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| Edouard Manet, Music in the Tuileries, 1862 REALISM/IMPRESSIONISM |
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| Manet, The Railway, 1873 REALISM/IMPRESSIONISM |
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| Manet, A Bar at the Folies-Bergère, c.1882 REALISM/IMPRESSIONISM |
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| Claude Monet, La Gare St. Lazare, 1877 IMPRESSIONISM |
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| William Bouguereau, Nymphs, 1873 ACADEMISM |
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| Claude Monet, La Grenouillere, 1869 IMPRESSIONISM |
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| Auguste Renoir, Moulin de la Gallette, 1876 IMPRESSIONISM |
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| Camille Pissarro, Place du Theatre Français, Paris, 1898 IMPRESSIONISM |
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| Gustave Caillebotte, The Streets of Paris on a Rainy Day, 1877 IMPRESSIONISM |
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| Edgar Degas, The Absinthe Drinker, 1876 IMPRESSIONISM |
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| Renoir, Luncheon of the Boating Party, 1881 IMPRESSIONISM |
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| Monet, Cathedral of Rouen, c. 1894 IMPRESSIONISM |
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| Georges Seurat, Sunday Afternoon on La Grande Jatte, 1885 POINTALISM (NEOIMPRESSIONISM) |
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| Edgar Degas, Place de la Concorde, 1875 IMPRESSIONISM |
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| Paul Cézanne, Gulf of Marseilles, 1883-85 POST-IMPRESSIONSIM |
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| Cézanne, The Large Bathers, 1906 POST-IMPRESSIONISM |
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| Matisse, Luxe, Calme, et Volupte, 1904-5 POST-IMPRESSIONISM |
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| Matisse, Bonheur de Vivre, 1905-06 POST-IMPRESSIONISM |
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| Matisse, Piano Lesson, 1916 POST-IMPRESSIONISM |
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| Vincent Van Gogh, Hospital at St. Remy, 1889 POST-IMPRESSIONISM/EXPRESSIONISM |
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| Gauguin, Vision After the Sermon, 1888 PRIMITIVISM |
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| Henri Rousseau, Sleeping Gypsy, 1897 PRIMITIVISM |
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| Gustave Moreau, Salome Dancing Before Herod, 1876 SYMBOLISM |
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| Paul Serusier, The Talisman, 1888 POST-IMPRESSIONIST |
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| Gauguin, The Day of the God (Mahana No Atua), 1894 PRIMITIVISM |
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| van Gogh, Starry Night, 1889 EXPRESSIONISM |
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| Picasso, La Vie, 1903 POST IMPRESSIONISM?? |
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| van Gogh, The Night Café, 1888 EXPRESSIONISM |
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| Munch, The Dance of Life, 1900 EXPRESSIONISM |
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| James Ensor, The Entry of Christ into Brussels in 1889, 1888 EXPRESSIONIST |
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| Ludwig Kirchner, Street, Dresden, 1908 EXPRESSIONIST |
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| Nolde, The Last Supper, 1909 EXPRESSIONIST |
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| Oskar Kokoschka, The Tempest, 1914 EXPRESSIONIST |
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| Käthe Kollwitz, Woman with dead child, 1903 EXPRESSIONIST? |
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| 5 features of Davidian Neo-Classicism |
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Definition
1. Classical episodes are allegories of contemporary history
2. Concentrated pictorial incident (the “pregnant moment”)
3. Powerful emotion tightly controlled (like a spring) (rational order, classical composition)
4. Clarity of composition: simple, clear, diagrammatic
5. Smooth highly finished, “sealed” surface |
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| 5 features of Impressionism |
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1. Part of the “Naturalist” movement, and thus is part of the Realist tendency of the 19th century
2. Based on observation (of light, color, atmosphere)
3. Stresses the importance of “plein aire” (out of doors) painting
4. Associated with the philosophical position of empiricism: the belief that knowledge of the world comes to us through sense experience
5. (A tricky point): The work of art is an “interface” between “objective” observation and “subjective” temperament |
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| 5 features of Romanticism |
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1. Subjects drawn from contemporary history
2. Stress on human, expressive, feeling (extreme states)
3. Combined with emphasis on realism
4. Complexity of composition
5. Surface exhibits the signs of manufacture
Aims to reconcile disconcerting elements (the classical and the real) |
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1. Matter-of-factness (empirical, observational “truth”)
2. Based on “immediate experience”
3. Stresses observation over imagination
4. Focus on processes of change, not static forms
5. Fugitive effects of light, color, atmosphere |
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| 3 features of Social Realism |
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1. Sociological: deals with facts of human behavior; particulars of daily life
2. Inquiry into the conditions of various classes
3. Provocative |
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1. Emphasizes “art” as an autonomous symbol system, one that does not have to resemble the world (anti-naturalist movement)
2. Criticizes the notion of “objective perception” (think Impressionism) as a means of true knowledge
3. Focus on “subjective intuition” as a means of knowledge (based on feeling)
4. Emphasizes the value of aesthetic experience (Fry)
5. Believes that symbolists forms reveal a more enduring reality behind appearance, a reality based on feeling & emotion and is therefore emancipated from contingent realities |
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| where rejected works were put on display IMPORTANCE: non academic art starts to take a stand |
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| art academy IMPORTANCE: created academic art, made an art formula |
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| Seurat’s style of many small dots with complementary/2ndary colors IMPORTANCE: use of optical blending (impressionism) |
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| urban renewal constructed wide boulevards (grands), sewers, parks and bridges. Improved traffic, tourism. Destroyed narrow streets and old houses. IMPORTANCE: Good subjects for painters of modern life |
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| Modernization/Modernity/Modernism- |
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| Modernization/Modernity/Modernism- Modernization- growing/changes Modernity- world created by modernization Modernism- response to modernization IMPORTANCE: cause of Modern art, and new and changing art movements |
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| Style- how something looks; art movement (e.g.: Realism) Subject matter- what is being represented; what the picture depicts (e.g.: Workers) Content- “meaning” of work; the message thing the picture portrays (e.g.: Social injustice) |
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| art that was a response to the impressionist movement, IMPORTANCE: emphasized art as a thing on its own, not |
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| According to Bahr expressionists turned against impressionism (personal art, subjective) |
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| discarding of western culture or industrialization/urbanization (painting less developed areas) Gauguin IMPORTANCE: “helped artist express his primitive side” |
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| David, Oath of the Horatii, 1784 |
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| David, Intervention of the Sabine Women, 1799 |
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| http://www.rc.umd.edu/editions/mws/lastman/martin.jpg |
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| Martin, The Last Man, 1853 |
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| Charpentier, Melancholy, 1801 |
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| Daumier, The Uprising, 1848 |
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| Courbet, After Dinner at Ornans, 1849 |
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| Courbet, The Stone Breakers, 1849 |
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| Millet, The Gleaners, 1857 |
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| Constable, The Hay Wain, 1819-21 |
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| Delacroix, Liberty Leading the People, 1830 |
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| Géricault, The Raft of the Medusa, 1817-18 |
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