Nicephore Niepce, View from his Window at La Gras, c1827, heliograph
Gernsheim Collection, Humanities Research Center, Uni...
Louis-Jacques-Mandé Daguerre,Still Life in Studio, c1837, daguerreotype
Eastman House, Rochester, New York
Louis-Jacques-Mandé Daguerre,View of the Boulevard du Temple, Paris, c1838, daguerreotype
Bayerische National Museum, Muni...
Nadar
Sarah Bernhardt, 1859
William Bouguereau, Nymphs and Satyr, oil on
canvas, 1873, Sterling and Francine Clark
Institute, Williamstown, Massachuse...
REALISM
• A movement in French art that sought to
convey a truthful and objective vision of
contemporary life. Realism eme...
Gustave Courbet, Self-Portrait, Man with a Pipe, c1846-7
The Avant-Garde
Challenged the primacy of
history painting…favore...
Gustave Courbet, The Stonebreakers, 1849, oil on canvas
Formerly in Gemäldegalerie, Dresden (destroyed in World War II)
Re...
Gustave Courbet, Burial at Ornans, 1849-50, oil on canvas, 10’ x 22‘.
Musée d’Orsay, Paris
Rejected by the jury of the 185...
Gustave Courbet, The Source of the Loue River,
1863
A major tourist attraction in Courbet’s time…area
folk lore told of a ...
Jean-Auguste-Dominique Ingres, The
Source, 1820, oil on canvas
Musée d'Orsay, Paris
Gustave Courbet,The Source of the Loue...
Gustave Courbet (1819-1877), The Artist's Studio, a real allegory
summing up seven years of my artistic and moral life, 18...
JEAN-FRANCOIS MILLET
• one of the founders of the Barbizon school
in rural France. Millet is noted for his
scenes of peasa...
Jean-Francois Millet,The Gleaners, 1857
Salon scandal…honest depiction of rural
poverty
Like Courbet’s Stonebreakers, Millet’s
choice of subject was considered
politically subversive…even though his
style refle...
Jean-Francois Millet, Angelus, 1857-59
DAUMIER
Honore Daumier,Rue Transonian, 1834, lithograph
Philadelphia Museum of Art
Honore Daumier,Nadar Rasising Photograph to the Height of Art, 1862, lithograph
Museum of Fine Arts, Boston
Daumier, First Class Carriage, Walters Art Museum, Baltimore
Honore Daumier,The Third-Class Carriage, 1862
MMA
ier, Third Class Carriage, watercolor, Baltimore Mu
John Everett Millais,Ophelia, 1852, oil on canvas
Tate Gallery, Lonson
Pre-Raphaelite Brotherhood
John Everett Millais,
John Ruskin
1853-54
oil on canvas
Private Collection
The Critic
Thomas Eakins
The Gross Clinic
1875
oil on canvas
Jefferson Medical
College of Thomas
Jefferson
University,
“REALISM” IN A...
Winslow Homer,The Veteran in a New Field, 1865, oil on canvas
Metropolitan Museum of Art
Édouard Manet
Spanish Singer, 1863
Manet's painting reflects the
vogue in Paris for the art and
culture of Spain during the
Second Empir...
Édouard Manet, Le Dejeuner sur l’Herbe
(The Luncheon on the Grass), 1863
“PROTO-IMPRESSIONISM”…Salon des Refusés
Giorgione (and Titian), Pastoral Concert (Fête
champêtre)
HIGH RENAISSANCE (Venetian)
Édouard Manet, Olympia, 1863, oil on canvas, Musée d’Orsay, Paris
“PROTO-IMPRESSIONISM”
Titian
Venus of Urbino
1538
oil on canvas
4 ft. x 5 ft. 6 in.
Titian, The Venus of Urbino,
1538, oil on canvas
Galleria degli Uffizi,
Florence
Édouard Manet, Olympia, 1863,
oil on canv...
Cabanel, The Birth of Venus, 1863, oil on canvas
Metropolitan Museum of Art, New York
Édouard Manet, Olympia, 1863, oil on...
Portrait of Zola 1868
1867, Zola proclaimed
“The future is his…”and
predicted that one day
Luncheon on the Grass
will ente...
Édouard Manet, A Bar at te Folies-Bergere, 1881-82,
is a modern version of Velazquez's Las Meninas (1656-7),
the most prof...
Velazquez's Las Meninas (1656-7
Manet worshipped Velazquez, and transferred this aesthetic of
reflection to modern times
Edgar Degas
Impressionist…core member…sought to
capture fleeting moments of modern life…
scenes illuminated by artificial ...
Degas, The Collector of Prints, 1866
Havemeyer Collection MMA
The depiction of individuals,
interrupted at tasks amid
sett...
Kitigawa Utamaro, Reflective Love, from the series
Anthology of Poems: The Love Section, c.1793-94
woodblock
Degas, Study for A Woman
Seated beside a Vase of
Flowers, 1865 Fogg Art
Gallery
Degas took longer to digest
the significan...
Edgar Degas - A Woman Seated beside a Vase of Flowers 1865
Degas, Woman Ironing, 1873
Havemeyer Collection MMA
Much as Degas was
fascinated by the movements
of dancers, he was also
...
Degas, Woman Ironing, c.1882, o/c, Reading
Museum
Degas was likely aware of Utamaro’s prints…also
aware of the potential erotic charge…similar
taboos existed for 19th
Europ...
Edgar Degas, Yellow Dancers (In the Wings), 1874/76
Oil on canvas 2nd
Impressionist Exhibition
gas, Dancers Practicing at the Barre, 1877, Havemeyer collection MMA
Edgar Degas
Ballet Rehearsal
1874
oil on canvas
1 ft. 11 in. x 2 ft. 9 in.
Edgar Degas
Little Fourteen-Year-Old Dancer
1879-81
bronze, paint, tulle, satin, wood
Edgar Degas
The Tub
1886
pastel
1 ft. 11 1/2 in. x 2 ft. 8 3/8 in.
Bird’s-eye view and cut-off edges suggest
photographic ...
Edgar Degas,
Mary Cassatt at the Louvre:
The Paintings Gallery,
1885, pastel over
softground etching,
drypoint, aquatint, ...
Edgar Degas, Place de la Concorde, Oil on canvas, 1875
IMPRESSIONISM
Edgar Degas
L’absinthe
1876
oil on canvas
36 1/4 x 26 3/4 in.
Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892-95, oil on canvas. Art Institute of Chicago
Paris Night Life
‘Fin de ...
IMPRESSIONISM
• Unjured…independent from the Salon
Claude Monet, Impression: Sunrise, 1872, oil on canvas
Musée Marmottan, Paris
anet, Boating, 1874
ew Cerulean bule and synthetic ultramarine
adically cropped..Japanese-inspired compositon
odernity…for...
Renior, Luncheon of the Boating Party (1880–81)
The painting also reflects the changing character of French society in the...
Mary Cassatt, The Boating Party, 1893/04
Claude Monet, Terrace at Sainte-Adresse, 1867
Monet emphasized the modernization of the landscape by
including railways an...
Claude Monet, Saint-Lazare Train Station, 1877, oil on canvas. Musee d’Orsay, Paris
IMPRESSIONISM
Claude Monet, Cathedral Rouen, 1894, oil on canvas
Metropolitan Museum of Art, New York
Claude Monet, Rouen Cathedral,
Har...
Claude Monet, Cathedral Rouen (in Dull
Weather), 1894, oil on canvas
Musée d'Orsay, Paris
Claude Monet, Rouen Cathedral at...
29-29 Claude Monet, Cathedral Rouen, 1894, oil on canvas
Metropolitan Museum of Art, New York
Rouen Cathedral
COLOR THEORY...
Camille Pissaro, Place du Theatre Francais, oil on
canvas, 1898
Louis-Jacques-Mandé Daguerre,View of the
Boulevard du Temp...
Camille Pissaro, Place du Theatre Francais, oil on
canvas, 1898
Camille Pissaro, Place du Theatre Francais, oil
on canvas,...
Gustave Caillebotte, Paris: A Rainy Day, 1877, oil on canvas. Art Institute of Chicago
IMPRESSIONISM
Mary Cassatt
The Bath
c1892
oil on canvas
Art Institute of Chicago
IMPRESSIONISM
Mary Cassatt, The Bath, c1892, oil on canvas
Art Institute of Chicago
Suzuki Harunobu, Evening Bell, from Eight Views of t...
Henri de Toulouse-Lautrec, La Goulue at the Moulin
Rouge, 1891, lithograph
Philadelphia Museum of Art
Henri de Toulouse-La...
James Abbott McNeill
Whistler
Nocturne in Black and gold
1875
oil on panel
Detroit Institute of Arts
"Art for art's sake"
...
James Abbott McNeill Whistler,Arrangement in Grey and Black: Portrait of the Painter's Mother,
1871; Oil on canvas, Musée ...
James Abbott McNeill Whistler, Nocturrne: Blue and
Gold--Old Battersea Bridge,
1872-75; Oil on canvas, Tate Gallery, London
Georges Seurat, A Sunday on the La Grande Jatte, 1884-1886, oil on canvas. Art Institute of Chicago
NEO-IMPRESSIONISM
Georges Seurat, A Sunday on the La Grande Jatte (details), 1884-1886, oil on canvas
COLORY THEORY: Simultaneous Contrast
Paul Cézanne
Self-Portrait
c1872
oil on canvas
Musée d’Orsay, Paris
Paul Cézanne, A Basket of Apples, c1895, oil on canvas. Art Institute of Chicago
POST-IMPRESSIONISM
Paul Cézanne, Apples, oil on canvas, c1877-1878
Provost and Fellows of Kings College, Cambridge
Paul Cézanne, Mont Sainte-Victoire Seen from Bibémus, oil on canvas, c1897
The Baltimore Museum of Art
Paul Cézanne, Mont Sainte-Victoire and the Château Noir, oil on canvas, 1904-1906
The Bridgestone Museum of Art, Tokyo
Paul Cézanne, Mont St-Victoire, 1902-4, oil on canvas
Philadelphia Museum of Art
Paul Cézanne, The Great Bathers, 1898-1906, oil on canvas
Philadelphia Museum of Art
Vincent van Gogh
Self-Portrait
1888
oil on canvas
Fogg Art Museum
Harvard University
Vincent van Gogh,The Potato Eaters, 1885, oil on canvas
Van Gogh Museum, Amsterdam
Vincent van Gogh, Japonaiserie: Bridge in the
Rain (after Hiroshige), 1887, oil on canvas
Utagawa Hiroshige, Sudden Shower...
Vincent Van Gogh, Starry Night, 1889, oil on canvas. Museum of Modern Art, New York
POST-IMPRESSIONISM
Vincent Van Gogh, Starry Night (detail), 1889, oil on canvas
Vincent Van Gogh, The Night Café, 1888, oil on canvas. Yale University Art Gallery, New Haven, CT
POST-IMPRESSIONISM
Paul Gauguin, The Night Café at Arles, 1888, oil on canvas
POST-IMPRESSIONISM
Paul Gauguin, The Vision after the Sermon, or Jacob
Wrestling with the Angel, 1888, oil on canvas
National Galleries of Sc...
Paul Gauguin, Mana’o tupapa’u (The Spirit of the Dead Watches over Her), 1892, oil on canvas.
Albright-Knox Art Gallery, B...
Paul Gauguin
Where Do We Come From? What Are We? Where Are We Going
1897
54 3/4 x 147 1/2 in.
oil on canvas
Museum of Fine...
Edvard Munch
The Cry (or The Scream)
1893
oil, pastel, and casein on cardboard
Munch Museum, Oslo, Norway
SYMBOLISM
Edvard Munch, Anxiety,
1894, oil on canvas
Munch Museum, Oslo,
Norway
SYMBOLISM
Henri Matisse, The Joy of Life, 1905-6, oil on canvas. Barnes Foundation, Merion, Pennsylvania
FAUVISM
André Derain, The Turning Road at L'Estaque, 1906, oil on canvas. Museum of Fine Arts, Houston
FAUVISM
Henri Matisse, The Green Stripe (Portrait of Mme Matisse), 1906,
oil on canvas, Statens Museum for Kunst, Copenahagen
Henr...
Henri Matisse, Red Room (Harmony in Red), 1908-9, oil on canvas
State Hermitage Museum, Saint Petersberg
FAUVISM
Henri Matisse, The Red Studio, 1911, oil on canvas
Henri Matisse, The Dance I, 1909, 8' 6 1/2" x 12' 9 1/2" (259.7 x 390.1 cm) oil on canvas
8' 6 1/2" x 12' 9 1/2" (259.7 x ...
Henri Matisse, The Piano Lesson, 1916, oil on canvas, Museum of Modern Art
Seated Bamana Female Figure
Bamana people, Mali
wood with mineral pigments,
organic encrustation
Henri Matisse, Decorative...
Ernst Ludwig Kirchner, Street, Dresden, 1908, oil on canvas
Museum of Modern Art, New York
GERMAN EXPRESSIONISM: Die Brück...
Ernst Ludwig Kirchner, Street, Berlin, 1913, oil on canvas
Brücke Museum, Berlin
Ernst Ludwig Kirchner, Self-Portrait with...
Ernst Ludwig Kirchner, Bathers at Moritzburg , 1909-26, oil on canvas
Tate Gallery, London
Vassily Kandinsky, Cover for The Blue
Rider Almanac, 1912, woodcut
Vassily Kandinsky, Blue Mountain, No. 84, 1908, oil on ...
Vassily Kandinsky, Autumn in Bavaria, 1908, oil on canvas Vassily Kandinsky, Bavarian Mountains with Villiage, 1909,
oil o...
Vassily Kandinsky, Painting with Houses, 1909, oil on canvas Vassily Kandinsky, Study for Improvisation 2, 1909, oil on ca...
Vassily Kandinsky, Composition No. 2, 1910, oil on canvas
Solomon R. Guggenheim Museum, New York
Vassily Kandinsky, Composition IV, 1911, oil on canvas
Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Vassily Kandinsky, Improvisation 28, 1912, oil painting. Solomon R. Guggenheim Museum, New York
GERMAN EXPRESSIONISM: Non-...
Vassily Kandinsky, Improvisation 30, 1913, oil on canvas
Art Institute of Chicago
Franz Marc, Fate of the Animals, 1913, oil on canvas
Kunstmuseum, Basel
GERMAN EXPRESSIONISM: Der Blaue Reiter (Blue Rider...
Pablo Picasso
Self-Portrait
1896
Oil on canvas
Museo Picasso,
Barcelona, Spain.
Pablo Picasso
Self-Portrait 1901
Oil on canvas
BLUE PERIOD
Pablo Picasso, Old Guitar Player, 1902, oil on panel
Pablo Picasso, Absinthe Drinker, 1902, oil on panel
Kunstmuseum, Bern...
Pablo Picasso, Family of Saltimbanques, 1905, oil on canvas
National Gallery of Art, Washington DC
Pablo Picasso, Family o...
Pablo Picasso, Gertrude Stein, 1906-7, oil on canvas
Metropolitan Museum of Art, New York
Pablo Picasso
Les Demoiselles d’Avignon
1907
oil painting
Museum of Modern Art, New
York
PROTO-CUBISM
Pablo Picasso, Les Demoiselles d'Avignon, Study, 1907,
drawing pencil and pastel, Kupferstichkabinett, Basel
PabloPicasso,...
Pablo Picasso, Les Demoiselles d’Avignon, 1907, oil painting
Museum of Modern Art, New York
Lumba African Mask, 19th
centu...
Pablo Picasso, Dryad, 1908, oil on canvas
The Hermitage Museum, St. Petersburg
Georges Braque, The Bather, 1907, oil on ca...
Georges Braque, Houses on the Hill, Horta de Ebro, 1909, oil on canvas
Museum of Modern Art, New York
Pablo Picasso, House...
Georges Braque, Still Life with Violin and Palette, 1909-10, oil
on canvas, Solomon R. Guggenheim Museum, New York
Pablo P...
Georges Braque, The Portuguese, 1911, oil on canvas
Kunstmuseum, Basel
Pablo Picasso, Portrait of Kahnweiler, 1910, oil on...
Pablo Picasso, Still Life with Chair Caning, 1912, oil on canvas
Musée Picasso, Paris
Pablo Picasso, Nature Mort ‘Au Bon Marché,’ 1913, oil and pasted paper on cardboard
Ludwig Collection, Aachen, Germany
Georges Braque, Bottle Newspaper, Pipe and Glass, 1913, charcoal and various papers pasted on paper
Private collection, NY
Pablo Picasso, Glass of Absinthe, 1914, painted bronze with
silver sugar strainer, Museum of Modern Art, New York
Pablo Pi...
Pablo Picasso, Three Musicians, 1921, oil on canvas, Museum of Modern Art, New York
SYNTHETIC CUBISM
Robert Delaunay
Champs de Mars or The Red
Tower
1911
oil on canvas
Art Institute of Chicago
ORPHISM
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  • , oil on canvas
    Musée Fabre, Montpellier
  • oil on canvas,Louvre, Paris
  • oil on canvas,Louvre, Paris
  • , oil on canvas
    Musee D’Orsay, Paris
  • As a chronicler of modern urban life, Daumier captured the effects of industrialization in mid-nineteenth-century Paris. Images of railway travel first appeared in his art in the 1840s. This Third-Class Carriage in oil, unfinished and squared for transfer, closely corresponds to a watercolor of 1864 (Walters Art Museum, Baltimore). Daumier executed another oil version of the subject, which he finished but extensively reworked (National Gallery of Canada, Ottawa).
  • Manet's painting reflects the vogue in Paris for the art and culture of Spain during the Second Empire, as well as the artist's own preoccupation with Spanish themes in the 1860s. The Spanish Singer won Manet his first critical and popular success in his debut at the Salon of 1861. He composed the work in his studio using a model and props; the singer's broad-brimmed hat and bolero jacket were worn again by Victorine Meurent when she posed for the 1862 canvas Mademoiselle V . . . in the Costume of an Espada
  • oil on canvas
    Reunion des Musees Nathionaux
  • Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Portrait of Zola 1868
  • This is not a realistic painting of the Folies-Bergère. Suzon did work there, but she posed for the painting in Manet's studio, behind a table laden with bottles. He merged this image with rapid painted sketches he made at the Folies-Bergère. There is no attempt to make the image cohere: there is, as contemporary critics pointed out, an inconsistency to the relationship between the reflections in the mirror and the real things. The man in the top hat approaching Suzon in a sinister way in the top right hand corner of the mirror would in reality have to be standing with his back to us in front of the bar, and Suzon herself should be reflected in an entirely different place.
  • In this scene, cheap, outmoded prints—colored lithographs by the flower painter Pierre-Joseph Redouté—are coupled with a fashionable Tang dynasty horse and Japanese fabrics pinned on the bulletin board to typify an old-fashioned collector, obsessively accumulating an array of artworks. The depiction of individuals, interrupted at tasks amid settings that reveal clues about their character, was developed by Degas in numerous figure paintings of the 1860s and early 1870s.
  • Degas, Study for A Woman Seated beside a Vase of Flowers (madame Paul Valpinicon), 1865 Fogg Art Gallery
  • Much as Degas was fascinated by the movements of dancers, he was also intrigued by the repetitive, specialized gestures made by laundresses as they worked. This painting, the first of three versions of the composition, is distinguished by its dramatic chiaroscuro, with the woman silhouetted against a luminous white backdrop. Purchased by the singer and collector Jean-Baptiste Faure, the canvas was returned so that Degas could rework it. The artist, however, kept the picture and lent it to the 1876 Impressionist exhibition, receiving praise for his "rapidly done silhouettes of laundresses."
  • The watering can, visible at left, was a standard fixture in ballet rehearsal rooms; water was sprinkled on the floor to keep dust from rising when ballerinas danced. Degas also used the watering can as a visual pun: its shape is mimicked by that of the dancer at right. Shown at the 1877 Impressionist exhibition, the painting was given by Degas to the collector Henri Rouart as a replacement for an earlier work (now lost), which the artist altered and accidentally destroyed. Louisine Havemeyer purchased it from Rouart's estate sale in 1912, for $95,700, a record price for a work by a living artist.
  • Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Bird’s-eye view and cut-off edges suggest photographic fragment and abstract arrangement of Japanese prints.
    This is not the erotic object of desire of academic paintings.
  • Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
  • Renoir seems to have composed this complicated scene without advance studies or underdrawing. He spent months making numerous changes to the canvas, painting the individual figures when his models were available, and adding the striped awning along the top edge. Nonetheless, Renoir retained the freshness of his vision, even as he revised, rearranged, and crafted an exquisite work of art.
  • This bold composition reveals the influence of the flat, patterned surfaces, simplified color, and unusual angles of Japanese prints, which enjoyed a huge vogue in Paris in the late 1800s. The dark figure of the man compresses the picture onto the flat plane of the canvas, and the horizon is pushed to the top, collapsing a sense of distance. Our higher vantage point gives us an oblique view into the boat. Its form is divided into decorative shapes by the intersection of its horizontal supports.
    After 1893, Cassatt began to spend many summers on the Mediterranean coast at Antibes. Under its intense sun, she began to experiment with harder, more decorative color. Here, citron and blue carve strong arcs that divide the picture into assertive, almost abstract, shapes. This picture, with its bold geometry and decorative patterning of the surface, positions Cassatt with such post–impressionist painters as Gauguin and Van Gogh
    This painting, one of her most ambitious, was the centerpiece of Cassatt's first solo exhibition in the United States in 1895. Her contacts with wealthy friends in the United States did much to bring avant–garde French painting into this country.
  • Cézanne, Paul_Mon St-Victoire from Lauves_1902
    Cézanne, Paul_Mount Sainte-Victoire_1904-1906_oil on canvas_Philadelphia Museum of Art
  • Matisse, Henri_The Joy of Life_1905-6_Barnes Foundation
  • NCC ART104 1

    1. 1. Nicephore Niepce, View from his Window at La Gras, c1827, heliograph Gernsheim Collection, Humanities Research Center, University of Texas, Austin EARLY-PHOTOGRAPHY
    2. 2. Louis-Jacques-Mandé Daguerre,Still Life in Studio, c1837, daguerreotype Eastman House, Rochester, New York
    3. 3. Louis-Jacques-Mandé Daguerre,View of the Boulevard du Temple, Paris, c1838, daguerreotype Bayerische National Museum, Munich
    4. 4. Nadar Sarah Bernhardt, 1859
    5. 5. William Bouguereau, Nymphs and Satyr, oil on canvas, 1873, Sterling and Francine Clark Institute, Williamstown, Massachusetts Jean-Léon Gérôme, Pygmalion and Galatea, c1890, oil on canvas Metropolitan Museum of Art, New York French Academic Painting
    6. 6. REALISM • A movement in French art that sought to convey a truthful and objective vision of contemporary life. Realism emerged in the aftermath of the Revolution of 1948 that overturned the monarchy of Louis-Philippe and developed during the period of the 2nd Empire under Napoleon III. • The Realists democratized art by depicting modern subjects drawn from everyday lives of the working class.
    7. 7. Gustave Courbet, Self-Portrait, Man with a Pipe, c1846-7 The Avant-Garde Challenged the primacy of history painting…favored by the Salons.
    8. 8. Gustave Courbet, The Stonebreakers, 1849, oil on canvas Formerly in Gemäldegalerie, Dresden (destroyed in World War II) Realism
    9. 9. Gustave Courbet, Burial at Ornans, 1849-50, oil on canvas, 10’ x 22‘. Musée d’Orsay, Paris Rejected by the jury of the 1855 Exposition Universelle in Paris Asserts his goal ‘to translate the customs, the ideas, the appearance of my epoch according to my own estimation.’ Realism
    10. 10. Gustave Courbet, The Source of the Loue River, 1863 A major tourist attraction in Courbet’s time…area folk lore told of a Green Lady, a beautiful
    11. 11. Jean-Auguste-Dominique Ingres, The Source, 1820, oil on canvas Musée d'Orsay, Paris Gustave Courbet,The Source of the Loue, 1863, oil on canvas Albright-Knox Art Gallery, Buffalo, New York Realism Academic (Neo-Classical)
    12. 12. Gustave Courbet (1819-1877), The Artist's Studio, a real allegory summing up seven years of my artistic and moral life, 1854 and 1855
    13. 13. JEAN-FRANCOIS MILLET • one of the founders of the Barbizon school in rural France. Millet is noted for his scenes of peasant farmers; he can be categorized as part of the movements of Realism and Naturalism.
    14. 14. Jean-Francois Millet,The Gleaners, 1857 Salon scandal…honest depiction of rural poverty
    15. 15. Like Courbet’s Stonebreakers, Millet’s choice of subject was considered politically subversive…even though his style reflected his academic training… recalling the art of Michelangelo and Poussin
    16. 16. Jean-Francois Millet, Angelus, 1857-59
    17. 17. DAUMIER
    18. 18. Honore Daumier,Rue Transonian, 1834, lithograph Philadelphia Museum of Art
    19. 19. Honore Daumier,Nadar Rasising Photograph to the Height of Art, 1862, lithograph Museum of Fine Arts, Boston
    20. 20. Daumier, First Class Carriage, Walters Art Museum, Baltimore
    21. 21. Honore Daumier,The Third-Class Carriage, 1862 MMA
    22. 22. ier, Third Class Carriage, watercolor, Baltimore Mu
    23. 23. John Everett Millais,Ophelia, 1852, oil on canvas Tate Gallery, Lonson Pre-Raphaelite Brotherhood
    24. 24. John Everett Millais, John Ruskin 1853-54 oil on canvas Private Collection The Critic
    25. 25. Thomas Eakins The Gross Clinic 1875 oil on canvas Jefferson Medical College of Thomas Jefferson University, “REALISM” IN AMERICA
    26. 26. Winslow Homer,The Veteran in a New Field, 1865, oil on canvas Metropolitan Museum of Art
    27. 27. Édouard Manet
    28. 28. Spanish Singer, 1863 Manet's painting reflects the vogue in Paris for the art and culture of Spain during the Second Empire, as well as the artist's own preoccupation with Spanish themes in the 1860s. The Spanish Singer won Manet his first critical and popular success in his debut at the Salon of 1861.
    29. 29. Édouard Manet, Le Dejeuner sur l’Herbe (The Luncheon on the Grass), 1863 “PROTO-IMPRESSIONISM”…Salon des Refusés
    30. 30. Giorgione (and Titian), Pastoral Concert (Fête champêtre) HIGH RENAISSANCE (Venetian)
    31. 31. Édouard Manet, Olympia, 1863, oil on canvas, Musée d’Orsay, Paris “PROTO-IMPRESSIONISM”
    32. 32. Titian Venus of Urbino 1538 oil on canvas 4 ft. x 5 ft. 6 in.
    33. 33. Titian, The Venus of Urbino, 1538, oil on canvas Galleria degli Uffizi, Florence Édouard Manet, Olympia, 1863, oil on canvas Musée d’Orsay, Paris Venetian Renaissance
    34. 34. Cabanel, The Birth of Venus, 1863, oil on canvas Metropolitan Museum of Art, New York Édouard Manet, Olympia, 1863, oil on canvas Musée d’Orsay, Paris AVANT-GARDE ACADEMIC (Prix de Rome) PARIS SALON 1865 Olympia…most shocking work in the 1865 Salon…the goddess acceptable…contemporary prostitute was not.
    35. 35. Portrait of Zola 1868 1867, Zola proclaimed “The future is his…”and predicted that one day Luncheon on the Grass will enter the collection of the Louvre (now Musee d’Orsay since 1934)
    36. 36. Édouard Manet, A Bar at te Folies-Bergere, 1881-82, is a modern version of Velazquez's Las Meninas (1656-7), the most profound meditation on the portrait.
    37. 37. Velazquez's Las Meninas (1656-7 Manet worshipped Velazquez, and transferred this aesthetic of reflection to modern times
    38. 38. Edgar Degas Impressionist…core member…sought to capture fleeting moments of modern life… scenes illuminated by artificial light… adhering to his Academic training.
    39. 39. Degas, The Collector of Prints, 1866 Havemeyer Collection MMA The depiction of individuals, interrupted at tasks amid settings that reveal clues about their character, was developed by Degas in numerous figure paintings of the 1860s and early 1870s.
    40. 40. Kitigawa Utamaro, Reflective Love, from the series Anthology of Poems: The Love Section, c.1793-94 woodblock
    41. 41. Degas, Study for A Woman Seated beside a Vase of Flowers, 1865 Fogg Art Gallery Degas took longer to digest the significance of the new art. It is not until mid-decade that signs of such influence became apparent. Both pose and demeanor are uncannily anticipated by Utamaro in a print that was demonstrably present in a collection known to Degas.
    42. 42. Edgar Degas - A Woman Seated beside a Vase of Flowers 1865
    43. 43. Degas, Woman Ironing, 1873 Havemeyer Collection MMA Much as Degas was fascinated by the movements of dancers, he was also intrigued by the repetitive, specialized gestures made by laundresses as they worked. This painting, the first of three versions of the composition, is distinguished by its dramatic chiaroscuro, with the woman silhouetted against a luminous white backdrop. The artist lent it to the 1876 Impressionist exhibition, receiving praise for his "rapidly done silhouettes of laundresses."
    44. 44. Degas, Woman Ironing, c.1882, o/c, Reading Museum
    45. 45. Degas was likely aware of Utamaro’s prints…also aware of the potential erotic charge…similar taboos existed for 19th European women…popular entertainers, ironers and washerwomen often stripped down to their chemises…thus laundresses were associated with easy morals.
    46. 46. Edgar Degas, Yellow Dancers (In the Wings), 1874/76 Oil on canvas 2nd Impressionist Exhibition
    47. 47. gas, Dancers Practicing at the Barre, 1877, Havemeyer collection MMA
    48. 48. Edgar Degas Ballet Rehearsal 1874 oil on canvas 1 ft. 11 in. x 2 ft. 9 in.
    49. 49. Edgar Degas Little Fourteen-Year-Old Dancer 1879-81 bronze, paint, tulle, satin, wood
    50. 50. Edgar Degas The Tub 1886 pastel 1 ft. 11 1/2 in. x 2 ft. 8 3/8 in. Bird’s-eye view and cut-off edges suggest photographic fragment and abstract arrangement of Japanese prints. This is not the erotic object of desire of academic paintings.
    51. 51. Edgar Degas, Mary Cassatt at the Louvre: The Paintings Gallery, 1885, pastel over softground etching, drypoint, aquatint, and
    52. 52. Edgar Degas, Place de la Concorde, Oil on canvas, 1875 IMPRESSIONISM
    53. 53. Edgar Degas L’absinthe 1876 oil on canvas 36 1/4 x 26 3/4 in.
    54. 54. Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892-95, oil on canvas. Art Institute of Chicago Paris Night Life ‘Fin de siècle' and 'La Belle Époque'
    55. 55. IMPRESSIONISM • Unjured…independent from the Salon
    56. 56. Claude Monet, Impression: Sunrise, 1872, oil on canvas Musée Marmottan, Paris
    57. 57. anet, Boating, 1874 ew Cerulean bule and synthetic ultramarine adically cropped..Japanese-inspired compositon odernity…form…subject matter…material
    58. 58. Renior, Luncheon of the Boating Party (1880–81) The painting also reflects the changing character of French society in the mid- to late 19th century. The restaurant welcomed customers of many classes, including businessmen, society women, artists, actresses, writers, critics, seamstresses, and shop girls. This diverse group embodied a new, modern Parisian society.
    59. 59. Mary Cassatt, The Boating Party, 1893/04
    60. 60. Claude Monet, Terrace at Sainte-Adresse, 1867 Monet emphasized the modernization of the landscape by including railways and factories, signs of encroaching industrialization…inappropriate to the Barbizon
    61. 61. Claude Monet, Saint-Lazare Train Station, 1877, oil on canvas. Musee d’Orsay, Paris IMPRESSIONISM
    62. 62. Claude Monet, Cathedral Rouen, 1894, oil on canvas Metropolitan Museum of Art, New York Claude Monet, Rouen Cathedral, Harmony in Blue, 1894,oil on canvas IMPRESSIONISM COLOR THEORY: Optical Color vs. Local Color
    63. 63. Claude Monet, Cathedral Rouen (in Dull Weather), 1894, oil on canvas Musée d'Orsay, Paris Claude Monet, Rouen Cathedral at Dawn, 1894, oil on canvas Museum of Fine Arts, Boston COLOR THEORY: Optical Color vs. Local Color
    64. 64. 29-29 Claude Monet, Cathedral Rouen, 1894, oil on canvas Metropolitan Museum of Art, New York Rouen Cathedral COLOR THEORY: Optical Color vs. Local Color
    65. 65. Camille Pissaro, Place du Theatre Francais, oil on canvas, 1898 Louis-Jacques-Mandé Daguerre,View of the Boulevard du Temple, Paris, c1838, daguerreotype Bayerische National Museum, Munich Napoleon II and his perfect Baron Haussmann laid the plans for the new Paris…more open sapce, cleaner and safer.
    66. 66. Camille Pissaro, Place du Theatre Francais, oil on canvas, 1898 Camille Pissaro, Place du Theatre Francais, oil on canvas, 1898 IMPRESSIONISM
    67. 67. Gustave Caillebotte, Paris: A Rainy Day, 1877, oil on canvas. Art Institute of Chicago IMPRESSIONISM
    68. 68. Mary Cassatt The Bath c1892 oil on canvas Art Institute of Chicago IMPRESSIONISM
    69. 69. Mary Cassatt, The Bath, c1892, oil on canvas Art Institute of Chicago Suzuki Harunobu, Evening Bell, from Eight Views of the Parlor series, c1765, woodblock print, Art Institute of Chicago IMPRESSIONISMJAPONISME (Edo Period) *japonisme" was coined in 1872 by Philippe Burty, a French art critic
    70. 70. Henri de Toulouse-Lautrec, La Goulue at the Moulin Rouge, 1891, lithograph Philadelphia Museum of Art Henri de Toulouse-Lautrec, Jane Avril, 1893, lithograph Paris Night Life ‘Fin de siècle' and 'La Belle Époque'
    71. 71. James Abbott McNeill Whistler Nocturne in Black and gold 1875 oil on panel Detroit Institute of Arts "Art for art's sake" ''l'art pour l'art''
    72. 72. James Abbott McNeill Whistler,Arrangement in Grey and Black: Portrait of the Painter's Mother, 1871; Oil on canvas, Musée d'Orsay, Paris
    73. 73. James Abbott McNeill Whistler, Nocturrne: Blue and Gold--Old Battersea Bridge, 1872-75; Oil on canvas, Tate Gallery, London
    74. 74. Georges Seurat, A Sunday on the La Grande Jatte, 1884-1886, oil on canvas. Art Institute of Chicago NEO-IMPRESSIONISM
    75. 75. Georges Seurat, A Sunday on the La Grande Jatte (details), 1884-1886, oil on canvas COLORY THEORY: Simultaneous Contrast
    76. 76. Paul Cézanne Self-Portrait c1872 oil on canvas Musée d’Orsay, Paris
    77. 77. Paul Cézanne, A Basket of Apples, c1895, oil on canvas. Art Institute of Chicago POST-IMPRESSIONISM
    78. 78. Paul Cézanne, Apples, oil on canvas, c1877-1878 Provost and Fellows of Kings College, Cambridge
    79. 79. Paul Cézanne, Mont Sainte-Victoire Seen from Bibémus, oil on canvas, c1897 The Baltimore Museum of Art
    80. 80. Paul Cézanne, Mont Sainte-Victoire and the Château Noir, oil on canvas, 1904-1906 The Bridgestone Museum of Art, Tokyo
    81. 81. Paul Cézanne, Mont St-Victoire, 1902-4, oil on canvas Philadelphia Museum of Art
    82. 82. Paul Cézanne, The Great Bathers, 1898-1906, oil on canvas Philadelphia Museum of Art
    83. 83. Vincent van Gogh Self-Portrait 1888 oil on canvas Fogg Art Museum Harvard University
    84. 84. Vincent van Gogh,The Potato Eaters, 1885, oil on canvas Van Gogh Museum, Amsterdam
    85. 85. Vincent van Gogh, Japonaiserie: Bridge in the Rain (after Hiroshige), 1887, oil on canvas Utagawa Hiroshige, Sudden Shower Over Shinohashi Bridge and Atake,19th century, woodblock print Brooklyn Museum of Art
    86. 86. Vincent Van Gogh, Starry Night, 1889, oil on canvas. Museum of Modern Art, New York POST-IMPRESSIONISM
    87. 87. Vincent Van Gogh, Starry Night (detail), 1889, oil on canvas
    88. 88. Vincent Van Gogh, The Night Café, 1888, oil on canvas. Yale University Art Gallery, New Haven, CT POST-IMPRESSIONISM
    89. 89. Paul Gauguin, The Night Café at Arles, 1888, oil on canvas POST-IMPRESSIONISM
    90. 90. Paul Gauguin, The Vision after the Sermon, or Jacob Wrestling with the Angel, 1888, oil on canvas National Galleries of Scotland, Edinburgh Paul Gauguin,The Yellow Christ, 1889, oil on canvas, Albright-Knox Art Gallery, Buffalo, New York POST-IMPRESSIONISM
    91. 91. Paul Gauguin, Mana’o tupapa’u (The Spirit of the Dead Watches over Her), 1892, oil on canvas. Albright-Knox Art Gallery, Buffalo, New York POST-IMPRESSIONISM
    92. 92. Paul Gauguin Where Do We Come From? What Are We? Where Are We Going 1897 54 3/4 x 147 1/2 in. oil on canvas Museum of Fine Arts, Boston POST-IMPRESSIONISM
    93. 93. Edvard Munch The Cry (or The Scream) 1893 oil, pastel, and casein on cardboard Munch Museum, Oslo, Norway SYMBOLISM
    94. 94. Edvard Munch, Anxiety, 1894, oil on canvas Munch Museum, Oslo, Norway SYMBOLISM
    95. 95. Henri Matisse, The Joy of Life, 1905-6, oil on canvas. Barnes Foundation, Merion, Pennsylvania FAUVISM
    96. 96. André Derain, The Turning Road at L'Estaque, 1906, oil on canvas. Museum of Fine Arts, Houston FAUVISM
    97. 97. Henri Matisse, The Green Stripe (Portrait of Mme Matisse), 1906, oil on canvas, Statens Museum for Kunst, Copenahagen Henri Matisse, Woman with the Hat, 1905, oil on canvas, San Francisco Museum of Modern Art FAUVISM
    98. 98. Henri Matisse, Red Room (Harmony in Red), 1908-9, oil on canvas State Hermitage Museum, Saint Petersberg FAUVISM
    99. 99. Henri Matisse, The Red Studio, 1911, oil on canvas
    100. 100. Henri Matisse, The Dance I, 1909, 8' 6 1/2" x 12' 9 1/2" (259.7 x 390.1 cm) oil on canvas 8' 6 1/2" x 12' 9 1/2" (259.7 x 390.1 cm). Museum of Modern Art
    101. 101. Henri Matisse, The Piano Lesson, 1916, oil on canvas, Museum of Modern Art
    102. 102. Seated Bamana Female Figure Bamana people, Mali wood with mineral pigments, organic encrustation Henri Matisse, Decorative Figure in an Oriental Setting, 1925, oil on canvas, Museum of Modern Art
    103. 103. Ernst Ludwig Kirchner, Street, Dresden, 1908, oil on canvas Museum of Modern Art, New York GERMAN EXPRESSIONISM: Die Brücke (The Bridge)
    104. 104. Ernst Ludwig Kirchner, Street, Berlin, 1913, oil on canvas Brücke Museum, Berlin Ernst Ludwig Kirchner, Self-Portrait with Model, 1910/26, oil on canvas, Kunsthalle, Hamburg
    105. 105. Ernst Ludwig Kirchner, Bathers at Moritzburg , 1909-26, oil on canvas Tate Gallery, London
    106. 106. Vassily Kandinsky, Cover for The Blue Rider Almanac, 1912, woodcut Vassily Kandinsky, Blue Mountain, No. 84, 1908, oil on canvas Solomon R. Guggenheim Museum, New York Solomon R. Guggenheim MuseumSolomon R. Guggenheim Museum GERMAN EXPRESSIONISM: Der Blaue Reiter (Blue Rider Group)
    107. 107. Vassily Kandinsky, Autumn in Bavaria, 1908, oil on canvas Vassily Kandinsky, Bavarian Mountains with Villiage, 1909, oil on canvas GERMAN EXPRESSIONISM: Der Blaue Reiter (Blue Rider Group)
    108. 108. Vassily Kandinsky, Painting with Houses, 1909, oil on canvas Vassily Kandinsky, Study for Improvisation 2, 1909, oil on canvas GERMAN EXPRESSIONISM: Der Blaue Reiter (Blue Rider Group)
    109. 109. Vassily Kandinsky, Composition No. 2, 1910, oil on canvas Solomon R. Guggenheim Museum, New York
    110. 110. Vassily Kandinsky, Composition IV, 1911, oil on canvas Kunstsammlung Nordrhein-Westfalen, Düsseldorf
    111. 111. Vassily Kandinsky, Improvisation 28, 1912, oil painting. Solomon R. Guggenheim Museum, New York GERMAN EXPRESSIONISM: Non-Representational Painting
    112. 112. Vassily Kandinsky, Improvisation 30, 1913, oil on canvas Art Institute of Chicago
    113. 113. Franz Marc, Fate of the Animals, 1913, oil on canvas Kunstmuseum, Basel GERMAN EXPRESSIONISM: Der Blaue Reiter (Blue Rider Group)
    114. 114. Pablo Picasso Self-Portrait 1896 Oil on canvas Museo Picasso, Barcelona, Spain.
    115. 115. Pablo Picasso Self-Portrait 1901 Oil on canvas BLUE PERIOD
    116. 116. Pablo Picasso, Old Guitar Player, 1902, oil on panel Pablo Picasso, Absinthe Drinker, 1902, oil on panel Kunstmuseum, Bern BLUE PERIOD
    117. 117. Pablo Picasso, Family of Saltimbanques, 1905, oil on canvas National Gallery of Art, Washington DC Pablo Picasso, Family of Acrobats with Monkey, 1905, oil on canvas ROSE PERIOD (MAUVE PERIOD)
    118. 118. Pablo Picasso, Gertrude Stein, 1906-7, oil on canvas Metropolitan Museum of Art, New York
    119. 119. Pablo Picasso Les Demoiselles d’Avignon 1907 oil painting Museum of Modern Art, New York PROTO-CUBISM
    120. 120. Pablo Picasso, Les Demoiselles d'Avignon, Study, 1907, drawing pencil and pastel, Kupferstichkabinett, Basel PabloPicasso, Les Demoiselles d’Avignon, 1907, oil on canvas, Museum of Modern Art, New York
    121. 121. Pablo Picasso, Les Demoiselles d’Avignon, 1907, oil painting Museum of Modern Art, New York Lumba African Mask, 19th century
    122. 122. Pablo Picasso, Dryad, 1908, oil on canvas The Hermitage Museum, St. Petersburg Georges Braque, The Bather, 1907, oil on canvas Collection Alex Maguy, Paris
    123. 123. Georges Braque, Houses on the Hill, Horta de Ebro, 1909, oil on canvas Museum of Modern Art, New York Pablo Picasso, Houses at L’Estaque, 1908, oil on canvas, Kunstmuseum, Bern ANALYTICAL CUBISM
    124. 124. Georges Braque, Still Life with Violin and Palette, 1909-10, oil on canvas, Solomon R. Guggenheim Museum, New York Pablo Picasso, Portrait of Ambroise Vollard, 1910, oil on canvas, Pushkin State Museum of Fine Arts, Moscow ANALYTICAL CUBISM
    125. 125. Georges Braque, The Portuguese, 1911, oil on canvas Kunstmuseum, Basel Pablo Picasso, Portrait of Kahnweiler, 1910, oil on canvas Art Institute of Chicago ANALYTICAL CUBISM
    126. 126. Pablo Picasso, Still Life with Chair Caning, 1912, oil on canvas Musée Picasso, Paris
    127. 127. Pablo Picasso, Nature Mort ‘Au Bon Marché,’ 1913, oil and pasted paper on cardboard Ludwig Collection, Aachen, Germany
    128. 128. Georges Braque, Bottle Newspaper, Pipe and Glass, 1913, charcoal and various papers pasted on paper Private collection, NY
    129. 129. Pablo Picasso, Glass of Absinthe, 1914, painted bronze with silver sugar strainer, Museum of Modern Art, New York Pablo Picasso, Maquette for Guitar, 1912, cardboard, string, and wire, Museum of Modern Art, New York
    130. 130. Pablo Picasso, Three Musicians, 1921, oil on canvas, Museum of Modern Art, New York SYNTHETIC CUBISM
    131. 131. Robert Delaunay Champs de Mars or The Red Tower 1911 oil on canvas Art Institute of Chicago ORPHISM

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