The document summarizes artistic movements from the late 18th century to post-impressionism. It describes neoclassicism as emulating Greco-Roman styles to serve social purposes. Romanticism embraced emotion and imagination over strict rules. Realism depicted ordinary life, while Impressionism sought to capture fleeting impressions using loose brushwork and color. Post-Impressionists like Seurat and Van Gogh reacted to Impressionism in different ways, with Seurat using pointillism and Van Gogh vivid colors and textures.
The Modern WorldRomanticism, Realism, Impressionism& Po.docxdennisa15
The Modern World:
Romanticism, Realism, Impressionism
& Post-Impressionism
ART-6, Q. Bemiller, Norco College
Louis Daguerre, Boulevard du Temple (first photograph of a
living person in Paris), 1838, daguerreotype
1800-1945 = major changes!
• 1785-1813 Power Loom
• 1807 Steamboat
• 1814 Steam Locomotive
• 1826 Photograph
• 1837 Telegraph
• 1876 Telephone
• 1870s-80s Phonograph, Light Bulb, Motion Pictures
• 1885 Automobile
• 1895 Radio
• 1903 Airplane
• 1927 Television
• 1935 Electric Guitar
• 1942 Nuclear Reactor
Romanticism
• Romanticism was named after the adventurous stories told in the
“Romance” languages (Spanish, Portuguese, French, Italian and
Romanian.) "Romance languages" originate from Latin, the language
spoken in the Western Roman Empire.
• Romanticism reacted against the logical, rational and objective truths
of Neoclassicism. Instead, Romanticists focused on individual
freedom, imagination, emotions, subjective reality, intuition and
originality.
• Romanticism lasted from about 1800-1890 and led to avant-garde
movements in the 20th century.
• Artists include Francisco Goya, Caspar David Friedrich, Henry Fuseli,
John Constable, J.M.W. Turner, Eugène Delacroix and Théodore
Géricault.
Francisco Goya, The Third of May, 1808, 1814, oil on
canvas
Caspar David Friedrich, The Abbey in the Oakwood, 1809-
10; Wanderer Above the Sea of Fog, 1818, oil on canvas
Henry Fuseli, The Nightmare, 1781 and 1790-91, oil on
canvas
John Constable, Salisbury Cathedral from the meadows,
1831, oil on canvas
J.M.W. Turner, The Burning of the Houses of Lords and
Commons, 1834/35, oil on canvas
Sir Charles Barry and Augustus Welby Northmore Pugin,
Houses of Parliament, London, a complex of Gothic Revival
buildings, 1837–60
Eugène Delacroix, Liberty Leading the People, 1830,
oil on canvas
Théodore Géricault, The Raft of the Medusa, c. 1819
oil on canvas, and study of severed heads, 1818.
Realism
• “It is not a question, here, of seeking for an 'absolute' of beauty. The artist is neither
painting history nor his soul. What is termed 'composition' does not exist for him, and
he has not set himself the task of representing some abstract idea or some historical
episode. And it is because of this that he should neither be judged as a moralist nor as
a literary man. He should be judged simply as a painter.” –Émile Zola, (1840-1902)
• The Realism movement rejected both Romanticism and Neoclassicism. They focused
on everyday life, the reality of life. For them, art and life were one.
• Realist artists dared to make paintings of lower-class people, drawing attention to
social inequities. They also showed the animals and workers of the land, reminding
the “city folks” where their food came from, and the natural landscape that could be
forgotten in the cities.
• The Realist artists were perhaps the first “modern” artists. The movement was
roughly 1848-1900. Key artists were Gustave Courbet, Édouard.
ART102Art History IIUnit 6 LectureRealism and Impress.docxfestockton
ART102
Art History II
Unit 6 LectureRealism and
Impressionism
1848-1885
Post-Impressionism
1880-1907
Realism in France occurred around the same
time as the Revolution 0f 1848, largely due to
Courbet. This style champions socialism, which
challenges authority and privilege of the rich.
Courbet has painted an image of a funeral, a scene
of commoners carrying out a simple social ritual.
Devoid of political or philosophical agendas, Realism
can literally be described as real: simple, everyday
scenes and events.
Realism and
Impressionism
1848-1885
Burial at Ornans
The Gleaners
Luncheon on the Grass
The Dance Class
Plum Estate, Kameido
Woman with a Parasol
Luncheon of the
Boating Party
The Child’s Bath
Symphony in White
No. II
Snap the Whip
Gustave Courbet
Burial at Ornans
Ca. 1849-1850
Oil on canvas
Musee D’Orsay, Paris
Post-Impressionism
1880-1907
Jean-Francois Millet
The Gleaners
Ca. 1857
Oil on canvas
Musee d’Orsay, Paris
Millet creates a scene of gleaners, who were
beggars of the time. These three women are
picking the leftovers of grain in a field after the
major harvesting (you can see the large harvest in
the wagon). At the time of its exhibition in Paris,
the people were scared of this scene. It reveals at
what cost society has to pay for such wealth for an
upper class.
Realism and
Impressionism
1848-1885
Burial at Ornans
The Gleaners
Luncheon on the Grass
The Dance Class
Plum Estate, Kameido
Woman with a Parasol
Luncheon of the
Boating Party
The Child’s Bath
Symphony in White
No. II
Snap the Whip
Post-Impressionism
1880-1907
Manet’s painting is considered to be the one that
turned the Parisian art world on its head, and
propelled the world into the Modern Art Era. It
might not look like much, but this image is actually
ridiculing what the traditionalists viewed as
appropriate subject matter. This is a contemporary
scene, with Parisians having lunch in a park with a
naked woman. Another woman wearing a Roman
toga plays in the water. It is obvious that this scene
would never really happen in real life, and that’s the
message Manet was after. He also painted it with
bold, thick strokes of color.
Edouard Manet
Luncheon on the Grass
Ca. 1863
Oil on canvas
Musee du Louvre, Paris
Realism and
Impressionism
1848-1885
Burial at Ornans
The Gleaners
Luncheon on the Grass
The Dance Class
Plum Estate, Kameido
Woman with a Parasol
Luncheon of the
Boating Party
The Child’s Bath
Symphony in White
No. II
Snap the Whip
Post-Impressionism
1880-1907
Degas developed a painterly approach to his
everyday scenes as Manet had. His compositions
appear off-centered, and elements are cut-off on
the edges, much like a photograph would crop a
scene. This is unusual in painting at the time, and
creates a image of spontaneity, as a snap-shot does.
Edgar Degas
The Dance Class
Ca. 1874
Oil on canvas
Metropolitan Museum of Art
Realism and
Impressionism
1848 ...
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
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