Enlightenment thru post imp

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  • 1. Romanticism, Realism &Photography
  • 2. THEME: Features of Romanticism“Man is born free, but is everywhere in chains!” - RousseauP.I.N.E.Past – Longing for the medieval past, pre-industrial Europe (Gothic architecture will berevived)Irrational/ Inner mind / Insanity – Romantic artists depict the human psyche and topicsthat transcend the use of reason. One Romantic artist, Gericault, chose to do portraits ofpeople in insane asylumsNature – longing for the purity of nature, which defies human rationalityEmotion/ Exotic – Romantics favored emotion and passion over reason. Exotic themesand locales were also popular because they did not adhere to European emphasis onrationalityImagination, not reason, FEELING, not thinking = FREEDOM
  • 3. Jean-Auguste-Dominique IngresGrande Odalisque1814oil on canvas2 ft. 11 in. x 5 ft. 4 in.
  • 4. Francisco GoyaThe Sleep of Reason Produces Monstersfrom Los Caprichosca. 1798etching and aquatint8 1/2 x 6 in.
  • 5. Francisco GoyaFamily of Charles IV1800oil on canvas9 ft. 2 in. x 11 ft.
  • 6. Francisco GoyaThe Third of May, 18081814oil on canvas8 ft. 8 in. x 11 ft. 3 in.
  • 7. Francisco GoyaSaturn Devouring His Children1819-1823fresco on canvas4 ft. 9 in. x 2 ft. 8 in.
  • 8. Théodore GéricaultRaft of the Medusa1818-1819oil on canvas16 x 23 ft.
  • 9. Eugène DelacroixLiberty Leading the People1830oil on canvas8 ft. 6 in. x 10 ft. 8 in.
  • 10. John Constable, The Haywain1821oil on canvas4 ft. 3 in. x 6 ft. 2 in.Nature as allegory
  • 11. Caspar David FriedrichAbbey in the Oak Forest1810oil 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 anythingwithin him, he should give up painting what he sees beforehim.” - Friedrich
  • 12. Joseph Mallord William TurnerThe Slave Ship1840oil on canvas2 ft. 11 11/16 in. x 4 ft. 5/16 in.`
  • 13. Thomas ColeThe Oxbow1836oil on canvas4 ft. 3 1/2 in. x 6 ft. 4 in.
  • 14. Albert BierstadtAmong the Sierra Nevada Mountains, California1868oil on canvas6 ft. x 10 ft.
  • 15. 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!
  • 16. Charles Barry & A.W.N. PuginHouses of ParlaimentLondon, Englanddesigned 1835“All Grecian, Sir. Tudor details ona classical body” - Pugin“Neo-Gothic”
  • 17. John NashRoyal PavilionBrighton, England1815-1818“Indian Gothic”
  • 18. Joseph PaxtonCrystal PalaceLondon, England1850-1851
  • 19. Louis-Jacques-Mandé DaguerreStill Life in Studio1837Daguerreotype
  • 20. Julia Margaret CameronOphelia, Study no. 21867albumen print1 ft. 1 in. x 10 2/3 in.
  • 21. Timothy O’SullivanA Harvest of Death, Gettysburg, Pennsylvania, July 18631863gelatin-silver print
  • 22. PRE-MODERNISM: REALISM & THEPRE-RAPHAELITE BROTHERHOOD19th century continued…
  • 23. 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 fictionalsubjects, 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 init. I also maintain that painting is an essentially concrete art form and can consist only of therepresentation of both real and existing things.” – Courbet, 1861
  • 24. Gustave CourbetThe 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
  • 25. Gustave CourbetBurial at Ornans1849oil on canvas10 ft. x 22 ft.
  • 26. Jean-François MilletThe Gleaners1857oil on canvas2 ft. 9 in. x 3 ft. 8 in.
  • 27. Honoré DaumierRue Transnonian1834lithograph12 x 17 1/2 in.
  • 28. Honoré DaumierThe Third-Class Carriageca. 1862oil on canvas2 ft. 1 3/4 in. x 2 ft. 11 1/2 in.
  • 29. Édouard ManetLe Déjuner sur l’Herbe1863oil on canvas7 ft. x 8 ft. 10 in.
  • 30. Édouard ManetOlympia1863oil on canvas4 ft. 3 in. x 6 ft. 3 in.
  • 31. Winslow HomerThe Veteran in a New Field1865oil on canvas2 ft. 1/8 in. x 3 ft. 2 1/8 in.
  • 32. Thomas EakinsThe Gross Clinic1875oil on canvas8 ft. x 6 ft. 6 in.
  • 33. John Singer SargentThe Daughters ofEdward Darley Boit1882oil on canvas7 ft. 3 3/8 in. x 7 ft. 3 5/8 in.
  • 34. Pre-RaphaelitesFictional, historical and fanciful subjects with a convincing degree of illusionRefused to be limited to contemporary scenes of the REALIST movement
  • 35. John Everett MillaisOphelia1852oil 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.
  • 36. Dante Gabriel RossettiBeata Beatrixca. 1863oil on canvas2 ft. 10 in. x 2 ft. 2 in.
  • 37. Impressionism (1874)• Modernist movement – avant-garde artists• Pioneered independent art exhibitions (1874) as the “AnonymousSociety 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 andantibourgeois
  • 38. Claude MonetImpression: Sunrise1872oil on canvas1 ft. 7 1/2 in. x 2 ft. 1 1/2 in.Intersection of what the artist SAW and what theartist FELT- Complementary color, choppy brushstrokes
  • 39. Claude MonetRouen Cathedral: The Portal (in Sun)1894oil on canvas3 ft. 3 1/4 in. x 2 ft. 1 7/8 in.
  • 40. Gustave CaillebotteParis: A Rainy Day1877oil on canvasapproximately 6 ft. 9 in. x 9 ft. 9 in.URBANIZATIONBaron Georges Haussman – gave Paris amakeover under Napoleon III’s orders
  • 41. Pierre-Auguste RenoirLe Moulin de la Galette1876oil on canvas4 ft. 3 in. x 5 ft. 8 in.Leisure activities of the Parisian middle class
  • 42. Édouard ManetA Bar at the Folies-Bergère1882oil on canvas3 ft. 1 in. x 4 ft. 3 in.
  • 43. Edgar DegasBallet Rehearsal1874oil on canvas1 ft. 11 in. x 2 ft. 9 in.Inspirations: Formal leisure activities, movement, photographyand Japanese woodblock prints
  • 44. Edgar DegasThe Tub1886pastel1 ft. 11 1/2 in. x 2 ft. 8 3/8 in.JAPONISME- With new open trade in Japan, woodblock prints hadgreat effect on French art and style—tea sets, foldingscreens, fans, kimonos- An admiration for the beauty and exoticism of theJapanese aesthetic- Valued for use of diverging lines and flat forms- Familiar and intimate subjectsTorii Kiyonaga, detail of Two Women at the Bath
  • 45. Katsushika HokusaiThe Great Wave off Kanagawa1857color woodblock print9 7/8 x 14 3/4 in.
  • 46. Mary CassattThe Bathca. 1892oil on canvas3 ft. 3 in. x 2 ft. 2 in.Cassatt, Woman Bathing, etching
  • 47. James Abbott McNeil WhistlerNocturne 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 thepublic’s face”
  • 48. POST-Impressionism (1880s-1890s)Back to picture making rather than copying nature• Just as the Impressionists were being taken seriously as artists, a new groupcame along feeling that the Impressionists neglected too many traditionalelements 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 depthCezanne, the quintessential Post-Impressionist wished to,“make Impressionism something solid and durable, like the artof the museums”
  • 49. Henri de Toulouse-LautrecAt the Moulin Rouge1892-1895oil in canvas4 ft. x 4 ft. 7 in.What influenced Lautrec?
  • 50. Georges SeuratA Sunday on La Grande Jatte1884-1886oil on canvas6 ft. 9 in. x 10 ft. https://www.youtube.com/watch?v=vBBOMLURSGAPOINTILLISM
  • 51. Vincent van GoghThe Night Café1888oil on canvas2 ft. 4 1/2 in. x 3 ft.“a place where one can ruin oneself, gomad, or commit a crime”
  • 52. Vincent van GoghStarry Night1889oil on canvas2 ft. 5 in. x 3 ft. 1/4 in.
  • 53. Paul GauguinThe Visionafter the Sermon1888oil on canvas2 ft. 4 3/4 in. x 3 ft. 1/2 in.
  • 54. Paul GauguinWhere Do We Come From? What Are We? Where Are We Going?1897oil on canvas4 ft. 6 13/16 in. x 12 ft. 3 in.
  • 55. Paul GauguinWhere Do We Come From? What Are We? Where Are We Going?1897oil on canvas4 ft. 6 13/16 in. x 12 ft. 3 in.
  • 56. Paul CézanneThe Basket of Applesca. 1895oil on canvas2 ft. 3/8 in. x 2 ft. 7 in.