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Chapter 29

The Rise of Modernism:Art of the Later 19th Century

Gardner‟s Art Through the Ages,

12e

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Industrialization of Europe and U.S. about 1850

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Goals

• Understand why the Industrial Revolution, Darwinism, Marxism

and sociopolitical changes altered ideas about the nature and

subject matter of art in the later 19th century.

• Examine the meanings of “Modernism” and “Realism”

philosophically and in the appearance of art and architecture.

• Understand the formal and content issues of the Impressionists,

Post-Impressionists, and Symbolists.

• Examine experiments in materials and form in art and

architecture at the turn of the century.

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29.1 Modernism and Realism

• Examine the meanings of “Modernism” and “Realism” and

the rejection of Renaissance illusionistic space.

• Understand the changes in Realist art in form, style, and

content.

• Examine the use of art – especially photography and

printmaking -- to provide social commentary.

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The Art of Realism

• Understand Realist art in its forms, styles, and content.

• Examine the social commentary, shocking subject matter,

formal elements, and public reaction to Realism.

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Figure 29-1 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5‟ 3” x 8‟ 6”. Formerly at Gemäldegalerie,

Dresden (destroyed in 1945).

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Figure 29-2 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, approx. 10‟ x 22‟. Louvre, Paris.

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Figure 29-3 JEAN-FRANÇOIS MILLET, The Gleaners, 1857. Oil on canvas, approx. 2‟ 9” x 3‟ 8”. Louvre, Paris.

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Figure 29-4 HONORÉ DAUMIER, Rue Transnonain, 1834. Lithograph, approx. 1‟ x 1‟ 5 1/2”. Philadelphia Museum of

Art, Philadelphia (bequest of Fiske and Marie Kimball).

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Figure 29-5 HONORÉ DAUMIER,

Nadar Raising Photography to the Height of

Art, 1862. Lithograph, 10 3/4” x 8 3/4”.

Museum of Fine Arts, Boston.

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Figure 29-6 HONORÉ DAUMIER, The Third-Class Carriage, ca. 1862. Oil on canvas, 2‟ 1 3/4” x 2‟ 11 1/2”.

Metropolitan Museum of Art, New York (H. O. Havemeyer Collection, bequest of Mrs. H. O. Havemeyer, 1929).

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Figure 29-7 ÉDOUARD MANET, Le Déjeuner sur l‟herbe (Luncheon on the Grass), 1863. Oil on canvas, approx. 7‟ x

8‟ 10”. Musée d‟Orsay, Paris.

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29.2 The French Academy and Other Classical Models

• Examine the importance and influence of the French Royal

Academy of Art, the artists it trained and the styles it

promoted.

• Understand the popularity of other classical models in art.

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Figure 29-8 ÉDOUARD MANET, Olympia, 1863. Oil on canvas, 4‟ 3” x 6‟ 3”. Musée d‟Orsay, Paris.

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Figure 29-9 ADOLPHE-WILLIAM

BOUGUEREAU, Nymphs and Satyr, 1873. Oil on

canvas, approx. 8‟ 6” high. Sterling and Francine Clark

Art Institute, Williamstown, Massachusetts.

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Figure 29-10 MARIE-ROSALIE (ROSA) BONHEUR, The Horse Fair, 1853–1855. Oil on canvas, 8‟ 1/4” x 16‟ 7 1/2”.

Metropolitan Museum of Art, New York (gift of Cornelius Vanderbilt, 1887).

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Figure 29-11 WINSLOW HOMER, The Veteran in a New Field, 1865. Oil on canvas, 2‟ 1/8” x 3‟ 2 1/8”. Metropolitan

Museum of Art, New York (bequest of Miss Adelaide Milton de Groot, 1967).

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American and German Realism

• Identify the American artists and key works of Realist art.

• Examine German artist‟s interests in regional and national

characteristics, folk customs and culture.

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Figure 29-12 THOMAS EAKINS, The

Gross Clinic, 1875. Oil on canvas, 8‟ x 6‟

6”. Jefferson Medical College of Thomas

Jefferson University, Philadelphia.

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Figure 29-13 EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print. George Eastman House, Rochester,

New York.

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Figure 29-14 JOHN SINGER SARGENT, The Daughters of Edward Darley Boit, 1882. Oil on canvas, 7‟ 3 3/8” x 3

5/8”. Courtesy of Museum of Fine Arts, Boston (gift of Mary Louisa Boit, Florence D. Boit, Jane Hubbard Boit, and Julia

Overing Boit, in memory of their father, Edward Darley Boit, 19.124).

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Figure 29-15 HENRY OSSAWA TANNER, The Thankful Poor, 1894. Oil on canvas, 3‟ 8 1/4” x 2‟ 11 1/2”. Collection

of William H. and Camille Cosby.

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29.3 Pre-Raphaelites

• Examine the Pre-Raphaelites‟ choice of subject matter in

contrast to the Realists.

• Understand the influences of the literary world and of the

critic John Ruskin in the art of the Pre-Raphaelites.

• Identify artists and styles of the Pre-Raphaelite movement.

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Imagery of the Pre-Raphaelites

• Examine the choice of subject matter and the influences of

the literary world the works of the Pre-Raphaelites.

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Figure 29-16 WILLIAM LEIBL, Three Women in a

Village Church, 1878-1881. Oil on canvas, approx. 2‟

5” x 2‟ 1”. Kunsthalle, Hamburg.

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Figure 29-17 JOHN EVERETT MILLAIS, Ophelia, 1852. Oil on canvas, 2‟ 6” x 3‟ 8”. Tate Gallery, London.

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Figure 29-18 DANTE GABRIEL

ROSSETTI, Beata Beatrix, ca. 1863. Oil on

canvas, 2‟ 10” x 2‟ 2”. Tate Gallery, London.

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Figure 29-19 GERTRUDE KÄSEBIER, Blessed Art thou

Among Women, 1899. Platinum print on Japanese tissue, 9

3/8” x 5 1/2”. Museum of Modern Art, New York (gift of Mrs.

Hermine M. Turner).

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29.4 Impressionism

• Understand the formal elements and subject choices of the

Impressionist artists.

• Examine the Impressionists‟ interest in sensation,

impermanence, and the “fleeting moment” as it was

expressed in their art.

• Understand the importance of light and color theory in the

work of the Impressionists.

• Recognize representative Impressionist artists and works.

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Figure 29-20 CLAUDE MONET, Impression: Sunrise, 1872. Oil on canvas, 1‟ 7 1/2” x 2‟ 1 1/2”. Musée Marmottan,

Paris.

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Figure 29-21 CLAUDE MONET, Saint-Lazare Train Station, 1877. Oil on canvas, 2‟ 5 3/4” x 3‟ 5”. Musée d‟Orsay,

Paris.

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Figure 29-22 GUSTAVE CAILLEBOTTE, Paris: A Rainy Day, 1877. Oil on canvas, approx. 6‟ 9” x 9‟ 9”. The Art

Institute of Chicago, Chicago, Worcester Fund.

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Figure 29-23 CAMILLE PISSARRO, La Place du Théâtre Français, 1898. Oil on canvas, 2‟ 4 1/2” x 3‟ 1/2”. Los

Angeles County Museum of Art, Los Angeles (the Mr. and Mrs. George Gard De Sylva Collection).

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Figure 29-24 HIPPOLYTE JOUVIN, The Pont Neuf, Paris, ca. 1860–1865. Albumen stereograph.

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Figure 29-25 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas, approx. 4‟ 3” x 5‟ 8”.

Louvre, Paris.

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Figure 29-26 ÉDOUARD MANET, A Bar at the Folies-Bergère, 1882. Oil on canvas, approx. 3‟ 1” x 4‟ 3”. Courtauld

Institute of Art Gallery, London.

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Figure 29-27 EDGAR DEGAS, Ballet Rehearsal, 1874. Oil on canvas, 1‟ 11” x 2‟ 9”. Glasgow Museum, Glasgow (The

Burrell Collection).

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Figure 29-28 BERTHE MORISOT, Villa at the Seaside, 1874. Oil on canvas, approx. 1‟ 7 3/4” x 2‟ 1/8". Norton Simon

Art Foundation, Los Angeles.

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Figure 29-29 CLAUDE MONET, Rouen Cathedral: The

Portal (in Sun), 1894. Oil on canvas, 3‟ 3 1/4” x 2‟ 1 7/8”.

Metropolitan Museum of Art, New York (Theodore M.

Davis Collection, bequest of Theodore M. Davis, 1915).

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Figure 29-30 EDGAR DEGAS, The Tub, 1886. Pastel, 1‟ 11 1/2” x 2‟ 8 3/8”. Musée d‟Orsay, Paris.

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The Beginning of Impressionism

• Examine the Impressionists‟ interest in sensation, impermanence, and the “fleeting moment” as it was expressed in their art.

• Understand the importance of light, color theory, and relevant scientific experiments.

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Japonisme and Later Impressionism

• Examine issues of other Impressionist, such as the influence

of the Japanese print and concerns with formal elements.

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Figure 29-31 MARY CASSATT, The Bath, ca. 1892. Oil

on canvas, 3‟ 3” x 2‟ 2”. The Art Institute of Chicago,

Chicago (Robert A. Walker Fund).

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Figure 29-32 HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Oil on canvas, approx. 4‟ x 4‟ 7”.

The Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection).

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Figure 29-33 JAMES ABBOTT MCNEILL

WHISTLER, Nocturne in Black and Gold (The

Falling Rocket), ca. 1875. Oil on panel, 1‟ 11

5/8” x 1‟ 6 1/2”. Detroit Institute of Arts,

Detroit (gift of Dexter M. Ferry Jr.).

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29.5 Post-Impressionism

• Understand the differences in emotional expression and

subject choices between the Impressionists and the Post-

Impressionists.

• Understand the Post-Impressionist experimentation with

form and color.

• Recognize the individuality of the Post-Impressionist artists

and the styles each one developed.

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Emotion and the Impressionists

• Understand emotional expression and subject choices in

Post-Impressionist art.

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Figure 29-34 VINCENT VAN GOGH, The Night Café, 1888. Oil on canvas, approx. 2‟ 4 1/2” x 3‟. Yale University Art

Gallery, New Haven (bequest of Stephen Carlton Clark, B.A., 1903).

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Figure 29-35 VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, approx. 2‟ 5” x 3‟ 1/4”. Museum of Modern

Art, New York (acquired through the Lillie P. Bliss Bequest).

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Figure 29-36 PAUL GAUGUIN, The Vision after the Sermon or Jacob Wrestling with the Angel, 1888. Oil on canvas, 2‟

4 3/4” x 3‟ 1/2”. National Gallery of Scotland, Edinburgh.

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Post-Impressionist Experimentation

• Understand the Post-Impressionist experimentation with

form and color.

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Figure 29-37 PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are We Going?, 1897. Oil on

canvas, 4‟ 6 13/ 16” x 12‟ 3”. Museum of Fine Arts, Boston (Tompkins Collection).

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Figure 29-38 GEORGES SEURAT, detail of A Sunday on La Grande Jatte, 1884–1886.

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Figure 29-39 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6‟ 9” ´ 10‟. The

Art Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).

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Post-Impressionist Form

• Examine the extraordinary art of Cezanne and his interest in

form, paving the way for Cubism.

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Figure 29-40 PAUL CÉZANNE, Mont Sainte-Victoire, 1902–1904. Oil on canvas, 2‟ 3 1/2” x 2‟ 11 1/4”. Philadelphia

Museum of Art, Philadelphia (The George W. Elkins Collection).

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Figure 29-41 PAUL CÉZANNE, The Basket of Apples, ca. 1895. Oil on canvas, 2‟ 3/8” x 2‟ 7”. The Art Institute of

Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).

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Figure 29-42 PIERRE PUVIS DE CHAVANNES, The Sacred Grove, 1884. Oil on canvas, 2‟ 11 1/2” x 6‟ 10”. The Art

Institute of Chicago, Chicago (Potter Palmer Collection).

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Figure 29-43 GUSTAVE MOREAU, Jupiter and Semele, ca. 1875.

Oil on canvas, approx. 7‟ x 3‟ 4”. Musée Gustave Moreau, Paris.

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Figure 29-44 ODILON REDON, The

Cyclops, 1898. Oil on canvas, 2‟ 1” x 1‟ 8”.

Kröller-Müller Museum, Otterlo, The

Netherlands.

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29.6 Symbolism

• Examine the issues of imagination, fantasy, and formal

changes in the art of the Symbolists.

• Understand the expression of “modern psychic life” in the

art of the Symbolists.

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Figure 29-45 HENRI ROUSSEAU, The Sleeping Gypsy, 1897. Oil on canvas, 4‟ 3” x 6‟ 7”. Museum of Modern Art,

New York (gift of Mrs. Simon Guggenheim).

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Figure 29-46 EDVARD MUNCH, The Cry,

1893. Oil, pastel, and casein on cardboard, 2‟

11 3/4” x 2‟ 5”. National Gallery, Oslo.

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29.7 Sculpture in the Later 19th Century

• Examine the issues of realism and expression related to

sculpture in the later 19th century.

• Understand the selection of contemporary subject matter by

sculptors.

• Recognize representative sculptors and works of the later

19th century.

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Sculpture: Realist and Expressive

• Examine issues of realism, expression and subject matter in

sculpture of the later 19th century.

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Figure 29-47 JEAN-BAPTISTE CARPEAUX,

Ugolino and His Children, 1865–1867. Marble, 6‟ 5”

high. Metropolitan Museum of Art, New York

(Josephine Bay Paul and C. Michael Paul Foundation,

Inc. and the Charles Ulrich and Josephine Bay

Foundation, Inc., gifts, 1967).

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Figure 29-48 AUGUSTUS SAINT-GAUDENS, Adams

Memorial, Rock Creek Cemetery, Washington, 1891. Bronze, 5‟ 10”

high.

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Figure 29-49 AUGUSTE RODIN, Walking Man,

1905, cast 1962. Bronze, 6‟ 11 3/4” high. Hirshhorn

Museum and Sculpture Garden, Smithsonian Institution,

Washington (gift of Joseph H. Hirshhorn, 1966).

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Figure 29-50 AUGUSTE RODIN, Burghers of Calais, 1884–1889, cast ca. 1953–1959. Bronze, 6‟ 10 1/2” high, 7‟ 11”

long, 6‟ 6” deep. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington (gift of Joseph H.

Hirshhorn, 1966).

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29.8 The Arts and Crafts Movement

• Examine the ideas of Ruskin and Morris in shaping the Arts

and Crafts Movement.

• Understand the interest in aesthetic functional objects in the

Arts and Crafts Movement.

• Examine the preference for high-quality artisanship and

honest labor.

• Examine the preferred nature forms of Art Nouveau in art

and architecture.

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Objects and Décor of the Arts & Crafts

• Understand the interest in aesthetic functional objects and

the preference for high-quality artisanship and honest labor.

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Figure 29-51 WILLIAM MORRIS, Green Dining Room, 1867. Victoria & Albert Museum, London.

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Figure 29-52 CHARLES RENNIE MACKINTOSH, reconstruction (1992–1995) of Ladies‟ Luncheon Room, Ingram

Street Tea Room, Glasgow, Scotland, 1900–1912. Glasgow Museum, Glasgow.

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Figure 29-53 VICTOR HORTA, staircase

in the Van Eetvelde House, Brussels, 1895.

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Figure 29-54 AUBREY BEARDSLEY, The

Peacock Skirt, 1894. Pen-and-ink illustration for

Oscar Wilde‟s Salomé.

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Nature in Art Nouveau Architecture

• Examine the organic nature forms in Art Nouveau

architecture.

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Figure 29-55 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.

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Figure 29-56 GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5‟ 10 3/4” x 5‟ 10 3/4”. Austrian Gallery, Vienna.

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29.7 Architecture in the Later 19th Century

• Understand the new technology and changing needs of

urban society and their effects on architecture.

• Examine new materials use in architecture and the forms

made possible as a result.

• Understand how architects were able to think differently

about space as a result of new technology and materials.

• Examine the remarkable work and theories of Louis Sullivan.

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New Technology and Materials

• Understand new technology, changing needs of urban

society, and new materials in architecture.

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Figure 29-57 ALEXANDRE-GUSTAVE EIFFEL,

Eiffel Tower, Paris, 1889 (photo: 1889–1890).

Wrought iron, 984‟ high.

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Figure 29-58 HENRY

HOBSON RICHARDSON,

Marshall Field wholesale store

(demolished), Chicago, 1885–

1887.

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The Architecture of Louis Sullivan

• Understand the issues of space and decoration in the

remarkable work and theories of Louis Sullivan.

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Figure 29-59 LOUIS SULLIVAN, Guaranty

(Prudential) Building, Buffalo, 1894–1896.

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Figure 29-60 LOUIS SULLIVAN, Carson, Pirie, Scott Building, Chicago, 1899–1904.

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Figure 29-61 RICHARD MORRIS HUNT, The Breakers, Newport, Rhode Island, 1892.

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Figure 29-62 LOUIS COMFORT

TIFFANY, Lotus table lamp, ca. 1905.

Leaded Favrile glass, mosaic, and bronze, 2‟

10 1/2” high. Private collection.

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Discussion Questions

In what ways did the Modernist art of the later 19th century

break from the past?

How did Modernist artists call attention to the „facts‟ of art

making?

Why did the public find the subjects, forms, and techniques

of the Impressionists shocking?

What would you consider the most important

breakthrough in architecture?