GAttA Chapter 29  Unit 18 -Impressionism,     etc The Later Nineteenth       Century
Industrialization of Europe and U.S.             about 1850
Realism: The Painting   of Modern Life
Time Periods     Realism         1848-1860s  Impressionism      1872-1880sPost-Impressionism   1880s-1890s   Symbolism    ...
Key Ideas1.   The Realist art movement was philosophically based on     the theory of positivism2.   Japanese art had a pr...
Innovations of Realism1. Japonisme – prints of genre or landscape scenes;   flat, odd angles or tilted objects2. Artificia...
Characteristics of Realism1. Paint things you could experience with the 5   senses.2. Tended to be genre pieces showing lo...
Figure 29-1 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas,   5’ 3” x 8’ 6”. Formerly at Gemäldegalerie, Dresden...
Figure 29-2 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, approx. 10’ x 22’.                               Louvr...
GUSTAVE COURBET, The Interior of My Studio: A Real Allegory, 1849-50. Oil oncanvas, 11 10 1/4" x 19 7 1/2" (361 x 598 cm),...
GUSTAVE COURBET, Portrait of Jo (La Belle Irlandaise) 1866. Oil on canvas. 22 x 26in. (55.9 x 66 cm) © The Metropolitan Mu...
Figure 29-3 JEAN-FRANÇOIS MILLET, The Gleaners, 1857. Oil on canvas, approx. 2’ 9” x 3’                              8”. L...
Figure 29-4 [11th] JEAN-BAPTISTE-CAMILLE COROT, The Harbor of La Rochelle, 1851.                         Oil on canvas, ap...
Figure 29-4 HONORÉ DAUMIER, Rue Transnonain, 1834. Lithograph, approx. 1’ x 1’ 5 1/2”.       Philadelphia Museum of Art, P...
Figure 29-6 HONORÉ DAUMIER, The Third-Class Carriage, ca. 1862. Oil on canvas, 2’ 1              3/4” x 2’ 11 1/2”. Metrop...
Figure 29-5 HONORÉ  DAUMIER, Nadar RaisingPhotography to the Height of Art, 1862. Lithograph, 10 3/4” x 8  3/4”. Museum of...
ÉDOUARD MANET, The Old Musician, 1862. Oil on canvas 74” x 98”. National Gallery                        of Art, Washington...
Figure 29-7 ÉDOUARD MANET, Le Déjeuner sur l’herbe (Luncheon on the Grass), 1863. Oil                 on canvas, approx. 7...
Figure 29-8 ÉDOUARD MANET, Olympia, 1863. Oil on canvas, 4’ 3” x 6’ 3”. Musée d’Orsay, Paris.
The French Academy and Other       Classical Models • What was the importance & influence   of the French Royal Academy of...
Figure 29-9 ADOLPHE-WILLIAM  BOUGUEREAU, Nymphs and Satyr,1873. Oil on canvas, approx. 8’ 6” high.Sterling and Francine Cl...
Rosa Bonheur was the most famous woman artist of the first three quarters of thenineteenth century. Her family supported h...
MARIE-ROSALIE (ROSA) BONHEUR, The Horse Fair, ca. 1852. Oil on canvas, 10.5” x 25”,                     Albright-Knox Gall...
MARIE-ROSALIE (ROSA) BONHEUR, Plowing in the Nivernais, 1849. Oil, approx.                  68” x 102”, Musee dOrsay, Paris.
Figure 29-10 MARIE-ROSALIE (ROSA) BONHEUR, The Horse Fair, 1853–1855. Oil on             canvas, 8’ x 16’ 7.5”. Metropolit...
American and German Realism • Who were the American artists, and   what are key works of Realist art? • Why were the Germa...
Figure 29-11 WINSLOW HOMER, The Veteran in a New Field, 1865. Oil on canvas, 2’ 1/8” x                  3’ 2 1/8”. Metropo...
WINSLOW HOMER, Snap the Whip, 1872. Oil on canvas, 12” x 20”, Metropolitan Museum of                               Art, Ne...
WINSLOW HOMER, The Gulf Stream, 1899. Oil on canvas, 28” x 49”, Metropolitan Museum                             of Art, Ne...
THOMAS EAKINS, Max Schmitt in a Single Scull, 1871. Oil on canvas, 32.5” x 46”.               Metropolitan Museum of Art, ...
Figure 29-12 THOMAS  EAKINS, The Gross Clinic,1875. Oil on canvas, 8’ x 6’ 6”. Jefferson Medical College of Thomas Jeffers...
Figure 29-13 EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print.                George Eastman House, Rochester, N...
Figure 29-14 JOHNSINGER SARGENT, The  Daughters of EdwardDarley Boit, 1882. Oil oncanvas, 7’ 3 3/8” x 3 5/8”.  Museum of F...
•Dominating piece                •   JOHN SINGER SARGENT,   Madame X (Madame Pierre Gautreau), 1883. Oil on canvas,82” by ...
JOHN SINGER SARGENT, Portrait of a Young Girl, 1880-1884. Oil on canvas, 65cm x 46cm,    Baltimore Museum of Art,         ...
JOHN SINGER SARGENT, The Black Brook, 1908. Oil on canvas, 82” by 43”, Tate                          Gallery, London.
Figure 29-15 HENRY OSSAWA TANNER, The Thankful Poor, 1894. Oil on canvas, 3’ 8             1/4” x 2’ 11 1/2”. Collection o...
Figure 29-16 WILLIAM LEIBL, ThreeWomen in a Village Church, 1878-1881.  Oil on canvas, approx. 2’ 5” x 2’ 1”.         Kuns...
Pre-Raphaelite Brotherhood• How did the Pre-Raphaelites’ choice of  subject matter contrast to the Realists’  subject matt...
Figure 29-17 JOHN EVERETT MILLAIS, Ophelia, 1852. Oil on canvas, 2’ 6” x 3’ 8”. Tate                             Gallery, ...
JOHN EVERETT MILLAIS. A Huguenot, onSt. Bartholomews Day Refusing to ShieldHimself from Danger by Wearing the RomanCatholi...
JOHN EVERETT MILLAIS,The Ransom, 1860-1862. Oil oncanvas, 51” x 45”. J Paul Getty          Museum.
JOHN EVERETT MILLAIS,Cinderella, 1881. Oil on canvas,51” x 45”. Kevin Alfred Strom            Gallery.
Figure 29-18 DANTE GABRIEL  ROSSETTI, Beata Beatrix, ca. 1863. Oil on canvas, 2’ 10” x 2’    2”. Tate Gallery, London.
DANTE GABRIELROSSETTI, Lady Lilith,1867. Oil on canvas, 38” x33.5”, Delaware Art Museum,Delaware.
Figure 29-19 GERTRUDE KÄSEBIER,   Blessed Art thou Among Women, 1899. Platinum print on Japanese tissue, 9 3/8” x 51/2”. M...
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19 a real pics

  1. 1. GAttA Chapter 29 Unit 18 -Impressionism, etc The Later Nineteenth Century
  2. 2. Industrialization of Europe and U.S. about 1850
  3. 3. Realism: The Painting of Modern Life
  4. 4. Time Periods Realism 1848-1860s Impressionism 1872-1880sPost-Impressionism 1880s-1890s Symbolism 1890s Art Nouveau 1890s-1914
  5. 5. Key Ideas1. The Realist art movement was philosophically based on the theory of positivism2. Japanese art had a profound impact on late 19th century painting.3. Plein-air painting dominates much of Impressionist art.4. Post-Impressionists reacted against what they saw as the ephemeral quality of Impressionist painting.5. Symbolist painters seek to portray mystical personal visions.6. In the late 19th century, the skyscraper was born as a result of new technological advances, the invention of the elevator, and the rise of land values.7. Art Nouveau seeks to create a unified artistic experience combining painting, sculpture, and architecture ; relies on organic forms and motifs.
  6. 6. Innovations of Realism1. Japonisme – prints of genre or landscape scenes; flat, odd angles or tilted objects2. Artificial atmosphere of the studio gives way to plein-air (outside) work3. Trying to capture effects of atmosphere and light outside4. Would frequently do a series of same object at different times of day or series of photos5. Invention of lithography (printmaking) 1798 = mass production of color prints = Delacroix, Goya, Daumier, Toulouse-Lautrec
  7. 7. Characteristics of Realism1. Paint things you could experience with the 5 senses.2. Tended to be genre pieces showing lower class, since they were perceived to be honest, sincere, and at one with the earth.
  8. 8. Figure 29-1 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5’ 3” x 8’ 6”. Formerly at Gemäldegalerie, Dresden (destroyed in 1945).
  9. 9. Figure 29-2 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, approx. 10’ x 22’. Louvre, Paris.
  10. 10. GUSTAVE COURBET, The Interior of My Studio: A Real Allegory, 1849-50. Oil oncanvas, 11 10 1/4" x 19 7 1/2" (361 x 598 cm), Musee dOrsay, Paris.
  11. 11. GUSTAVE COURBET, Portrait of Jo (La Belle Irlandaise) 1866. Oil on canvas. 22 x 26in. (55.9 x 66 cm) © The Metropolitan Museum of Art, New York.
  12. 12. Figure 29-3 JEAN-FRANÇOIS MILLET, The Gleaners, 1857. Oil on canvas, approx. 2’ 9” x 3’ 8”. Louvre, Paris.
  13. 13. Figure 29-4 [11th] JEAN-BAPTISTE-CAMILLE COROT, The Harbor of La Rochelle, 1851. Oil on canvas, approx. 1’ 8” x 2’ 4”.
  14. 14. 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).
  15. 15. 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.
  16. 16. Figure 29-5 HONORÉ DAUMIER, Nadar RaisingPhotography to the Height of Art, 1862. Lithograph, 10 3/4” x 8 3/4”. Museum of Fine Arts, Boston.
  17. 17. ÉDOUARD MANET, The Old Musician, 1862. Oil on canvas 74” x 98”. National Gallery of Art, Washington, DC.
  18. 18. 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.
  19. 19. Figure 29-8 ÉDOUARD MANET, Olympia, 1863. Oil on canvas, 4’ 3” x 6’ 3”. Musée d’Orsay, Paris.
  20. 20. The French Academy and Other Classical Models • What was the importance & influence of the French Royal Academy of Art, the artists it trained, & the styles it promoted? • What explained the popularity of other classical models in art?
  21. 21. 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.
  22. 22. Rosa Bonheur was the most famous woman artist of the first three quarters of thenineteenth century. Her family supported her in that endeavor. From age ten on,Bonheur spent hours sketching animals in parks on the outskirts of Paris; by ageseventeen she was contributing to the family income by making copies of paintingsin the Louvre. Since it was not possible for a woman to attend the official schoolsof art at this time, her father, Raymond Bonheur—a landscape artist and teacher—served as her instructor.Bonheur was politically and artistically conservative. She worked in a verytraditional way, making sketches and studies in preparation for larger, finalpaintings. Bonheur believed in direct observation of nature and was determined tobe accurate in all details. To this end, she dissected animal parts, sketched fromlife, and attended horse fairs. This was not the type of event normally attended bywomen. To avoid the taunts and comments a woman could receive if she were seenat a horse fair, Bonheur applied for permission from the prefecture of police todress in men’s clothing, and received authorization to do so in 1852.Rosa Bonheur was the first woman to receive a cross of the Legion of Honor inFrance, a reward for outstanding achievement in her field. The honor was bestowedupon her personally by the Empress Eugenie, wife of emperor Napoleon III, inJune 1865. The empress wanted to show, as she said, that "genius has no sex."
  23. 23. MARIE-ROSALIE (ROSA) BONHEUR, The Horse Fair, ca. 1852. Oil on canvas, 10.5” x 25”, Albright-Knox Gallery, Buffalo NY.
  24. 24. MARIE-ROSALIE (ROSA) BONHEUR, Plowing in the Nivernais, 1849. Oil, approx. 68” x 102”, Musee dOrsay, Paris.
  25. 25. Figure 29-10 MARIE-ROSALIE (ROSA) BONHEUR, The Horse Fair, 1853–1855. Oil on canvas, 8’ x 16’ 7.5”. Metropolitan Museum of Art, New York.
  26. 26. American and German Realism • Who were the American artists, and what are key works of Realist art? • Why were the German artists’ interested in regional and national characteristics, folk customs and culture?
  27. 27. 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.
  28. 28. WINSLOW HOMER, Snap the Whip, 1872. Oil on canvas, 12” x 20”, Metropolitan Museum of Art, New York.
  29. 29. WINSLOW HOMER, The Gulf Stream, 1899. Oil on canvas, 28” x 49”, Metropolitan Museum of Art, New York.
  30. 30. THOMAS EAKINS, Max Schmitt in a Single Scull, 1871. Oil on canvas, 32.5” x 46”. Metropolitan Museum of Art, New York.
  31. 31. Figure 29-12 THOMAS EAKINS, The Gross Clinic,1875. Oil on canvas, 8’ x 6’ 6”. Jefferson Medical College of Thomas Jefferson University, Philadelphia.
  32. 32. Figure 29-13 EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print. George Eastman House, Rochester, New York.
  33. 33. Figure 29-14 JOHNSINGER SARGENT, The Daughters of EdwardDarley Boit, 1882. Oil oncanvas, 7’ 3 3/8” x 3 5/8”. Museum of Fine Arts, Boston.
  34. 34. •Dominating piece • JOHN SINGER SARGENT, Madame X (Madame Pierre Gautreau), 1883. Oil on canvas,82” by 43”, Metropolitan Museum of Art, New York.
  35. 35. JOHN SINGER SARGENT, Portrait of a Young Girl, 1880-1884. Oil on canvas, 65cm x 46cm, Baltimore Museum of Art, Baltimore.
  36. 36. JOHN SINGER SARGENT, The Black Brook, 1908. Oil on canvas, 82” by 43”, Tate Gallery, London.
  37. 37. 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.
  38. 38. Figure 29-16 WILLIAM LEIBL, ThreeWomen in a Village Church, 1878-1881. Oil on canvas, approx. 2’ 5” x 2’ 1”. Kunsthalle, Hamburg.
  39. 39. Pre-Raphaelite Brotherhood• How did the Pre-Raphaelites’ choice of subject matter contrast to the Realists’ subject matter?• What were the influences of the literary world & of the critic John Ruskin on the art of the Pre-Raphaelites?• Who were the artists & what were the styles of the Pre-Raphaelite movement?
  40. 40. Figure 29-17 JOHN EVERETT MILLAIS, Ophelia, 1852. Oil on canvas, 2’ 6” x 3’ 8”. Tate Gallery, London.
  41. 41. JOHN EVERETT MILLAIS. A Huguenot, onSt. Bartholomews Day Refusing to ShieldHimself from Danger by Wearing the RomanCatholic Badge. 1852. Oil on canvas. Mansonand Woods Ltd., London.
  42. 42. JOHN EVERETT MILLAIS,The Ransom, 1860-1862. Oil oncanvas, 51” x 45”. J Paul Getty Museum.
  43. 43. JOHN EVERETT MILLAIS,Cinderella, 1881. Oil on canvas,51” x 45”. Kevin Alfred Strom Gallery.
  44. 44. Figure 29-18 DANTE GABRIEL ROSSETTI, Beata Beatrix, ca. 1863. Oil on canvas, 2’ 10” x 2’ 2”. Tate Gallery, London.
  45. 45. DANTE GABRIELROSSETTI, Lady Lilith,1867. Oil on canvas, 38” x33.5”, Delaware Art Museum,Delaware.
  46. 46. Figure 29-19 GERTRUDE KÄSEBIER, Blessed Art thou Among Women, 1899. Platinum print on Japanese tissue, 9 3/8” x 51/2”. Museum of Modern Art, New York (gift of Mrs. Hermine M. Turner).

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