Sculpture in the later 19th century focused on realism and expression through contemporary subject matter. Representative sculptors included Jean-Baptiste Carpeaux, Augustus Saint-Gaudens, and Auguste Rodin, who created works like Ugolino and His Children, Adams Memorial, and Walking Man respectively. The Arts and Crafts Movement valued aesthetic functional objects and high quality craftsmanship inspired by Ruskin and Morris. Art Nouveau architecture featured organic nature forms, as seen in the works of Victor Horta, Antonio Gaudi, and Louis Comfort Tiffany. New technologies and urban development led architects like Louis Sullivan to rethink space through innovative designs such as the Guaranty and Carson

1. Sculpture

2. Sculpture
in the Later 19 Century
th
• issues of realism and expression related to
sculpture in the later 19th century.
• selection of contemporary subject matter by
sculptors.
• Identify representative sculptors and works
of the later 19th century.

3. Sculpture: Realist and
Expressive
• Examine issues of realism, expression
and subject matter in sculpture of the
later 19th century.

4. Figure 29-47 JEAN-BAPTISTE
CARPEAUX, Ugolino and His
Children, 1865–1867. Marble, 6’ 5”
high. Metropolitan Museum of Art,
New York (Josephine Bay Paul and
C. Michael Paul Foundation, Inc. and
the Charles Ulrich and Josephine Bay
Foundation, Inc., gifts, 1967).

5. Figure 29-48 AUGUSTUS SAINT-
GAUDENS, Adams Memorial, Rock Creek
Cemetery, Washington, 1891. Bronze, 5’ 10”
high.

6. Fig. 29-48

7. Figure 29-49 AUGUSTE RODIN,
Walking Man, 1905, cast 1962.
Bronze, 6’ 11 3/4” high. Hirshhorn
Museum and Sculpture Garden,
Smithsonian Institution, Washington
(gift of Joseph H. Hirshhorn, 1966).

8. Fig. 29-49

9. Figure 29-50 AUGUSTE RODIN, Burghers of Calais, 1884–1889, cast ca. 1953–
1959. Bronze, 6’ 10 1/2” high, 7’ 11” long, 6’ 6” deep. Hirshhorn Museum and
Sculpture Garden, Smithsonian Institution, Washington

10. The Arts & Crafts
Movement
• ideas of Ruskin and Morris in shaping
the Arts and Crafts Movement.
• interest in aesthetic functional objects
in the Arts and Crafts Movement.
• preference for high-quality artisanship
and honest labor.

11. Figure 29-51 WILLIAM MORRIS, Green Dining Room, 1867. Victoria & Albert
Museum, London.

12. Figure 29-52 CHARLES RENNIE MACKINTOSH, reconstruction (1992–1995) of
Ladies’ Luncheon Room, Ingram Street Tea Room, Glasgow, Scotland, 1900–1912.
Glasgow Museum, Glasgow.

13. Nature in Art Nouveau
Architecture
• organic nature forms in Art
Nouveau architecture.

14. Figure 29-53 VICTOR
HORTA, staircase in the Van
Eetvelde House, Brussels,
1895.

15. Figure 29-54 AUBREY
BEARDSLEY, The Peacock Skirt,
1894. Pen-and-ink illustration for
Oscar Wilde’s Salomé.

16. Figure 29-55 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.

17. Figure 29-56 GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’
10 3/4”. Austrian Gallery, Vienna.

18. Figure 29-62 LOUIS
COMFORT TIFFANY, Lotus
table lamp, ca. 1905. Leaded
Favrile glass, mosaic, and
bronze, 2’ 10 1/2” high.
Private collection.

19. Architecture
in the Later 19 Century
th
• new technology and changing needs of urban
society and their effects on architecture.
• new materials use in architecture and the forms
made possible as a result.
• how architects were able to think differently about
space as a result of new technology and materials.
• the remarkable work and theories of Louis
Sullivan.

20. Figure 29-57 ALEXANDRE-
GUSTAVE EIFFEL, Eiffel Tower,
Paris, 1889 (photo: 1889–1890).
Wrought iron, 984’ high.

21. Figure 29-58
HENRY HOBSON
RICHARDSON,
Marshall Field
wholesale store
(demolished),
Chicago, 1885–1887.

22. The Architecture of Louis
Sullivan

23. Figure 29-59 LOUIS
SULLIVAN, Guaranty
(Prudential) Building, Buffalo,
1894–1896.

24. Figure 29-60 LOUIS SULLIVAN, Carson, Pirie, Scott Building, Chicago, 1899–
1904.

25. Figure 29-61 RICHARD MORRIS HUNT, The Breakers, Newport, Rhode Island,
1892.

26. Discussion Questions
 In what ways did the Modernist art of the
later 19th century break from the past?
 How did Modernist artists call attention
to the ‘facts’ of art making?
 Why did the public find the subjects,
forms, and techniques of the
Impressionists shocking?
 What would you consider the most
important breakthrough in architecture?