1. The document discusses the rise of realism and impressionism in art between the 1850s-1880s as responses to industrialization and urbanization in Europe. 2. Artists like Courbet, Manet, Millet, and Daumier captured social realism, while Monet, Renoir, Pissarro, Cassatt, and others developed impressionist techniques to depict light and movement. 3. Architecture in this period evolved from cast iron structures to skyscrapers as cities grew vertically.

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2. The Industrial Era and the Urban Scene In the decades after 1850, the industrial technologies of steam power, coal, and iron brought the west into a position of dominance over the less industrialized parts of the world. Two major art movements realism and Impressionism.

3. Beginning in 1848, the lower classes protested against bad conditions with sporadic urban revolts. This painting presents a somewhat romanticized view of the laboring classes. Jean-François Millet, Gleaners , 1857. Oil on canvas, approx. 2' 9" x 3' 8". Musée d'Orsay, Paris. Réunion des Musées Nationaux/Art Resource, NY. SOCIAL AND ECONOMIC REALITIES

4. Käthe Kollwitz (1867-–1945) She was a social realist and a feminist whose early prints illustrate peasant rebellions and mass protests.

5. Between 1855-1861, there were almost 500 peasant uprisings across Europe. Among these movements for economic and social reform, one of the most idealistic was socialism . Käthe Kollwitz (1867–1945), Death and the Mother , 1934. Lithograph, 20 1/8" x 14 5/8"

6. Late-Nineteenth-Century Architecture Cast-Iron Structures The Skyscraper Joseph Paxton (1803–1865), Crystal Palace, Hyde Park, London, 1851. Cast iron, wrought iron, and glass. Destroyed by fire in 1936. Contemporary lithograph by Joseph Nash, Alexandre-Gustav Eiffel (1832–1923), Eiffel Tower, 1889. Iron on a reinforced concrete base, height 934'. Paris.

7. Eiffel Tower , 1887-1889, Gustave Eiffel 19th Century more skeletal architecture. Land values soared, so buildings went UP (skyscrapers, etc.) Eiffel specialized in railway bridges Centerpiece of 1889 Paris Universal Exposition Innovative elevator swings up diagonally Also helped with Statue of Liberty and Panama Canal!

8. Realism in the Visual Arts The Birth of Photography Mathew B. Brady, (1861-1865) eyewitness photographs for the American civil war. His staff testify to the importance of the photographer as a chronicler of human life. Mathew B. Brady or staff, Dead Confederate Soldier with Gun, Petersburg, Virginia, 1865. Photograph. The Library of Congress, Washington, D.C.

9. French Realism - Gustave Courbet (1819-1877) Outspoken socialist, “A painter should paint only what he can see.” Minimizes any display of pomp and ceremony. He banished from his view all sentimentality and artifice. Gustave Courbet. Burial at Ornans , 1849. Oil on canvas, 10' 4" x 21' 11". Musée d'Orsay, Paris. Réunion des Musées Nationaux/Art Resource, NY.

10. Gustave Courbet (1819-1877 ) Gustave Courbet, The Meeting or Bonjour Monsieur Courbet , 1855. Oil on canvas, 50 3/4" x 58 5/8". Musee Fabre, Montpellier. © Reunion des Musees Nationaux / Art Resource, NY.

11. Jean-francois Millet (1814-1875) : “Peasant Painter” Not a socialist, devoted his career to painting the everyday lives of the rural proletariat. Jean-François Millet, Gleaners , 1857. Oil on canvas, approx. 2' 9" x 3' 8". Musée d'Orsay, Paris. Réunion des Musées Nationaux/Art Resource, NY.

12. Daumier’s Social Realism Honore Daumier (1808-1879) The social realist who was primarily associated with the medium of lithography . Left the world a detailed record of the social life of his time. The ancestors of modern-day political cartoons Honoré Daumier, Nadar Elevating Photography to the Height of Art , 1862. Lithograph, 10 3/4" x 8 3/4". Museum of Fine Arts, Boston. © akg-images.

13. Honoré Daumier, Third-Class Carriage , c. 1862. Oil on canvas, 25 3/4" x 35 1/2".

14. Honore Daumier Honoré Daumier (1808–1879), Louis Philippe as Gargantua , 1831. Lithograph, 8 3/8" x 12", Bibliotheque Nationale, Paris.

15. Honore Daumier Honore Daumier, Freedom of the Press: Don't Meddle with It (Ne Vous y Frottez Pas) , 1834. Lithograph, 12" x 17". Private collection, France. © akg-images.

16. Literary Realism Charles Dickens (1812-1870) Oliver twist (slums and orphanages) 1838, Nickolas Nickleby (rural schools) 1839, David Copperfield (debtor’s prison) 1850 Mark Twain ( 1835-1910) (Longhorn Clemens) The Adventures of Huckleberry Finn (rural farmlands/ Mississippi river) 1884, The Adventures of Tom Sawyer (boy and runaway slave/American south just prior to the Civil War) 1876

17. Literary Realism Leo Tolstoy (1828-1910) Renounced his wealth and property and went to live and work among the peasants. War and Peace (1869) Traces the progress of five families whose destinies unroll against the back ground of Napoleon's invasion of Russia in 1812.

18. Impressionism Forerunner… Édouard Manet Manet (1832-1883). After rejection by salon, set up his own exhibitions Early work was before Impressionists fully supported their aims worked closely w/ Monet

19. The Scandalous Realism of Manet Luncheon on the Grass , Edouard Manet Napoleon III authorized Exhibition of refused artists from the Salon, such as Manet and Monet This painting was found scandalous… Figures are not modeled. Very flat, not relating with each other. Édouard Manet (1832–1883). Le Déjeuner sur l'Herbe (Luncheon on the Grass) , 1863. Oil on canvas, 7' x 9'. Musée d'Orsay, Paris.

20. Pastoral Concert (Fête champêtre) 1508-09 Oil on canvas, 110 x 138 cm Musée du Louvre, Paris Édouard Manet (1832–1883). Le Déjeuner sur l'Herbe (Luncheon on the Grass) , 1863. Oil on canvas, 7' x 9'. Musée d'Orsay, Paris.

21. Olympia , Manet, 1863 courtesan stares out at us, not modeled figure. Olympia confronts the viewer, she is powerful, NOT an accommodating female nude. Édouard Manet. Olympia , 1863. Oil on canvas, 4' 3" x 6' 3". Musée d'Orsay, Paris. Réunion des Musées Nationaux/Art Resource, NY.

22. Olympia, Manet, 1868 Venus of Urbino, Titian, 1538

23. Bar at the Folies-Bergere, Manet, oil on canvas, 1882 Barmaid stares out at us. What is the mirror reflecting? More impressionistic than Manet’s early works.

24. Mystery of the Mirror in Manet’s painting It is the viewer of the painting (you)!

25. Realism in American Painting Thomas Eakins (1844-1916) , The Agnew Clinic , 1889. Oil on canvas, 6 ft. 2 1/2 in. x 10 ft. 10 1/2 in. University of Pennsylvania, School of Medicine.

26. Thomas Eakins (1844-1916) , The Biglin Brothers Racing , 1873. Oil on canvas, 24 1/4" x 36 1/8". National Gallery of Art Thomas Eakins (1844-1916)

27. Winslow Homer (1836-1910) While realistic in execution the painting may be interpreted as a romantic metaphor for the isolation and plight of black American in the decades following the Civil War. Winslow Homer (1836-1910), The Gulf Stream , 1899. Oil on canvas, 28 1/8 in. x 4 ft. 1 1/8 in. The Metropolitan Museum of Art, New York.

28. Impressionism The movement's name was derived from Monet's early work, Impression: Sunrise, which was singled out for criticism by Louis Leroy upon its exhibition. The hallmark of the style is the attempt to capture the subjective impression of light in a scene. The Impressionist style was probably the single most successful and identifiable "movement" ever, and is still widely practiced today.

29. Claude Monet Impressionism: Sunrise 1872 Leader of the Impressionists Aesthetic aim : fleeting effects of light, shadow and atmosphere. Application of paint : thick, heavy layers or strokes (impasto). Influenced by : Baroque “painterliness” (ex: Rubens) Distinguished from Renaissance ideal that used flat, smooth paint surface

30. Monet’s Rouen Cathedral in sun , 1894, oil on canvas, 40” x 26” (and in sunset…)

31. Monet’s Water Lilies (c. 1900) Monet did a series of large canvases on water lilies. He frequently painted his house at Giverny with the gardens and Japanese bridge.

32. The Luncheon of the Boating Party 1881 Renoir Narrative: photographic effect and aura of spontaneity. Light and shadow : fleeting effects of sunlight falls in patches, dappling the surface Handling of paint : loose and rapid thick “impasto” Subjects : outdoor scenes leisure time & gaiety of middle-class Parisians

33. Renoir’s Moulin de la Galette, oil on canvas, 4 ft x 6’ approximately Dappling effect of fleeting light Photographic randomness of clipped figures

34. The Dance Class 1881 Degas Pastels and Oil Paintings Subjects : ballet dancers, the opera

35. Degas

36. Worked mostly indoors (not plein air) Asymmetrical compositions Feathery brushstrokes showing the dancers’ costumes Degas , Rehearsal on Stage , 1874, pastel drawing

37. Young Mother 1891 Mary Cassatt Friend of Degas & Renoir Naturalism, innocence of children Influenced by Japanese prints. Pastel & Oil. Subjects : Mothers and children, her sister

38. Breakfast in Bed, Mary Cassatt Cassatt did a series of paintings and pastel drawings on the theme of mother and child. Influential in bringing Impressionist paintings to US where they were a huge hit

39. Mary Cassatt Maternal Caress, woodblock print, Mary Cassatt was influenced by Japanese prints tilted style, outlining, pattern, and treatment of space.

40. Oil on canvas, 32” x 23” Shows her sister at the opera Again, women going about their daily activities Dazzling colors and brushwork Lydia in a Loge , Mary Cassatt, 1879

41. Mary Cassatt

42. Berthe Morisot , Summer’s Day , oil on canvas, 1879 Sister in law of Manet and grandaughter of Fragonard Sketchy, painterly brushwork Middle class women Asymmetrical composition

43. James Whistler’s Nocturne in Black and Gold: The Falling Rocket , 1875 Subtle harmonies of painting comparable to music Japanese influence-Japanese signature Atmospheric effect of fireworks, study in harmony of color, shape, light Whistler successfully sued a critic over negative comments

44. Post-Impressionism 1885-1905 Characteristics : bright color and visible, distinctive brushwork Trends : more emphasis on composition and form and greater psychological depth. Impact : set the stage for major directions of early 20th century art

45. Sunday Afternoon at the Park 1885 intellectual & scientific uniformly sized dots strongly based on system of rules mathematical precision color theory Seurat Style : Pointillism

46. Cezanne, Mont Sainte-Victoire , 1887 Wanted to make objects geometric constructions with splashes of pure color Solid and firmly constructed, not dappled momentary glimpse like the Impressionists did (Post Impressionism) Used perspective by juxtaposing warm colors and receding cool colors

47. Tilted perspective Contrast of solid forms with flat surfaces Painterly brushstrokes

48. Van Gogh Color : vibrant Forms : simplified and outlined in black contours. Self-Portrait with Bandaged Ear 1889 Brushwork : impasto

49. Vincent Van Gogh, Starry Night , 28” x 36”, 1889 Thick short brushstrokes, impasto paint View from hospital room in St-Remy

50. Paul Gauguin , Manaha No Atua , (Day of the God), oil on canvas. Symbolism (post impressionism), 1894. Gauguin traveled to Tahiti in search of paradise Painted native peoples in geometric bright colors Exotic primitivism Symbolic, mysterious Color to express emotion

51. 1893, Art Nouveau style Noted graphic designer (not called that then.. Poster designer) Physically handicapped, short man Influence of Degas Influence of Japanese prints Toulouse-Lautrec frequented the Moulin Rouge Henri de Toulouse-Lautrec , Jane Avril , lithograph

52. Henri de Toulouse-Lautrec

53. Auguste Rodin (1879-1889)

55. Global Dominion of the West Advancing Industrialism Provided the economic and military basis for the West’s rise to dominion over the rest of the world. Colonialism and the New Imperialism The history of European expansion into Asia, Africa, and other parts of the globe dates back at least to the Renaissance. Marx and Engels In the Communist Manifesto , Marx and Engels prophesized that a revolution would make the proletariat the new ruling class. Nietzsche’s New Morality Nietzsche called for a new morality that privileged the “superman.”

56. Post-Impressionism Post-Impressionism artists were dissatisfied with limitations of Impressionist style. They were influenced by Impressionism but took their art in other directions, it is less idyllic and more emotionally charged than Impressionist work. Analyzed structure, and solidity of forms. Still strong influence of Japanese prints.

57. Marshall Field Wholesale Store , 1885, Chicago, Henry Hobson Richardson Influence of Medici palaces from Renaissance Heavy Romanesque arches Iron columns for interior supports (Skeletal construction) Interior arranged around a central court Feminine department store + masculine warehouse look Few historical illusions Chicago School of architecture formed after Great Fire

58. Otis invented elevator, which allowed high buildings Prototype of modern office building Accent on horizontal thrust Exterior: decorative terra cotta tiles “ Form follows function” was his motto, now very famous in architecture Wainwright Building, 1890 Louis Sullivan, Chicago School

59. Degas’ The Absinthe Drinkers (c. 1875)

60. The Bather ,1885 Cezanne Figure : non-formula Composition : tight, construction of upright & horizontal forms Figure coincides with the lines of landscape: Upper body the sky Lower body the earth. Landscape : conceptual, not ‘plein air.’