1851 (Crystal Palace)

58. William Holman Hunt, The Awakening Conscience, 1853-4 o/c, arched top, 30/22” Tate Britain, Pre-Raphaelite

59. William Morris, La Belle Iseult, 1858, Jane Burden (future Jane Morris) in medieval dress, Pre-Raphaelite. Morris’s only surviving oil painting, Tate, London

60. Red House designed by Philip Webb for William and Jane Morris. Designed 1859; completed 1860. Bexley heath (near London). neo-Gothic eclecticism, meant to be a “palace of art” for artists and writers associated with the Pre-Raphaelite Movement. Inspiration for the Arts & Crafts movement and the assertion of an“authentically” English tradition http://www.morrissociety.org/redhouse.htmhttp://www.morrissociety.org/redhouse.htm See the two excellent short videos produced by the National Trust of England.

61. William Morris, “Pimpernel” wallpaper, 1876. The interiors of the Red House were covered with pattern, floor, walls, ceiling.

62. William Morris, designer, pages from The Kelmscott Chaucer (14 th century texts), finished in 1896, figures by Pre-Raphaelite painter, Edward Burne- Jones

63. Announcing the invention of photography (the daguerreotype) at The Joint Meeting of the Academies of Science and Fine Arts in the Institute of France, Paris, August 19, 1839, unsigned engraving