ISMS Neoclassicism Romanticism Realism Impressionism Post-Impressionism Expressionism Cubism Futurism Abstract Art Dada and Surrealism Abstract Expressionism Pop Art Op Art Minimalism Environmental Art Postmodernism New Realism Process and Conceptual Art Neo-Expressionism Feminist Art Post-Post Modern Modernism in art is characterized by the development of a rapid succession of movements, each one attempting to redefine art's purpose, its subjects, its forms, and the role artists were to play in creating art.

Neoclassicism

Romanticism

Realism

Impressionism

Post-Impressionism

Expressionism

Cubism

Futurism

Abstract Art

Dada and Surrealism

Abstract Expressionism

Pop Art

Op Art

Minimalism

Environmental Art

Postmodernism

New Realism

Process and Conceptual Art

Neo-Expressionism

Feminist Art

Post-Post Modern

18 th Century Rococo and Neo-Classical

JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 11” x 2’ 8”. The Wallace Collection, London.

Thomas Gainsborough, Mrs. Richard B. Sheridan (1785-86) , Oil on canvas, aprox 7’x5’

Characteristics Neo-Classical Style Revival of classical antiquity Re-introduction of classical Greek and Roman forms of art/aesthetics Reason above Passion Strong horizontal and vertical structure to compositions

Revival of classical antiquity

Re-introduction of classical Greek and Roman forms of art/aesthetics

Reason above Passion

Strong horizontal and vertical structure to compositions

Jacques Louis David Leads Neoclassical movement as a reaction to the frivolous style of Rococo Represented the ideals of the French Revolution Sought an art form that was dignified and reflected their concerns/ideals Much more rational compositions than the flowery and decorative ones frequently found in Rococo works

Leads Neoclassical movement as a reaction to the frivolous style of Rococo

Represented the ideals of the French Revolution

Sought an art form that was dignified and reflected their concerns/ideals

Much more rational compositions than the flowery and decorative ones frequently found in Rococo works

JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 11’ x 14’. Louvre, Paris.

JACQUES-LOUIS DAVID, The Death of Marat, 1793. Oil on canvas, approx. 5’ 3” x 4’ 1”. Musées Royaux des Beaux-Arts de Belgique, Brussels.

Late 18 th Century – industrialization creates larger middle class Revolutionary political changes built on concept of deserving equal rights American Revolution – 1776 French Revolution – 1789 19 th Century - Art museums developed – placing art that had been private property of kings and royalty on public view 19 th Century - Photography revolutionizes picture making

Late 18 th Century – industrialization creates larger middle class

Revolutionary political changes built on concept of deserving equal rights

American Revolution – 1776

French Revolution – 1789

19 th Century - Art museums developed – placing art that had been private property of kings and royalty on public view

19 th Century - Photography revolutionizes picture making

JACQUES-LOUIS DAVID, The Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris.

Jacques-Louis David Napoleon Crossing the St Bernard Pass c. 1801 Oil on canvas 259x221cm Master of nature – different than Romantic era

Master of nature – different than Romantic era

NICOLAS POUSSIN, Et in Arcadia Ego, ca. 1655. Oil on canvas, approx. 2’ 10” x 4’. Louvre, Paris.

Jean-Agusute-Dominique Ingres, Jupiter and Thetis , 1811, Oil on Canvas, 10’9”x8’7” Great Art = Great subject matter (according to Ingres)

Jean-Aguste-Dominique Ingres, Odalisque, 1814 “Art consists above all in taking nature as a model and copying it with scrupulous care, choosing however its loftiest sides. Ugliness is an accident and not one of the features of nature.” - Ingres

Giorgione's Sleeping Venus, 1510 TITIAN, Venus of Urbino, 1538. Ingres, Odalisque, 1814

19 th Century Neoclassicism Reaction to Rococo Greco-Roman sources History paintings, moral lessons as subjects

Neoclassicism

Reaction to Rococo

Greco-Roman sources

History paintings, moral lessons as subjects

Romanticism Individual styles Human beings are emotional – different than rationality of previous era Intuition, individual experience, and imagination The model for behavior and rational thought/action from the classical age couldn’t explain the war and carnage of the Napoleonic era Personal response to politics, events, culture of the time Dramatic subject matter, turbulent emotions, and complex compositions Painting about the present day

Individual styles

Human beings are emotional – different than rationality of previous era

Intuition, individual experience, and imagination

The model for behavior and rational thought/action from the classical age couldn’t explain the war and carnage of the Napoleonic era

Personal response to politics, events, culture of the time

Dramatic subject matter, turbulent emotions, and complex compositions

Painting about the present day

Romanticism Literature – anti-heroic, rebellious, unusual (Frankenstein, Hunchback, Muskateers) Music – individualism – piano sonatas

Literature – anti-heroic, rebellious, unusual (Frankenstein, Hunchback, Muskateers)

Music – individualism – piano sonatas

The Third of May 1808 - Francisco Goya , 1814 Oil on canvas, 268 cm × 347[1] cm Not a hero – but a victim

Direct imagery Understood without an education in the arts or religion

Direct imagery

Understood without an education in the arts or religion

Theodore Gericault, “ The Raft of the Medusa”, 1819, Oil on canvas, 491 x 716 cm Officers commandeer the lifeboats 150 people left on a makeshift raft Ten survived Created painting from scale model of raft based on survivor’s account

Officers commandeer the lifeboats

150 people left on a makeshift raft

Ten survived

Created painting from scale model of raft based on survivor’s account

NADAR, Eugène Delacroix, ca. 1855. Modern print from original negative in the Bibliothèque Nationale, Paris. French Romanticism = Delacroix

EUGÈNE DELACROIX : “Liberty leading the People”, 1830 - oil on canvas, 260- 325 cm

Eugene Delacroix, The Women of Algiers , 1834, Oil on Canvas, 5’10”x7’6” Exotic Painterly/brushy, Lacking contours

Exotic

Painterly/brushy,

Lacking contours

PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, approx. 5’ 1” x 3’ 9 1/2”. Louvre, Paris.

"Dream of Arcadia" by Thomas Cole

Albert Bierstadt, 1863, The Rocky Mountains, Lander’s Peak

German Romanticism

Caspar David Friedrich, The Sea of Ice aka Polar Sea , Oil on Canvas, 50x38”, 1823

Caspar David Friedrich , The wanderer above the sea of fog , Oil on Canvas, 39x29”, 1818

Caspar David Friedrich, Monk by the Sea, Oil on Canvas, 110x172cm, 1809 Man is no longer master of nature

Romanticism in England

Joseph M.W. Turner, 1803

JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, approx. 1’ 10” x 2’ 1”.

Joseph M.W. Turner, The Slave Ship , 1840

Joseph Mallowrd William Turner, The Burning of the Houses of Parliament, Oil on Canvas, 93x123cm, 1835

J M W Turner War. The Exile and the Rock Limpet 1842 Tate Oil on canvas, 79.4x79.4cm Nature vs. Man

Rain, Steam and Speed - The Great Western Railway painted (1844).

Tonalism – 1880-1915 Primarily landscape paintings made with an overall tone of colored atmosphere or mist Emphasis on mood and shadow James McNeill Whistler, in 1880 said, "Paint should not be applied thick. It should be like breath on the surface of a pane of glass."

Primarily landscape paintings made with an overall tone of colored atmosphere or mist

Emphasis on mood and shadow

James McNeill Whistler, in 1880 said, "Paint should not be applied thick. It should be like breath on the surface of a pane of glass."

Eduard Steichen, Cooper's Bluff—Moonlight Strollers , 1905, Oil on canvas

JAMES ABBOTT MCNEILL WHISTLER, Nocturne in Black and Gold (The Falling Rocket), ca. 1875. Oil on panel, 1’ 11 5/8” x 1’ 6 1/2”.

James McNeill Whistler, Nocturne in Blue and Silver: The Lagoon, Venice , 1879–80, Oil on canvas

James McNeill Whistler, Nocturne: Blue and Silver—Battersea Reach, 1872–78, Oil on canvas

Realism Depict the everyday and ordinary rather than the historic, heroic or exotic (as with NeoClassical) Reaction to Neoclassicism and Romanticism. Painters are less attracted to myths or ancient history – instead fining their subjects in the everyday (genre)

Depict the everyday and ordinary rather than the historic, heroic or exotic (as with NeoClassical)

Reaction to Neoclassicism and Romanticism.

Painters are less attracted to myths or ancient history – instead fining their subjects in the everyday (genre)

GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5’ 3” x 8’ 6”.

GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, approx. 10’ x 22’. Louvre, Paris. Anti-heroic, not epic “ dared” to do a life-sized genre painting

Anti-heroic, not epic

“ dared” to do a life-sized genre painting

Courbet “ Art must be brought down to the low life” “ Realist means sincere friend of the real truth” “ When I am dead, let it be said of me: 'He belonged to no school, to no church, to no institution, to no academy, least of all to any regime except the regime of liberty.” “ Knowledge is power, that was what I had in mind. To be able to express the manners, ideas and aspects of my time, according to my own estimate of them, in a word to produce living art…”

“ Art must be brought down to the low life”

“ Realist means sincere friend of the real truth”

“ When I am dead, let it be said of me: 'He belonged to no school, to no church, to no institution, to no academy, least of all to any regime except the regime of liberty.”

“ Knowledge is power, that was what I had in mind. To be able to express the manners, ideas and aspects of my time, according to my own estimate of them, in a word to produce living art…”

GUSTAVE COURBET. Studio of a Painter: A Real Allegory Summarizing My Seven Years of Life as an Artist. 1854-1855. Oil on canvas. Musée d'Orsay, Paris.

Joel-Peter Witkin, Studio of the Painter (Courbet), Paris, 1990

Vincent Desiderio, "An Allegory of Painting", 2003, oil on linen, 121.9 x 188 cm

Honore Daumier, Le Wagon de troisième classe (The third-class wagon), 1864.

JOHN SINGER SARGENT, The Daughters of Edward Darley Boit, 1882. Oil on canvas, 7’ 3 3/8” x 3 5/8”.

John Singer Sargent, El Jaleo , 1882.

Sargent, John Singer Madame Pierre Gautreau (Madame X) 1884 Oil on canvas 82 1/2 x 43 1/4 in.

HENRY OSSAWA TANNER, The Thankful Poor, 1894. Oil on canvas, 3’ 8 1/4” x 2’ 11 1/2”.

Manet and Impressionism

We are, thank God, delivered from the Greeks and Romans, we have even had enough of the Middle Ages which in over a quarter of a century the French Romantics never succeeded in resuscitating. We are now face to face with the only reality, and in spite of ourselves we shall encourage our painters to portray us on their canvases, just as we are, with our modern clothes and ways.” – Emile Zola, May 23, 1868

We are, thank God, delivered from the Greeks and Romans, we have even had enough of the Middle Ages which in over a quarter of a century the French Romantics never succeeded in resuscitating. We are now face to face with the only reality, and in spite of ourselves we shall encourage our painters to portray us on their canvases, just as we are, with our modern clothes and ways.”

– Emile Zola, May 23, 1868

Manet, Portrait d'Emile Zola 1868, Oil on canvas, (57 1/2 x 44 7/8 in)

Titian, Pastoral Symphony, ca. 1508. Oil on canvas, approx. 3’ 7” x 4’ 6”. Louvre, Paris.

ÉDOUARD MANET, Le Déjeuner sur l’herbe (Luncheon on the Grass), 1863. Oil on canvas, approx. 7’ x 8’ 10”. Musée d’Orsay, Paris.

Bow Wow Wow

Manet, "The Dead Toreador" 1867

Johannes Kahrs, Man putting finger into his finger , 2004, Oil on canvas, 94.5x 98.5 inches

Giorgione's Sleeping Venus, 1510 TITIAN, Venus of Urbino, 1538. Ingres, Odalisque, 1814 Manet, Olympia , oil on canvas, 1863.

Manet, Olympia , 1863 (130 Kb); Oil on canvas, 130.5 x 190 cm (51 3/8 x 74 3/4 in) Musee d'Orsay, Paris “ It’s flat and lacks modelling, it looks like the Queen of Spades coming out of a bath.” - Courbet

Henri Matisse, Madame Matisse (The Green Line), 1905

“A painting is first of all a product of the artist’s imagination, it must never be a copy. If he can afterwards add two or three accents from nature, obviously that will do no harm. The air we see in the pictures of the old masters is not the air we breathe.” Degas

“A painting is first of all a product of the artist’s imagination, it must never be a copy. If he can afterwards add two or three accents from nature, obviously that will do no harm. The air we see in the pictures of the old masters is not the air we breathe.”

Edgar Degas, Races at Longchamp, Oil on Canvas, 1873-1875

Impressionism Painting outdoors interested in the effects of color based on observation Capturing fleeting light Used broken color, rather than flat Paint tubes Not interested in politics, religion, history painting Free choice of subjects regardless of claims of ‘nobility’ or ‘refinement’ “ Let those who wish to do history painting do the history of their own time instead of shaking up the dust of past centuries.” Georges Riviere "art for art's sake“ Shaped by experience and sensibility, not by tradition.

Painting outdoors

interested in the effects of color based on observation

Capturing fleeting light

Used broken color, rather than flat

Paint tubes

Not interested in politics, religion, history painting

Free choice of subjects regardless of claims of ‘nobility’ or ‘refinement’

“ Let those who wish to do history painting do the history of their own time instead of shaking up the dust of past centuries.” Georges Riviere

"art for art's sake“

Shaped by experience and sensibility, not by tradition.

William Bouguerreau, Nymphs and Satyr , 1873 Bouguereau was one of the most successful Salon painters under Napoleon III and a hostile contemporary of the Impressionists. He believed anyone could paint what he or she saw around them – how ridiculous to go out painting trees and sunspots when the museums were full of paintings of the gods!

CLAUDE MONET, Impression: Sunrise, 1872. Oil on canvas, 1’ 7 1/2” x 2’ 1 1/2”. Musée Marmottan, Paris.

CLAUDE MONET, Rouen Cathedral: The Portal (in Sun), 1894. Oil on canvas, 3’ 3 1/4” x 2’ 1 7/8”. Metropolitan Museum of Art, New York

John Singer Sargent (1856–1925), Claude Monet Painting by the Edge of a Wood , 1885, Oil on canvas; 21 1/4 x 25 1/2 in. (54 x 64.8 cm)

Claude Monet, Haystacks 1890-1891

PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas, approx. 4’ 3” x 5’ 8”. Louvre, Paris.

EDGAR DEGAS, The Tub, 1886. Pastel, 1’ 11 1/2” x 2’ 8 3/8”. Musée d’Orsay, Paris.

Degas, Edgar Portrait of James Tissot 1867-68 Oil on canvas 59 5/8 x 44 in (151.4 x 112 cm)

Claude Monet, Japonnerie , 1876

Mary Cassatt (American, 1844–1926) Maternal Caress , 1891 Drypoint and soft-ground etching, third state, printed in color; 14 3/8 x 10 9/16 in.

Edo period (1615–1868), ca. 1790 Midnight: The Hours of the Rat; Mother and Sleepy Child , Kitagawa Utamaro (Japanese, 1753–1806) Polychrome woodblock print; H. 14 3/8 in. (36.5 cm), W. 9 5/8 in. (24.4 cm)

1886-1892 – Post-Impressionism Generally, they considered Impressionism too casual or too naturalistic, and sought a means of exploring emotion in paint. what they had in common was the rejection of the transient moment in favor of enduring concepts.

1886-1892 – Post-Impressionism

Generally, they considered Impressionism too casual or too naturalistic, and sought a means of exploring emotion in paint.

what they had in common was the rejection of the transient moment in favor of enduring concepts.

The Post-Impressionists Henri de Toulouse-Lautrec Poster artist known as one of the first Graphic Designers Paul Cezanne Large block-like brushstrokes; Still lifes, Landscapes Vincent Van Gogh Loose brushstrokes and bright, vivid colors George Seurat Founder of Pointillism; Sunday Afternoon on the Island of La Grande Jatte Auguste Rodin Bronze sculptor; Very loose and not detailed Paul Gauguin Broad color areas, stong outlines, tertiary color harmonies, exotic subjects

Henri de Toulouse-Lautrec ” At the Moulin Rouge” . 1895

Edgar Degas, The Absinthe Drinker, 1876

Degas, Women on the Terrace of the Café, 1877

Henri de Toulouse-Lautrec La Goulue , 1891.

Henri de Toulouse-Lautrec Ambassadeurs: Aristide Bruant 1892.

Paul Cezanne, Card Players , 1890-92.

Paul Cezanne, Still Life with Apples , 1890.

Paul Cezanne, Still Life with Peppermint Bottle , 1890-94.

PAUL CÉZANNE, The Basket of Apples, ca. 1895. Oil on canvas, 2’ 3/8” x 2’ 7”.

Paul Cezanne, Mont Saint Victoire , 1885.

Instead of flattening space, he did the opposite. He actually broke space up into geometric, solid forms: rectangular landscape, pyramid-shaped mountain

Piet Mondrian

Van Gogh, The Potato Eaters , 1885.

Van Gogh, The Fourteenth of July in Paris , 1886-1887

Van Gogh Sunflowers , 1888.

Van Gogh The Night Cafe , 1888.

Vincent Van Gogh, Bedroom at Arles #3 , 1889.

Egon Schiele Artist's Room in Neulengbach, 1911 | oil on wood | 40x32cm

VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, approx. 2’ 5” x 3’ 1/4”. Museum of Modern Art, New York

Paul Gauguin, Te Aa No Areois (the Seed of Areoi), Oil on Burlap, 1892, 36x28”

PAUL GAUGUIN, The Vision after the Sermon or Jacob Wrestling with the Angel, 1888. Oil on canvas, 2’ 4 3/4” x 3’ 1/2”.

PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are We Going?, 1897. Oil on canvas, 4’ 6 13/ 16” x 12’ 3”.

GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” ´ 10’. The Art Institute of Chicago, Chicago

Georges Seurat's The Circus (oil on canvas, 73x 59-1/8 inches), 1890

Fauves The fauves (wild beasts) gained this name through the use of wild, subjective colors. Fauvism did not last long, a mere three years or so, but was crucial for the development of modern art. Fauvism was part of a larger trend in Europe called Expressionism, which arose as artists came to believe that the fundamental purpose of art was to express their intense feelings toward the world.

The fauves (wild beasts) gained this name through the use of wild, subjective colors.

Fauvism did not last long, a mere three years or so, but was crucial for the development of modern art.

Fauvism was part of a larger trend in Europe called Expressionism, which arose as artists came to believe that the fundamental purpose of art was to express their intense feelings toward the world.

Henri Matisse, Le Bonheur de Vivre (The Joy of Life), 1905-06. Oil on canvas, 5’ 8” x 7’ 9”

HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx. 5’ 11” x 8’ 1”.

ANDRÉ DERAIN, The Dance, 1906. Oil on canvas, 6’ 7/8” x 6’ 10 1/4”.