1. Modern Art 109 From mid-19th century to mid-20th century
(left) Édouard Manet (French Realist painter, ‘father’ of the avant-garde), photograph by Nadar, 1867
(right) Jackson Pollock (American ‘Action’ painter, 1949 Life magazine photo for article, “Is He the Greatest Living Painter in the United States?”

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

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

4. Gustave Courbet, The Cellist, Self-Portrait, 1847, Oil on canvas 46 x 35”, Nationalmuseum, Stockholm

5. Gustave Courbet, Portrait of the Artist (Wounded Man) Oil on canvas 32 x 38”, Musée d'Orsay, Paris

6. Gustave Courbet, Man With a Pipe, 1946

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

8. Gustave Courbet, The Stone Breakers, 65 x 128”, (destroyed in the British bombing of Dresden, 1945, WW II) "It is not often that one encounters so complete an expression of poverty and so, right then and there I got the idea for a painting. I told them to come to my studio the next morning."

9. Gustave Courbet, Portrait of Proudhon and his Children, Pierre-Joseph Proudhon, member of Parliament, admired by Courbet, first person to call himself an “anarchist.” ”Anarchy is Order Without Power”
”Anarchy is Order Without Power”

10. Gustave Courbet, A Burial at Ornans , oil on canvas, 10' 3’ x 21' 9“, Musée d'Orsay, Paris. Shown in salon of What is ‘avant-garde’ about this painting in form and content?

11. Thomas Couture (French Academic painter, ) Romans of the Decadence, c. 15 x 25 ft, 1847 (salon of 1847)

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

13. Jean-Baptiste-Siméon Chardin, Grace at Table, 1740 (19"/15") Louvre, Paris Genre painting was a traditional category in European academies of art, which enforced a strict hierarchy of genres that determined a painting’s value: first history, then portrait painting followed by genre, landscape, and still life. Note relatively small size of Chardin’s painting. Courbet’s Burial at Ornans is 10' 3’ x 21' 9"

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

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

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

17. 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

18. “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

19. (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

20. 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

21. Gustave Courbet, Self-Portrait at Sainte-Pelagie, Last self-portrait as prisoner (6 months) for Communard activities.

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

23. Édouard Manet, At the Café, lithograph, 1869

24. Édouard Manet, Concert at the Tuileries, 1862 o/c, c
Édouard 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

25. Édouard Manet, Le Dejeuner Sur L’Herb (The Luncheon on the Grass), 1862

26. Titian or Giorgione, Concert Champêtre (Italian Renaissance) compare with Édouard Manet (French Realism), Le Déjeuner Sur L’Herbe, 1862

27. Marcantonio Raimondi (Italian Renaissance printmaker, , Judgment of Paris (detail of engraving after Raphael), compare with Édouard Manet, Déjeuner Sur L’Herbe, 1862

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

29. (left) Titian or Giorgione, Venus of Urbino, 1510 (Louvre) source for Manet’s Olympia 1863

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

31. Jean-Léon Gérôme (French Academic painter), Phrynee Before the Judges, 1861 Honoré Daumier cartoon: “Venuses Again, Always Venuses”

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

35. The Painter of Modern Life
Édouard Manet, Universal Exposition of 1867, 1867, o/c, Nasjonalgalleriet, Oslo, Norway Watch a fascinating 7-minute video of the 2011conservation of this painting:
The Painter of Modern Life

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

37. 1867 Paris International Exhibition

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

39. Édouard Manet, Civil War in Paris (the Commune) 1871, lithograph

40. Édouard Manet, The Bar at the Folies Bergère, 38 x 51 in, 1881, Courtauld, London

41. (left) Gustave Courbet, Portrait of Jo, the Beautiful Irish Girl, c
(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

42. 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”?

43. Architecture as Emblem of Modernity
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

44. 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.

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

46. 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, , oil on canvas
44 x 56” Victoria and Albert “at home”
Roger Fenton (British, 1819–1869)
The Queen and the Prince, wet plate
1854

47. 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

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

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

51. Building the Crystal Palace with prefabricated truss

52. Building The Crystal Palace from prefabricated iron parts

53. (disguising modernity)
“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)

54. Cartoon from Punch, British satirical magazine

55. Crystal Palace Science Exhibit:- Envelope Machine

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

57. Silver table top sculpture shown in Great Exhibition of 1851 Victorian Orientalism and machine made populist ‘art’ of the industrial age.

58. 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

59. Louis Jacques Mande Daguerre, Still Life, 1837, Daguerreotype

60. Louis Jacques Mande Daguerre, Boulevard du Temple, Paris, c
Louis Jacques Mande Daguerre, Boulevard du Temple, Paris, c. 1838, Daguerreotype

61. Joseph Nicéphore Niépce (French1765-1833), View from His Window at Le Gras 1826 -7, Heliograph

62. William Henry Fox Talbot (British,1800-1877),The Open Door, 1843
William Henry Fox Talbot (British, ),The Open Door, salted paper print from a calotype negative, plate IV, The Pencil of Nature,

63. Talbot, Courtyard Scene,1844, Calotype

64. Oscar Gustav Rejlander (Swedish ) Two Ways of Life, albumen print, composite of 32 negatives

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

66. William Morris (British, 1834‑1896) La Belle Iseult, 1858, Jane Burden (future Jane Morris) in medieval dress, Pre-Raphaelite. Morris’s only surviving oil painting, Tate, London. Medieval story of Iseult mourning Tristran's exile from the court of King Mark

67. Red House designed by Philip Webb for William and Jane Morris
Red House designed by Philip Webb for William and Jane Morris. Designed 1859; completed 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. The interior surfaces of the Red House were covered with pattern: floors, walls, ceilings.

68. William Morris, “Pimpernel” wallpaper, 1876
William Morris, “Pimpernel” wallpaper, For repeating pattern on wallpaper and fabric, Morris used the ancient technique of hand woodblock printing.

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