Nadar, Felix. Silver Gelatin Print. 1868

"Paris from a Balloon"

Nadar, Felix. Albumen Print. 1855

"Eugene Delacroix"

Talbot, W.H. Fox. Salt Print. 1841

"Soliloquy of the Broom"

-never claimed he was an artist, he was a scientist

-experimented with different salt mixtures

-regular paper dipped into silver nitrate becomes photo sensitive

     -creates a negative

     -used wax

     -can create multiple copies

Daguerre, Louis-Jacques-Mande. Daguerreotypes. 1837

"The Artist's Studio"

-an artistic study 

Durieu, Eugene and Delacroix, Eugene. Albumen Print. 1854

"Draped Model: Back View"

-Delacroix was the first to embrace painting tubes 

Rejlander, Oscar. Combination Albumen Print. 1857

"The Two Paths of Life"

-argued that photography was art

-made a composite of negatives 

Manet, Edouard. 1863

"Dejeneur sur l'herbe (Luncheon on the Grass)"

-was presented and rejected to the academic salon based on subject matter

-his intentions weren't to challange the acadey but to become part of them

-responding to Raphael's painting of the same thing

-brother (left) and soon to be brother-in-law

-rejected because of the nude woman

     -she's not a nymph, muse, or idealized

     -lack of perspective

     -she's making eye contact

     -they're all recognizable

-he's making a comment on the subjects that the academy accepts

-very traditional in forms of composition (copies Raphael's poses) 

Manet, Edouard. 1863

"Olympia"

-same model as in "Dejeneur sur l'herbe"

-he has social graces on the mind (this makes him a realist)

-presented in 1865 and was accepted

-black cat = availability 

Cassatt, Mary. Oil on canvas. 1892

"The Bath"

-flattened color

-attention to detail 

Manet, Edouard. 1881-1882

"Bar at the Folies-Bergere"

-related to "Olympia" because it's about women working

-the bar was very popular

-some girls outside would practice prostitution (needed liscenses)

-same jewelry and flowers as "Olympia"

-perspective is wrong

-there were no free standing bars so we know that it has to be a reflection

-time and space fragmentation

-broek brush strokes not because he's an impressionist but beecause he wants us to know that the people are moving around 

Monet, Claude. 1872

"Impression: Sunrise"

-gave the movement it's name

-was shown in Nadar's studio

-public responded very negatively

-unfinished by the standards of the academy

-trying to convey a sense of atmosphere

-no definition by line but by color

-saturation is very even overall

-was responding to Rococo paintings 

Monet, Claude. 1890-1891

"Haystacks (series)"

-painting things that are quickily loosing importance

-becomes melancholy because nature is being encrouched upon 

Monet, Claude. 1873-1874

"Boulevard des Capucines, Paris"

-painting a street scene from a window in Nadar's studio

-shifted perspective point

     - continuously shifting points of view

-open space 

Renoir, Pierre August. Oil on canvas. 1882-1883

"Dance in the City"

-upper class couple dancing

-more formal than "Dance in the Country"

-the female figure is something he struggled with but keeps showing up in his work 

Renoir, Pierre August. Oil on canvas. 1883

"Dance in the Country"

Renoir, Pierre August. Oil on canvas. 1876

"Ball at the Moulin de la Galette"

-a place where class boundaries can be blurred

-all people in painting are his friends but they have no individual features

     -they become the faceless crowd

-black isn't used to create lights and shadows 

Degas, Edgar. N/D

"At the Theatre: Dancers in the Wings"

-the bar is visually in our way

-unified by continious flow

-calling attention to what is entertainment for some is labour for others 

Degas, Edgar. Oil on canvas. 1876

"Glass of Absinthe"

-subject we normally find in Impressionism

-focus on city life

     -women are finding new places of enterprise

-new perspective

     -tilted set up

-uses photographic cropping

-also deals with Realist subjects 

Degas, Edgar. Pastel on paper. 1886

"Tub"

-in the act of bathing

-in a way it should feel like we are spying on her

-said he wanted things to appear as if he was looking through a keyhole

-inspired by Japanese prints 

Morisot, Berthe. Oil on canvas. 1879

"Nursing"

-brushstroke

-outside

-wetnurse is feeding the baby 

Morisot, Berthe. Oil on canvas. 1875

"Laundresses Hanging Out the Wash"

-she knew how to paint because that just something ladies knew

-was a central agent of the movement (Impressionism)

-very fast, loose brushstroke

-her subjects were different

-harsh whites draw our attention to the play of light

-her work always appears fragmented 

Cassatt, Mary. Drypoint and aquatint. 1898

"Under the Horse Chestnut Tree"

-american artist

-only depicts what a women of status would know about

-influenced by Japenese prints 

Seurat, Georges. 1900-1901

"The Circus"

-sinuous line of the whip hints at whats to come

-very limited palette but very vivid 

Seurat, Georges. 1883

"Bathing Places, Asnieres"

Signac, Paul. 1890

"Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones and Tints, Portrait of M. Felix Feneon in 1890"

-exploring the effects of decoration 

Cezanne, Paul.

"Mont Sainte-Victoire"

Cezanne, Paul. 1879-1882

"Still Life with Compotier"

-after his father died he inherited a lot of moeny and could focus on just art and not on selling his work

-no longer has to please teachers

-looks unstable

-no consistent point of view 

van Gogh, Vincent. 1888

"Night Cafe"