1. Impressionism

4. Impressionism (19-20 th c.) Paris, France Artists who rejected established styles, incorporated new technology and ideas, and depicted modern life. “Impressionism”: criticism; work was more impression than depiction of subject matter. Monet’s Impression, Sunrise.

5. Background Major art societies in Europe: Academie des Beaux- Arts in France (est. 1648) and The Royal Academy of Art in England (est. 1768). Set standard for what was considered “art.” Curriculum based on ancient Classical art and European tradition.

6. Painting en plein air; everyday subjects Emphasis on the effect of light; pure, unblended color; no use of black or outline Spontaneous and effortless feeling; movement; cropped compositions Visible, short broken brushstrokes; unusual visual angles, perspectives Style & Technique

7. Photography & Impressionism Emerging science of color theory. Development of camera/photography: candid groupings, off-center focus, deep perspectives, foreshortening, and spontaneity. Real world rather than world of imagination. Depict people and landscapes without mythological or historical exaggerations

10. Popular Subjects Contemporary urban and rural life. Modernization/industrialization. Rural: –leisure activities: boating and bathing. –daily life and work of villagers. Rural landscapes: factories and railways

12. Popular Subjects (cont.) Urban: –renovated Paris: wide boulevards, public gardens, grand buildings. –Parisians: working class, privileged class, singers, dancers. –Leisure time in Paris: theatrical entertainment, cafes, popular concerts, and dances.

13. Little Girl in a Blue Chair, Mary Cassatt, 1878

14. A Bar at the Folies-Bergere, Edouard Manet, 1882

15. Edgar Degas (1834-1917, France)

16. Edgar Degas Born in Paris; father (French banker) and mother (American from New Orleans) encouraged to pursue art; also received degree in literature. Trained at Ecole des Beaux Arts; classical training. Traveled to Italy to visit family; inspired by studying Renaissance artists. Served in National Guard during Franco-Prussian War. Poor eyesight impacted painting and led in later life to work in sculpture.

17. Degas: Subjects Concerned with realism in art (didn’t consider himself an Impressionist); depicted subjects from everyday life and actual experiences: –Some landscapes –Laundresses, milliners, ballet dancers, women bathing Subjects reflect social issues: –Rise of bourgeoisie and working class (service industry) –Leisure pursuits of wealthy

18. Degas: Technique & Style Degas’ style and technique reflects classical training at Ecole des Beaux Arts. Technique: –Did not work en plein air –Worked from memory and sketches Style: –Unusual perspectives –Interested in gestures and movements of human figures –Media: oils, watercolors, pastels, pencil, etching, photography, sculpture

20. Degas: Analysis –L’Absinthe, 1876. –Medium: Oil on canvas. –Subject: relationship between this man and woman. –My reaction: The people are sad and detached. They seem to be together but there is a lack of closeness between them. –Analysis (includes art elements and design principles): The space between them emotionally is created by the space between them physically in the painting. A space divides the painting in two; he is on one side, she the other. Further, the man’s back is reflected in the mirror behind the figures. In essence, he “turns his back on her.” The colors are subdued and monochromatic earth tones suggesting a lack of liveliness or vitality in their relationship. There is also a lack of movement in the painting, the figures are still. This suggests the couple are stuck in their unhappiness.

21. Degas: Analysis –Blue Dancers, 1899 (below right). –More abstract figures - no facial features or expression –“Types” based on profession

22. Claude Monet (1840-1926, France)

23. Pierre-Auguste Renoir (1841-1919, France)

24. Camille Pissarro (1830-1903, France )

25. Gustave Caillebotte (1848-1894, France)

26. Frederic Bazille (1841-1870, France)

27. Mary Cassatt (1844-1926, United States)

28. Armand Guillaumin (1841-1927, France)

29. Berthe Morisot (1841-1895, France)

30. Alfred Sisley (1839-1899, Great Britain)

32. Post-Impressionism Art that developed after first Impressionists.Art that developed after first Impressionists. Extension and rejection of Impressionism’s limitationsExtension and rejection of Impressionism’s limitations –triviality of subject matter –loss of structure Some artists used bolder, more distinct lines.Some artists used bolder, more distinct lines. Some artists used even bolder colors.Some artists used even bolder colors. Artists: Vincent Van Gogh, Paul Cezanne, Paul Gauguin, Henri Rousseau, Henri de Toulouse-Lautrec and others.Artists: Vincent Van Gogh, Paul Cezanne, Paul Gauguin, Henri Rousseau, Henri de Toulouse-Lautrec and others.

33. Neo-Impressionism Founded by Georges Seurat (late 19th c.).Founded by Georges Seurat (late 19th c.). Focused on urban scenes, landscapes, and seashores.Focused on urban scenes, landscapes, and seashores. Science-based interpretation of lines and colors: pointillism technique.Science-based interpretation of lines and colors: pointillism technique. Artists: Paul Signac, Anna Boch, Henri Edmond Cross, Albert Dubois-Pillet, Willy Finch, Georges Lemmen, Maximilien Luce and others.Artists: Paul Signac, Anna Boch, Henri Edmond Cross, Albert Dubois-Pillet, Willy Finch, Georges Lemmen, Maximilien Luce and others.

34. The Pre-Raphaelites

35. Pre-Raphaelite Brotherhood London, 1848.London, 1848. Secret society of seven young poets, artists, and critics (colleagues at Royal Academy of Art).Secret society of seven young poets, artists, and critics (colleagues at Royal Academy of Art). Purpose: create a new British art.Purpose: create a new British art. Rejected academy art; reaction againstRejected academy art; reaction againstNeo-classicism. Emulated art from late medieval and early Renaissance Europe.Emulated art from late medieval and early Renaissance Europe. Reaction against political upheaval, mass industrialization, and social problems of the time.Reaction against political upheaval, mass industrialization, and social problems of the time. Message of artistic renewal and moral reform.Message of artistic renewal and moral reform.

36. The Brotherhood Founders: William Holman Hunt (painter), John Everett Millais (painter and illustrator), and Dante Gabriel Rossetti (painter, illustrator, poet, translator).Founders: William Holman Hunt (painter), John Everett Millais (painter and illustrator), and Dante Gabriel Rossetti (painter, illustrator, poet, translator). William Michael Rossetti (writer and critic), James Collinson (painter), Frederick George Stephens (art critic), and Thomas Woolner (sculptor and poet) joined brotherhood with three founders.William Michael Rossetti (writer and critic), James Collinson (painter), Frederick George Stephens (art critic), and Thomas Woolner (sculptor and poet) joined brotherhood with three founders.

37. Pre-Raphaelite Style Attention to detail.Attention to detail. Luminous, bright color.Luminous, bright color. Symbolic.Symbolic. Lack of shadow; flattened forms.Lack of shadow; flattened forms. Truthful depiction of nature.Truthful depiction of nature.

38. Subjects Noble, religious, and moralistic subjects.Noble, religious, and moralistic subjects. Depicted ideas of justice, piety, family relationships, struggle against corruption.Depicted ideas of justice, piety, family relationships, struggle against corruption. Depicted scenes from poetry (Dante’s Divine Comedy) and medieval legends (Legend of King Arthur); allegorical themes (The Wheel of Fortune); portrayals of female vice and virtue.Depicted scenes from poetry (Dante’s Divine Comedy) and medieval legends (Legend of King Arthur); allegorical themes (The Wheel of Fortune); portrayals of female vice and virtue.