Realism A reaction to Romanticism. Not escapist. No idealization or sensationalism of subjects. Its...
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Transcript of Realism A reaction to Romanticism. Not escapist. No idealization or sensationalism of subjects. Its...
![Page 1: Realism A reaction to Romanticism. Not escapist. No idealization or sensationalism of subjects. Its got a hard edge. 19 th Century. 1800-1874 Representation.](https://reader035.fdocuments.net/reader035/viewer/2022070306/5519b8145503467a578b4897/html5/thumbnails/1.jpg)
Realism• A reaction to Romanticism. Not escapist. No
idealization or sensationalism of subjects. It’s got a “hard edge.”
• 19th Century.• 1800-1874• Representation of real life. Facts of the modern
world as personally experienced. • Gods and goddesses and heroes are out. Peasants
and working class are in• Represented people as they saw them.• Used the medium itself to represent reality.
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Honore Daumier. Third Class Carriage. 1862.
Working class passengers represented as dignified, despite the de-humanizing effect of modern mass transportation.
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The Sower
Millet, Jean -Francois
1850 ca.
Again, focus on the quiet and sturdy dignityof the lower classes--peasant.
Before, peasants represented as doltish
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Caillebotte, Rainy Day Paris (1870s)Technology--electric light; Hausmann’s reconstruction of Paris
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Impressionism
• Closeness to nature.• Worked on the spot in nature rather than from
studios.• Capturing an instant or moment.• Interested in light and color.• Soft outlines. • Increased the brightness of the canvas.• Blurred unclean lines.
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Manet, Bar at the Folies-Bergere1882
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Monet, Rouen Cathedral1892-94
Subject matter: Parisian street and café scenes, outdoors, seasidePurpose: to portray immediate visual sensations of a scene
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Renoir, Le Moulin de la Galette 1876
DegasL'absinthe (The Glass of Absinthe 1876
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Manet, Le Dejeuner sur l’herbe (Luncheon on the Grass) 1863
SCANDALOUS!!! Why?
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Pointillism
• Used small dots.
• Allowed the eye to blend the colors.
• No actual lines.
• Very calculated placement of colors.
• Careful composition of dots.
(PART OF POST-IMPRESSIONISM))
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Seurat, “Un dimanche après-midi à l'Ile de la Grande Jatte” 1884-86; ("Sunday Afternoon on the Island of La Grande Jatte“)
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Details and enlargements
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Paul Gauguin. Tahitian Women on South Beach. 1891-92. Oil on canvas.
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Vincent Van Gogh. Starry Night over the Rhone.
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Claude Monet. Impression, Sunrise. 1872. Oil on canvas.
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Vincent Van Gogh. Self Portrait with BandagedEar. 1889. Oil on canvas.
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Vincent Van Gogh. Mme Roulin. 1889. Oil on canvas.
Vincent Van Gogh. Dr. Gachet. 1890. Oil on canvas.
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Vincent van Gogh. Café Terrace. 1888Oil on canvas.
Vincent Van Gogh. The Night Café. 1888.Oil on canvas.
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Henri de Toulouse-Lautrec. Moulin Rouge.1891. Lithograph.
Henri de Toulouse-Lautrec. At The MoulinRouge. 1892.
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Edgar Degas. Four Dancers. c. 1899. Oil on canvas. National Gallery of Art, Washington
Henri de Toulouse-LautrecRue des Moulins: The Medical Inspection.1894. Oil on cardboard
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Expressionism
• Emphasis on emotion.• Over exaggerated figures.• Expressive concern for psychology.• Less concerned with objects.• More concerned with the effects produced.• Concern with personal experience.• Personal emotion.
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Edvard Munch. Ashes. 1894. Oil on canvas.
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Edvard Munch. The Scream. 1893. Oil on canvas.
Edvard Munch. Anxiety. 1895. Oil on canvas.
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The Fauves:•Bold colors.•Exaggeration of forms.•Un relatable shapes and forms.•Classic subjects.
•Henri Matisse. Woman in aPurple Coat. 1937. Oil on canvas.
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Henri Matisse. Decorative FigureOn and Ornamental Ground. 1926.Oil on canvas.