Unit 18 - Impressionism,

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GAttA Chapter 29

The Later Nineteenth Century

Industrialization of Europe and U.S. about 1850

Realism: The Painting of Modern Life

Time Periods

Realism 1848-1860s

Impressionism 1872-1880s

Post-Impressionism 1880s-1890s

Symbolism 1890s

Art Nouveau 1890s-1914

Key Ideas1. The Realist art movement was philosophically based on

the theory of positivism2. Japanese art had a profound impact on late 19th century

painting.3. Plein-air painting dominates much of Impressionist art.4. Post-Impressionists reacted against what they saw as the

ephemeral quality of Impressionist painting.5. Symbolist painters seek to portray mystical personal

visions.6. In the late 19th century, the skyscraper was born as a result

of new technological advances, the invention of the elevator, and the rise of land values.

7. Art Nouveau seeks to create a unified artistic experience combining painting, sculpture, and architecture ; relies on organic forms and motifs.

Innovations of Realism

1. Japonisme – prints of genre or landscape scenes; flat, odd angles or tilted objects

2. Artificial atmosphere of the studio gives way to plein-air (outside) work

3. Trying to capture effects of atmosphere and light outside

4. Would frequently do a series of same object at different times of day or series of photos

5. Invention of lithography (printmaking) 1798 = mass production of color prints = Delacroix, Goya, Daumier, Toulouse-Lautrec

Characteristics of Realism

1. Paint things you could experience with the 5 senses.

2. Tended to be genre pieces showing lower class, since they were perceived to be honest, sincere, and at one with the earth.

Figure 29-1 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5’ 3” x 8’ 6”. Formerly at Gemäldegalerie, Dresden (destroyed in 1945).

Figure 29-2 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, approx. 10’ x 22’. Louvre, Paris.

GUSTAVE COURBET, The Interior of My Studio: A Real Allegory, 1849-50. Oil on canvas, 11' 10 1/4" x 19' 7 1/2" (361 x 598 cm), Musee d'Orsay, Paris.

GUSTAVE COURBET, Portrait of Jo (La Belle Irlandaise) 1866. Oil on canvas. 22 x 26 in. (55.9 x 66 cm) © The Metropolitan Museum of Art, New York.

Figure 29-3 JEAN-FRANÇOIS MILLET, The Gleaners, 1857. Oil on canvas, approx. 2’ 9” x 3’ 8”. Louvre, Paris.

Figure 29-4 [11th] JEAN-BAPTISTE-CAMILLE COROT, The Harbor of La Rochelle, 1851. Oil on canvas, approx. 1’ 8” x 2’ 4”.

Figure 29-4 HONORÉ DAUMIER, Rue Transnonain, 1834. Lithograph, approx. 1’ x 1’ 5 1/2”. Philadelphia Museum of Art, Philadelphia (bequest of Fiske and Marie Kimball).

Figure 29-6 HONORÉ DAUMIER, The Third-Class Carriage, ca. 1862. Oil on canvas, 2’ 1 3/4” x 2’ 11 1/2”. Metropolitan Museum of Art, New York.

Figure 29-5 HONORÉ DAUMIER, Nadar Raising

Photography to the Height of Art, 1862. Lithograph, 10 3/4” x

8 3/4”. Museum of Fine Arts, Boston.

ÉDOUARD MANET, The Old Musician, 1862. Oil on canvas 74” x 98”. National Gallery of Art, Washington, DC.

Figure 29-7 ÉDOUARD MANET, Le Déjeuner sur l’herbe (Luncheon on the Grass), 1863. Oil on canvas, approx. 7’ x 8’ 10”. Musée d’Orsay, Paris.

Figure 29-8 ÉDOUARD MANET, Olympia, 1863. Oil on canvas, 4’ 3” x 6’ 3”. Musée d’Orsay, Paris.

The French Academy and Other Classical Models

• What was the importance & influence of the French Royal Academy of Art, the artists it trained, & the styles it promoted?

• What explained the popularity of other classical models in art?

Figure 29-9 ADOLPHE-WILLIAM BOUGUEREAU, Nymphs and Satyr,

1873. Oil on canvas, approx. 8’ 6” high. Sterling and Francine Clark Art Institute,

Williamstown, Massachusetts.

Rosa Bonheur was the most famous woman artist of the first three quarters of the nineteenth century. Her family supported her in that endeavor. From age ten on, Bonheur spent hours sketching animals in parks on the outskirts of Paris; by age seventeen she was contributing to the family income by making copies of paintings in the Louvre. Since it was not possible for a woman to attend the official schools of art at this time, her father, Raymond Bonheur—a landscape artist and teacher—served as her instructor.Bonheur was politically and artistically conservative. She worked in a very traditional way, making sketches and studies in preparation for larger, final paintings. Bonheur believed in direct observation of nature and was determined to be accurate in all details. To this end, she dissected animal parts, sketched from life, and attended horse fairs. This was not the type of event normally attended by women. To avoid the taunts and comments a woman could receive if she were seen at a horse fair, Bonheur applied for permission from the prefecture of police to dress in men’s clothing, and received authorization to do so in 1852.Rosa Bonheur was the first woman to receive a cross of the Legion of Honor in France, a reward for outstanding achievement in her field. The honor was bestowed upon her personally by the Empress Eugenie, wife of emperor Napoleon III, in June 1865. The empress wanted to show, as she said, that "genius has no sex."

MARIE-ROSALIE (ROSA) BONHEUR, The Horse Fair, ca. 1852. Oil on canvas, 10.5” x 25”, Albright-Knox Gallery, Buffalo NY.

MARIE-ROSALIE (ROSA) BONHEUR, Plowing in the Nivernais, 1849. Oil, approx. 68” x 102”, Musee d'Orsay, Paris.

Figure 29-10 MARIE-ROSALIE (ROSA) BONHEUR, The Horse Fair, 1853–1855. Oil on canvas, 8’ x 16’ 7.5”. Metropolitan Museum of Art, New York.

American and German Realism

• Who were the American artists, and what are key works of Realist art?

• Why were the German artists’ interested in regional and national characteristics, folk customs and culture?

Figure 29-11 WINSLOW HOMER, The Veteran in a New Field, 1865. Oil on canvas, 2’ 1/8” x 3’ 2 1/8”. Metropolitan Museum of Art, New York.

WINSLOW HOMER, Snap the Whip, 1872. Oil on canvas, 12” x 20”, Metropolitan Museum of Art, New York.

WINSLOW HOMER, The Gulf Stream, 1899. Oil on canvas, 28” x 49”, Metropolitan Museum of Art, New York.

THOMAS EAKINS, Max Schmitt in a Single Scull, 1871. Oil on canvas, 32.5” x 46”. Metropolitan Museum of Art, New York.

Figure 29-12 THOMAS EAKINS, The Gross Clinic,

1875. Oil on canvas, 8’ x 6’ 6”. Jefferson Medical College of Thomas Jefferson University,

Philadelphia.

Figure 29-13 EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print. George Eastman House, Rochester, New York.

Figure 29-14 JOHN SINGER SARGENT, The

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

Museum of Fine Arts, Boston.

JOHN SINGER SARGENT, Madame X (Madame Pierre

Gautreau), 1883. Oil on canvas, 82”  by 43”, Metropolitan Museum

of Art, New York.

•Dominating piece

•

JOHN SINGER SARGENT, Portrait of a Young Girl, 1880-

1884. Oil on canvas, 65cm x 46cm, Baltimore Museum of Art,

Baltimore.

JOHN SINGER SARGENT, The Black Brook, 1908. Oil on canvas, 82”  by 43”, Tate Gallery, London.

Figure 29-15 HENRY OSSAWA TANNER, The Thankful Poor, 1894. Oil on canvas, 3’ 8 1/4” x 2’ 11 1/2”. Collection of William H. and Camille Cosby.

Figure 29-16 WILLIAM LEIBL, Three Women in a Village Church, 1878-1881.

Oil on canvas, approx. 2’ 5” x 2’ 1”. Kunsthalle, Hamburg.

Pre-Raphaelite Brotherhood

• How did the Pre-Raphaelites’ choice of subject matter contrast to the Realists’ subject matter?

• What were the influences of the literary world & of the critic John Ruskin on the art of the Pre-Raphaelites?

• Who were the artists & what were the styles of the Pre-Raphaelite movement?

Figure 29-17 JOHN EVERETT MILLAIS, Ophelia, 1852. Oil on canvas, 2’ 6” x 3’ 8”. Tate Gallery, London.

JOHN EVERETT MILLAIS. A Huguenot, on St. Bartholomew's Day Refusing to Shield Himself from Danger by Wearing the Roman Catholic Badge. 1852. Oil on canvas. Manson and Woods Ltd., London.

JOHN EVERETT MILLAIS, The Ransom, 1860-1862. Oil on canvas, 51” x 45”. J Paul Getty

Museum.

JOHN EVERETT MILLAIS, Cinderella, 1881. Oil on canvas, 51” x 45”. Kevin Alfred Strom

Gallery.

Figure 29-18 DANTE GABRIEL ROSSETTI, Beata Beatrix, ca.

1863. Oil on canvas, 2’ 10” x 2’ 2”. Tate Gallery, London.

DANTE GABRIEL ROSSETTI, Lady Lilith, 1867. Oil on canvas, 38” x 33.5”, Delaware Art Museum, Delaware.

Figure 29-19 GERTRUDE KÄSEBIER, Blessed Art thou Among Women, 1899.

Platinum print on Japanese tissue, 9 3/8” x 5 1/2”. Museum of Modern Art, New York (gift

of Mrs. Hermine M. Turner).