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Enlightenment thru post imp
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- 3. THEME: Features ofRomanticism “Man is born free, but is everywhere in chains!” - Rousseau P.I.N.E. Past – Longing for the medieval past, pre-industrial Europe (Gothic architecture will be revived) Irrational/ Inner mind / Insanity – Romantic artists depict the human psyche and topics that transcend the use of reason. One Romantic artist, Gericault, chose to do portraits of people in insane asylums Nature – longing for the purity of nature, which defies human rationality Emotion/ Exotic – Romantics favored emotion and passion over reason. Exotic themes and locales were also popular because they did not adhere to European emphasis on rationality Imagination, not reason, FEELING, not thinking = FREEDOM
- 4. Jean-Auguste-Dominique Ingres Grande Odalisque 1814 oilon canvas 2 ft. 11 in. x 5 ft. 4 in.
- 5. Francisco Goya The Sleepof Reason Produces Monsters from Los Caprichos ca. 1798 etching and aquatint 8 1/2 x 6 in.
- 6. Francisco Goya Family ofCharles IV 1800 oil on canvas 9 ft. 2 in. x 11 ft.
- 7. Francisco Goya The Thirdof May, 1808 1814 oil on canvas 8 ft. 8 in. x 11 ft. 3 in.
- 8. Francisco Goya Saturn DevouringHis Children 1819-1823 fresco on canvas 4 ft. 9 in. x 2 ft. 8 in.
- 9. Théodore Géricault Raft ofthe Medusa 1818-1819 oil on canvas 16 x 23 ft.
- 10. Eugène Delacroix Liberty Leadingthe People 1830 oil on canvas 8 ft. 6 in. x 10 ft. 8 in.
- 11. John Constable, TheHaywain 1821 oil on canvas 4 ft. 3 in. x 6 ft. 2 in. Nature as allegory
- 12. Caspar David Friedrich Abbeyin the Oak Forest 1810 oil on canvas 3 ft. 7 1/2 in. x 5 ft. 7 1/4 in. “The artist should not only paint what he sees before him, but also what he sees within him. If he does not see anything within him, he should give up painting what he sees before him.” - Friedrich
- 13. Joseph Mallord WilliamTurner The Slave Ship 1840 oil on canvas 2 ft. 11 11/16 in. x 4 ft. 5/16 in.`
- 14. Thomas Cole The Oxbow 1836 oilon canvas 4 ft. 3 1/2 in. x 6 ft. 4 in.
- 15. Albert Bierstadt Among theSierra Nevada Mountains, California 1868 oil on canvas 6 ft. x 10 ft.
- 16. Romantic Architecture • IRON •Iron framework with Gothic or Romanesque skin • Progressive artists exposed iron + glass • REVIVAL of the past • Middle ages – a time when religion was more devout and sincere • Modern living corrupted Industrial Revolution • Not just Medieval revival but also Egyptian, Islamic, Baroque… anything old!
- 17. Charles Barry &A.W.N. Pugin Houses of Parlaiment London, England designed 1835 “All Grecian, Sir. Tudor details on a classical body” - Pugin “Neo-Gothic”
- 18. John Nash Royal Pavilion Brighton,England 1815-1818 “Indian Gothic”
- 19. Joseph Paxton Crystal Palace London,England 1850-1851
- 20. Louis-Jacques-Mandé Daguerre Still Lifein Studio 1837 Daguerreotype
- 21. Julia Margaret Cameron Ophelia,Study no. 2 1867 albumen print 1 ft. 1 in. x 10 2/3 in.
- 22. Timothy O’Sullivan A Harvestof Death, Gettysburg, Pennsylvania, July 1863 1863 gelatin-silver print
- 23. PRE-MODERNISM: REALISM &THE PRE-RAPHAELITE BROTHERHOOD 19th century continued…
- 24. Ah, Romanticism…isn’t itromantic? REALISM – no! get REAL! • Started in mid 1800s France • Influenced by Positivism, a philosophical model developed by Auguste Comte • Knowledge must come from proven ideas based on science or scientific theory • Darwin! Karl Marx! • Artists depicted scenes of everyday contemporary life, disproved of historical or fictional subjects, they weren’t REAL • “*An artist must apply+ his personal faculties to the ideas and events of the times in which he lives… Art in painting should consist only in the representation of things visible and tangible to the artist. Every age should be respected only by its own artists, that is to say, by the artists who have lived in it. I also maintain that painting is an essentially concrete art form and can consist only of the representation of both real and existing things.” – Courbet, 1861
- 25. Gustave Courbet The StoneBreakers 1849 oil on canvas 5 ft. 3 in. x 8 ft. 6 in. “Show me an angel and I’ll paint one” – Courbet’s famous words sum up Realism
- 26. Gustave Courbet Burial atOrnans 1849 oil on canvas 10 ft. x 22 ft.
- 27. Jean-François Millet The Gleaners 1857 oilon canvas 2 ft. 9 in. x 3 ft. 8 in.
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- 29. Honoré Daumier The Third-ClassCarriage ca. 1862 oil on canvas 2 ft. 1 3/4 in. x 2 ft. 11 1/2 in.
- 30. Édouard Manet Le Déjunersur l’Herbe 1863 oil on canvas 7 ft. x 8 ft. 10 in.
- 31. Édouard Manet Olympia 1863 oil oncanvas 4 ft. 3 in. x 6 ft. 3 in.
- 32. Winslow Homer The Veteranin a New Field 1865 oil on canvas 2 ft. 1/8 in. x 3 ft. 2 1/8 in.
- 33. Thomas Eakins The GrossClinic 1875 oil on canvas 8 ft. x 6 ft. 6 in.
- 34. John Singer Sargent TheDaughters of Edward Darley Boit 1882 oil on canvas 7 ft. 3 3/8 in. x 7 ft. 3 5/8 in.
- 35. Pre-Raphaelites Fictional, historical andfanciful subjects with a convincing degree of illusion Refused to be limited to contemporary scenes of the REALIST movement
- 36. John Everett Millais Ophelia 1852 oilon canvas 2 ft. 6 in. x 3 ft. 8 in. Her clothes spread wide, And mermaidlike awhile they bore her up- Which time she chanted snatches of old tunes, As one incapable of her own distress.
- 37. Dante Gabriel Rossetti BeataBeatrix ca. 1863 oil on canvas 2 ft. 10 in. x 2 ft. 2 in.
- 38. Impressionism (1874) • Modernistmovement – avant-garde artists • Pioneered independent art exhibitions (1874) as the “Anonymous Society of Painters, Sculptors, Printmakers,” adopted “Impressionists” soon thereafter • Rely on the transient, the quick and the fleeting • Seek to capture the effects of light • Knew shadows had color, seasons effect object • Plein-air painting • Landscape and still-life painting • Impressionists prided themselves on being antiacademic and antibourgeois
- 39. Claude Monet Impression: Sunrise 1872 oilon canvas 1 ft. 7 1/2 in. x 2 ft. 1 1/2 in. Intersection of what the artist SAW and what the artist FELT - Complementary color, choppy brushstrokes
- 40. Claude Monet Rouen Cathedral:The Portal (in Sun) 1894 oil on canvas 3 ft. 3 1/4 in. x 2 ft. 1 7/8 in.
- 41. Gustave Caillebotte Paris: ARainy Day 1877 oil on canvas approximately 6 ft. 9 in. x 9 ft. 9 in. URBANIZATION Baron Georges Haussman – gave Paris a makeover under Napoleon III’s orders
- 42. Pierre-Auguste Renoir Le Moulinde la Galette 1876 oil on canvas 4 ft. 3 in. x 5 ft. 8 in. Leisure activities of the Parisian middle class
- 43. Édouard Manet A Barat the Folies-Bergère 1882 oil on canvas 3 ft. 1 in. x 4 ft. 3 in.
- 44. Edgar Degas Ballet Rehearsal 1874 oilon canvas 1 ft. 11 in. x 2 ft. 9 in. Inspirations: Formal leisure activities, movement, photography and Japanese woodblock prints
- 45. Edgar Degas The Tub 1886 pastel 1ft. 11 1/2 in. x 2 ft. 8 3/8 in. JAPONISME - With new open trade in Japan, woodblock prints had great effect on French art and style—tea sets, folding screens, fans, kimonos - An admiration for the beauty and exoticism of the Japanese aesthetic - Valued for use of diverging lines and flat forms - Familiar and intimate subjects Torii Kiyonaga, detail of Two Women at the Bath
- 46. Katsushika Hokusai The GreatWave off Kanagawa 1857 color woodblock print 9 7/8 x 14 3/4 in.
- 47. Mary Cassatt The Bath ca.1892 oil on canvas 3 ft. 3 in. x 2 ft. 2 in. Cassatt, Woman Bathing, etching
- 48. James Abbott McNeilWhistler Nocturne in Black and Gold (The Falling Rocket) ca. 1875 oil on canvas 1 ft. 11 5/8 in. x 1 ft. 6 1/2 in. John Ruskin accused Whistler of, “flinging a pot of paint in the public’s face”
- 49. POST-Impressionism (1880s- 1890s)Back topicture making rather than copying nature • Just as the Impressionists were being taken seriously as artists, a new group came along feeling that the Impressionists neglected too many traditional elements in favor of capturing a fleeting moment • Artists explore the properties and expressive qualities of formal elements • Borrows from Impressionism in new and unique ways • Combine Impressionist ideals (light, shading and color) with structure • Nearing abstraction while retaining volume or depth Cezanne, the quintessential Post-Impressionist wished to, “make Impressionism something solid and durable, like the art of the museums”
- 50. Henri de Toulouse-Lautrec Atthe Moulin Rouge 1892-1895 oil in canvas 4 ft. x 4 ft. 7 in. What influenced Lautrec?
- 51. Georges Seurat A Sundayon La Grande Jatte 1884-1886 oil on canvas 6 ft. 9 in. x 10 ft. https://www.youtube.com/watch?v=vBBOMLURSGA POINTILLISM
- 52. Vincent van Gogh TheNight Café 1888 oil on canvas 2 ft. 4 1/2 in. x 3 ft. “a place where one can ruin oneself, go mad, or commit a crime”
- 53. Vincent van Gogh StarryNight 1889 oil on canvas 2 ft. 5 in. x 3 ft. 1/4 in.
- 54. Paul Gauguin The Vision afterthe Sermon 1888 oil on canvas 2 ft. 4 3/4 in. x 3 ft. 1/2 in.
- 55. Paul Gauguin Where DoWe Come From? What Are We? Where Are We Going? 1897 oil on canvas 4 ft. 6 13/16 in. x 12 ft. 3 in.
- 56. Paul Gauguin Where DoWe Come From? What Are We? Where Are We Going? 1897 oil on canvas 4 ft. 6 13/16 in. x 12 ft. 3 in.
- 57. Paul Cézanne The Basketof Apples ca. 1895 oil on canvas 2 ft. 3/8 in. x 2 ft. 7 in.