ART HISTORY 132SymbolismSymbolism (c. 1865-1.docx

ART HISTORY 132
Symbolism
Symbolism
(c. 1865-1915)
term: applied to both visual & literary arts (e.g., Rimbaud)
aim: not to see things, but to see through them to
significance & reality far deeper
definition: subjective interpretation reject observation of optical
world fantasy forms based on imaginationcolor, line, & shapes
used as symbols of personal emotions, rather than to conform to
optical image
function: artist as visionaryto achieve seer’s insight, artists
must become derangedsystematically unhinge & confuse
everyday faculties of sense and reason
themes: religion, mythology, sexual desire (vs.
Baudelairian everyday life)
Odilon Redon
(1840-1916)biography: born to a prosperous family
training: failed entrance exams at École des Beaux-Artsbriefly
studied under Gérôme (1864)career: interrupted by Franco-
Prussian War remained relatively unknown until cult novel by
Huysmans titled Against Nature (1884 )story featured decadent

aristocrat who collected Redon's dr
“… [to bring] to
life, in a human way, improbable beings and making them
live according to the laws of probability, by putting – as far as
possible – the logic of the visible at the service of the
invisible”subject matter: “fantastic” influenced by writings of
Edgar Allen Poe strange amoeboid creatures, insects, plants w/
human heads, etc.themes: “fantastic” creaturesmythological
scenes
(Left) Redon’s Symbolist Eye Balloon (1878)
and
(right) Crying Spider (1881)
Redon’s Symbolist Eye Balloon (1878)
vs.
Daumier’s Nadar (c. 1860)
Redon
Cyclops (1898)subject: mythologicalPolyphemus &
psychologicalconscious vs. unconsciouswaking vs.
sleepingtone: hauntingbrushwork: painterly (Impressionist)
composition: dynamiccolor: vibrantwhimsical
harmoniousperspective: aerial

Redon’s Symbolist Cyclops (c. 1900)
vs.
Carracci’s Italian Baroque Polyphemus in the Farnese Gallery
(c. 1600)
Henri Rousseau
(1844-1910)biography:served in French army bureaucrat in
Paris Customs Office (1871-1893)took up painting as a hobby
accepted early retirement in 1893 to devote himself to art
career: suffered ridicule & endured poverty
aesthetic: “naïve”
themes: jungle scenes
sources: claimed inspiration from his military experiences in
Mexicoin fact, sources were illustrated books & visits to
zoo/botanical gardens in Paris
Rousseau’s Sleeping Gypsy
(1897)
Rousseau’s The Dream
(1910)

James Ensor
(1860-1949)nationality: Belgian
personal crisis: family forbade him to marryplunged to depths
of despair returned to painting religious subjects sold contents
of his studio in 1890s
aesthetic: avant-garde Les XX (the Twenty)goal to promote new
artistic developments throughout Europegroup’s
leader/foundertreated harshly by art critics disbanded after a
decade challenged rules of perspective free use of color and
space and brushwork to enhance the psychological impact
mood: macabre people shown wearing masks that cannot be
distinguished from their true faces
Ensor’s Christ Entering the City of Brussels in 1889
(1888)
(Left) Ensor’s Christ Entering the City of Brussels in 1889
(1888)
vs.
(right) Tintoretto’s Mannerist Last Judgment (c. 1575)
Edvard Munch
(1863-1944) nationality: Norwegianbiography:damaged by

childhood and family tragedy mother dies at age of five
(5)favorite sister dies at age fifteen (15)obsessed by sickness,
insanity and deathmid-age crisis: age 45, profound depression
spent eight months in sanatorium in Denmark aim: to describe
“modern psychic life”powerlessness over love & deathemotional
states of jealousy, loneliness, fear, desire, & despairaesthetic:
abstract spent several years in FR & Germanyinfluenced by
Post-Impressionists color, line & figural distortions
Munch
Puberty (1894-95)theme: ages of lifesubject: biographical (?)
death of sisterfigure: naturalisticpose: iconic
frontalitycomposition: stablecolor: mutedlight/shadow: evenly
distributedsymbolic
Munch
Madonna (1894)theme: biblicalsubject: biographicaldeath of
mothererotic, pre-Freudian wish fulfillment (?)figure:
idealized/sexualized formspose: Classical sensuousness
composition: stable enlivened by Classically arranged upraised
elbow tilted headcolor: muted w/ primary accentslight/shadow:
evenly distributed
MunchThe Scream (1893)original title: Despairepigraph: “I
stopped and leaned against the balustrade, almost dead w/
fatigue. Above the blue-black fjord hung the clouds, red
as blood and tongues of fire. My friends had left me, and
alone, trembling w/ anguish, I became aware of the vast,
infinite cry of nature”subject: mental anguish brushwork:

impastofigure: abstract distortion of form facial
features/gestures: expressionisticcomposition: synthetic
dynamismcolor: vibrant compliments vs. mutedlight/shadow:
assumed by role of colorperspective: linear & aerial
(Left) Detail from Michelangelo’s Last Judgment (c. 1535)
vs.
(right) Munch The Scream (1893)
Gustav Klimt
(1862-1918)ethnicity: Austrian (Vienna) significance: Vienna
Secession (1897)motto: “To every age its art and to art
its freedom" reaction to chokehold of Academy aimed to bring
more abstract and purer forms to designs target of violent
criticismimages sometimes displayed behind screen to avoid
corrupting youths’ sensibilities Klimt w/drew eight years
laterthemes: (sexual) desire and anxietyaesthetic:
decorativeluxurious forms/figuresflattened spatial
ordersumptuous surfaces/tracery vivid juxtaposition of
colorsgold background
Klimt’s The Kiss
(1907-08)

(Left) full image of Klimt’s The Kiss (1907-08);
and
(right) detail of upper torsos and faces
IMAGE INDEXSlide 2: MOREAU, Gustave. The Apparition
(1874-1876), Oil on canvas, 3’ 5’ ¾” x 2’ 4 1/2 “,
Musée du Louvre, Paris.Slide 3: REDON, Odilon. Self
Portrait (1880), Oil on canvas, Musée d'Orsay,
Paris.Slide 4: REDON. (Left) Eye-Balloon (1878), Charcoal,
42.2 x 33.2 cm., The Museum of Modern Art (MoMA),
New York; and (right) The Crying Spider (1881),
Charcoal, 49.5 x 37.5 cm., Private collection, The
Netherlands.Slide 5: (Left) Redon’s Symbolist Eye Balloon (c.
1895); and (right) Daumier’s Nadar (c. 1860).Slide 6:
REDON. The Cyclops (c. 1914), Oil on canvas, 64 x 51
cm., Museum Kroller-Mueller, Otterlo, The
Netherlands.Slide 7: (Left) REDON’s Symbolist Cyclops (c.
1895); and (right) CARRACCI’s Italian Baroque (c.
1600) Polyphemus and Ariadne (c. 1600).
IMAGE INDEXSlide 8: ROUSSEAU. Myself, Portrait-
Landscape (1890), Oil on canvas, 56 1/4 x 43 1/4 in.,
National Gallery, Prague.Slide 9: ROUSSEAU. The Sleeping
Gypsy (1897), Oil on canvas, 4’3" x 6'7"; The Museum of
Modern Art (MoMA), New York.Slide 10: ROUSSEAU. The
Dream (1910), Oil on canvas, 6' 8 1/2" x 9' 9 1/2“, The
Museum of Modern Art (MoMA), New York. Slide 11:
ENSOR. Self Portrait.Slide 12: ENSOR. Christ’s
Entry into Brussels (1889), Oil on canvas, 99 1/2 x 169

1/2 in. 5/ 8 in., J. Paul Getty Museum, Los Angeles.
Slide 13: (Left) Ensor’s Christ Entering the City of Brussels in
1889 (1888); and (right) Tintoretto’s Mannerist Last
Judgment (c. 1575)Slide 14: MUNCH. Self-Portrait with
Burning Cigarette (1895), Oil on canvas, 110.5 x 85.5
cm., National Gallery, Oslo.
IMAGE INDEX
Slide 15: MUNCH. Puberty (c. 1895), Oil on canvas, 59 5/8 x
43 1/4 in., Nasjonalgalleriet (National Gallery), Oslo,
Norway.Slide 16: MUNCH. Madonna (1895), Oil on canvas,
91 x 70.5 cm., National Gallery, Oslo, Norway. Slide 17:
MUNCH. The Scream (c. 1895), Casein/waxed crayon and
tempera on cardboard, 35 7/8 x 29 in.,
Nasjonalgalleriet (National Gallery), Oslo.Slide 18:
(Left) Detail from Michelangelo’s Last Judgment (c.
1535); and (right) Munch The Scream (1893)Slide 19:
Photograph of Gustav KLIMT.Slide 20: KLIMT. The
Kiss (1907-08), Oil and gold on canvas, 5’10 ¾” x
5’10 ¾”, Osterreichische Galerie, Vienna.Slide 21: (Left) Full
image of Klimt’s The Kiss (1907); and (right) detail of
upper torsos and faces.
ART HISTORY 132
Surrealism

Surrealism
(c. 1925-45)
definition: Breton’s First Manifesto of Surrealism
(1924)“Surrealism rests in the belief in the superior reality of
certain forms of association neglected heretofore; in the
omnipotence of the dream”
definition: Breton’s Second Manifesto of Surrealism (1930)“…
a certain state of mind from which life and death, the real and
the imaginary, past and future, the communicable and the
incommunicable, height and depth, are no longer perceived as
contradictory”
André Breton
(1896-1966)biography: petit-bourgeoisie studied medicine and
later psychiatrymet Freud in Vienna (1921)WWI: served in
neurological ward attempted to use Freudian methods to
psychoanalyze his patientswartime meetings w/
Apollinairejoined Paris Dada group (1916)major periodicals:La
Révolution surréaliste (1924-30)Le Surréalisme au service de la
révolution (1930-33)process: “pure psychic automatism”high
degree of immediate absurdity“a monologue poured out as
rapidly as possible, over which the subject's critical faculty has
no control”“The dictation of thought, in the absence of all
control by reason, excluding any aesthetic or moral
preoccupation”

Surrealismcontext: Freud’s The Interpretation of Dreams
(1899)Surrealists preoccupied w/ F’s methods of
unconscious to resolve a conflict, whether something recent or
something from the recesses of the past unconscious must
distort and warp meaning of its information to make it through
censorship of preconsciousimages in dreams are often not what
appear to be and need deeper interpretation if they are to inform
one symbol or image may have multiple meanings
Max Ernst
(1891-1976)biography:born near Cologneson of amateur painter
& teacher of deaftraining: self-taught while studying
philosophy and psychiatry @ University of Bonn (1909-1914)
exhibited at first German Autumn Salon in 1913in 1914, became
acquainted w/ Arp and they began lifelong friendshipWWI:
drafted into German military (1916 )after war, settled in
Cologne founded Cologne Dada group w/ ArpDada:exhibition of
1920 in Cologne closed by police on grounds of obscenityErnst
exhibited w/ Paris Dada group and moved to Paris in 1922leaves
behind wife and sonenters illegally settles into ménage à trois
w/ Paul Éluard and wife, Gala, who eventually married Salvador
Dalí in 1929
Ernst
Oedipus Rex (1922)subject: Freudianloving & hostile wishes
children experience towards parents at height of
phallic phasetheme: sadismstyle: illusionisticperspective: linear
& aerialscale: disjointedarchitecture: dislocated

Ernst
Two Children Are Threatened by a Nightingale (1924)theme:
Freudiansubject: childhood fears & anxiety produced
by dreamstechnique: tromp l’oeil scale: intimateaesthetic:
illusionisticperspective: linear & aerial
Salvador Dalí
(1904-89)biography: son of prosperous notary training:
Academy of Fine Arts (Madrid)read Freud w/ enthusiasm
expelled for indiscipline (1923)met Gala Eluard when she
visited him w/ her husband, poet Paul Eluard (1929)became
Dali's lover, muse, business manager, and chief
inspirationWWII: clashed w/ Surrealists who were
predominantly Marxistfascination for Hitlerrelations w/
Surrealist group became increasingly strained after 1934break
finally came when D declared support for Franco in 1939Dali
and Gala escaped from Europe, spending 1940-48 in the United
his name) in 1940
DALI’s The Persistence of Memory
(1931)
DalíPremonition of Civil War (1936)alternative title: “Soft

Construction w/ Boiled Beans”method:
“paranoiac-critical”aesthetic: illusionisticnarrative: allegorical
“delirium of auto-strangulation”break w/ Surrealists
came when Dali supported Spanish dictator, Franco, in
1936figure: grotesquedismembered & contorted ecstatic
grimacepetrifying fingers & toeslandscape: lifeless
(Left) Dalí’s Surrealist Premonition of Civil War (1936)
vs.
(right) Goya’s Romantic Saturn Devouring His Son (c. 1815)
Dalí
Crucifixion (1954)relate to Renaissance:figure along
CVAaerial & linear perspectivenaturalistic drapery, shadows,
musculaturevariance from Renaissancefloating formsmisplaced
nails & absence of woundsfigures’ scale reversedviewer
deprived of C’s human emotion
Rene Magritte
(1898-1967)nationality: Belgianbiography: mother committed
suicidetraining: Académie Royale des Beaux Arts in
Brussels (1916-18) style: illusionistic; deliberate
literalismexhibition history:first exhibition in Brussels in 1927;
critics heaped abuse depressed by failure, moved to Paris where
he became friends w/ Bretonaim: to challenge pre-

conditioned perceptions of realitysubject: “pre-
consciousness” state before /during waking updid not draw on
hallucinations, dreams, occult phenomena, etc.method:
disjunction between context, size, or juxtaposition of object
Magritte’s Surrealist False Mirror (1926)
Magritte’s Surrealist Lovers (1928)
Magritte’s Surrealist The Treachery of Images (1929)
Joan Miró
(1893-1983)
biography: Catalanremained in Paris from 1936 to 1941returned
to Barcelonamoved to NYC after WWII relation to Surrealism:
realm of dreams and fantasyimages evoke subconscious
recognition gained through automatismforms: schematized &
whimsicalfanciful juxtapositions human, animal &
(Altamira)
Miro’s Surrealist Carnival of the Harlequin (1925)

Detail from MIRO’s Surrealist Carnival of Harlequin (1925)
vs.
detail from MATISSE’s Fauvist Harmony in Red (1910)
Miró
Painting (1933)aim: unconscious mindtechnique:
“automatism”freely drawing series of lines w/out considering
what they might be or becomeabsence of all control exercised
by the reason outside all aesthetic or moral
preoccupationsconsciously reworkedforms: abstract;
weightlessspatial order: flattened
IMAGE INDEXSlide 2: ERNST, Max. A Friends’ Reunion
(1922), Oil on canvas, 130 x 195 cm, Museum Ludwig,
Köln, Ger-many.Slide 3: Image and photograph of Andre
Breton.Slide 4: Photograph of Sigmund FREUD.Slide 5:
Photograph of Max ERNST.Slide 6: ERNST, Max.
Oedipus Rex (1922), Oil on canvas, 93 x 102 cm., Private
collection, Paris.Slide 7: ERNST, Max. Two Children Are
Threatened by a Nightingale (1924), Oilon wood with
wood construction, 2’ 3 ½” x 1’ 10 ½” x 4 ½”, Museum
of Modern Art, New York.Slide 8: MAN RAY. Salvador Dali
(1929), photograph.Slide 9: DALI, Salvador. The Persistence
of Memory (1931), Oil on canvas, 9 1/2” x 13”,
Museum of Modern Art (MoMA), New York.

IMAGE INDEXSlide 10: DALÍ, Salvador. Soft Construction
with Boiled Beans: Premonition of Civil War (1936), Oil
on canvas, 39 ¾ x 39 in., Philadelphia Museum of
Art.Slide 11: (Left) Dalí’s Surrealist Premonition of Civil War
(1936); and (right) Goya’s Romantic Saturn Devouring
His Son (c. 1815)Slide 12: DALI. Crucifixion ('Hypercubic
Body') (1954), Oil on canvas, 194.5 x 124 cm.,
Metropolitan Museum of Art, New York.Slide 13: Photograph
of René MAGRITTE.Slide 14: MAGRITTE, René. The False
Mirror (1926).Slide 15: MAGRITTE, René. The Lovers
(1928), Oil on canvas, 21 3/8 x 28 7/8 in., Museum
of Modern Art (MoMA), New York.Slide 16: MAGRITTE. The
Treachery of Images (1929), Oil on canvas,
23 1/2” x 37”, Los Angeles County Museum of
Art.
IMAGE INDEXSlide 17: MIRO, Joan. Self-Portrait.Slide 18:
MIRO. Carnival of Harlequin (1925), Oil on canvas, 66 x
93 cm, Albright-Knox Art Gallery, Buffalo, N.Y.Slide
19: (Left) Detail from MIRO’s Carnival of Harlequin (1925);
and (right) detail from MATISSE’s Harmony in Red
(1910).Slide 20: MIRO. Painting (1933), Oil on canvas, 4’
3 ¼” x 5’ 3 ½”, Wadsworth Atheneum, Hartford, CT.
ART HISTORY 132
Neo- & Post-Impressionism
*

Neo-Impressionismaim: dissatisfied w/ formlessness and
subjectivity of Impressionism aesthetic: quasi-scientific interest
in biological rational of sight and color theory (see Chevreul,
David Sutter, Ogden Rood, and Charles Henry) technique:
“Pointillism" systematic application of isolated, tiny dots
(pixels) of pure color to canvas subtle differences in size,
thickness and direction when viewed from a distance, dots
cannot be distinguishedblend in viewer's eye (rather than
mixing color on the palette) to produce a coherent image effect:
vibrantbrighter or more luminous generates different range of
colors, when compared to artists using traditional color-mixing
and lighting techniques (e.g., chiaroscuro)themes: scenes of
everyday life (see Baudelaire)exhibition history: first exhibited
in 1884 at exhibition of Societé des Artistes Indépendents
(Paris)separate gallery at 8th (final) Impressionist exhibition
(1886)
Félix Fénéon
(1861–1944)significance: first to coin term “Neo-
Impressionism” in 1886 at final Impressionist
exhibition
salesmancame to Paris after placing first in competitive exam
for jobs in War Officeemployed as clerk for thirteen yearsrose
to chief clerk; considered model employee
career: critic and journalistregular at Mallarmé's Tuesday
evening salonrarely affixed his own name to any work
translated, published and discovered many of enduring names
from late 19th and early 20th centuries (e.g., Jane Austin,
Proust, Apollinaire, Rimbaud, Seurat , Joyce)

political sympathies: AnarchistTrial of the Thirty (1894) held
after bombing of restaurant popular among politicians and
financiers and assassination by an Italian anarchist of French
presidentFénéon and twenty-nine others arrested on suspicion of
conspiracyFénéon and most of his co-defendants acquitted
*
*
Signac’s Portrait of Felix Feneon; or, Against the Enamel of a
Background Rhythmic with Beats and Angles, Tones and Tints
(1891)
Georges Seurat
(1859-91)biography: born into wealthy Parisian family that
supported him throughout his brief lifedied of
diphtheria at 31years of agetraining: age eighteen, student at
Ecole des Beaux Arts in Paris (1878-79)influence of Ingres:
teacher, Henri Lehmann (1814-1882), one of Ingres’ best pupils
earliest surviving works are copies of Ingres and other masters
of precisionlearned to turn perceptions into line1879: rented
studio w/ friends; visited 4th Impressionist exhibition1880:
upon return from military service, rented small
studio1883: only time S’s work allowed in Salon1884: S’s
first large painting, Bathers at Asnières, rejected by
Salonhowever, shown in exhibition held by Société des Artistes
Indépendants 1886: displays La Grande Jatte at 8th (final)
Impressionist exhibition

*
*
Seurat’s Sunday Afternoon at the Park
(c. 1890)
*
Seurat
Can Can (c. 1890)subject: scandalous dance performed in
bohemian section of Pariscomposition: dynamiccolor: muted,
limited palettelight/shadow: bright, bleached whites relate to
introduction of electricityforms: simplified volumesdrapery:
schematic
Seurat
Circus (1891)subject: bourgeois entertainmentbrushwork:
Pointellist/Divisionistforms: severely stylizedfacial
featuresweight/mass/volumeperspective: linearcomposition:
syntheticdynamic movement offset by strict horizontals &
verticalscolor: vibrant use of primarieslight/shadow: evenly
distributed

Camille Pissarro
(1830-1903)biography:child of Sephardic Jews from
Bordeauxborn/raised in Caribbean (St. Thomas) until age 12,
when attended boarding school in Paris expected to work in
family’s dry-goods businessleft for Caracas in 1852fled to Paris
in 1855 breaks bonds to bourgeois lifeeventually won moral and
financial support of his parents precarious financial situation,
until in his sixties training: studied at various academic
institutions (e.g., École des Beaux-Arts) and under
succession of masters (e.g., Corot)exhibition history:1863:
participated in Salon des Refusé w/ Manet and
Whistler1870s+: disdain for Salon; refuses to
exhibit at themonly artist to show work at all eight
Impressionist exhibitions (1874-86)March 1893: Durand-Ruel
organized major exhibition of forty-six (46) of
P's works in Paris
PissarroApple Picking (1888)subject: rural proletariatspatial
order: subjects placed close to picture
p
into deep spacecomposition: dynamic color:
naturalisticlight/shadow: dramaticassumed by role of colorno
use of traditional chiaroscuro or tenebrismbrushwork:
Divisionism
PISSARRO’s Woman Bathing Her Feet
(c. 1895)

Maximilien Luce
(1858-1941)biography: grew up in working class
Montparnassetraining: 1872: apprenticed in engraving
workshop; took night courses to study painting1876:
became qualified engraver 1877: left for London1879: back in
FR, enlisted in army; studied painting w/
Pissarrocareer:1884: co-found Society of Independent Artists
1935: Pres. of Society of Independent Artists signed petition
calling for anti-fascist fighters resigned post in 1940, in protest
against Vichy regime, which barred Jewish artists from all
official groupings
political affiliation: Anarchist1894: “Trial of the Thirty”
imprisoned during repression following recent bomb
attacksindicted as a "dangerous anarchist“drawings judged
"inciting people to revolt"produced series of lithographs based
on prison experience
themes: daily life of common worker & peasant
LUCE’s Neo-Impressionist
Morning, Interior
(1890)
LUCE’s Neo-Impressionist Moonlight and Fishing Boats
(1894)

Henri Toulouse-Lautrec
(1864-1901)biography: heir of aristocratic family dating back
1K yrs.as child, weak & sickbroken legs during adolescence
created body trunk of normal size but w/ abnormally short legs
(only 4 1/2 feet tall)setting: Montmartrecenter of Parisian
cabaret and bohemian life subject matter:
licentiousnessdance halls/nightclubs prostitutes/brothel scenes
Toulouse-LautrecMoulin Rouge (1891)medium: lithographic
postersubject: “Moulin Rouge”opened in 1889 combined cabaret
and dance hallsoon became center of night life in
Montmartrecabaret/masked ballscandalous “can can” dancefirst
time specific “stars” used to advertise entertainmentinnovation:
repetition of wordsaesthetic: see Japonisme’s vertical
orientationforms: abstracted bold linearity silhouetted flattened
volumes composition: dynamicperspective: linearcolor: muted
Toulouse-Lautrec
At the Moulin Rouge
(c. 1890)
Toulouse-Lautrec
Two Women Waltzing (1892)setting: Moulin Rougenarrative:
risque moralityforms: strong linear qualitycomposition:
syntheticdynamic thrust combined w/ strong horizontals &
verticalscolor: zones of unmodulated, muted primaries and
secondaries combined w/ vibrant red accents that unites

compositionlight/shadow: obviatedbrushwork: sketchy passages
combined w/ smooth, academic handling
Toulouse-LautrecThe Medical Inspection (1894)context:
prostitutionVictor Hugo (1802-1885)sympathetic portrayal
equated w/ slavery prostitute as “fallen woman” who is still,
essentially, morally goodBalzac (1799-1850) not forced by
economic conditionsdecadent, pampered, greedy, materialistic,
without morals using beauty/feminine wiles for commercial
advantagedetriment to bourgeoisie society which they prey upon
Toulouse-Lautrec
Alone
(c. 1890)
Vincent van Gogh
(1853-90)biography: son of a ministervocations:1869-76: art
dealer w/ Goupil 1876: schoolmaster in England 1877-79: lay
preacher to working poor in Belgium1880:
abandons religious pursuits; devotes himself exclusively
to paintingbrother, Theo, begins to financially support V,
until deathtraining: self-taught; briefly attends Antwerp
Academy (1886)career: not marked by financial successmoved
to Paris in 1886lives w/ brother, Theo (art
dealer)correspondencesintroduced to artists (e.g., Seurat,
Toulouse-Lautrec, Gauguin)discovers color & divisionism leads
to distinctive dashed brushstrokes of later workdied, having

sold only one work
Van Gogh’s Early period
The Potato Eaters
(1885)
Van Gogh’s The Night Café
(1888)
Van Gogh: Arles period
Self Portrait w/ Bandaged Ear (1889)subject: “terrible passions
of human ` nature”setting: interior roomwool coat
and hat indicates povertynot enough $$ for wood for stovepose:
¾ view emphasizes mutilationcompositions: stablecolor:
arbitrary tones imply absintheforms: outlined by thick, dark
contourbrushwork: expressive; directionalagitated, yet
controlled dashesconfined by fixed
rhythm/patternobsessive/compulsive mental state (?)
Van Gogh
Self Portrait (1890)setting: at own request, into an
asylum at St. Rémy (in southern FR near
Arles)production: frenzied (almost 130
paintings)pose: ¾ view hides mutilationcompositions:

stablecolor: softened to mauves & pinksbrushwork: expressive;
ornamentalagitated, yet controlled dashes constructed into
swirling, twisted shapesunconfined by fixed rhythm or
patternsymbolic of psychotic mental state
VAN GOGH’s Starry Night
(1890)
Paul Gauguin
(1848-1903)biography: bourgeois family/career
(stockbroker)childhood in Peru:uninhibited environmentyearns
for “primitive”/non-Western existencebecomes ex-
patriot:MartiniqueBrittanyTahitithemes: returns to religious
contentaesthetic: coloristforms: outlined by dark
contourcompositions: dynamic
Gauguin
Vision After the Sermon; or Jacob Wrestling with the Angel
(1888)
Gauguin
The Yellow Christ

(1889)
(Left) Gauguin’s Post-Impressionist Yellow Christ (c. 1890 CE)
vs.
(right) Middle Byzantine Crucifixion (c. 1000 CE)
GauguinWe Hail Thee Mary (1891)allegory: Paradisemeaning:
invites viewer to leave sorry industrial society figure:
Polynesian “Mother & Child”forms: outlined by dark
contourcomposition: dynamiccolor: vibrantlight/shadow: even
distribution; assumed by role of
colordecorativeness: patterned clothingflora & fruit
Gauguin
Spirit of the Dead Watching
(1892)
GAUGUIN’s Post-Impressionist Spirit of the Dead Watching (c.
1890)
vs.
VELAZQUEZ’s Spanish Baroque Venus at the Mirror (c. 1625)

Paul Cézanne
(1839-1906)aim: to “recreate Poussin from Nature”new
classical spiritanalytical & simplified cylinders, spheres &
conesstripping of extraneous visual attributesaesthetic
“designo” tradition: forms: outlined w/ dark
contourcompositions: harmonious manipulates grouping of
figuresuse of vanishing point view into deep spacecolor: muted
; narrow rangelight/shadow: assumed by role of
colorbrushwork: “impasto” patches
CézanneThe Bather (1885-87)phase: mature “Provence”
periodnarrative: secondary role to analysis of formal elements
brushwork: thick impastoforms: outlined w/ dark contourfigure:
attention to large muscle groups (e.g., pecterals, abs, quads,
“contrapposto”composition: stablecolor: muted primaries (e.g.,
ocher reds & icy blues)assumes role of
light/shadowpatches of color describe surface planes &
volumesperspective: planar
(Left) CÉZANNE’s Mature period Still-life with Fruit (c. 1880)
vs.
(right) CÉZANNE’s Final Period Still-Life w/ Apples and
Oranges (c. 1900)

(Left) Cezanne’s Post-Impressionist Mt. Sainte-Victoire (c.
1890)
vs.
(right) Poussin’s French Baroque Landscape (c. 1650)
(Left) Cezanne’s Post-Impressionist Mt. Sainte-Victoire (c.
1885)
vs.
(right) Hollander’s Mt. Fuji (2012)
Cezanne’s Card Players
(1890-1892)
Cezanne’s Post-Impressionist Card Players (c. 1890)
vs.
Caravaggio’s Italian Baroque Supper at Emmaus (c. 1600)
Cezanne’s Large Bathers
(c. 1899-1906)

IMAGE INDEXSlide 2: SEURAT, Georges. The Eiffel Tower
(1889), Oil on panel, 9 ½ x 6 in., The Fine Arts
Museums of San Francisco.Slide 3: Photograph of Félix
Fénéon.Slide 4: SIGNAC, Paul. Portrait of Felix Feneon
(Against the Enamel of a Background Rhythmic with
Beats and Angles, Tones and Tints), 1890-91, Oil on
canvas, 29 x 36 3/8 in., The Museum of Modern Art
(MoMA), New York.Slide 5: Photograph of Georges
Seurat.Slide 6: SEURAT, Georges. A Sunday Afternoon on the
Island of la Grande Jatte (1884-86), Oil on canvas,
6’10” x 10’1 ¼ in., Art Institute of Chicago.Slide 7:
SEURAT, Georges. Le Chahut (c. 1890), Oil on canvas,
66 1/8 x 55 1/2 in., Kroller-Muller Museum,
Otterlo.Slide 8: SEURAT, Georges. The Circus (1891), Oil
on canvas, 73 x 59 1/8 in., Musee d'Orsay, Paris.Slide
9: PISSARRO, Camille. Self-Portrait (c. 1890), etching
(zinc), Rosenwald Collection, National Gallery of Art,
Washington, DC.
*
IMAGE INDEXSlide 10: PISSARRO, Camille. Apple Picking
(1888), Oil on canvas, 33 ½ x 29 1/8., Dallas Museum
of Art.Slide 11: PISSARRO, Camille. Woman Bathing Her
Feet in a Brook (1894-95), Oil on canvas, 28 ½ x
36 in., The Art Institute of Chicago.Slide 12: Portrait
of Maximilien Luce.Slide 13: LUCE, Maximilien. Morning,
Interior (1890), Oil on canvas, 25 1/2 x 31 7/8 in.,
The Metropolitan Museum of Art, New York.Slide

14: LUCE, Maximilien. Moonlight and Fishing Boats (1894),
Oil on canvas, 28 ½ x 36 ¼ in., Saint Louis Art Museum,
MO.Slide 15: Photograph of Henri TOULOUSE-
LAUTREC.Slide 16:TOULOUSE-LAUTREC, Henri. Moulin
Rouge (1891), Lithograph in four colors, 75 x
46 in., Printed across three sheets of paper,
Private collection.Slide 17: TOULOUSE-LAUTREC, Henri.
At the Moulin Rouge.
IMAGE INDEXSlide 18: TOULOUSE-LAUTREC, Henri. At
the Moulin Rouge: Two Women Waltzing (1892), Oil on
cardboard, 93 x 80 cm, Narodni Galerie, Prague,
Czech Republic.Slide 19: TOULOUSE-LAUTREC. Rue des
Moulins: The Medical Inspection (1894), Oil on
cardboard, 82 x 59.5 cm., National Gallery of Art,
Washington, D.C.Slide 20: TOULOUSE-LAUTREC, Henri.
Alone (1896), Oil on board, 12 x 15 ¾ in., Musee
D'Orsay, Paris.Slide 21: Photograph of Vincent VAN
GOGH.Slide 22: VAN GOGH. The Potato Eaters (1885),
Oil on canvas, 82 x 114 cm., Vincent van Gogh Museum,
Amsterdam.Slide 23: VAN GOGH, Vincent. The Night
Café (1888), Oil on canvas, 70 x 89 cm., Yale
University Art Gallery, New Haven, CT.Slide 24: VAN
GOGH, Vincent. Self-Portrait with Bandaged Ear
(1889), Oil on canvas, 60 x 49 cm., Courtauld Institute
Galleries, London.
IMAGE INDEXSlide 25: VAN GOGH. Self-Portrait (1889),
Oil on canvas, 25 ½ x 21 ¼ in., Musee d'Orsay, Paris.Slide
26: VAN GOGH, Vincent. Starry Night (c. 1890), Oil on
canvas, 28 ¾ x 36 ½ in., Museum of Modern Art
(MoMA), New York.Slide 27: GAUGUIN, Paul.

Self-Portrait (c. 1893-94), Oil on canvas, 18 1/8 x 15
in., Musee d'Orsay, Paris.Slide 28: GAUGUIN, Pau. Vision
after the Sermon; or Jacob Wrestling with the Angel
(1888), Oil on canvas, 28 1/3 x 35 ¾ in.,
National Gallery of Scotland, Edinburgh.Slide 29:
GAUGUIN, Paul. The Yellow Christ (1889), Oil on
canvas, 36 ¼ x 28 7/8 in., Albright-Knox Art Gallery,
Buffalo, NY.Slide 30: (Left) GAUGUIN’s Post-Impressionist
The Yellow Christ (1889); and (right) Middle
Byzantine The Crucifixion (11th century AD).Slide 31:
GAUGUIN, Paul. We Hail Thee Mary (1891), Oil on
canvas, 44 ¾ x 34 ½ in., The Metropolitan Museum of
Art, New York.
IMAGE INDEXSlide 32: GAUGUIN, Paul. Spirit of the Dead
Watching (1892), Oil on burlap mounted on canvas, 28 1/2
x 36 3/8 in., Albright-Knox Art Gallery, Buffalo,
NY.Slide 33: (Top) GAUGUIN’s Post-Impressionist Spirit of
the Dead Watching (1892); and
(bottom)VELAZQUEZ’s Spanish Baroque Venus at
the Mirror (c. 1625).Slide 34: CEZANNE, Paul. Self-Portrait
(1882), Oil on canvas, 25 5/8 x 20 5/8 in., Tate Gallery,
London.Slide 35: CÉZANNE, Paul. The Bather (c. 1885),
Oil on canvas, 50 x 38 1/8 in., The Museum of Modern
Art (MoMA), New York.Slide 36: CEZANNE, Paul. Still-Life
with Apples and Oranges (c. 1900), Oil on canvas,
29 1/8 x 36 5/8 in., Musee du Louvre, Paris. Slide 37:
CEZANNE, Paul. Mt. Sainte-Victoire (1885-1895), Oil on
canvas, 28 5/8 x 38 1/8 in., The Barnes Foundation,
Merion, PA; and (right) POUSSIN’s French Baroque
Landscape (c. 1650).

IMAGE INDEXSlide 38: (Left) Cezanne’s Post-Impressionist
Mt. Sainte-Victoire (c. 1885); and (right) Hollander’s
Mt. Fuji (2012)Slide 39: CEZANNE, Paul. The Card Players
(1890-92), Oil on canvas, 52 ¾ x 71 ½ in., The Barnes
Foundation, Merion, PA.Slide 40: Cezanne’s Post-
Impressionist Card Players (c. 1890); and
Caravaggio’s Italian Baroque Supper at Emmaus (c. 1600)
Slide 41: CEZANNE, Paul. Large Bathers (1899-1906), Oil on
canvas, 81 7/8 x 98 in., Philadelphia Museum of Art
ART HISTORY 132
Impressionism
*
Napoléon III
(1808-1873)
nephew of Napoleon Bonaparte
tried 2x to overthrow Louis Philippe
exiled to NYC for four years; sentenced to life-sentence;
escaped in 1846 to England
returns to FR w/ onset of Revolution of 1848
elected President of Second Republic (1848)
two days of violent fighting in Paris
opposition in rural provincesseveral hundred killed26K
arrested; 10K transportedleading legislators arresteddrastic

revision of 1848 constitutionextends presidential term to 10
yrssharply reduces legislature’s powers1852: declares Second
Empire. 1850s: authoritarian phasepress censorship restrictive
right to assembledeprived Parliament right to debate1860s:
liberalizationpolitical exiles amnestied and allowed to
returnParliament given right to present formal resolutions to
emperor and engage in free debates relaxed controls on press
and public assemblybroadened public education
“Haussmannization”
date: c. 1852-1870
location: downtown Paris renovated
effect: working class neighborhoods moved to
outskirts of Parisstatistics:
cost of 2.5B francs
doubled acreage of city through annexation
at height of reconstruction, 1 in 5 Parisian workers employed in
building tradeachievements:clearing of dense, irregular
medieval slumsregulations imposed on bldg facadeswidened
streets into boulevardsouter circle of railways round
Parissewers/water works (80M francs)construction of expansive
parks by end of 1860s, Paris had 2x as many trees as in
1850most transplanted full grown
Franco-Prussian War
& Siege of Paris
(July 1870 – May 1871)Franco-Prussian Warpretext: vacancy of
Spanish throne 1868 revolt deposed Bourbons offered to

Hohenzollern Prince Leopoldnephew of Prussian king Wilhelm
Icauses provocation by Bismarckoutcome: German victory after
44 days, Napoleon III surrenders at Battle of
Sedaneffect:unification of German Empire end of Second
[French] Empireformation of [French] Third RepublicSiege of
ParisGerman army continues towards Paris after Napoleon III’s
surrender at SedanPairs bombarded w/ heavy caliber Krupp
gunsseveral months of famine
[Paris] Commune
(March – May 1871)significance: “most tremendous event in
history of European civil wars”
(Marx)Communards aim to “break up bureaucratic and military
machine” of bourgeoisierecruit from petty artisansinfluenced by
Socialist revolutionariescalled for separation of church and
state“Central Committee" alternative to political and military
power of National Assembly (Thiers)increasingly radical
stanceseparation of church and stateright to vote for
womengrants pensions to unmarried companions/children of NG
killedremission of rents (during Siege)pawnshops return
workmen's tools/household items postpones commercial
army to seize cannonsLa Semaine Sanglante (“Bloody
10Kepilogue: Paris remains under martial law for five
years
Impressionism

Charles Baudelaire
(1821-1867)
significance: “father of modern criticism”B prophesized after
Salon of 1845"He shall be the true painter who can pull out of
everyday life its epic side….”
-old, ex-priest and widower;
married 26 year-old orphan1841: B voyage to India to cure
syphillis1842: on return to Paris, meets Jeanne Duvalwoman of
mixed racebecame his mistress 1848: fought at barricades
during Revolutionassociated w/ [Socialist] Proudhon 1851:
opposed coup d'état of Louis-Napoleon
aesthetic: “Decadents” formed w/ Mallarmé and VerlaineThe
Flowers of Evil (1857)sympathy for prostitute, who revolts
against bourgeois familyfound guilty of obscenity The Painter
snobbish aesthete
“Japonisme”context: ethnographicexhibitions in Holland during
1830s of Japanese print collections and books (e.g., Hokusai’s
Manga)appreciation of all things Japanese stimulated by Paris
Exposition Universelle (1867)part of 19C’s continuing
“romantic” dialogue w/ exotic culture
aim: to “designate a new field of study — artistic, historic, and
ethnogra
opens Japanese ports, after two centuries of
isolation_economics/tradeprints & decorative arts (e.g.,
porcelains, furniture) flood into Europe, creating a craze in
1860savidly collected by artists, critics, and
connoisseursJapanese goods obtainable in Parisian department
stores (grand magasins) by 1880
critics (“avant garde”): continually supported value of Japanese

artErnest Chesneau’s “Beaux-Arts, L’Art Japonais” (1868)“…
the authority of the principle of observation in Japanese art is
that it renders w/ a remarkable aesthetic power and an
inimitable perfection of design (re: asymmetry)”Zacharie
Astrucdefender and friend of Manetarticles for L’Etendard
(1867-68) spoke out on Japanese art at Exposition
Univers
Édouard Manet
(1832-83)
daughter of diplomat and goddaughter of the Swedish crown
-ranking Minister of Justice uncle (maternal)
encouraged him to pursue painting; often took
M to Louvretraining:1845: M enrolls in drawing course; meets
Proust (future Minister of Fine Arts and
subsequent life-long friend)1850: studio of Thomas
Couturecredo: “Painter of modern life” (Baudelaire)exhibition
history: believed success only obtained by
recognition @ Salonoften rejected; exhibited @ Salon des
Refusés (1863) never exhibited w/ Impressionistsfully supported
their aimsworked closely w/ Monetartistic sources:
“universalist”Renaissance (Florentine &
Venetian)BaroqueVelazquez (SP Baroque)Dutch still
lifesJapanisme
Manet’s The Luncheon on the Grass
(1863)

MANET’s Impressionist Luncheon on the Grass (1863)
vs.
GIORGIONE’s Venetian Renaissance Pastoral Symphony (c.
1510)
*
MANET’s Impressionist Luncheon on the Grass (1863)
vs.
detail from RAPHAEL’s High Italian Renaissance
The Judgment of Paris (c. 1520)
Manet’s Luncheon on the Grass
detail: still-lifebrushwork: painterlyforms est. by building up
paint, rather than through contourtextures:
varietyfruitleaveswickerblanketlight/shadow:consistent source
creates sense of volume
Manet’s Olympia

(1863)
(Left) Titian’s Venetian Ren. Venus of Urbino (c. 1535)
vs.
(right) Manet’s Impressionist Olympia (1863)
*
(Left) CABANEL’s The Birth of Venus (1863)
vs.
(right) MANET’s Olympia (1863)
MANET’s Impressionist The Railroad
(1872-73)
Details from Manet’s The Railway

Manet’s Bar at the Folies-Bergère
(1882)
Details from Manet’s Bar at the Folies-Bergere
*
James Abbot McNeill Whistler
(1834-1903)biography: American-born, British-based
artistattended West Point (for only two months)leaves for Paris,
never to return to USAtraining: Paris (c. 1855)rents studio in
Latin Quarter; adopts life of bohemian artisttraditional art
methods Ecole Impériale atelier of Charles Gabriel Gleyreself-
study (copying at Louvre)friendship w/ Henri Fantin-
Latourintroduced to circle of Courbetincluding Manet &
-60:
London1861-63: Paris1864-65: London1866: visits Chile for
political reasons1867-78: London1879: Venice
(Left) WHISTLER’s Caprice in Purple and Gold: The Golden
Screen (1864)
vs.
(right) WHISTLER’s Arrangement in Grey and Black: Portrait
of the Painter's Mother known as “Whistler's Mother” (1871)

Whistler
Nocturne in Blue and Gold: Old Battersea Bridge (1872-
75)process: utilized method of composing
from memorytransposing forms of a scene to canvas w/out
visually returning to actual motifbrushwork: work rapidly
thinned oil paintspecially prepared "sauce“able to bring the
entire canvas to a level of finish in a single sessionsimilar to
ymotif: debt to Japanese art
(Hiroshige)almost abstract span of the bridgebridge itself is
unpaintedannounces its form by leaving dark ground of canvas
exposed
(Left) WHISTLER’s Nocturne in Blue & Gold: Old Battersea
Bridge (1872-75)
vs.
(right) HIROSHIGE’s Japanese “Riverside bamboo market”
(1857)
from series One Hundred Famous Views of Edo
WhistlerNocturne in Black and Gold: The Falling Rocket
(1875)exhibition history: Grosvenor Galleryalternative to Royal
Academyshown alongside Pre-Raphaelites 1877: W sues critic

John Ruskin for libelR had been champion of Pre-Raphaelites
and J. M. W. Turnerpraised B-J, while attacked W“ill-educated
conceit of the artist so nearly approached the aspect of willful
imposture”“I have seen, and heard, much of Cockney impudence
before now; but never expected to hear a coxcomb ask two
hundred guineas for flinging a pot of paint in the public's face”
but only awarded mere farthingcourt costs splitsends W into
bankruptcy
Claude Monet
(1840-1926)significance: leader of the Impressionistsaesthetic
aim: fleeting effects of natureapplication of paint:
“impasto”color:dabs of pigment blend in viewer’s eyescreate
sparkle & vibration“complimentary” pairs:red & green; blue &
orange; yellow & purpleoeuvre: remarkable transformationearly
work: directly seen objects (e.g., streets and harbors, beaches,
roads, and resorts) usually filled w/ human beings or showing
traces of human play and activitymature/late work: excludes
human figure gives up still-life genreincreasingly silent &
solitary world
Monet’s Impression: Sunrise
(1872)
Monet
Boulevard of the Capucines (1874)setting: boulevard of Nadar’s
studiosubject: winterscapeperspective: linear &

aerialcomposition: dynamiccolor: muted; pastelslight/shadow:
even distributionfigures: abbreviated, implied formsbrushwork:
painterlyfluid & intuitiveforms built up by paint, rather than by
line/contour
Monet: mature style
(c. 1890s)late 1880s and the 1890s: gained critical and financial
success primarily due to efforts of Durand-Ruelsponsored one-
man exhibitions of Monet’s work organized first large-scale
Impressionist group show in United States
aesthetic: more expansive and expressive stylestrictly
illusionistic aspect began to disappearthree-dimensional space
evaporated purely optical surface atmosphere
“serial” paintings:“fixes” the subject matter paints subjects
from more or less same physical position treats subject like an
experimental constant changing effects of could be measured
and recorded allows only natural light and atmospheric
conditions of varying climatic and seasonal conditions to vary
from picture to picturecolor scheme: contrived and artificially
heightened
MONET’s (Left) Wheatstacks: End of Summer (1890-91)
and
(right) Grain Stacks: Snow Effect (1890-91)
Monet’s Impressionist Water Lilies

(c. 1900)
(Left) Monet’s Impressionist Water Lilies (c. 1900)
vs.
(right) Hollander’s Water Lilies: Snapper Creek (2015)
Monet’s Japanese Bridge
(1924)
Pierre-Auguste Renoir
(1841-1919)
biography:good friends w/ Monet when both poor &
strugglingoften painted w/ Monet in Paris & its suburbsjoyous
personalitysubjects: delightful, intimate outdoor scenes leisure
time & gaiety of middle-class Parisians at cafes and concerts
narrative: spontaneous effect of photography light & shadow:
fleeting effects of sunlightfalls in patches, dappling the
surfacehandling of paint:loose & rapidthick application
(“impasto”)
*

Renoir’s Le Moulin de la Galette
(1876)
RENOIR’s Impressionist Le Moulin de la Galette (c. 1875)
vs.
POUSSIN’s Dance to the Music of Time (c. 1625)
Renoir’s The Luncheon of the Boating Party
(1881)
*
Renoir
The Terrace (1881)subject: portraituretheme: bourgeois
economic freedombrushwork: painterlyperspective:
-off by

CVAdynamic: enlivening elementsdiverted gazesdiagonal
railingcolor: vibrant & complimentarylight/shadow: dappling
effects
(Left) RENOIR’s Impressionist The Terrace (c. 1875)
vs.
(right) LEONARDO’s High Renaissance Mona Lisa (c. 1500)
Details from Renoir’s The Terrace
(1881)
Renoir’s The Bathers
(1887)
Renoir’s Later Classicizing Tendency
(c. 1890)
205.psd
Berthe Morisot

(1841-1895)biography:daughter of a top civil servant
granddaughter of Rococo painter Fragonardmarried to Eugène
Manet, brother of painter Édouard Manet
training/association:taught by Corot (Barbizon)met Manet in
1868modelled for him & became his pupilbegan working in
“plein air”introduced to Impressionist circle in Parismature
style: impasto brushwork subjects: upper-middle class women,
children & domestic life restricted by social conventions
and constraints of her gender and class subjects chosen from her
family and domestic circles
MorisotHide-and-Seek (1873)subject: bourgeois mother &
childnarrative: calm and staticbrushwork: painterlyfluent, agile,
and spontaneousbold/vigorous streaks, dashes & dabs animated
and energetic rhythmsforms: blur & obliterate
drawingrudimentary characterization of features and
texturesrelatively scant indications of shape and modeling
perspective: linear (implicit)aerialcomposition: stablecolor:
vibrantwarm tonalities subtle use of
complimentarieslight/shadow: diffuse, flickering
Morisot’s Servant Hanging Laundry
(1881)
Edgar Degas
(1834-1917)biography:aristocrat from a banking family w/ ties
to cotton industry in New Orleanspolitically & socially

conservativedid not think art should be available to lower
classsubjects:ballet“down-and-outs”emotional indifference of
bourgeoisiestyle: more “linear”strict academic training aim to
appear unstudied, despite working methodically“sense” of
spontaneity in loose brushworkcompositions: influenced by
photographyvoid spacesseverely croppedsharp angles &
perspectives
DegasThe Absinthe Drinker (1876)theme: genre scenesubject:
addiction/isolationfigures: prostitute w/ rag picker
(proletariat)brushwork: sketch-like, yet forms
bordered by dark contourscomposition: dynamic arrangement of
sharp diagonals cropped figures & forms (relate to
photography)void spacescolor: mutedlight/shadow: high-keyed
(morning ?)
DegasWomen Ironing (1884)medium: oiltheme: genre
scenesubject: proletariatnarrative: moment of respite vs.
heroicfigures: massivebrushwork: sketch-likeforms: bordered by
dark contourscomposition: dynamic high anglearrangement of
sharp diagonals color: mutedlight/shadow: even distribution
Degas’ Place de la Concorde
(1875)
Degas’ The Rehearsal

(c. 1875)
Mary Cassatt
(1844-1926)biography: born in Pittsburgh, PAtraining: PA
Academy of Fine Arts (1860-62)Jean-Léon Gérôme
(1865)career:1868: Mandolin Player accepted @
Salon1874: resettles in Paris after fleeing Franco-
Prussian Warshows regularly in Salons1877: D invites her to
Impressionistsonly American associatedexhibits in four of eight
shows (1879, 1880, 1881, and 1886)subject matter: common
events in women's lives (see Utamaro) exhibition: ukiyo-e @
École des Beaux- Arts in Paris (Spring 1890)
*
(Left) CASSATT’s Girl Arranging Her Hair (1886)
vs.
(right) DEGAS’s Woman Combing Her Hair (1886)
(Left) UTAMARO’s ukiyo-e print Midnight (c. 1790)
vs.
(right) CASSAT’s drypoint etching Maternal Caress (1891)

*
Gustave Caillebotte
(1848-94)
biography: wealthy young man in midst of avant garde
strugglerole: Impressionist groupmanager/marketing agent de
facto negotiated to keep group together through periods of
fractious disagreementrented exhibition space, paid for
advertising, bought framespatron bought paintings from his
needy colleagues & close friendsuncannily astute judgment
bequest of his collection to Francecareer: largely
forgottensubjects: images of urban life compositions: innovative
(see Degas)
Caillebotte’s Paris: A Rainy Day
(1877)
Auguste Rodin
(1840-
admission to Ecole des Beaux-Arts 3x due to judges'
Neoclassical tastesearned living as craftsman and ornamentor
for next two decades 1862-63: stricken by death of sister;
w/drew to monastery1870: enlisted in Nat’l Guard during
Franco-Prussian War1875: traveled to Italy for 2 mos. to
study Michelangelo & Donatello1883: began ten-year affair w/

student, Camille Claudel, then 19 yrs oldsignificance: first
sculptor since Berniniaim: to create “new
classics”poses/themes: derived from Hellenistic
Greek art; also Michelangelo
surface texture: unfinished, rough areasrelate to Impressionist
adoption of “sketch-like” brushwork
*
RodinThe Thinker (c. 1880)first cast in 1902 and displayed at
St. Louis World's Fair in 1904approx. 20 other original castings
as well as various other versions, studies, and posthumous
castingsfigure: seated malepose: seatedderived from Greek
Hellenism melancholy (see Raphael’s portrait of
Michelangelo in School)musculature: well-definedfacial
expression: stoicspatial order: negativesurface texture:
“unfinished” roughness allows for dramatic interplay of
light/shadow
(Left) Detail of face from RODIN’s The Thinker
and
(right) detail of feet from RODIN’s The Thinker
(Left) RODIN’s The Thinker (c. 1875 CE)
vs.

(right) Greek Hellenistic Tiber Muse (c. 200 BCE)
vs.
(right) detail from RAPHAEL’s High Ren The School of Athens
(c. 1500)
vs.
(right) Greek Hellenistic Seated Boxer (c. 50 BCE)
Rodin
The Old Courtesan (1885)figure: seated femalemusculature:
naturalistic aging processpose: derived from Hellenistic interest
in everyday lifespatial order: negativefacial
expression: stoicsurface texture: “unfinished”roughness allows
for dramatic interplay of light/shadow
(Left) RODIN’s Impressionist The Old Courtesan (c. 1875 CE)
vs.
(right) Greek Hellenistic Old Market Woman (c. 2nd century

BCE)
Rodin
The Kiss (1888)patron: French state for Universal
Exhibition in 1889subject: from Dante’s Infernosecond circle in
Hell (infidelity)Paolo & Francescafigures: seated musculature:
naturalisticpose: derived from Hellenistic interest in
everyday lifespatial order: negativefacial expression: hidden by
embracesurface texture:smooth human qualitiesrough,
“unfinished” natural forms
(Left) RODIN’s Impressionist The Kiss (c. 1885 CE)
vs.
(right) Greek Hellenistic Eros and Psyche (c. 150 BCE)
(Left) RODIN’s Impressionist The Kiss (1885)
vs.
(right) CANOVA’s Neoclassical Eros and Psyche (1793)
IMAGE INDEXSlide 2: WINTERHALTER, Franz Xaver.
Portrait of Napoleon III (1852), oil on canvas, 240 x
155 cm., Museo Napoleonico, Rome. Slide
3: Aerial photograph of Parisian boulevard.Slide 4: Map of
Prussia.Slide 5: Pierre Duchene, La Dictateur Thiers

(1871).Slide 7: NADAR. Photograph of Charles
Baudelaire.Slide 8: Henri FANTIN-LATOUR. Edouard Manet
(1867), Oil on canvas, 117.5 x 90 cm., Art Institute
of Chicago.Slide 9: MANET. Luncheon on the Grass
(1863), Oil on canvas, 7’ x 8’10”, Musée d’Orsay,
Paris.Slide 10: (Left) MANET’s Luncheon on the Grass (1863);
and (right) GIORGIONE’s Venetian Renaissance
Passtoral Symphony (1510).Slide 11: (Left)
MANET’s Impressionist Luncheon on the Grass (1863);
and (right) detail from RAPHAEL’s High Italian Renaissance
The Judgment of Paris (c. 1520).
*
IMAGE INDEXSlide 12: Detail of picnic basket from
MANET’s Luncheon on the Grass
(1863)Slide 13: MANET. Olympia (1863), Oil on canvas,
51 3/8 x 74 3/4 in., Musee d'Orsay, Paris.Slide 14:
(Top) MANET’s Impressionist Olympia (1863); and
(bottom) TITIAN’s Venetian Renaissance Venus of
Urbino (c. 1525).Slide 15: (Left) CABANEL’s The Birth of
Venus (1863); and (right) MANET’s
Olympia (1863)Slide 16: MANET. Portrait of Zola (c. 1868),
Oil on canvas, 57 1/8 x 44 7/8 in., Musee
d’Orsay.Slide 17: MANET. The Railway (1872-73), Oil on
canvas, The National Gallery of Art,
Washington, DC.Slide 18: Details from MANET’s The
Railway Slide 19: MANET. Bar at the Folies-Bergeres (1881-
82), Oil on canvas, 37 3/4 x 51 1/4 in.,
Courtauld Institute Galleries, London.

*
IMAGE INDEXSlide 20: Details of MANET’s Bar at the Folies-
Bergeres. Slide 21: WHISTLER. Self Portrait (1872), Oil on
canvas, 29 ½ x 21 in., Detroit Institute of Art.Slide 22:
(Left) WHISTLER’s Arrangement in Grey and Black:
Portrait of the Painter's Mother known as "Whistler's
Mother“ (1871), Oil on canvas, 56 3/4 x 64 in., Musee
d'Orsay, Paris; and (right) WHISTLER. Caprice in
Purple and Gold No 2 – The Golden Screen (1864).
Slide 23: WHISTLER. Nocturne: Blue and Gold – Old
Battersea Bridge (1872-77), Oil on canvas, 26 7/8 x 20
1/8 in., Tate Gallery, London.Slide 25: (Left)
HIROSHIGE’s “Riverside bamboo market at
Kyobashi” (1857), from series One Hundred Famous Views
of Edo; and (right) WHISTLER’s Nocturne: Blue and
Gold – Old Battersea Bridge (1872-77).
IMAGE INDEXSlide 26: WHISTLER. Nocturne in Black and
Gold: The Falling Rocket (1875), Oil on wood, 23 ¾ x
18 3/8 in., Detroit Institute of Art.Slide 27:
Photograph of MONET.Slide 28: MONET. Impression,
Sunrise (1872), Oil on canvas, 19 x 24 3/8", Musee
Marmottan, Paris.Slide 29: MONET. Boulevard des
Capucines (1873), Oil on canvas, 31 1/4 x 23 ¼
in., Nelson-Atkins Museum of Art, Kansas City,
Missouri.Slide 33: MONET. (Left) Wheatstacks: End of
Summer (1890-91); and (right) Grain Stacks: Snow
Effect (1890-91), Oil on canvas, 60 x 100 cm .,
Hill-Stead Museum, Farmington, CT.

IMAGE INDEXSlide 34: Slide 10: (Left) MONET’s Poplars on
the Epte, Autumn (1891), Philadelphia
Museum of Art; (right) Poplars along the River
Epte, Winter (1891), Oil on canvas, 39 3/8 x 25 5/8 in.,
Private collection.Slide 35: MONET. Water Lilies (1903),
Oil on canvas, 29 3/8 x 41 7/16 in., Private
Collection.Slide 36: MONET. The Japanese Bridge (c. 1918-
24), Oil on canvas, 35 x 45 3/4 in., Minneapolis
Institute of Arts.Slide 37:BAZILLE. Portrait of Renoir (1867),
Oil on canvas, 37 x 32 1/3 in., Musee d'Orsay,
Paris. Slide 38:RENOIR. Le Moulin de la Galette (1876), Oil
on canvas, Musee d'Orsay, Paris.Slide 39:
Comparison between (left) RENOIR’s Impressionist Le
Moulin de la Galette (c. 1875); and (right)
POUSSIN’s French Baroque Dance to the
Music of Time (c. 1625).
IMAGE INDEXSlide 40: RENOIR. The Luncheon of the
Boating Party (1881), Oil on canvas, 51 x 68 in.,
Phillips Collection, Washington, DC.Slide 41: Detail of glass in
RENOIR’s The Luncheon of the Boating Party
(1881).Slide 42: RENOIR. On the Terrace (1881), Oil on
canvas, 39 ½ x 31 7/8 in., The Art Institute of
Chicago.Slide 43: (Left) RENOIR’s Impressionist The
Terrace (c. 1875); and (right)
LEONARDO’s High Renaissance Mona Lisa (c. 1500).Slide 44:
RENOIR. Bathers (1887), Oil on canvas, 3’ 10 3/8 x 5’7 ¼
in., Philadelphia Museum of Art.Slide 45: (Left)
RENOIR’s Impressionist Bathers (1887); and (right)
CARRACCI’s Italian Baroque Venus and Anchises (c.
1600) from the Farnese Gallery, Rome.Slide 46:

Details from Renoir’s The Terrace (1881).Slide 47:
MORISOT. In the Garden at Maurecourt (1884), Oil on
canvas, 21 ¼ x 25 5/8 in., The Toledo Museum
of Art.
*
IMAGE INDEXSlide 48: MORISOT. Peasant Hanging out the
Washing (1881), Oil on canvas, 18 x 26 ¼ in.,
Carlsberg Glyptotek, Copenhagen,
Denmark.Slide 49: MORISOT. Hide-and-Seek (1873),
Oil on canvas, 17 3/4 x 21 5/8 in., Bellagio
Gallery of Fine Art, Las Vegas, NV. Slide 50: DEGAS. Portrait
of Degas Reading (1895), Gelatin silver
print, 11 5/16 x 15 5/8 in., J. Paul Getty Museum.Slide 51:
DEGAS. The Absinthe Drinker (1876), Oil on canvas, 36
1/4 x 26 3/4 in., Musee d'Orsay, Paris.Slide 52:
DEGAS. Women Ironing (1884), Oil on canvas, 29 7/8 x
31 7/8 in., Musee d'Orsay, Paris.Slide 53:
DEGAS. Place de la Concorde (1875), Oil on canvas, 30
7/8 x 46 1/4 in., Hermitage, St. Petersburg,
Russia.Slide 54: DEGAS. The Rehearsal (c. 1873-78), Oil
on canvas, 18 1/2 x 24 3/8 in., Fogg Art Museum,
Harvard University, Cambridge, MA.
*
IMAGE INDEXSlide 55: CASSATT, Mary. Self-portrait (c.

1880), Watercolor on ivory wove paper, 33 x 24
cm, National Portrait Gallery, Washington, DC.Slide
56: (Left) CASSAT’s Girl Arranging Her Hair (1886); and
(right) DEGAS’ Woman Combing Her Hair (1886)Slide
57: (Left) UTAMARO’s ukiyo-e print Midnight (c. 1790); and
(right) CASSAT’s Maternal Caress (1891),
Drypoint and soft -ground etching, third state,
printed in color, 14 3/8 x 10 9/16 in., The
Metropolitan Museum of Art, New York.Slide 58:
CAILLEBOTTE. Man on a Balcony (1880), Oil on canvas,
117 x 90 cm., Private collection. Slide 59:
CAILLEBOTTE. Paris: A Rainy Day (1877), Oil on
canvas, 83 1/2 x 108 ¾ in., The Art Institute of Chicago.
Slide 60: CAILLEBOTTE. The Floor-Scrapers (1875), Oil on
canvas, 40 x 57 ¾ in., Musee d'Orsay, Paris.Slide
61: Photograph of Auguste RODIN.Slide 62: RODIN, Auguste.
The Thinker (1879-89), bronze, height 27 1/2”,
Metropolitan Museum of Art, NY.
*
IMAGE INDEXSlide 63: Detail of face and feet from RODIN’s
The ThinkerSlide 64: Comparison between RODIN’s The
Thinker and (Greek) Hellenistic style Tiber
Muse (c. 200 BC).Slide 65: (Left) RODIN’s The Thinker (c.
1875 CE); and (right) detail of Michelangelo from
Raphael’s School of Athens (c. 1500)Slide 66: Comparison
between RODIN’s The Thinker and (Greek)
Hellenistic style Seated Boxer (c. 50 BC), Bronze, approx.
50” high, Museo Nazionale Romano, Rome. Slide 67:
RODIN, Auguste. The Old Courtesan (1885), Bronze, 20

1/8 x 9 7/8 x 11 3/4 in., Musee Rodin, Paris. Slide 68:
Comparison between RODIN’s The Old Courtesan and
Hellenistic Old Market Woman (c. 2nd century BC),
marble, 49 1/2”, Metropolitan Museum of Art, New
York. Slide 69:RODIN, Auguste. The Kiss (1885), Bronze, 87
x 51 x 55 cm., Musee Rodin, Paris.
*
IMAGE INDEXSlide 70: (Left) RODIN’s Impressionist The
Kiss (1885); and (right) Hellenistic Eros and Psyche
(c. 150 BC), marble, 49” high, Museo
Capitolino, Rome.Slide 71: (Left) RODIN’s Impressionist
The Kiss (1885); (right) CANOVA’s Neoclassical
Eros and Psyche (1793), Musee Louvre, Paris.
ART HISTORY 132
German Expressionism
German Expressionism:
Der Blaue Reiter (“The Blue Rider”)aim: unrestricted freedom
of expression
name: derived from K’s drawing on cover of Almanac featuring
blue horseman blue also Marc's favorite colormotif of horse
favorite subject for K & M
exhibition history: December 1911: launched in Munich

featured 43 artists (including Rousseau and Delaunay)1912:
second exhibition (Munich)grander scale315 works by 31 artists
(including Picasso, Braque, Klee and Goncharova)1913:
Kandinsky, Marc, and Klee exhibited together at influential
“First German Salon d’Automne” in Berlin
Wassily Kandinsky
(1866-1944)
biography: influence of musicK learned piano & cello at early
agefascinated by music’s emotional powerallows freedom of
interpretationnot based on literal qualities; instead, abstract saw
color, as he heard musicused color in highly theoretical way
Schönberg’s First String Quartet (1905)abandons tonal &
harmonic conventionsradically opens musical compositional
structureschromatic structure defined as a “developing
variation”career:studied law & economics at Univ. of Moscow
(1886)lectured at Moscow Faculty of Lawattended Impressionist
exhibition (1895) left Moscow for Munich to study life-
drawing, sketching & anatomy (1897)
German Expressionism:
Der Blaue ReiterKandinsky’s On the Spiritual in Art (December
1911)treatise about non-objectivity; saw it as future for
innovative visual artbased on artist’s emotions, rather than
objective reality or materialism“interior necessity” intuition vs.
rationalityform: outward visual expression of artist’s inward
needs color: liberated from form (see Fauvism)composition:
described in overtly musical terms
“melodic”subordinated to a clearly apparent form (e.g.,

geometrical forms or simple lines that create general movement
2) “symphonic” complex; consisting of several formsprincipal
form may externally be very hard to findconclusion: musical
metaphor to describe deliberately cloaked pictorial construction
of form and color
Kandinsky’s Composition IV
(1911)
Kandinsky’s Composition VII
(1913)
KandinskyComposition VIII (1923) theme: moves from
apocalyptic emotion to geometrical rhythm
aesthetic: see influence of Russian Constructivism
absorbed by K while in Russia prior to return to Germany to
teach at Bauhausform: greater compositional role than
colorcomposition. dynamic (symphonic)color: colors w/in forms
energize their geometryspatial order: undefined
spacebackground enhances dynamism layered colors define
depthforms recede & advance creating quasi- “push-pull” effect
Franz Marc

(1880-
painteroriginally a theology studenttrained at Munich Academy
of Arttravels to Paris (1903) where he spends several months,
also visiting Brittanyexcited by Impressionists runs away to
Paris, abandoning fiancé day before marriage ceremony
(1907)return to Paris:again entranced by
Impressionistsdiscovers work of Gauguin and Van Goghbegan
intensive study of animals which lead to his mature stylemeets
August MackeIntroduces him to Fauves views Matisse
exhibitintroduces M to future patronWWI: volunteers; dies near
Verdun
MarcBlue Horse (1911)aesthetic::mature stylemixture of
Romanticism, Expressionism and Symbolismmotif: animalpurity
and communion w/ nature that humans had lost“the irreligious
humanity which lived all around me did not excite my true
feelings, whereas the virgin feeling for life of the animal world
set alight everything good in me” spatial order: 3-d perspective:
linear & aeriallight/shadow: establishes volume vs.
opposed/overcome
Marc’s Fate of the Animals
(1913)
Marc’s Fighting Forms

(1914)
Käthe Kollwitz
(1867–
expelled from
official state church in PrussiaOct 1914: lost youngest
son on battlefield during World War Itraining:
influenced by grandfather's lessons in religion and
socialism1888: Women's Art School (Munich)twice visited
Paris; enrolled at Académie Julian to learn sculpturethemes:
tragedy of war during first half of 20C subject matter: human
condition for less fortunate that embraced victims of
poverty, hunger, and warnarrative tone: empathetic
political ideology: committed socialist & pacifistmedium:
graphic arts
KollwitzWoman with Dead Child (1903)motif: pietabiography:
subsequently lost youngest son on battlefield during World
War I (Oct 1914)color scheme: prints on themes of social
comment were carried out predominantly in black and
whitehuman form: sculptural massiveness 1904: K attends
Académie Julian where she learnt the basic principles of
sculpturecomposition: crouching, naked female figure w/ child
on her lapspatial order: ambiguouslight/shadow: chiaroscuro
effects
KollwitzHelp Russia(1921)“People from bourgeois sphere were
altogether w/out appeal or interest. All middle-class life seemed
pedantic to me. On the other hand, I felt proletariat had guts. It

was not until much later... that I was powerfully moved by the
fate of the proletariat and everything connected w/ its way of
life.... “… compassion and commiseration were at first of very
little importance in attracting me to the representation of
proletarian life; what mattered was simply that I found it
beautiful."
Die Brücke
(1905-13)art movement: “The Bridge”association of artists
linking past to futureworked together in rented storefront
studiosprogram: “protest” artdrawn together by what they were
against, rather than in favor of call on all youth to fight for
greater artistic freedom against older, well-established
powersstyle: expressive possibilities of color, form &
compositional distortionsinspired by van Gogh’s clear
expression of “inner-necessity” vs. Impressionism interest in
material world & finesserapid development of personal styles
Fauvist strong colors (influenced by Matisse exhibit in Berlin in
1908)media/techniques: life drawing in studios“plein air” (e.g.,
Moritzburg lakes near Dresden, at the island of
Fehmarn)woodcuts, lithographs, and drawings
Ludwig Kirchner
(1880-1938)
Self-Portrait (1905)founder of Die Brücketraining:studies
architecture in Dresden (1901)studies painting in Munich (1903-
04)short stay in Nuremberg, views Dürer’s original woodblocks
(c. 1500) figures: non-academic“fifteen-minute nudes”attempt
to directly access motifnatural posesangular physical featuresno
regard for anatomical correctness or spatial relations

Kirchner
Two Women in the Street (1913)aesthetic: permutation of
Fauvism subject: mocks bourgeoisiespatial order:
compressedperspective: tiltedfigures: grotesque; distortedbrutal
simplificationsjagged & geometricangular & elongated
featurescomposition: dynamiccolor: vibrant/complimentary, yet
garish
Kirchner
Self-Portrait as Soldier (1915)biography: WWI mobilized to
field artillerysuffers nervous breakdown brushwork:
painterlyperspective: shallow; compressedfigures:
angularsetting: artist’s studionude model paintings placed
against wallssymbolic mutilation bloody stump cut off at wrist,
instead of paintbrush
Emile Nolde
(1867-1956)biography:1884 and 1888: trained as craftsman in
furniture 1889: School of Applied Arts in Karlsruhe 1892-1898:
drawing instructor in SW 1898: rejected by Munich
Academy1899-1902: spent next three years taking
private painting classes, visiting Paris, and becoming
familiar w/ Impressionismcareer:already 31 by
time he pursued career as an artistnot original member of Die
Brücke; joins in 1906resigns from group in 1907group pressure
to develop style more closely aligned to other membersas a

result, works in isolationthemes:religiousnudeslandscapes
Nolde
Crucifixion (c. 1915)aesthetic: abstractsubject: religious (see
Gauguin)tone: visceral & forcefulspatial order: ambiguous
settingfigures: grotesquebloody woundsrugged facial
featuresflattened volumescolor: vibrant; large &
unmodulatedbrushwork: crude “impasto”
Neue Sachlichkeit (“New Objectivity”)1923: Gustav Friedrich
Hartlaub, director of Kunsthalle in Mannheim, coined the
term“What we are displaying here is distinguished by — in
itself purely external — characteristics of objectivity w/ which
artists express themselves”aim to "tear the objective form of the
world of contemporary facts and represent current experience in
its tempo and fevered temperature”themes: to present a
direct/honest image of society & warsubject matter:
Romanticattacked society they felt perpetuated inequalities
reaction to firsthand WWI experience urban activity collective
beliefs, rather than personal tone: harsh, bitterprincipal
artists:Grosz (1893-1958)Beckman (1884-1950)Dix (1891-1959)
George Grosz
(1893-1959)
Hunger (c. 1915)aesthetic: Expressionisticlinear
“angst”compressed spatial ordertheme: indictment of economic
effect on proletariat figures: realistic facial
featuresclothingperspective: linear

Grosz
Eclipse of the Sun (1925)aesthetic: Romantictheme: post-WWI
societyfigures: caricaturedtone: satirical composition:
dynamiccolor: vibrant & complimentaryperspective:
tiltediconography: militaristicreligiouseconomic
Otto Dix
(1891-1969)
training: entered Academy of Applied Arts (1910)
biography: WWI commander of machine gun unitlater
describe recurring nightmare in which he crawled through
destroyed housescareer: founder of Dresden Secession group
(1919)joins Berlin Secession (1924)themes: Romanticmodern
war’s violence verging on savageryaftermath of warscornful
portrayal Germany's Weimar Republic
Dix
DixSkull (1924)theme: horror of warmedium: graphic
artsaesthetic: grotesquecomposition: dynamiccolor:
monochromaticshadow: chiaroscuro
Dix’s The War
(1929-32)

Max Beckmann
(1884-1950)biography: traumatic experiences of WWI career:
dramatic transformation from academic style to distortions of
figure and spacefortunes changed w/ rise of Hitler 1933:
dismissed from teaching1937: > 500 of B’s works confiscated
from German museums; several put on display in “Degenerate
Art” exhibition in Munichessay: “The Artist in the State”
(1927)artist as conscious shaper of transcendent idea “Art is the
mirror of the God that humanity is”“Art becomes a symbol and
source of power for the partly still dormant power in
responsible human beings”
Beckmann
Deposition (1917)aesthetic: expressionisticinfluence: German
Gothicperspective: tiltedfigures: angular &
elongatedcomposition: dynamiccolor: muted flesh
tonesiconography: accurateperspective: deliberately
mishandled
Beckmann’s Night
(1918-19)
Beckmann’s Departure
(1933)

IMAGE INDEXSlide 2: Photograph of Wassily
KANDINSKY.Slide 4: KANDINSKY. Sketch for the Blaue
Reiter Almanac (1911), Watercolor, 11 3/8 x 8 ¼
in. Slide 5: KANDINSKY. Murnau with Church (1910), Oil
on cardboard, 25 1/2” x 19 3/4”,
Lenbachhaus, Munich. Slide 6: KANDINSKY.
Composition IV (1911), Oil on canvas, 62 7/8 x 98 5/8
in., Kunstsammlung Nordrhein-Westfallen, Dusseldorf,
Germany. Slide 7: KANDINSKY. Composition VII (1913),
Oil on canvas, 6’ 6 ¾ in. x 9’ 11 1/8 in., Tretyakov
Gallery, Moscow. Slide 8: KANDINSKY. Composition
VIII (1923), Oil on canvas, 55 1/8 x 79 1/8 in.,
Solomon R. Guggenheim Museum, New York.Slide 9:
MACKE, August. Portrait of Franz Marc (1910), Oil on
canvas, Nationalgalarie, Berlin.Slide 10: MARC,
Franz. Blue Horse (1911), Oil on canvas, Oil on canvas,
112.5 x 84.5 cm., Stadtische Galerie im
Lenbachhaus, Munich.
IMAGE INDEXSlide 11: MARC, Franz. The Fate of the
Animals (1913), Oil on canvas, 196 x 266 cm.,
Kunstmuseum, Basel, Switzerland.Slide 12:
MARC, Franz. Fighting Forms (1914), Oil on canvas, 91
x 131 cm., Staatsgalerie moderner Kunst, Munich.
Slide 13: Photograph of Käthe KOLLWITZ.Slide 14:
KOLLWITZ, Käthe. Woman with Dead Child (1903),
etching, National Gallery of Art, Washington,
DC.Slide 15: KOLLWITZ, Käthe. Help Russia (1921),
Lithograph, 15 ¾ x 18 ¾ in., Museum of Modern Art
(MoMA), New York. Slide 16:PECHSTEIN, Max.
Poster for Die Brücke Exhibition (c. 1910).Slide 17:

KIRCHNER, Ludwig. Self-Portrait (c. 1910), woodcut.
IMAGE INDEXSlide 18: KIRCHNER. Two Women in the
Street (c. 1915), Oil on canvas, 120.5 x 91 cm.,
Dusseldorf, Germany.Slide 19:KIRCHNER. Self-portrait as
Soldier (1915), Oil on canvas, 27 1/4 x 24 in.,
Allen Memorial Art Museum, Oberlin College,
Ohio.Slide 20: NOLDE. The Prophet (1912), Private
Collection.Slide 21: NOLDE, Emil. Dance Around the Golden
Calf (1910), Oil on canvas, 88 x 105.5 cm.,
Staatsgalerie moderner Kunst, Munich.Slide 22:
NOLDE. Crucifixion (1912), Oil on canvas, 200.5 x
193.5 cm, Nolde-Stiftung Seebull.Slide 23:
GROSZ. Hunger (1915), Pen and ink.Slide 24:
GROSZ. Eclipse of Sun (1926), Oil on canvas, 210 x
184 cm., Heckscher Museum, Huntington, NY.
IMAGE INDEXSlide 26: DIX. Self-Portrait as a Soldier (1914),
ink and watercolor on paper, 68 x 53.5 cm,
Municipal Gallery, Stuttgart.Slide 27: DIX. Skull
(1924), Historial de la Grande Guerre,
Péronne.Slide 28: DIX. The War (1929-323), Oil on
canvas, Gemäldegalerie Neue Meister,
DresdenSlide 29: BECKMANN. Self-Portrait (c. 1925).Slide
30: BECKMANN. Deposition (1917), Oil on canvas, 59 1/2
x 50 3/4 in., The Museum of Modern Art (MoMA), New
York.Slide 31: BECKMANN. Night (1918-19), Oil on
canvas, 4’4 3/8” x 5’ ¼”, Kunstsammlung
Nordrhein-Westfalen, Düseldorf.

ART HISTORY 132
Fauvism
(French Expressionism)
Fauvism
(c. 1904-07)principal artists: Matisse, Derain, Vlaminck,
Dufydefinition: “the wild beasts” pejorative label coined by
critic Louis Vauxcelles anything but an opponent general tone
far from unfavorable; emphasized his close association w/
artistsdemise: Cezanne retrospective 1907 presented at Salon
d’Automne changed emphasis to concern w/ form over
colorcontext: Anarchismdefinition: political theory that aims to
create a society w/out political, economic or social
hierarchiesaim: to oppose government &
capitalismmethodology: critiques current society, while at same
time offers vision of potential new
societyFauves:purely artistic radicalismsubject matter does not
approach urban & labor issues color as “sticks of dynamite”
(Derain)
Henri Matisse
(1869-1954)training: student of Redonclosely studied work of
Manet and Cezannebought a small Cézanne Bathers in
1899became interested in Divisionism (c. 1904) became friends
w/ Signac & painted w/ him @ St. Tropez role: leader of
Fauves (“The Wild Beasts”)tendency: Romantic tradition aim:
expressiveness of colormotto: art as being like “a good

armchair”“Instinct … thwarted just as one prunes the branches
of a tree so that it will grow better”
Matisseinfluence of Signac:subject: pastoral & classical
landscapes (c. 1890s)in decades before 1880, avant-garde
painters rarely depicted France’s southern shore due, in part, to
cultural affiliation between southern France and academic
classicismlinked w/ cultural and political conservatism
represent anarchist ideal of natural order and harmony that
would be found in golden age to comeradicalizes seemingly
innocuous depictionsMatisse’s Luxe, calm et volupte (1904-
05)title inspired by Baudelaire’s “L’invitation al
Voyage”dreamy idyll of languorous nudes far less specified by
time, place or politics“mixed” brushwork & completely
arbitrary use of color condemned as a lifeless theory of
paintingmore belligerent critics recommended Matisse exile
himself to “land of the Bushmen,” where he’d surely be “taken
for a master”
MatisseGreen Stripe (Madame Matisse)c. 1905brushwork:
painterlyrejects finesse of Impressionismrejects Post-
Impressionist dots & dashesvariation of Post-Impressionist
patchy, impasto application (e.g., Cezanne)forms: outlined w/
thick, dark contours introduced by Post-Impressionism (e.g.,
Gauguin, van Gogh)retains naturalistic proportionscomposition:
stablecolor: combination of arbitrary & naturalistic
flesh toneslight/shadow: nearly absent
(Left) Matisse’s Fauvist Green Stripe (1905)

vs.
(right) Bank of America advertisement “See How You’ll Look
When You Retire” (2014)
MatisseWoman in a Hat (1905)brushwork: painterlyrejects Post-
Impressionist dots & dashescloser to patchiness of
Cezanneform:outlined w/ thick, dark contours introduced by
Post-Impressionism (e.g., Gauguin, van Gogh)retains
naturalistic proportions color: vibrantexpressive & arbitrarydoes
not correspond to realityintends to shock viewer
psychologicallyobviates need for light/shadow
(Left) Matisse’s Woman in a Hat (1905)
vs.
(right) Matisse’s Red Madras Headdress (1907)
Matisses’s The Joy of Life
(1905-06)
MATISSE’s Fauvist The Joy of Life (1905-06)
vs.

TITIAN’s Venetian Renaissance Bacchannal (c. 1525)
Matisse’s Harmony in Red
(1908)
Matisse’s The Dance
(1909)
Matisse’s The Red Studio
(1911)
Andre Derain
(1880-1954)born at Chatou artists’ colony at the gates of
Parisquiet, picturesque spot spared from industrial activity
father was a successful patissier (pastry chef) and town
councillor middle-class educationtraining:first lessons in
painting in 1895 from old friend of his father’s and of
Cézanne’s Académie Carriere (1898) in Paris, where he met
MatisseJune 1900 he met Maurice de Vlaminck, and formed a
close friendship with himrented a disused restaurant in Chatou
which they used as a studiooften shocked their neighbors w/
their anticsmeanwhile, copying in the Louvre and visiting
exhibitions of contemporary artextremely impressed by Van
Gogh retrospective at Bernheim-Jeune Gallery

Derain1905:dealer Ambroise Vollard, to whom he had been
introduced by Matisse, bought the entire contents of his studio
(he did the same with Vlaminck)exhibited at the Salon des
Indépendants (sold four paintings)then exhibited at the Salon
d'Automne w/ Matisse, Vlaminck and othersfollowing success at
the Salon d'Automne, Vollard commissioned views of London;
returned in 1906
1906: spent summer painting at L'Estaque (S. FR)met Picasso;
and next year signed a contract w/ Daniel-Henri Kahnweiler,
Picasso's dealer married on strength of his new financial
securitywent to live in Montmartre, with his wife, Alice
Derain’s Charing Cross Bridge
(1906)
(Left) Derain’s Fauvist Charing Cross Bridge, London (1905-
06)
vs.
(right) photographic postcard of River Thames
(Left) Derain’s Charing Cross Bridge, London (1906)
vs.

(right) Monet’s Parliament, Effect of Fog (1904)
IMAGE INDEXSlide 3: DERAIN, Andre. Portrait of Matisse
(1906), Oil on canvas, 21 5/8 x 18 1/8 in.Slide 5:
MATISSE. Green Stripe (Madame Matisse), 1905, Oil and
tempera on canvas, 15 7/8 x 12 7/8 in., Royal Museum of
Fine Arts, Copenhagen.Slide 6: (Left) Matisse’s
Fauvist Green Stripe (1905); vs. (right) Bank of
America advertisement “See How You’ll Look When You
Retire” (2014)Slide 7: MATISSE. Woman with a Hat
(1905), Oil on canvas, 32 1/4 x 23 3/4 in., Collection of
Mrs. Walter A. Haas, San Francisco. Slide 8: (Left)
MATISSE’s Woman with a Hat (1905); and (right)
MATISSE’s The Red Madras Headress (Summer 1907), Oil
on canvas, 39 1/8 x 31 3/4 in., Barnes Foundation,
Merion, PA.Slide 9: MATISSE, Henri. The Joy of Life (1905),
Oil on canvas, 69 1/8 x 94 7/8 in., Barnes Foundation,
Merion, PA.Slide 10: (Left) MATISSE’s Fauvist The Joy of
Life (1905); and (right) TITIAN’s Venetian Renaissance
Bacchannal of the Andrians (c. 1520).Slide 11:
MATISSE. Harmony in Red (Spring 1908), Oil on canvas,
70 7/8 x 86 5/8 in., Hermitage Museum, St Petersburg,
Russia.
IMAGE INDEXSlide 12: MATISSE, Henri. The Dance (early
1909), Oil on canvas, 8‘ 6 1/2" x 12'9 1/2“ in.,
Museum of Modern Art (MoMA), New York.Slide 13:
MATISSE. The Red Studio (1911), Oil on canvas, 71 1/4
x 86 ¼ in., The Museum of Modern Art (MoMA), New
York.Slide 15: VLAMINCK, Maurice de. Portrait of Andre
Derain at Collioure, (1905), Metropolitan Museum of

Art, New York.Slide 16: DERAIN, Andre. Charing Cross
Bridge (1906), oil on canvas, 31 5/8 x 39 1/2 in., John
Hay Whitney Collection, National Gallery of Art,
Washington, D.C.Slide 17: (Left) Derain’s Fauvist Charing
Cross Bridge, London (1905-06) vs. (right)
photographic postcard of River Thames.Slide 18: Comparison
between (left) DERAIN’s Fauvist Charing Cross Bridge,
London (1906); and MONET’S Impressionist Parliament,
Effect of Fog (1904), Oil on canvas, 32 1/2 x 36 1/2 in.,
Museum of Fine Arts, St. Petersburg, FL.
IMAGE INDEXSlide 21: DERAIN, Andre. The Turning Road,
L'Estaque (1906), Oil on canvas, 4’2 1/2 x 6’ 4 1/2 in.,
Museum of Fine Arts, Houston.Slide 22: Comparison between
(left) DERAIN’s Fauvist The Turning Road, L'Estaque
(1906); and (right) MONET’s Impressionist The Red
Road near Menton (1884), Oil on canvas, 25 5/8 x 32 in.,
Private collection.
ART HISTORY 132
Dadaism
&
Pittura Metafisica
Dadacontext: environmentalZurich (Switzerland)neutral
territory during WWIrefuge for avant-garde artistsaim: to
shock Swiss bourgeoisie w/ non- sensical performancesterm:

child’s wooden [hobby]horsefirst syllables spoken by children
learning to talkscope: international movement originated in
Zurich and New York at the height of WWIquickly spread to
Germany (Berlin, Cologne, Hanover) and Paris
Dadaaim: destruction of bourgeois values in art and society
credo: “Everything the artist spits is art”
significance: first art movement to turn avant-garde weapons of
confrontation & contradiction
against itself
aesthetic: nihilistic & iconoclasticno formal aesthetic no use for
the person of “sensibility” to take refuge in beauty to attack the
icons of the old culture
methods: a kind of “anti-art”iconoclastic attitude toward
traditionexalts commonplace objects, by taking them out of
contextincorporates effects of randomness & chance playful &
experimental (e.g., doodling, automatic writing)historically
unacceptable techniques & materials
Marcel Duchamp
(1887-1968)biography:born to successful notaryfamily interests
included music, art, literature & chessjoined brothers in Paris,
after graduating high schooltraining:1904-05: Academie Julian;
but did not attend classes very oftenabsorbed variety
of influences outside Academy (e.g., Cezanne, Symbolism,
Fauvism, Cubism, et al)career: mastered all avant-garde styles,
before rejecting its formulas; abruptly ends creating
works, in order to play chesssignificance: impact upon
subsequent generations after WWII supersedes Picasso and
Matisse

Duchamp
Bicycle Wheel (1913)aim: to provoke & expose hypocrisy
of avant-gardeargument: avant-garde relying on
formulaemethod: “Conceptual”manipulator of context rather
than forms or objectseffect: subversive definition of originality
Duchamp
Fountain (1917)significance: iconoclastic rendering of
traditional formeven rejected by Salon d’Independantsaesthetic:
conceptual vs. retinalmedium: ‘Ready-Made’ (a.k.a. “found
object”)mass-produced objecttaken out of contextdeprived of
original functioninvertedsignature: ironic & random
Duchamp
L.H.O.O.Q. (1919)aesthetic: iconoclasticno use for person of
“sensibility” to take refuge in beauty attacks icon of old
culturemedium: “assisted ready-made”retouched poster of Mona
Lisaadds moustache & goatee (graffiti)issue: gender
She’s got a
hot ass”
DuchampLarge Glass (1915-23) aesthetic: non-objective
(?)subtitle: Bride Stripped Bare by her Bachelors,
Even?officially declared unfinishedmeaning: machine of
sufferingnarrative: intricate mechanical diagrammaterials:

unconventionalcolor: monochromaticmethod: incorporates
effects of chance & randomnesscomposition: two large
panels glass planes placed above other spatial order: top panel
-
Jean Arp
(1887-1966)career: founding member of Dada movement
in Zürich (1916)1920: along w/ Max Ernst, set up
Cologne Dada group1925: appeared in first exhibition of
Surrealist group in Parisdefinition: Dadaism is “revolt of
unbelievers against misbelievers”aim: “Art is a fruit that grows
in man, like a fruit on a plant, or a child in its mother’s
womb”method: free association & chancedesire for liberation
from rationalityto remove artist’s will from creative
actrepresented fundamental law of organic realmstyle:
abstractflat pattern curvilinear contours pure bright coloreffect:
maximum expressiveness w/ elementary forms
Arp
Laws of Chance (1915)aesthetic: non-objective;
collagematerials: non-traditional (torn paper)aim: free of human
intervention and closer to nature to divorce imagery from “the
life of the hand”method: chance operationsdrop pieces of paper
on floor arranging them on piece of paper more or less the way
they had fallenforms: irregular composition: irregularspatial
order: flattenedmeaning: randomness/absurdity of who
lives or dies during WWI
Schwitters

(1887-1948)training: Dresden Academy of Artsignificance:
20C’s greatest master of collageassemblages from scraps of
colourjuxtapositionsabstraction and realismaesthetics and
rubbish delicate balance between content and form intricate
interplay of coarse and filigree exhibition history:Sturm Gallery
in Berlin (1918) Sturm Gallery (mid-1919)abstract Merz works
& whimsical Dada drawingscaused a furore among the
criticsthrived on public oppositionfrom 1919 to 1923 created
succession of Merz pictures
Paul Klee
(1879-1940)biography: Swiss painter who spent most of
adult life in Germany until expelled by Nazis in 1933
career: taught at the German Bauhausprocess: “psychic
improvisation”influences: related fields of natural history,
anatomy and anthropology nature characterized by permutation
scale: small
mixed media: watercolor washes often combined w/ elaborate
line drawingsaesthetic: coloré traditionwrote extensively about
it; lectures Writings on Form and Design Theoryconceived as
moving around central axis dominated by primary
colorssettings: mysterious dream world tone: satirical & ironic;
gently humorous iconography: Jung’s “collective unconscious”
archaic signs and patternsallusions to dreams, music, and
poetrynarratives: simultaneous, independent themesdistillation
of personal experiences
KleeTwittering Machine (1922)scene: evokes abbreviated
pastoral that fuses natural w/ industrial worldtone:

contrasting sensibilities of humor and
monstrositytechnique: automatic drawing technique
of Surrealists aesthetic: comparisons to caricature &
children's art forms: imaginative likeness to naturewiry, nervous
linecreatures bear resemblance to birds only in beaks and
feathered silhouettescloser to deformations of nature spatial
order: flatcolor: pastel washeslight/shadow: subordinated to
color
Hannah Hoch
(1889-1978)
context: Weimar Republicpost-WWI Germany addressing fears
and hopes for modern German womensignificance: dramatic
redefinition of gender roles and sexuality of
womenmedium: photomontagesadapts Cubist idea of collage to
new purpose materials: subversivemade of litter (e.g., bus
tickets, sweet wrappings and other scraps)process: arranging
and glue photographs, advertisements or other found
illustrative material onto a surfacecomposition: puzzling
and incongruous juxtapositions of forms and letters
Hoch
Beautiful Girl (1920)subject: optimism for technology and its
relationship to modern woman narrative:
fracturedmotifs: mass-produced/Industrial Rev.automobile
tirestime pieces (watches)electric light bulbfigure: clad in
modern bathing suite w/ light bulb for her headpose:
seated on a steel girderbackground: silhouette of woman’s
head w/ cats eyeslurks behind scenes stares out at audience

Giorgio de Chirico
(1888-1978)biography: born in Greece to Italian
parentstraining: Polytechnic Institute (Athens, 1900)Academy
of Fine Arts (Munich, 1906)influence of Symbolist painter
Böcklin influence of Nietzsche’s writings to “refute
reality”motifs: strange cityscapessource of imagery was Turin
(Italy)created a fantasy town, a state of mindelements deserted
city arcades & piazzasbrooding statues mannequinslengthening
shadowspassing trainstheme: “metaphysical”signifies alienation,
dreaming and lossaims to destabilize meaning of everyday
objects by making them symbols of
fearalienationuncertainty
de Chiricocontext: aesthetic when Surrealists first discovered
him, saw him as “a fixed point”however, became “a
metaphysical or mystic rope to be placed afterwards round our
necks” (Breton)represented in every number of La Révolution
Surréaliste, but article devoted to him by Breton in June 1926
issue passed a crushing judgment on himdue to perceived shift
in style post-1919declared de Chirico unworthy of “marvels” of
his metaphysical period
Pittura Metafisica:
de Chirico
(1888-1978)Melancholy & Mystery of a Street date: 1914theme:
“metaphysical”to destabilize everyday objects symbols of fear,

alienation & uncertaintynarrative: isolation &
forebodingcomposition: dynamicperspective: linear &
aerialMannerist exaggerationsbizarre spatial constructions
color: limited rangelight/shadow: black silhouettes
de Chirico
The Disquieting Muses (1916)setting: TurinMontparnasse train
stationpiazzafactory smokestackscentral figures: Classical
originsClassical sculpture combined w/ mannequin
headabstracted human femalescale: deliberately
disproportionateperspective: mannered light/shadow: dramatic
long shadows
IMAGE INDEXSlide 2: TZARA, Tristan. Poster for Dada
Movement (c. 1917). Slide 4: Photograph of DUCHAMP.Slide
5: DUCHAMP, Marcel. Bicycle Wheel (1915).Slide 6:
DUCHAMP, Marcel. Fountain (1917), Readymade:
porcelain urinal, Original lost, Height 60 cm.,
Philadelphia Museum of Art, Philadelphia.Slide
7: DUCHAMP, Marcel. L.H.O.O.Q. (1919), color
reproduction of Leonardo da Vinci’s Mona Lisa altered
with a pencil, 7 3/4 x 5 in., Philadelphia Museum of
Art, Philadelphia.Slide 8: Photograph of Jean ARP.Slide 9:
ARP, Jean. The Laws of Chance (1916-17), torn and
pasted paper, 1’ 7 1/8” x 1’ 1 5/8”, Museum of
Modern Art (MoMA), New York.
IMAGE INDEXSlide 10: SCHWITTERS, Kurt. L’Oeil
Cacodylate (1919).Slide 11: Photograph of Paul KLEE.Slide
12: KLEE. Twittering Machine (1922), Watercolor and pen

and ink on oil transfer drawing on paper, mounted on
cardboard, 25 1/4 x 19 in., (MoMA), New York. Slide
13: Photograph of Hannah HOCH.Slide 14: HOCH, Hannah.
Beautiful Girl (1920).Slide 15:DE CHIRICO, Giorgio. The
Child’s Brain (1914), Oil on canvas, Moderna Museet,
Stockholm, SweedenSlide 16: Photograph of Giorgio DE
CHIRICOSlide 17: DE CHIRICO, Giorgio. Mystery and
Melancholy of a Street (1914), Oil on canvas, Private
Collection.Slide 18: DE CHIRICO, Giorgio. The Disquieting
Muses (1916).
Cubism
ART HISTORY 132
*
Cubismleaders: developed by Pablo Picasso and Georges
Braque (c. 1907)
definition: “The art of painting original arrangements
composed of elements taken from conceived rather than
perceived reality.”
-- Guillaume Apollinaire, The Beginnings of Cubism
(1912)
significance: marks a rupture w/ European traditions traceable
to Renaissance of pictorial illusionism and organization
of compositional space in terms of linear perspective
technique: breaks down subjects into geometric facets,

showing several different aspects of one object
simultaneously
context: physicsEinstein’s Theory of Special Relativity (1905)
reinterprets classical principle of relativityidea that we can
formulate rules of nature which do not depend on our particular
observing situation quantities such as length and time must
change from one observer to another
Pablo Picasso
(1881-1973)biography: SPgrew up in Barcelona
training
Madrid
first visited Paris during 1900 World’s Fairduring two month
stay, immersed himself in art galleries frequented Montmartre
bohemian cafés, night-clubs, and dance halls
settled in Paris (1904) friendly w/ artist Georges Braque, w/
whom he developed Cubism writers Max Jacob and Apollinaire
style: changed throughout careerBlue Period (1901-04)Rose
Period (1904-05)Analytical Cubism (1905-1912)Synthetic
Cubism (1912-21)
(Left) Cézanne Post-Impressionist Self Portrait (c. 1890)
vs.
(right) Picasso’s Cubist Self Portrait (c. 1910)

CubismLes Demoiselles d’Avignon (1907)title: refers to “red-
light” district in Barcelonasetting: artist’s
studiospatial order: flattened & shallow subject: brothel
sceneP’s “first exorcism painting”life-threatening sexual
diseasesource of anxiety in Parisearlier sketches link sexual
pleasure to mortality figures: flat, splintered planesfacial
features: “primitive” masksasymmetricalfeatures formed w/
thick, dark contouralmond shaped eyesposes: both Classical &
contortedcolor: muted, icy
(Left) Detail of still-life from Picasso’s Les Demoiselles
d’Avignon (1907)
vs.
(right) Cézanne’s Still Life (c. 1890-1900)
*
Details of women’s faces
from Picasso’s The Women from Avignon (1907)
Picasso
Woman w/ Mandolin (1910)aesthetic: Analytical CubismCubist

vocabulary:eliminates naturalistic perspectivemonochromatic,
muted colorfigure: abstractedoverlapping & interlocking planes
ctured into geometric
components massing of body partsspatial order: shallow niche
(Left) Picasso’s Blue Period The Old Guitarist (1903)
vs.
(right) Picasso’s Analytical Cubist Woman w/ Mandolin (1910)
Picasso
Ma Jolie (1911)title: “My Pretty One”aesthetic: Analytical
Cubism forms: fractured into geometric
componentsspatial order: 2-dimensionalemphasizes flatness of
canvasno traditional foreground/ middle-
ground/backgroundperspective: simultaneitycolor:
monochromaticbrushwork: patchylight/shadow: limited
volumesinnovation: inclusion of words
PicassoStill-life w/ Chair Caning (1912)aesthetic: Synthetic
Cubismtechnique: collage“found objects” from outside world
(e.g., rope, oilcloth)aim: to displace realityformat: ovalspatial
order/perspective: ambiguous/ paradoxicalmultiple views (side
& top)color: mutedlight/shadow: transparent, refractiveword

Picasso
Guitar & Sheet Music (1912)aesthetic: Synthetic Cubismaim: to
engage in aesthetic “battle”attack on conventional
paperword play: ‘Le Jou’ forms: synthesized from
multiple views
Picasso’s Synthetic Cubist
Three Musicians
(1921)
Picasso:
Inter-War Years
The Lovers (1923)aesthetic: Classicizing tenendencyforms:
outlined by dark contourperspective:
overlapping/forshortenedfacial features: idealizedcolor: vibrant
range of primaries & complimentariesbrushwork:
large, unmodulated areaslight/shadow: evenly distributed
Picasso:
Inter-War Years

Woman in front of Mirror (1932)aesthetic: variation Synthetic
Cubismforms: outlined by thick, dark contourpatternization:
emphasizes 2-d surface of canvas perspective:
simultaneity & reversalsfacial features: profile & frontalcolor:
vibrant range of primaries &
complimentariesbrushwork: large, unmodulated
areaslight/shadow: limited; silhouetted
Picasso’s Guernica (1937)context: Spanish Civil War (1936-
39)started after coup d'état by a group of Spanish Army
generals ended w/ victory of rebel forces, overthrow of
Republican government, and founding of dictatorship led by
General Francisco Francosubject matter: bombing of SP town,
Guernica, by twenty-eight German Nazi air force, on April 26,
1937 during Spanish Civil Wartheme: tragedies of
war upon innocent civilians (see Goya’s Third of May, c. 1815)
exhibition history: SP Republicans commissioned Picasso to
create large mural for Spanish display at Paris
International Exposition in the 1937 World's Fairscale: 11 x 25
½ ft.color scheme: monochromaticsetting: interioriconography:
PietàGallic bullhorsewounded soldierOmens
PICASSO’s Guernica
(1937)
Iconographic details from PICASSO’s Guernica
(Left) Pietà scene and Gallic bull

vs.
(right) writhing horse and illuminated light bulb
Iconographic details from PICASSO’s Guernica
(Left) Omens
vs.
(right) wounded man
IMAGE INDEXSlide 3: PICASSO Self-Portrait (1904)Slide 4:
(Left) CEZANNE, Paul. Self-Portrait (1882), Oil on
canvas, 25 5/8 x 20 5/8 in., Tate Gallery, London; and
(right) PICASSO Self-Portrait (1907).Slide 5:
PICASSO, Pablo. Les Demoiselles d'Avignon (1907),
Oil on canvas, 8’ x 7’ 8”, The Museum of Modern Art
(MoMA), New York. Slide 6: Details of still-
life from PICASSO’s Analytical Cubist Les
Demoiselles d'Avignon (1907).Slide 7: Details of women’s
faces in PICASSO’s Analytical Cubist Les Demoiselles
d'Avignon (1907).Slide 8: PICASSO, Pablo. Woman with a
Mandolin (1910), Oil on canvas, 39 1/2 x 29 in., The
Museum of Modern Art (MoMA), New York.Slide 9:
(Left) PICASSO’s Blue Period The Old Guitarist (1903-
04), Oil on panel, 122.9 x 82.6 cm., Art Institute of
Chicago; and (right) PICASSO’s Analytical Cubist
Woman with a Mandolin (1910).

*
IMAGE INDEXSlide 10: PICASSO, Pablo. Woman with a
Mandolin (Fanny Tellier) Paris, spring (1910), Oil on
canvas, 39 1/2 x 29 in., The Museum of Modern Art
(MoMA), New York.Slide 11: PICASSO, Pablo. Still Life with
Chair Caning (1912), Collage of oil, oilcloth, and pasted
paper simulating chair caning on canvas, 10 1/2 x 13 3/4
in., Musee Picasso, Paris.Slide 12: PICASSO. Guitar, Sheet
Music, Glass (1912), Papers and newsprint pasted,
gouache and charcoal on paper, 48 x 36.5 cm., McNay
Art Museum, San Antonio, TX.Slide 13: PICASSO, Pablo.
Three Musicians (1921), Oil on canvas, 6 ft 7 in x 7 ft 3
3/4 in., The Museum of Modern Art (MoMA), New
York.Slide 14: PICASSO, Pablo. The Lovers (1923), Oil
on canvas, 51 ¼ x 38 ¼ i., National Gallery of Art,
Washington, D.C.Slide 15: PICASSO, Pablo. Woman in
front of a Mirror (1932), Oil on canvas, 162.3 x 130
cm, The Museum of Modern Art (MoMA), New
York.Slide 17: PICASSO, Pablo. Guernica (1937), Oil on
canvas, 137.4 in × 305.5 in., Museo Reina Sofia, Madrid.
IMAGE INDEXSlide 18: Iconographic details from PICASSO’s
Guernica (Left) Pietà scene and Gallic bull; and
(right) writhing horse and illuminated light
bulbSlide 19: Iconographic details from PICASSO’s Guernica
(Left) Omens; and (right) wounded man.

ART HISTORY 132
Cubism: Sculpture
Jacques Lipchitz
(1891-1973)biography:French sculptor of Russian birthfather
(Jewish building contractor) opposed his son becoming an
artistsympathetic mother arranged for him to go to Paris in 1909
training:studied briefly at Ecole des Beaux-Artstransferred to
Académie Julian drawing & modeling from life afternoons in
museums
Cubist work (1915-20):composition: dynamiccrisp
diagonalscurvilinear formsperspective: multiplicity of views
figure: deconstructed into broad, flat planes
LipchitzStanding Person (1915-16)medium: limestone surface
texture: smoothcomposition: stabilized by
vertical orientationspatial order: includes negative
spaceperspective: multiplicity of views figure: abstractedbroad,
flat planessimplified shapes (cones, rectangles)delicate
mass/weightarrangement of forms difficult to visually assemble
into coherent whole
Lipchitz
Man w/ Guitar (1917)medium: limestone surface texture:
smoothcomposition: dynamiccrisp diagonalscurvilinear
formsperspective: multiplicity of views figure:
deconstructedbroad, flat planesconvincing mass/weightincludes

physiognomic details (e.g., eyes, fingers)yet arrangement of
forms difficult to visually assemble into coherent whole
Aleksandr Archipenko
(1887-
- ent
Chicago
Section d’Or”in company of Duchamp, Picasso, &
aesthetic: abstractnegative spacesimultaneous viewssculptural
voids
ArchipenkoSuzanne (1909)aesthetic: abstractbroad, flat
planesvisually assembles into coherent wholeform:
massivesurface texture: rough, unfinishedcomposition: dynamic
gesturesspatial order: negative space
between torso & arm
ARCHIPENKO’s Cubist Woman Combing Her Hair (1915)
*

Julio Gonzalez
(1876-1942)
Woman Combing Her Hair date: c. 1930-33aesthetic:
abstractmedium: ready-made bars, sheets, or rods of
welded or wrought iron and bronzeforms:
delicate, flattened massesspatial order: positive and
negativecomposition: dynamicinterplay of of curves, lines, and
planessuggests temporal simultaneity
Brancusi
(1876-1957)biography: Romanian; son of poor peasantsran away
from home at age 13age 18, enrolled at School of
Craftstraining: moved to ParisEcole des Beaux-Arts (1903-
05)invited to enter workshop of Rodinleft R’s studio after only
two months“Nothing can grow under big trees”aesthetic:
abstractnon-literal representationaim to depict "not the outer
form but the idea, the essence of things”relatively small body of
work 215 sculptures, of which about 50 lost or
destroyedexhibition history: 1913Salon des Independants
(Paris)Armory Show (NYC)
Brancusi
The Kiss (1908)theme: Classicalform: abstractcubic
emphasissimplification of musculature and facial
featuresrounded massesdeviates from Picasso’s emphasis on 2-d
planes that flattening spacespatial order: no use of negative
spacetexture: differentiates flesh from hair

(Left) RODIN’s The Kiss (1889)
vs.
(right) BRANCUI’s The Kiss (1908)
BrancusiBird in Space (1923)medium: bronzeform: simple,
organic shapestheme: based on "Maiastra”Romanian
folklorebeautiful golden bird who foretells future and cures the
blindanecdote:purchased in 1926 by SteichenU.S. customs
officers did not accept the “bird” as a work of artplaced duty
upon its import as an industrial item; charged high taxnext year
Gertrude Vanderbilt Whitney (founder of Whitney Museum)
financed S’s lawsuit case revolved around question of 'What is
art?’assessment overturnedprovenance: sold in 2005 for
$27.5Mrecord for sculpture sold in auction
IMAGE INDEXSlide 2: RIVERA, Diego. Portrait of
Jacques Lipchitz (1914).Slide 3: LIPCHITZ, Jacques.
Standing Person (1915-16), limestone, 98 x
28 x 18 cm., Tate Gallery, London.Slide 4: LIPCHITZ,
Jacques. Man with Guitar Slide 5: Photograph of
ARCHIPENKO.Slide 6: ARCHIPENKO, Aleksandr.
Suzanne (1909), Limestone, 15 3/8
x 10 x 8-5/8 in., Norton Simon Museum,
Pasadena, CA.Slide 7: ARCHIPENKO, Aleksandr.

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