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Gustave Courbet, The Cellist, Self-Portrait, 1847, Oil on canvas 46 1/8 x 35 1/2 in (117 x 90 cm) Nationalmuseum, Stockholm
Courbet, Portrait of the Artist (Wounded Man) 1844-54 Oil on canvas 31 7/8 x 38 1/4 in (81 x 7 cm) Musée d'Orsay, Paris
Jean-Baptiste-Siméon Chardin, Grace at Table, 1740 (19"/15") Louvre, Paris
Genre painting like this was a traditional genre in European academies of art, which enforced a strict hierarchy of genres that determined a painting’s value: first history, then portrait, genre, landscape, and still life.
William Bouguereau, (left) Mother and Children, The Rest, 1879 (right) Home From the Harvest, 1878, Cummer Museum of Art, Jacksonville, Florida
Honoré Daumier (French) Rue Transnonain April 15, 1834, 1834, lithograph, 290 x 445 mm, Bibliothèque Nationale, Paris
Gustave Courbet, The Studio: An Allegory of Seven Years of the Artist's Life, 1855, oil on canvas, over 20 feet wide, Musée d'Orsay, Paris
“I have studied, outside of any system and without prejudice, the art of the ancients and of the Moderns. I no more wanted to imitate the one than to copy the other; nor, furthermore, was it my intuition to attain the trivial goal of art for art's sake. No! I simply wanted to draw forth from a complete acquaintance with tradition the reasoned and independent consciousness of my own individuality"
"To know in order to be able to create, that was my idea. To be in a position to translate the customs, the ideas, the appearance of my epoch, according to my own estimation: to be not only a painter, but a man as well: in short, to create living art - this is my goal.“
Gustave Courbet, statement for his Pavilion of Realism, build next to the Paris International Exhibition of 1855
(left) Destruction of Paris following the Franco-Prussian war, siege of Paris, and (right) the Commune 1871, Communards shot by firing
squad of French soldiers in the streets of Paris
Courbet, the Communard, and the destruction of the Vendome column, symbol of Napoleonic (French) imperialism
"Inasmuch as the Vendôme column is a monument devoid of all artistic value, tending to perpetuate by its expression the ideas of war and conquest of the past imperial dynasty, which are reproved by a republican nation's sentiment, citizen Courbet expresses the wish that the National Defense government will authorise him to disassemble this column.“ – Courbet
Gustave Courbet, Self-Portrait at Sainte-Pelagie, 1872 Last self-portrait as prisoner for Communard activities
Henri Fantin-Latour. Portrait of Edouard Manet. 1867, oil on canvasArt Institute of Chicago, Chicago
Parisian dandy, flaneur, and “Painter of Modern Life”
Edouard Manet, Concert at the Tuileries, 1862 o/c, c. 46 x 30,” National Gallery, London. Two portraits of Charles Baudelaire by Manet on left, 1865
Modernity is the transient, the fleeting, the contingent; it is one half of art, the other being the eternal and the immovable.
- Charles Baudelaire
Titian, Concert Champêtre (Italian Renaissance) 1510 compare with Edouard Manet (French Realism), Déjeuner Sur L’Herbe, 1862
Marcantonio Raimondi, Judgment of Paris, (engraving after Raphael), 1520 compare with Edouard Manet, Déjeuner Sur L’Herbe, 1862
Jean Leon Gerome (Academic classicism), Phrynee Before the Judges, 1861Daumier cartoon: “Venuses Again, Always Venuses”
Emperor Napoleon III by Hipolyte Flandrin (Salon of 1863) with Plan of Paris – radical urban renewal designed by Baron Haussmann, 1853-1869
Napoleon III and Baron Haussmann urban renewal, Paris:1853-1869
Blvd. Haussman with Galeries Lafayette, one of the first department stores:commodity culture
(left) Gustave Courbet, Portrait of Jo, the Beautiful Irish Girl, c. 1865, oil on canvas, 21 x 26 in. Nationalmuseum, Stockholm, Realism(right) James McNeil Whistler (US), Symphony in White, 1864, Japonisme, aestheticism. Same model, Jo Hiffernan
James McNeill Whistler (United States expatriate) Nocturne in Black and Gold: The Falling Rocket, c. 1875, oil on panel, 23 x 18 in, Detroit Institute of Arts
“Oh, I knock one off in a couple of days.” (Whistler)
Why is a painting made so quickly so highly valued?
What are the issues around “art for art’s sake” raised by the Whistler vs. John Ruskin trial? How are they “modern”?
Modernity is the transitory, the fugitive, the contingent, the half of art, of which the other half is the eternal and the immutable. . . .
Charles Baudelaire
Architecture as Emblem of Modernity
Top: Joseph Paxton, The Crystal Palace, Hyde Park, London, 1851Below right: Charles Barry (1795–1860) A. W. N Pugin (1812–52), Houses of Parliament, London, Gothic Revivalism, largely completed by 1858
Contemporaneous English buildings: one emblematic of the future, one emblematic of the past.
The House of Lords in the Palace of Westminster (Houses of Parliament), London, designed by A.W.N. Pugin. Neo-Gothic interior design
Roger Fenton (British, 1819–1869) The Queen and the Prince, wet plate
1854
Britain’s Queen Victoria reigned from 1837 to 1901Her name and values identify the Victorian era in Europe
Edwin Landseer (British), Windsor Castle in Modern Times, 1841-5, oil on canvas44 x 56” Victoria and Albert “at home”
The Great Exhibition of 1851 in the Crystal Palace by Joseph Paxton architect, Hyde Park, London, England 1851, moved to Sydenham in 1852, burned down in 1936
“Waiting for the Queen,” Orientalist décor of Crystal Palace, Illustration by Joseph Nash for Dickinson's Comprehensive Pictures of
the Great Exhibition of 1851
Ornamental cover for joints of girders
(disguising modernity)
William Holman Hunt, The Awakening Conscience, 1853-4 o/c, arched top, 30/22” Tate Britain, Pre-Raphaelite
William Morris, La Belle Iseult, 1858, Jane Burden (future Jane Morris) in medieval dress, Pre-Raphaelite. Morris’s only surviving oil painting, Tate, London
Red House designed by Philip Webb for William and Jane Morris. Designed 1859; completed 1860. Bexley heath (near London). neo-Gothic eclecticism, meant to be a “palace of art” for artists and writers associated with the Pre-Raphaelite Movement. Inspiration for the Arts & Crafts movement and the assertion of an“authentically” English tradition
http://www.morrissociety.org/redhouse.htm See the two excellent short videos produced by the National Trust of England.
William Morris, “Pimpernel” wallpaper, 1876. The interiors of the Red House were covered with pattern, floor, walls, ceiling.
William Morris, designer, pages from The Kelmscott Chaucer (14th century texts), finished in 1896, figures by Pre-Raphaelite painter, Edward Burne-Jones
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