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Modernism
This document discusses the emergence of modernism and impressionism in art between 1870-1914. It provides context for changes in society like the industrial revolution that led artists to move away from realistic academic styles. Impressionism arose in the 1860s, focusing on capturing fleeting effects of light and nature outdoors. Post-impressionism further developed personal styles abstracting from reality using geometric shapes. The document outlines the progression from realistic reproduction to more abstract styles that still reference reality to fully abstract works using new visual languages.
Modernism
- 1. Modernism and Impressionism ©JolienDe Ridder, 2014
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- 3. Start: (the given- the reality) A realistic reproduction. - As we percieve it in nature - Imitating ©Jolien De Ridder, 2014
- 4. To deduce: The realisticreproduction becomes more abstract BUT Keeps referring to reality Start: (the given - the reality) A realistic reproduction. - As we percieve it in nature - Imitating ©Jolien De Ridder, 2014
- 5. To deduce: The realisticreproduction becomes more abstract BUT Keeps referring to the realistic image Start: (the given - the reality) A realistic reproduction. - As we percieve it in nature - Imitating Abstract: Leaving out references to reality. - This is possible by using a total new imagery/visual language. ©Jolien De Ridder, 2014
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- 12. SETTING • When: 1870- 1914 • Why: Changes in society • Industrial Revolution • Consumerism • Social inequalities • Invention and spreading of photography ©Jolien De Ridder, 2014
- 13. • Exposition inParis annually since 1673 • Organised by l’Académie des Beaux-Arts • During two centuries the most important exposition for artists in France Les Salons de peinture et sculpture ©Jolien De Ridder, 2014
- 14. Pietro Antonio Martini,etching, Salon du Louvre, 1787 ©Jolien De Ridder, 2014
- 15. Les Salons depeinture et sculpture • These artworks were very ‘academic’ – Style: how it was taught at the Académie des Beaux-Arts – Neoclassicism and Romanticism – “The official taste” – The artworks shown at the expo had to be approved ©Jolien De Ridder, 2014
- 16. Dantan, Edouard, UnCoin du Salon en 1880 ©Jolien De Ridder, 2014
- 17. Salon des Refusées •Paris, 1863 • Next to the official salon • The works of art that were refused at the official salon ©Jolien De Ridder, 2014
- 18. Impressionism • 1860-1900 • Enplein air • The impressions of reality • Volatile effects Monet, Claude, Impression soleil levant, 1873
- 19. To deduce: The realisticreproduction becomes more abstract but references to reality are still present Abstract: Leaving out references to reality. - This is possible by using a total new imagery/visual language. Start: (the given - the reality) A realistic reproduction. - As we percieve it in nature - Imitating ©Jolien De Ridder, 2014
- 20. To deduce: The realisticreproduction becomes more abstract but references to reality are still present Abstract: Leaving out references to reality. - This is possible by using a total new imagery/visual language. Start: (the given - the reality) A realistic reproduction. - As we percieve it in nature - Imitating ©Jolien De Ridder, 2014
- 21. Manet, Edouard, LeDéjeuner sur l'Herbe, 1863 ©Jolien De Ridder, 2014
- 22. Manet, Edouard, Abar at the Folies Bergere, 1882 ©Jolien De Ridder, 2014
- 23. Pissaro, Camille, BoulevardMontmartre morning grey weather, 1897 ©Jolien De Ridder, 2014
- 24. Pierre-Auguste Renoir, The theaterbox, 1874
- 25. Sorolla, Joaquin, Thebath Javea, 1905 ©Jolien De Ridder, 2014
- 26. Neo-impressionism • Technical aspectsof color and light • Pointillism • Divisionism
- 30. Post-impressionism • 1880-1900 • Ownpersonal styles • Structures: e.g. geometric shapes • Gauguin, Van Gogh, Cézanne ©Jolien De Ridder, 2014
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- 32. Gauguin, Paul, Landschapmet pauwen, 1892
- 33. Cézanne, Paul, Cornerof the quary,
- 34. Les Salons depeinture et sculpture Stevens, Alfred, The Paris Sfinks, 1867 Manet, edouard, The reading, 1869 ©Jolien De Ridder, 2014
- 35. Pissaro, Camille, Theclimbing path l’hermitage, 1877 Corot, General view of the town of Saint-Lo, 1833
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- 38. Bonnat, Leon, WilliamThompson Walters, 1883 Paul Cézanne, Portrait of Ambroise Vollard, 1899
- 40. Leighton, Frederic, deidylle, 1880 Caillebotte, Gustave, The nap, 1877 ©Jolien De Ridder, 2014
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Editor's Notes
- #5 Still recognisible and referring to reality
- #9 Ernst, Max, vogels, the-world-map-makes-a-mockery, 1975 Escher, twee vogels, 1938 O'Keeffe, Georgia, een zwarte vogel met besneeuwde heuvels,
- #10 Braque, georges, een vogel vliegt door een wolk, 1957 Marc, Franz, vogels, 1914 Magritte, de belofte, 1966 Klee, blue bird pumpkin, 1939
- #11 Miro, Juan, vrouw met vogels bij zonsopgang, 1946 Brancusi, gouden vogel, 1919-1920
- #13 WHY: steam-powered industrialization, and especially the development of railways
- #14 If you wanted to make it as an artist, you had to be exhibited in the official Salon which was controlling the art world.
- #15 The paintings were hung on the wall onto the ceiling To get the best stop: seen better by the audience In order to be seen in one of these exhibitions, your work had to be huge or hope you won't be skied (placed high above) All the walls were packed from the floor to the ceiling with paintings.
- #17 Édouard Joseph Dantan, Un coin du Salon en 1880. Pour faire gagner de l'argent à l'Académie de peinture et de sculpture, les tableaux étaient exposés avec des numéros : il fallait acheter le livret pour connaître le nom des exposants. Sur ce tableau de Dantan, une visiteuse parcourt le livret ; au fond, la vendeuse dudit livret, assise à une table.
- #18 In de schilderkunst was al sinds het Parijse Le Salon des Refusés uit 1863 een vernieuwing op gang gekomen met de impressionistendie een eigen 'salon' inrichtten omdat ze met hun werken geweigerd werden op het officiële Parijse salon. In de 20e eeuw vallen ook kunststromingen als expressionisme, dada, kubisme en surrealisme onder modernisme.
- #19 1860-1900 En plein air Zintuiglijke indrukken Vluchtige effecten
- #27 technische aspecten van ontwerp- en kleurvormen Pointillisme Divisionisme
- #28 technische aspecten van ontwerp- en kleurvormen Pointillisme Divisionisme
- #31 1880-1900 Vormgeving en structuur Geen imitatie van de natuur Gauguin, Cézanne en Van Gogh
- #38 Caricature (French bourgeoisie): This Year Venuses Again… Always Venuses!.Honoré Daumier, No. 2 from series in Le Charivati, 1864.