Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.

NCC ART104 1

923 views

Published on

Published in: Education
  • Be the first to comment

  • Be the first to like this

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

×