• We ended chapter 17 with the rejection of
Baroque & Rococo in the Neoclassical
work of David.
– Neoclassical artists favored emotional
reserve, classical compositions, and precise
draftsmanship. Their work was of high moral
seriousness and political purposefulness.

ISMS
• Neoclassicism
• Romanticism
• Realism
• Impressionism
• Post-Impressionism
• Expressionism
• Cubism
• Futurism
• Abstract Art
• Dada and Surrealism
• Abstract Expressionism
• Pop Art
• Op Art
• Minimalism
• Environmental Art
• Postmodernism
• New Realism
• Process and Conceptual Art
• Neo-Expressionism
• Feminist Art
• Post-Post Modern
Modernism in art is characterized
by the development of a rapid
succession of movements, each
one attempting to redefine art's
purpose, its subjects, its forms,
and the role artists were to play
in creating art.
All modern “isms” share a feeling
that the modern world was
fundamentally different from its
past

• Late 18th
Century – industrialization creates larger middle
class
• Revolutionary political changes built on concept of
deserving equal rights
– American Revolution – 1776
– French Revolution – 1789
• During the 19th
C. artists increasingly rejected the
authority of Art Academies and conservative bourgeois
tastes
• This was the world of
– mass production
– mass advertising
– mass consumption
– the world of leisure activities, shopping, entertainment, and
visiting Art museums/galleries.
• placing art that had been private property of kings and royalty on
public view

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

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

Super A, Reign supreme, acrylic
on canvas, 100 cm x 120 cm, 2009
Kehinde Wiley

Jean-Agusute-Dominique
Ingres, Jupiter and Thetis,
1811, Oil on Canvas,
10’9”x8’7”
Great Art = Great subject
matter (according to
Ingres)
•Ingres was a pupil of
David, the leading painter
of Neoclassicism
•Ingres inherited his
master's admiration of
ancient Greek and Roman
Art, and emphasis on
clean contours, a smooth
finish, and precise
draftsmanship.

Ingres

David Hockney

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

Giorgione's Sleeping Venus, 1510 TITIAN, Venus of Urbino, 1538.
Ingres, Odalisque, 1814 Eugene Delacroix, Odalisque, 1845

Romanticism
• The Romantics believed the individual was
the engineering force of history and
progress.
• Rejected the Neo-Classical belief that man
could be perfected through reason
• Romanticism was not a style so much as a
set of attitudes and characteristic subjects
– Literature – anti-heroic, rebellious, unusual
(Frankenstein, Hunchback, Muskateers)
– Music – individualism – piano sonatas

Romanticism
– Individual styles
– Encounters with the immensity of nature in which
man recognizes his or her transience (sunsets) and
moral character
– Emotional, irrational, mystical, intuitive, symbolic,
subjective and imaginative
• The rational thought/action from the classical age couldn’t
explain the war and carnage of the Napoleonic era
• Personal response to politics, events, culture of the time
• Dramatic subject matter, turbulent emotions, and complex
compositions
– Painting about the present day

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

•Direct imagery
•Understood without an education in the arts or religion

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

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

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

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

Rubens, Garden of Love, c. 1638.

Romantic Landscape Painting
• Dramatic
– Emphasizing turbulent scenes
– Storms, shipwrecks, polar exploration, etc
– To stir the viewers emotion and evoke a sense of the
sublime
• Naturalistic
– Closely observed images of tranquil nature
– A sort of religious reverence or awe for the landscape
– Counter to the effects of industrialization and
urbanism

"Dream of Arcadia" by Thomas Cole

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

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

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

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

Joseph M.W. Turner, 1803
Romanticism in England

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

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

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

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

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

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

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

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

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

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

George Inness, The Trout Brook

Realism
• Depict the everyday and ordinary rather than the
historic, heroic or exotic (as with NeoClassical)
– Reaction to Neoclassicism and Romanticism.
– Painters are less attracted to myths or ancient history
– instead fining their subjects in the everyday (genre)
• Objected to academic art – it did not accurately
depict life as it really was
• Rendered subjects as they saw them optically rather than
conceptually
• Emphasized 2-dimensionality of the canvas and asserted the
painting process itself

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

GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, approx. 10’ x
22’. Louvre, Paris.
•Anti-heroic, not epic
•“dared” to do a life-sized genre painting
•The deceased is not identified or emphasized in the painting

Courbet
Courbet’s manifesto La Realisme claimed that art should
be an objective record of the world – without
consideration of “appropriate” and “inappropriate” subject
matter.
• “Art must be brought down to the low life”
• “Realist means sincere friend of the real truth”
• “When I am dead, let it be said of me: 'He
belonged to no school, to no church, to no
institution, to no academy, least of all to any
regime except the regime of liberty.”

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

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

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

Courbet, Les Baigneuses, 1853

John Currin

John Currin

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

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

John Singer Sargent, El Jaleo, 1882.

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

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

Manet and Impressionism

• We are, thank God, delivered from
the Greeks and Romans…we shall
encourage our painters to portray us
on their canvases, just as we are,
with our modern clothes and ways.”
– Emile Zola, May 23, 1868

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

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

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

• In 19th century France, acceptance to the
annual Salon exhibition was the mark of an
artist’s success.
– Rejection of almost 3,000 works resulted in an uproar
and a second exhibition called “Salon des Refuses.”
Manet’s painting was the most notorious among
them.
• Manet seems to have wanted to accomplish 2
goals with his work.
– The first was to paint modern life.
– The other was to prove that modern life could
produce subjects worthy of the great
masters/museums

Bow Wow Wow

Manet, "The Dead Toreador" 1867

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

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

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

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

• “A painting is first of all a product of the artist’s
imagination, it must never be a copy. If he can
afterwards add two or three accents from nature,
obviously that will do no harm. The air we see
in the pictures of the old masters is not the
air we breathe.”
– Degas
“Let those who wish to do history painting do
the history of their own time instead of
shaking up the dust of past centuries.”
• Georges Riviere

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

Impressionism
• Painting outdoors
– Paint tubes
• interested in the effects of color based on observation
• Capturing fleeting light
• Used broken color/impasto and ala prima
• Not interested in politics, moral tales, religion,
history painting
– Interested in how paint could capture sensory
impressions – light, color, and movement
• "art for art's sake“
• Shaped by experience and sensibility, not by
tradition.

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

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

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

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

Claude Monet, Haystacks 1890-1891

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

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

Claude Monet, Japonnerie, 1876

Mary Cassatt (American, 1844–
1926)
Maternal Caress, 1891
Drypoint and soft-ground etching,
third state, printed in color; 14 3/8
x 10 9/16 in.
Edo period (1615–1868), ca. 1790
Midnight: The Hours of the Rat; Mother
and Sleepy Child, Kitagawa Utamaro
(Japanese, 1753–1806)
Polychrome woodblock print; H. 14 3/8 in.
(36.5 cm), W. 9 5/8 in. (24.4 cm)

• Broad term used to cover art produced between
the 1880s and early 20th
C.
• Generally, they considered Impressionism too
casual or too naturalistic, and sought a means of
exploring emotion in paint.
• what they had in common was the rejection of
the transient moment in favor of enduring
concepts.
Post Impressionism

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

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

Edgar Degas, The
Absinthe Drinker, 1876

Degas, Women on the
Terrace of the Café, 1877

Henri de Toulouse-Lautrec
La Goulue, 1891.

Henri de Toulouse-Lautrec
Ambassadeurs: Aristide Bruant
1892.

Paul Cezanne, Card Players, 1890-92.

Paul Cezanne, Still Life with Apples, 1890.

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

PAUL CÉZANNE, The Basket of Apples, ca. 1895. Oil on

Paul Cezanne, Mont Saint Victoire, 1885.

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

"Everything we see falls apart, vanishes.
Nature is always the same, but nothing in
her that appears to us, lasts. Our art
must render the thrill of her permanence
along with her elements, the appearance
of all her changes. It must give us the
taste of her eternity."
--Paul Cezanne

Piet Mondrian

Van Gogh, The Potato Eaters, 1885.

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

Van Gogh
Sunflowers, 1888.

Van Gogh
The Night Cafe, 1888.

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

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

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

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

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

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

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

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

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

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

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

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

Impressionism to Expressionism
• Expressionism is primarily Norther
European
• Art of unrest
• Strong color, distorted and abstracted
figures

EDVARD MUNCH,
The Cry, 1893. Oil,
pastel, and casein on
cardboard, 2’ 11 3/4” x
2’ 5”. National Gallery,
Oslo.
Andy Warhol, Scream, 1984Andy Warhol, Scream, 1984Andy Warhol, Scream, 1984

Edward Munch,
"Madonna" ,1894.

Jasper Johns
SCENT
Lithograph, linocut and woodcut,
1976
Edward Munch, Self Portrait:
Between Clock and Bed
1940-42; Oil on canvas, 149.5 x
120.5 cm

Daniel Richter
"tuwenig„, 2004
212 x 261 cm / 83 3/7 x 102 3/4 "

Francis Bacon

Egon Schiele, Seated Nude with
Extended Right Arm, 1910, Black
chalk and watercolor on paper
Secessionism

• Die Brucke (the bridge)
– Kirchner
• Influence of Munch
• Der Blaue Reiter (the blue rider)
– Vasili Kandinsky
– Franz Marc

Expressionism and the Avant-Garde
• The avant-garde was originally a military
term, referring to the detachment of
soldiers that went first into battle.
• Expressionism, which arose as artists
came to believe that the fundamental
purpose of art was to express their intense
feelings toward the world.

ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on
canvas, 4’ 11 1/4” x 6’ 6 7/8”. Museum of Modern Art, New York

VASSILY KANDINSKY, Improvisation 28 (second version), 1912. Oil on
canvas, 3’ 7 7/8” x 5’ 3 7/8”. Solomon R. Guggenheim Museum, New York

FRANZ MARC, Fate of the Animals, 1913. Oil on canvas, 6’ 4 3/4” x 8’ 9 1/2”.

Otto Dix "Machine Gunners Advancing" from Der Krieg (1924)

OTTO DIX, Der Krieg (The War), 1929–1932. Oil and tempera
on wood, 6’ 8 1/3” x 13’ 4 3/4”.

EMIL NOLDE, Saint Mary of Egypt among Sinners, 1912. Left
panel of a triptych, oil on canvas, approx. 2’ 10” x 3’ 3”.

• Harsh emotion, social criticism, subjective color, dynamic
compositions, frequently used contour lines
– Expressionism as seen in the work of Schiele, and Kirchner

Picasso
• Blue Period
• Rose Period
• African-
Influenced
Period
• Cubism
• Classicism
and
Surrealism
• Later Works

http://www.archive.org/details/afana_visit_to_picasso

Pablo Picasso,”First
Communion”, 1895-6, oil on
canvas, 166 x 118 cm, Museu
Picasso, Barcelona.
The Tragedy
1903, oil on wood, 1.053 x .690
m (41 7/16 x 27 3/16 in.),
National Gallery of Art,
Washington
Les Demoiselles
d'Avignon
Paris, 1907
Oil on canvas
8' x 7'8" (243.9 x 233.7
cm.)
The Museum of
Modern Art, New York

Picasso (Rose period)

Egon Schiele, Fraulein Beer, Oil on
Canvas, 190x120 cm, 1914

Pablo Picasso
The Tragedy,
1903

GEORGES
BRAQUE, The
Portuguese, 1911.
Oil on canvas, 3’ 10
1/8” x 2’ 8”.

GEORGES BRAQUE, Bottle, Newspaper, Pipe and Glass, 1913. Charcoal
and various papers pasted on paper, 1’ 6 7/8” x 2’ 1 1/4”.

Guernica shows the Nazi German bombing of Guernica, Spain,
by twenty-eight bombers, on April 26, 1937 during the Spanish
Civil War. The attack killed between 250 and 1,600 people, and
many more were injured.

PABLO PICASSO, Guernica, 1937. Oil on canvas, 11’ 5 1/2” x
25’ 5 3/4”. Museo Nacional Centro de Arte Reina Sofia,
Madrid.

Picasso Basquait

• Responses to Cubism:
1. Italian Futurism:
– Began in February 1909
– Futurists decided that motion itself was the glory of
the new 20th century. Celebrated speed, energy,
industrialization
2. Russian Suprematism:
– Kazimir Malevich was leader of the Russian avant-
garde.
- Founded in 1915.

Giacomo Balla, Swifts Paths of Movement – Dynamic Sequences

UMBERTO BOCCIONI,
Unique Forms of
Continuity in Space, 1913
(cast 1931). Bronze, 3’ 7
7/8” high x 2’ 10 7/8” x 1’
3 3/4”. Museum of
Modern Art, New York

Umberto Boccioni. States of Mind: The Farewells. 1911. Oil on canvas. 70. x 96cm.

Umberto Boccioni, Charge of the Lancers, Tempera and collage
on board, 32x50 cm, 1915

GINO SEVERINI, Armored
Train, 1915. Oil on canvas, 3’
10” x 2’ 10 1/8”. Collection of
Richard S. Zeisler, New York.

CONSTANTIN BRANCUSI, Bird in
Space, 1928. Bronze (unique cast), 4’
6” x 8” x 6” high.

Kazimir Malevich. Suprematist Painting (Eight Red Rectangles). 1915. Oil on canvas. 57
x 48 cm

KAZIMIR MALEVICH,
Suprematist Composition:
Airplane Flying, 1915
(dated 1914). Oil on
canvas, 1’ 10 7/8” x 1’ 7”.

• De Stijl:
– Dutch = ‘The style’
– Founded in Leiden in 1917
– Style of austere (severe) abstract clarity

Art Nouveau
• Popular at the turn of the century – 1890-
1905
• Style of art, architecture and decorative
arts
• Characterized by organic, floral, plant-
inspired motifs, with highly stylized
curvilinear forms.’
• Bridges Neoclassicism and modernism

• Organic, floral, plant-like motifs,
stylized curvilinear forms
– Art Nouveau

Alphonse Mucha (1860-1939)
'Job'
1898
Colour lithograph

Alfons MUCHA
"DONNA BIZANTINA BRUNA", 1897

Gustav Klimt, Judith, 1901