•In the decades after 1850•Two major art movements realism and Impressionism.

The Industrial Era and the Urban Scene

Beginning in 1848, the lower classes protested against bad conditions with sporadic urban revolts.

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

Marx and EngelsIn the Communist Manifesto (1848), Marx and

Engels prophesized that a revolution would make the proletariat the new ruling class.

Käthe Kollwitz (1867-–1945) Between 1855-1861, there were almost 500 peasant uprisings across Europe.

Käthe Kollwitz (1867–1945), Death and the Mother, 1934. Lithograph, 20 1/8" x 14 5/8"

Kathe Kollwitz, Widows and Orphans (1919)

KATHE KOLLWITZ    The People, Woodcut (1922-23)

Literary RealismCharles Dickens (1812-1870)

Oliver Twist (1838)David Copperfield (1850)

Mark Twain ( 1835-1910) (Samuel Longhorn Clemens)The Adventures of Huckleberry (1884) The Adventures of Tom Sawyer (1876)

Russian RealismLeo Tolstoy (1828-1910)

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.

French RealismFrench RealismGustave Flaubert (1821-1880)

Madame Bovary (1857)Examined everyday lives of middle-class women

Emile Zola (1840-1902)Nana (1880)Scathing portrayal of a beautiful but unscrupulous prostitute.

Henrik Ibsen (1828-1906)A Doll’s House (1879)middle-class women as “a doll-wife” living in a

“doll’s house”.

Late-Nineteenth-Century Architecture Cast-Iron

StructuresThe

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-Gustave Eiffel (1832–1923), Eiffel Tower, 1889. Iron on a reinforced concrete base, height 934'. Paris.

Marshall Field Wholesale Store, 1885, Chicago, Henry Hobson Richardson

•Masculine warehouse look

•Iron columns for interior supports

•Chicago School of architecture formed after Great Fire

•Otis invented elevator

•Prototype of modern office building

•Exterior: decorative terra cotta tiles

•“Form follows function” was his motto, now very famous in architecture

Wainwright Building, 1890

Louis Sullivan, Chicago School

Realism in the Visual Arts The Birth of Photography

Mathew B. Brady, (1861-1865) eyewitness photographs for the American civil war.

Mathew B. Brady or staff, Dead Confederate Soldier with Gun, Petersburg, Virginia, 1865. Photograph. The Library of Congress, Washington, D.C.

French Realism - Gustave Courbet(1819-1877)

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.

Outspoken socialist, “A painter should paint only what he can see.”

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.

Sheep Shearing Beneath a Tree, ca. 1854Jean-François Millet (French, 1814–1875)Conté crayon with stumping, pen and brown ink, heightened with white on beige wove paper

Daumier’s Social RealismHonore Daumier (1808-1879)

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.

The social realist –Lithography

detailed record of society

The ancestors of modern-day political cartoons

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

Honore Daumier

Le Passé–Le Présent–L'Avenir (Past, Present, Future), January 9, 1834Honoré Daumier (French, 1808–1879)Lithograph

The Legislative Belly, 1834Honoré Daumier (French, 1808–1879)Lithograph

Rue Transnonain, April 15, 1834, August and September 1834Honoré Daumier (French, 1808–1879)Lithography

Council of War, 1872Honoré Daumier (French, 1808–1879)Lithograph

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.

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

The Horse Fair, 1853–55Rosa Bonheur (French, 1822–1899)Oil on canvas

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.

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)

Winslow Homer (1836-1910)

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.

romantic metaphor for the isolation and plight of black American in the decades following the Civil War.

Impressionism Forerunner… Édouard Manet

Manet (1832-1883). After rejection by

salon, set up his own exhibitions

The Scandalous Realism of Manet

Luncheon on the Grass, Edouard ManetNapoleon III authorized Exhibition of refused artists from the Salon, such as Manet and MonetThis painting was found scandalous…

Édouard Manet (1832–1883). Le Déjeuner sur l'Herbe (Luncheon on the Grass), 1863. Oil on canvas, 7' x 9'. Musée d'Orsay, Paris.

Pastoral Concert (Fête champêtre)1508-09Oil on canvas, 110 x 138 cmMusée 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.

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.

Olympia, Manet, 1868

Venus of Urbino, Titian, 1538

Bar at the Folies-Bergere, Manet, oil on canvas, 1882 •More

impressionistic than Manet’s early works.

ImpressionismThe movement's name was derived from Monet's early work, Impression: Sunrise, (capture the 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.

Claude Monet, Impressionism:

Sunrise 1872

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

Monet’s Water Lilies (c. 1900)

The Luncheon of the Boating Party 1881

RenoirSubjects: outdoor scenes leisure time & gaiety of middle-class Parisians

Renoir’s Moulin de la Galette, oil on canvas, 4 ft x 6’ approximately

Dappling effect of fleeting light

Photographic randomness of clipped figures

The Dance Class 1881Degas

•Pastels and Oil Paintings

•ballet dancers, the opera

Degas

Degas, Rehearsal on Stage, 1874,

pastel drawing

Young Mother1891

Mary Cassatt

•Influenced by Japanese prints. Pastel & Oil.

•Subjects: Mothers and children, her sister

Breakfast in Bed, Mary Cassatt•Impressionist paintings to US

•influenced by Japanese prints

Mary CassattMaternal Caress, woodblock print,

Oil on canvas, 32” x 23”

Dazzling colors and brushwork

Lydia in a Loge, Mary Cassatt, 1879

Mary Cassatt

Berthe Morisot , Summer’s Day, oil on canvas, 1879

•Sister in law of Manet and grandaughter of Fragonard

•Middle class women

•Asymmetrical composition

James Whistler’s Nocturne in Black and Gold: The Falling Rocket, 1875

•Subtle harmonies of painting comparable to music

•Japanese influence

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

Sunday Afternoon at the Park 1885

SeuratStyle: Pointillism

intellectual & scientific

uniformly sized dots

Cezanne, Mont Sainte-Victoire, 1887

•Wanted to make objects geometric constructions with splashes of pure color

•Tilted perspective

•Contrast of solid forms with flat surfaces

Van Gogh•Color: vibrant

•Forms: simplified and outlined in black contours.

Self-Portrait with Bandaged Ear1889

•Brushwork: impasto

Vincent Van Gogh, Starry Night, 28” x 36”, 1889 •View from

hospital room in St-Remy

Paul Gauguin, Manaha No Atua, (Day of the God), oil on canvas. Symbolism (post impressionism), 1894.

•Painted native peoples in geometric bright colors

•1893, Art Nouveau style

•Noted graphic designer (Poster designer)

•frequented the Moulin Rouge

Henri de Toulouse-Lautrec, Jane Avril, lithograph

Henri de Toulouse-Lautrec

Auguste Rodin(1879-1889)

Global Dominion of the WestAdvancing Industrialism

Provided the economic and military basis for the West’s rise to dominion over the rest of the world.

Colonialism and the New ImperialismThe history of European expansion into Asia,

Africa, and other parts of the globe dates back at least to the Renaissance.

Marx and EngelsIn the Communist Manifesto, Marx and

Engels prophesized that a revolution would make the proletariat the new ruling class.

Nietzsche’s New MoralityNietzsche called for a new morality that

privileged the “superman.”

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.

Degas’ The Absinthe Drinkers (c. 1875)

The Bather,1885CezanneFigure: 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.’

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.

Gustave Courbet (1819-1877)

Mystery of the Mirror

in Manet’s painting

It is the viewer of the painting (you)!

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

Eiffel Tower, 1887-1889, Gustave Eiffel•Centerpiece of 1889 Paris Universal Exposition

•Innovative elevator swings up diagonally

•Also helped with Statue of Liberty and Panama Canal!

Young Ladies of the Village, 1852Gustave Courbet (French, 1819–1877)Oil on canvas 76 3/4 x 102 3/4 in. (194.9 x 261 cm)