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    Late Nineteenth Century Art

    Movement Dates

    Realism 1848

    1860sImpressionism 18721880s

    Post-Impressionism 1880s1890s

    Symbolism 1890s

    Art Nouveau 1890s to 1914

    1. Historical Backgrounda. The realist art movement was philosophically based on the theory of

    positivism

    b. Japanese art had a profound impact on late 19th century paintingc. Plein air painting dominates much of Impressionist artd. Post-Impressionists reacted against what thez saw as the ephemeral quality

    of Impressionist painting

    e. Symbolist painters seek to portray mystical personal visionsf. In the late 19th century the skyscraper was born as a result of technological

    advances, the invention of the elevator, and the rise of land values

    g. Art Nuveau seeks to create a unified artistic experience combining paitning,sculpture, and architecture; it relies on organic forms and motifs

    h. Revolutions in Sicily, Germany, Austria and Lombardyi. When dust cleared in Franco Prussian war, Germans were the masters of

    continental Europe peace though

    j. Social reformers were influenced by a concept called positivism promulgatedby from proven ideas based on science

    k. Darwin and Marx contributed to positivisml. Artists understood powerful changes by exchanging traditional beliefs for the

    avant-garde, a word coined at this time

    m. Artists used past as inspirationn. Religious subjects goneo. Aristocratic and history paintings as wellp. Themes of great myths of Greece and Romeq. Spirit of modernism prevailedr. Artists chose peasant scenes, landscapes, and still lives2. Patronage and Artistic Lifea. Artists who are rejected by the Salon of Paris, such as Courbet and Manet, set

    up oppositional showcases

    b. Emergence of the art galleryc. Just art lovers, no crowds like in Salond. Galleries featured finest art

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    e. Paul Cezanne misunderstood artist; fought convential aspirations of hisfamily, escaped to a bohemian lifestyle

    f. More he suffered, more people got attracted to him and found artworkintriguing

    g. First to exploit stereotype of the artist as rebel3. Innovations of Realisma. Influenced by influx of Japanese artb. Landscapesc. Japanese art relies on different sense of depth, enhancing a flatness that

    dominates the background

    d. Japonismee. Plein air movement; artists moved their studio outdoors seeking a capture of

    effects of atmosphere and light on given subject

    f. Photographers like Muybridge, took photos in series with device calledzoopraxiscope, illusion of movement

    g. 1798 lithography4. Characteristics of Realisma. Courbets aphorism Show me an angel, and Ill paint one summarizes Realist

    philosophy

    b. Inspired by positivism movement, realist painters believed in painting thingsthat could be experienced with all 5 senses

    5. Works of Realisma. Gustave Courbert, Burialat Ornans

    - 1849- oil on canvas- Musee dOrsay, Paris- Funeral in drab country

    setting

    - Huge scale suggestsmonumentality

    - No aspect of life- S curve of composition- Only cross over group- Unflattering

    characterizations of

    provincial officials

    - Transcendent meaning offuneral and death missing

    b.

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    - Dog is distracted as manyof the people

    c. Honore Daumier, RueTransnonain

    - 1834- lithography- Daumier Register- Worker unrest in Lyon

    was suppressed by

    government

    - Three generations shown- Middle aged man lying on

    top of child; elerly on

    extreme light

    - Critical print meant to stirthe emotions of the viewer

    against the establishment- Lithography used to mass

    produce image

    - French government tiredto suppress distribution

    - When a soldier was shotfrom a workers apartment

    complex, the troops came

    in and killed everyone

    indiscriminately for

    revenge

    d.

    e. Jean-Francois Millet, TheGleaners

    - 1857- oil on canvas- Louvre, Paris- Named after rural town

    that painters settled in

    - Gleaners were the poorestof the poor

    - Picture shows peoplepicking up scraps left over

    after the general harvest

    - Nobility poor, nobilityhard work

    - Figures bent backedbecome part of the

    landscape

    - Not interfere with horizon

    f.

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    - Haystacks and wagonreflect compositional

    pattern of gleaners

    - Seen by the public as asocialist painting

    g. Edouard Manet, Lucheonon the Grass- 1863- oil on canvas- Musee dOrsay, Paris- Manet tried to enter the

    Salon with his painting

    - Rejected- Success of scandal- Figures obviously posing,

    no unity with landscape

    - Influenced by Raphaelcomposition

    - Jarring juxtaposition ofnude woman with

    contemporarily dressed

    men

    - Distortion of perspective

    h.

    i. Edouard Manet, Olympia- 1863- oil on canvas- Musee dOrsay, Paris- Created scandal in Salon

    1865

    - Inspired by Titians Venusof Urbino

    - Figure is cold, uninviting- No mystery- Maid delivers flowers- Olympias frank, direct,

    uncaring, and unnerving

    look startled viewers

    - Simplified modeling- Stark contrast of colors

    j.

    k. Rosa Bonheur, Plowing inthe Nivernais and Horse Fair

    which was 1853-1855 in Museum

    of Arts in New York

    - 1849- oil on canvas

    l.

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    6. Characte

    ristics

    ofImpress

    ionism

    a. Modernis

    t

    movem

    ent

    b. Symboliz

    ed byavant

    garde

    artists

    who

    spread

    it

    c. Shadows

    contain

    color;

    times ofday and

    season

    controls

    object

    basic

    tenets

    of

    Impress

    ionism

    d. Workingin plein

    air,

    using

    wide

    spectru

    m of

    colors

    operation form triangle

    - Patients mother at theright covers face

    - Focus: blood stainedhands

    - Painting celevrates theadvances in medial scienceq. Henry O. Tanner, TheBanjo Lesson

    - 1893, oil on canvas- Hampton University

    Museum

    - Hampton, Virginia- Tanner student of Eakins- Painterly brushwork- Monumentality of forms- Exchange of values from

    one generation to another

    - Poverty no impediment tolife with dignity

    - Deep emotionalexperience

    - Shared intimacy- Painted to answer

    stereotypes of African

    Americans as people who

    boisterously played onfolk instruments, serious

    exchange

    r.

    s. Eadweard Muybridge,Horse Jumping

    - 1878- photograph- Photography advanced- Capture moments human

    eyes cannot

    - Putting pictures of evenlyspaced points along a

    track

    - Sequence effect- Motion studies bridge the

    gap between still

    photography and movies

    - zoopraxiscope

    t.

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    e. Concentrated on landscapesf. Degas and Renoir made the human figure in movement a specialty, Monet

    eventually abandoned figure painting altogether

    g. Influence of Japanese arth. Cassatt, e.g., was struck by the freedom of Japanese artists used to show

    figures from the backi. Impressionism originally prided itself on being both antiacademic and

    antibourgeois

    7. Impressionisma. Claude Monet, Haystack atthe Sunset near Giverny (1891,

    Museum of fine Arts, Boston);

    Rouen Cathedral (1894) and Four

    Poplar Trees (1891, Metropolitan

    Museum of Art, NY)- Series of paintings of same

    subject

    - Different times of day,year

    - Subtle gradations of lighton the surface

    - Forms dissolve anddematerialize, color

    overwhelms the forms

    - Meant to hang together foreffect

    - Haystacks were the firstseries paintings to hag as a

    group

    - Some 30 were painted, 15hung in the original

    exhibition

    b.

    c. Pierre Auguste Renoir, LeMoulin de la Galette

    - 1876- oil on canvas- Musee dOrsay, Paris- Dappling effect of fleeting

    light

    - People do business, noposes

    - Outdoor activities formiddle class

    d.

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    - Clipped figures onextremes of painting

    suggest a photographic

    randomness

    e. Edgar Degas, TheRehearsal on Stage

    - 1874- oil on canvas- Metropolitan Museum of

    Art, New York

    - worked mostly indoors- subjects that suggest

    movement

    - Asymmetricalcompositions

    - drawn bodies contrastwith featherybrushstrokes costuming

    setting

    - influence of Japaneseprints

    - figures often seen fromback

    f.

    g. Edouard Manet, Bar at theFolies Bergere

    - 18811882- oil on canvas- Courtauld Gallery, London- barmaid seems to be

    bored

    - Mirror reflection to theworld

    - uncertainty to what themirror is reflecting

    - Trapeze act in far upperleft corner

    - composition pushes goodsa close to the customer

    h.

    i. Berthe Morisot, Villa at theseaside

    - 1874- oil on canvas- Norton Simon- Los Angeles

    j.

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    - Morisot Wallace sister-in-law of Manet

    - figures are informallyplaced

    - Sketchy, painterly brushwork

    - Instantaneous momentcaught with spontaneity of

    expression

    - reveals habits of middle-class woman

    - Asymmetrical compositionk. Mary Cassat, Mother andChild with the Rose scarf

    - 1908- oil on canvas- Metropolitan Museum of

    Art, New York

    - mother and child theme- specialty of Cassatt- tenderness foreign to

    other impressionists

    - figures from everyday life- The painters world is filled

    with woman

    - no need for men- no posing or acting,

    natural positions- influenced by Japanese art

    l.

    m. James Whistler, - -Arrangement in Gray and Black:

    The Artists Mother

    - 1871- oil on canvas- Musee dOrsay, Paris- curtain designJapanese

    art

    - Large areas of flat color- The composition reflects

    the Protestant New

    England severity of his

    mother

    - creates portrait asarrangement

    - Whistler etching off Black

    n.

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    Lion Wharf hanging in the

    background

    o. James Whistler, Nocturnein Black and Gold: The Falling

    Rocket

    - 1875- oil on wood- Detroit Institute of Art

    Michigan

    - Subtle harmonies ofpainting

    - Japanese signature in thelower right corner

    - effects of fireworks overRiverbank

    - harmonies of colors,shapes, and light

    - Whistler sued an art criticclaiming he damaged his

    reputation

    p.

    8. Characteristics of Post Impressionisma. Postimpressionist's combine the ideals of stressed light, shading, and color

    with analysis of the structure of the subject

    b. Common for postimpressionist's is to move toward abstraction9. Post-Impressionism

    a. Henri de Toulouse-Lautrec, At the Moulin Rouge

    - 18921895- oil on canvas- Art Institute of Chicago- specializes in scenes of

    Parisian nightlife

    - Titles perspective ofJapanese prints

    - Zigzag compositions- Large areas of flat color- figures appear to be

    joyless

    - Fanciful use of line

    b.

    c. Vincent Van Gogh, TheStarry Night

    - 1889d.

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    - Reed brush drawing- Museum of architecture,

    Bremen, Germany

    - Thick and shortbrushstrokes

    - mountains in the distancethat Van Gogh could seethat his hospital room

    - combination of images:church, Moon, cypress tree

    - forces of nature- Parts of the canvas can be

    seen through the

    brushwork

    - artist didn't need to fill inevery space of the

    composition- strong left to right waiflike

    impulse in the work

    - tree looks like greenflames

    e. Paul Gaugin Vision afterthe Sermon

    - 1888- oil on canvas excellent

    national Galleries of

    Scotland, Edinburgh

    - after the sermon on Jacobwrestling in Angel, the

    worshipers exit the church

    and vision the scene

    - tree trunk separates thereal from the miracle

    - = red Earth- titled perspective- priest at the lower right

    looks like Gauguin

    - Gauguin adds Appletree- cow symbolizes man's

    redemption

    f.

    g. Georges Seurat, SundayAfteroon on the Grand Jatte

    - 18841886- oil on canvas- Art Institute of Chicago

    h.

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    - Pointillist technique nextanalysis of color

    relationships

    - Traditional perspective,alternative patterns of

    light and dark increasedsense of depth

    - figures areuncommunicative, almost

    all our faceless: expression

    of anonymity of modern

    society

    - frozen qualityi. Paul Cazenne, MountSaint-Victoire

    - 19021904- oil on canvas- Philadelphia Museum of

    Art, Philadelphia

    - flats painting, painterwanted rounded and firm

    objects, geometric

    constructions

    - use perspective throughjuxtaposing

    - Nance gave rarely containshumans

    - not the countryside ofImpressionism, more

    interested in geometric

    forms

    - not typical scene ofatmosphere in

    Impressionists work

    - Landscape scene from anelevation

    j.

    k. Paul Cezanne, A Basket ofApples

    - 1893- oil on canvas- Art Institute of Chicago- An exercise in the solidity

    of forms; the contrasting

    nature of round

    l.

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    10.Characteristics of Symbolisma. Symbolist artists felt that the unseen forces of life word guiding influences in

    painting.

    b. Dreams and inner experiences of an artist's life became the source ofinspiration Russeau and Munch

    11.Symbolism

    - strong painterlybrushstrokes

    - contrasts between 2dimensionality of the

    painting surface and 3

    dimensionality of objects-

    a. Henri Rousseau, TheSleeping Gypsy

    - 1897- oil on canvas- Museum of modern Art,

    New York

    - no formal artistic training- primitive artist- Strange ambiguities- titled perspective object of

    Gypsy pose

    - Dario and desert likeenvironment with lying,

    jungle animal, sniffing at a

    gypsy like a curious cat

    - might be a dream, thisgypsy you really sleeping?

    b.

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    12.Characteristics of Art Nuveaua. Developed in a few artistic centers in EuropeBrussels, Barcelona, Paris,

    Viennalasted from 1892 -1914

    b. Sought to eliminate the separation among various artistic media andcombined them into one unified experience

    c. Relies on vegetal and floral patterns, complexity of design, and undulatingsurfaces.

    d. Straight lines avoidede. Designers particularly enjoyed using elaborately conceived ironwork for e.g.

    balconies

    13.Art Nuveaua. Antonio Gaudi, Casa Mila

    - 1907- Barcelona, Spain- undulating twisting forms

    of hand-cut stone

    - Embellishments ofwrought iron

    - Conservative in its use ofcuts the

    b.

    c. Edvard Munch, TheScream

    - 1893- tempera and casein on

    cardboard

    - Munch Museum, Oslo- figure walking along thewharf, boats are at sea in

    the distance

    - a long sick brushstrokesswirl around composition

    - Figure cries out in ahorrifying scream, the

    landscape echoes his

    emotions

    - Discordant colorssymbolize anguish

    - stick figure with schoollike that

    - Prefigures expressionistart

    d.

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    - Interior spaces marked byelastic walls of indefinite

    shape

    - Modern apartmentbuilding for it's time:

    garage for carriages below,elevators to take people up

    their apartments

    c. Gustav Klimt, The Kiss- 19071908- oil on canvas- Austrian Gallery, Vienna- 2 heads, 4 hands, and 2

    feet are seen

    - The bodies are suggestedunder the sea of richlydesigned patterning

    - love, passion, eroticism- space in and in

    determinate location

    against a flat background

    d.

    14.Characteristics of Late 19th century architecturea. Architects and engineers worked in the direction of curtain wall, the building

    that is held up by an interior framework, called skeleton.

    b. Emphasis was on the verticalc. Buildings emphasized their verticality by placing tall pilasters and setting

    back windows behind them, such as at The Guaranty Building

    d. Greatest advances in architecture were made by the Chicago schoole. After the great fire in 1871, demonstrated the weakness of iron and the faults

    of building downtown structures.

    f. Ceramic survived quite nicelyg. Thus, the Chicago window was developed with the central immobile

    windowpane flanked by 2 smaller double hung windows that open for

    ventilation

    h. Most important development in history of early modern architecture is theinvention of the elevator

    i. Height of buildings indefinite

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    e. Auguste Rodin, Burghersof Calais

    - 18841886- bronze- Metropolitan Museum of

    Art, New York- Six burghers offered their

    life's to the English King in

    return for saving their

    besieged city during the

    hundred years war

    - Parallels between Parisbesieged during the

    Franco-Prussian war of

    1870 and Calais besieged

    by the in English 1347

    - figure sculptedindividually, thenarranged as the artist

    thought best

    - Figures suffer fromprivation, weak and

    emaciated

    - each figure has a differentemotion: some fearful,

    resigned, or forlorn

    - Eustache st Pierre maincharacter

    - reduction of details

    f.

    18. Vocabulary

    a. Avant-grande: an innovative group of artists who generally reject traditionalapproaches in favor of a more experimental technique

    b. Japonisme: 6 and attraction for Japanese art and artifacts that were importedinto Europe in the late 19th century

    c. Lithography: the printmaking technique that uses a flat stone surface as thebase. The artist draws an image with a special crayo that attracts ink. Paper,

    which absorbs the paint, is applied to the surface and print emerges.

    d. Plein-air: painting in the outdoors to directly capture the effect of light andatmosphere on the given object

    e. Pointillism: the painting technique that uses the small dots of color that arecombined but I add the given distance; allowing canvas to come through

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    f. Positivism: the theory that expresses that all knowledge must come fromproven ideas based on science or scientific theory; the philosophy promoted

    by French philosopher Auguste Comte

    g. Primitive or nave artist: an artist without formal training; the folk artist.Henri Rousseau is a primitive artist

    h. Skeleton: the supporting interior framework of building. Consists of iron andsteeli. Zoopraxiscope: a device that projects sequences of photographs to give the

    illusion of movement