1. From Photography to the next “isms”
Chapters 27-28
Photography
Impressionism
Post-Impressionism
Symbolism
and…
Sculpture
2. PHOTOGRAPHY
1. Discovery of the principle of
the camera obscura (pinhole camera
or dark room). Starts in China and
Greece.
Ibn al-Haytham (Alhazen) (965 in Basra
(Iraq/Iran region) – c. 1040) gave the
first clear description of the camera
obscura. “father of modern optics”
- image at Right
1. Observation that some substances
are visibly altered by exposure to
light.
3. Niepce- first photo 1826, on pewter, 8 hour exposure
used bitumen as photosensitive chemical
5. Anna Atkins 1799-1871
English botanist and photographer.
The first person to publish a book illustrated
with photographic images.
Some sources claim that she was the first
woman to create a photograph.
Friends with Sir John Herschel- inventor of
the Cyanotype process in 1842
11. REALISM, IMPRESSIONISM, POST-IMPRESSIONISM
MID-TO-LATE 19TH CENTURY
Paris now a modern city with a large wealthy middle-class
• -US forces Japan to open in 1854: led to a love for Japanese art
The Modern Artist Emerges:
• -Dependent on market and taste of middle class for economic stability
-Artist has an individual sense of mission in combat with public taste
• -Desire for personal aesthetic expression
• -Artist becoming alienated from society for avante-garde ideas & work
• -Artists group themselves with like-minded artists
• -Movement comprised of artists dealing with same artistic and social questions:
What is art? What is art for? Whom is art for?
12. French Salons:
• -Dominated by French
classicists
• -In 1863, Salon de Refuses
(Salon of the rejected) set
up by Napoleon III for those
refused by “Salon” (3000 of
5000 works rejected)
• Dealers begin to replace
Salons as means of
selling/buying work
• Modern Inventions that
affect Impressionists: less
need for naturalism
1. Camera
2. Mass produced print
(woodblocks, etchings)
Top: Bougereau
Left: (top and bottom), Gerome
14. Edouard Manet
-French artist who captures a new
degree of realism
-Rebelled against the lack of real
naturalism in bodies and poses of
artists like Bougereau, who painted
mythological scenes
-A Realist, but consciously sought to
move art forward; a risk taker
-Exhibited in Salon de Refuses in 1863
His work outraged public; he was
declared incompetent, immoral
-Manet claimed his intention was to
translate the traditions of the Masters
into contemporary terms
15. Edouard Manet
Modernity :
-Figures not allegorical
-Figures in painting identifiable: Manet’s
favorite model at time, his brother Eugene,
and sculptor friend, Ferdinand Leenhof
-Dressed in fashionable attire of time
-Nude not idealized; confronts viewer w/out
shame
-Paints modern people- what the eye sees,
here & now
Style:
-harsh frontal lighting
-Stark contrasts like a flashed photograph
-flat; little emphasis on Corot’s wide range of
values
-Background not altogether believable
-Background in focus, with awkward
proportions
--Sketchy brushwork; broad brushstrokes
-Broad patches of cool color
-Flattened forms throughout work
influenced by Japanese prints
17. Olympia (1863)
-A well-known courtesan/prostitute of time, crossed boundaries of class
-Modeled after Titian's Venus of Urbino; but cat represents sexuality, hand is not inviting
-A challenge to the public that was used to allegorical or mythological nudes
-Confrontational gaze- frank, weary and emotionally dead
-Public believed that he had stepped over boundary of decency
-Flatness emphasized, harshly lit
-Deep contrasts: white vs. black
-Contrast of flat vs. floral/patterned
18. A Bar at the Folies-Bergère (1882) (37”X 51”)
-MANET now associated with Impressionists
-Focuses on Impressionist interests in light, use of brilliant color & a direct approach to subject
-fascination with the effects of light spilling from gas globes onto figures and objects around them
-Bar maid just one of many patterns of light and dark. Shows impersonality towards subject matter
-Scene is really an "optical event”, cool objective approach based on optical sensations
19. Impressionism
• -Begins around 1862 (approx. 13 years after “Burial at Ornans”)
• 1874 – 1886 Main exhibitions dates
• -depicting contemporary life as it was immediately perceived by the eye
• -Plein-air painters; worked out of doors, painting directly from nature
• -Subjects: scenes of Parisian activities and local landscapes
Composition
• -Heavily influenced by Japanese prints and the camera
• -Asymmetrical, often with diagonals and angles
• -De-centered, often with large empty spaces
• -Abrupt cropping
• -Unusual points of view
20.
21. Light:
• -Spontaneous representation of atmosphere,
climate and light
• -Able to capture the fugitive, vibrating,
fleeting quality of light
Color:
• -Science of light, color, and chemical pigments
all new
• -High keyed (light) colors; (many just invented)
• -use of “non-local color” (color modified by
light/shadow/reflections)
• Shadows have color (not just brown/black)
• -Effects of juxtaposed colors
• -Pure colors next to each other, with eye
mixing the colors: more intensity
• -Often juxtaposed primaries, blended by the
eye to make secondaries
• -complementary colors (intensifies the others;
also become neutrals when mixed)
Renoir
22.
23. Brushwork:
• -Short, choppy, broken, quick, thick brushstrokes
• -Capture the vibrating quality of light
• -Soft focus; lack of well-defined detail
• -Quick oil sketches accurately record landscape's general appearance
• -Manet raises traditional sketches to same level as completed paintings ("not finished”)
Application of Paint
• -Impasto paint, not as many hard lines
Changes/Innovations
• -De-emphasis on contour and form
• -De-emphasis on linear perspective & detail
• -Tendency to Flatten space
Artists
• -Form independent society (corporation) to exhibit and market their art
• -30 artists exhibited 165 works:
• -A critic titles his review: Exhibit of Impressionists- Term quickly adopted
• -Have 8 shows l: 1874 – 1886. By 1886 most Impressionists accepted as serious artists
24.
25. Claude Monet Impression: sunrise 1872
focus on cool colors, complementary colors, non-local color
26.
27. Industrial revolution and “Japonisme”
Interest in woodblock prints by Hokusai and
Hiroshige- Edo period Ukiyo-e artists
St Lazare Station 1877
41. POST-IMPRESSIONISM
• -Younger artists and Impressionists
themselves but they question the style and
its limitations
• -Felt that psychological/emotional depth
was missing
• - 5 new artists emerge: all of whom were
trained in the Impressionist style: George
Seurat, Vincent Van Gogh, Paul Gauguin,
Paul Cezanne & Toulouse-Lautrec
• -Post Impressionism is a catch-all term for
work of five artists
• -More broadly, term encompasses a
generation of innovations 1880-1910
• -Goal is to capture the essential quality or
nature of a scene; not the transient moment
of a scene
50. Seurat
-Shows in last (8th) Impressionist exhibition (1874-1886)
-Considered Impressionism too shallow, too improvisational
-Seeks to "correct it”. Wants to clean it up, bring back solid form & simplify
-Especially fascinated with systems and methods. Very intellectual
-"I apply my method and that is all there is"
--Died at 32
51. -Interested in color mixing theories of Delacroix & scientists Von Helmholtz and Chevreul (top
right photo)
Divisionism:
-Goal was to obtain the utmost luminosity in color by not mixing colors, but letting the dots
of pure color mix in the eye of the viewer-Optical mixing
-Culminates in Pointillism, which also lets the white of the canvas show through
Pointillism:
-Small dabs of pure color placed adjacent to each other to created the desired color effect
55. Cezanne
-doesn’t paint from typical one-point
perspective
-Also, he liked the element of tension
the ambiguity created
-Reduces everything down to essential
forms: cube, cylinder, sphere, & cone
-Uses constructive stroke to emphasize
the geometric planes of forms
-Strokes define the planar structure of
subject matter
-Hatching strokes are rhythmic
-Shifting perspectives: everything seen
from a little bit different point of view Experiments with color to create space-
Warm colors come forward, cool colors recede.
Mont St. Victoire 1904
58. AUGUSTE RODIN (1840-1917)
French Sculptor
• -Classically trained
• -Contemporary of Impressionists & Post-impressionists
but not especially drawn to them
• -Traveled to Italy and discovered Michelangelo &
Donatello
• -Develops a unique style influenced by Michelangelo
• -Single-handedly revives sculpture as a worthy medium
• -Uses body to express ideas and emotions
• -Anticipates 20th century Expressionism
61. The Thinker (1879-89) bronze
• -Small figure from Gates of Hell
• -Drawn to the body’s uniqueness for
emotional expression
• -Tried to express the existential situation
of modern man and his inability to
communicate his deeper despair
• Existentialism: a widely accepted
philosophy centered upon the analysis of
existence, but de-emphasizing or
eliminating God
• -Stresses man’s choices of freedom,
responsibility & commitment
• -Yet man’s place in the universe is
pointless & hopeless
• Rodin’s Goal: "To render inner feelings
through muscular movement”
• -Abandons classical, stylized traditions of
the time (different than Canova-
neoclassical sculpture)
63. SYMBOLISM:• -Moving into the 20th century, artists reject
the imitation of reality in favor of a world of
fantasy
• -Symbolism manifesto published in 1886-
Rejects materialism and mores of middle
class society
• -Akin to the aim of Romantics (Delacroix,
Gericault), but the Symbolists were mainly
interested in the world of imagination, not
physical world. More subjective.
• -Literature/dreams used for subject and
material
• -Loved the esoteric, exotic, weird,
mysterious, dreamlike, fantastic, mysterious
• -World of unconscious now of interest
• -1900: Sigmund Freud’s “Interpretation of
Dreams”
• -Symbolists inspired the Surrealists
66. Munch
The Scream
1893
Tempera and Pastel
one version sold for 119
million in 2012
Colors
Brushstrokes
Norwegian but influenced by
Gaugin and Van Gogh