enlightenment thru post imp
TRANSCRIPT
Romanticism, Realism & Photography
THEME: Features of Romanticism“Man is born free, but is everywhere in chains!” - Rousseau
P.I.N.E.
Past – Longing for the medieval past, pre-industrial Europe (Gothic architecture will be revived)
Irrational/ Inner mind / Insanity – Romantic artists depict the human psyche and topics that transcend the use of reason. One Romantic artist, Gericault, chose to do portraits of people in insane asylums
Nature – longing for the purity of nature, which defies human rationality
Emotion/ Exotic – Romantics favored emotion and passion over reason. Exotic themes and locales were also popular because they did not adhere to European emphasis on rationality
Imagination, not reason, FEELING, not thinking = FREEDOM
Jean-Auguste-Dominique Ingres
Grande Odalisque1814oil on canvas2 ft. 11 in. x 5 ft. 4 in.
Francisco Goya
The Sleep of Reason Produces Monstersfrom Los Caprichos
ca. 1798etching and aquatint8 1/2 x 6 in.
Francisco Goya
Family of Charles IV
1800oil on canvas9 ft. 2 in. x 11 ft.
Francisco Goya
The Third of May, 18081814oil on canvas8 ft. 8 in. x 11 ft. 3 in.
Francisco Goya
Saturn Devouring His Children
1819-1823fresco on canvas4 ft. 9 in. x 2 ft. 8 in.
Théodore Géricault
Raft of the Medusa
1818-1819oil on canvas16 x 23 ft.
Eugène Delacroix
Liberty Leading the People
1830oil on canvas8 ft. 6 in. x 10 ft. 8 in.
John Constable, The Haywain
1821oil on canvas4 ft. 3 in. x 6 ft. 2 in.
Nature as allegory
Caspar David Friedrich
Abbey in the Oak Forest
1810oil on canvas3 ft. 7 1/2 in. x 5 ft. 7 1/4 in.
“The artist should not only paint what he sees before him, but also what he sees within him. If he does not see anything within him, he should give up painting what he sees before him.” - Friedrich
Joseph Mallord William Turner
The Slave Ship
1840oil on canvas2 ft. 11 11/16 in. x 4 ft. 5/16 in.`
Thomas Cole
The Oxbow
1836oil on canvas4 ft. 3 1/2 in. x 6 ft. 4 in.
Albert Bierstadt
Among the Sierra Nevada Mountains, California1868oil on canvas6 ft. x 10 ft.
Romantic Architecture • IRON
• Iron framework with Gothic or Romanesque skin• Progressive artists exposed iron + glass
• REVIVAL of the past• Middle ages – a time when religion was more devout and sincere• Modern living corrupted Industrial Revolution • Not just Medieval revival but also Egyptian, Islamic, Baroque… anything old!
Charles Barry & A.W.N. Pugin
Houses of Parlaiment
London, England
designed 1835
“All Grecian, Sir. Tudor details on a classical body” - Pugin
“Neo-Gothic”
John Nash
Royal Pavilion
Brighton, England
1815-1818
“Indian Gothic”
Joseph Paxton
Crystal Palace
London, England
1850-1851
Louis-Jacques-Mandé Daguerre
Still Life in Studio
1837Daguerreotype
Julia Margaret Cameron
Ophelia, Study no. 2
1867albumen print1 ft. 1 in. x 10 2/3 in.
Timothy O’Sullivan
A Harvest of Death, Gettysburg, Pennsylvania, July 18631863gelatin-silver print
PRE-MODERNISM: REALISM & THE PRE-RAPHAELITE BROTHERHOOD
19th century continued…
Ah, Romanticism…isn’t it romantic?
REALISM – no! get REAL!• Started in mid 1800s France• Influenced by Positivism, a philosophical model developed by Auguste Comte
• Knowledge must come from proven ideas based on science or scientific theory• Darwin! Karl Marx!
• Artists depicted scenes of everyday contemporary life, disproved of historical or fictional subjects, they weren’t REAL
• “[An artist must apply] his personal faculties to the ideas and events of the times in which he lives… Art in painting should consist only in the representation of things visible and tangible to the artist. Every age should be respected only by its own artists, that is to say, by the artists who have lived in it. I also maintain that painting is an essentially concrete art form and can consist only of the representation of both real and existing things.” – Courbet, 1861
Gustave Courbet
The Stone Breakers1849oil on canvas5 ft. 3 in. x 8 ft. 6 in.
“Show me an angel and I’ll paint one” – Courbet’s famous words sum up Realism
Gustave Courbet
Burial at Ornans1849oil on canvas10 ft. x 22 ft.
Jean-François Millet
The Gleaners1857oil on canvas2 ft. 9 in. x 3 ft. 8 in.
Honoré Daumier
Rue Transnonian
1834lithograph12 x 17 1/2 in.
Honoré Daumier
The Third-Class Carriage
ca. 1862oil on canvas2 ft. 1 3/4 in. x 2 ft. 11 1/2 in.
Édouard Manet
Le Déjuner sur l’Herbe
1863oil on canvas7 ft. x 8 ft. 10 in.
Édouard Manet
Olympia
1863oil on canvas4 ft. 3 in. x 6 ft. 3 in.
Winslow Homer
The Veteran in a New Field
1865oil on canvas2 ft. 1/8 in. x 3 ft. 2 1/8 in.
Thomas Eakins
The Gross Clinic
1875oil on canvas8 ft. x 6 ft. 6 in.
John Singer Sargent
The Daughters of Edward Darley Boit1882oil on canvas7 ft. 3 3/8 in. x 7 ft. 3 5/8 in.
Pre-RaphaelitesFictional, historical and fanciful subjects with a convincing degree of illusion
Refused to be limited to contemporary scenes of the REALIST movement
John Everett Millais
Ophelia
1852oil on canvas2 ft. 6 in. x 3 ft. 8 in.
Her clothes spread wide,And mermaidlike awhile they bore her up-Which time she chanted snatches of old tunes,As one incapable of her own distress.
Dante Gabriel Rossetti
Beata Beatrix
ca. 1863oil on canvas2 ft. 10 in. x 2 ft. 2 in.
Impressionism (1874)
• Modernist movement – avant-garde artists• Pioneered independent art exhibitions (1874) as the “Anonymous
Society of Painters, Sculptors, Printmakers,” adopted “Impressionists” soon thereafter
• Rely on the transient, the quick and the fleeting• Seek to capture the effects of light
• Knew shadows had color, seasons effect object• Plein-air painting• Landscape and still-life painting
• Impressionists prided themselves on being antiacademic and antibourgeois
Claude Monet
Impression: Sunrise
1872oil on canvas1 ft. 7 1/2 in. x 2 ft. 1 1/2 in.
Intersection of what the artist SAW and what the artist FELT- Complementary color, choppy brushstrokes
Claude Monet
Rouen Cathedral: The Portal (in Sun)
1894oil on canvas3 ft. 3 1/4 in. x 2 ft. 1 7/8 in.
Gustave Caillebotte
Paris: A Rainy Day
1877oil on canvasapproximately 6 ft. 9 in. x 9 ft. 9 in.
URBANIZATIONBaron Georges Haussman – gave Paris a makeover under Napoleon III’s orders
Pierre-Auguste Renoir
Le Moulin de la Galette
1876oil on canvas4 ft. 3 in. x 5 ft. 8 in.
Leisure activities of the Parisian middle class
Édouard Manet
A Bar at the Folies-Bergère
1882oil on canvas3 ft. 1 in. x 4 ft. 3 in.
Edgar Degas
Ballet Rehearsal
1874oil on canvas1 ft. 11 in. x 2 ft. 9 in.
Inspirations: Formal leisure activities, movement, photography and Japanese woodblock prints
Edgar Degas
The Tub
1886pastel1 ft. 11 1/2 in. x 2 ft. 8 3/8 in.
JAPONISME- With new open trade in Japan, woodblock prints had
great effect on French art and style—tea sets, folding screens, fans, kimonos
- An admiration for the beauty and exoticism of the Japanese aesthetic
- Valued for use of diverging lines and flat forms- Familiar and intimate subjects
Torii Kiyonaga, detail of Two Women at the Bath
Katsushika Hokusai
The Great Wave off Kanagawa
1857color woodblock print9 7/8 x 14 3/4 in.
Mary Cassatt
The Bath
ca. 1892oil on canvas3 ft. 3 in. x 2 ft. 2 in.
Cassatt, Woman Bathing, etching
James Abbott McNeil Whistler
Nocturne in Black and Gold(The Falling Rocket)
ca. 1875oil on canvas1 ft. 11 5/8 in. x 1 ft. 6 1/2 in.
John Ruskin accused Whistler of, “flinging a pot of paint in the public’s face”
POST-Impressionism (1880s-1890s)Back to picture making rather than copying nature
• Just as the Impressionists were being taken seriously as artists, a new group came along feeling that the Impressionists neglected too many traditional elements in favor of capturing a fleeting moment
• Artists explore the properties and expressive qualities of formal elements
• Borrows from Impressionism in new and unique ways
• Combine Impressionist ideals (light, shading and color) with structure
• Nearing abstraction while retaining volume or depth
Cezanne, the quintessential Post-Impressionist wished to, “make Impressionism something solid and durable, like the art of the museums”
Henri de Toulouse-Lautrec
At the Moulin Rouge
1892-1895oil in canvas4 ft. x 4 ft. 7 in.
What influenced Lautrec?
Georges Seurat
A Sunday on La Grande Jatte
1884-1886oil on canvas6 ft. 9 in. x 10 ft. https://www.youtube.com/watch?v=vBBOMLURSGA
POINTILLISM
Vincent van Gogh
The Night Café
1888oil on canvas2 ft. 4 1/2 in. x 3 ft.
“a place where one can ruin oneself, go mad, or commit a crime”
Vincent van Gogh
Starry Night
1889oil on canvas2 ft. 5 in. x 3 ft. 1/4 in.
Paul Gauguin
The Vision after the Sermon
1888oil on canvas2 ft. 4 3/4 in. x 3 ft. 1/2 in.
Paul Gauguin
Where Do We Come From? What Are We? Where Are We Going?
1897oil on canvas4 ft. 6 13/16 in. x 12 ft. 3 in.
Paul Gauguin
Where Do We Come From? What Are We? Where Are We Going?
1897oil on canvas4 ft. 6 13/16 in. x 12 ft. 3 in.
Paul Cézanne
The Basket of Apples
ca. 1895oil on canvas2 ft. 3/8 in. x 2 ft. 7 in.