Photography• Industrial Revolution

impacts decorative arts– Mass-production of silverware

and drapery• The chemical/mechanical

process affects even artmaking– Photography is dependant on

these non-human process– Unique in that the “making”

does not require the artist’s “hand”

• Therefore, what happens to the idea of artmaking philosophiclly?

Photography• Key differences in process

between painting and photography– Accumulation of technique

over time vs. the capturing of a single moment per the artist’s mind

– Ability to capture abstractions and the supernatural vs. the anchoring of thought to pure physical reality

– Illusionism based on mathematics vs. composition based on a direct interaction of nature.

Photography• Joseph Nicephore

Niepce (1765-1833)– Invented the

photographic image as a research chemist

– Attempt to improve lithography for aiding artist compositions for large portraits

– Utilized light sensitive chemicals (silver chloride and bitumen) to react to reverse camera obscrua projection

View from the Window at Le Gras, the first successful permanent photograph created byNicéphore Niépce in 1826 or 1827,

WILLIAM HENRY FOX TALBOT. Sailing Craft. ñ. 1845. Calotype. Science Museum, London

NADAR. Sarab Bernhardt. 1859. George Eastman House, Rochester, New York

HONORE DAUMIER. Nadar Elevating Photography to the Height of Art. 1862. Lithograph. George Eastman House, Rochester, New York

MATHEW BRADY. Civil War , 1865

Boulevard du Temple, Paris, 8 in the morningLouis-Jacques-Mandé Daguerre

ALEXANDER GARDNER. Home of a Rebel Sharpshooter, Gettysburg. July 1863. Wet-plate photograph. Chicago Historical Society

Theodore Gericault• Early Romantic Painter

who develops an intensity of emotion through man’s interaction with nature– Often depicting military

portraits and themes in early works

– Through action of horses in Versailles, became interested in emotion and anatomy

– Late work is enamored with subjects including asylum patients and history of suffering

Théodore Géricault, Raft of the Medusa, oil on canvas, 193 x 282 inches, 1818-19 (Musée du Louvre, Paris)

Jean-Auguste-Dominique Ingres, 1780-1767

• Last of the neo-classical painters– but actually working in a

neo-baroque or “romantic classical” style

• Poussinistes History painter– Actually works as a

rubenesque genre painter of emotion

• Cognitive dissonance?– The debate of color and

design may be just hemispheric differences of art. Remember…MIND FLOWER

Jean-Auguste-Dominique Ingres, La Grande Odalisque, 1814, Oil on canvas, 36" x 63" (91 x 162 cm), (Musée du Louvre, Paris)

J.M.W. Turner 1775-1851

• Romantic painter and watercolourist– Born to a Barber and wig

maker– Early exercises in

architectural perspective– Royal Academy of Art in

1789• His distinctive style of

painting, in which he used watercolour technique with oil paints, created lightness, fluency, and ephemeral atmospheric effec

Shipwreck of the Minotaur

The Fighting Temeraire tugged to her last Berth to be broken up

Wreckers, Coast of Northumberland," oil on canvas, by the English artist J. M. W. Turner. Courtesy of the Yale Center for British Art.

Snowstorm 1842; Oil on canvas, 91.5 x 122 cm 

J.M.W. Turner’s “Slavers Throwing Overboard the Dead & Dying – Typhon Coming on” (aka, “The Slave Ship”) [Museum of Fine Arts, Boston]

The Third-Class Carraige 1863-65 (150 Kb); Oil on canvas, 65.4 x 90.2 cm (25 3/4 x 35 1/2 in); The Metropolitan Museum of Art, New York 

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Gustave Courbet (1819-1877)

• Born on French-Swiss border– Rural background

influences work– Believed revolutionary

upheavals and “Romantic” emphasis on feeling as escapism (sound familiar?)

• Caravaggesque tradition– Lack of spiritual content – Truer forms of naturalism

• Radical ideology including strong socialism

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Gustave Courbet. The Stone Breakers. 1849. Formerly Gemaldegaierie, Dresden

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Courbet, 1849-50, Oil on Canvas, Musee d’Orsay, Paris, France

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Gustave Courbet. Studio of a Painter. 1854—55. Oil on canvas. Musee d'Orsay, Paris

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Edouard Manet, 1832-1883

• Artistic successor of Courbet– Believes in the manifesto of

“Art for Art’s Sake” as a continuation of realism

– True liberation of the artist from the confines of opinion, mythos, or narrative force

– Believes the brushstroke and color patch are the artist’s reality

• Often creates flattened images to emphasis his art reality

36EDOUARD MANET. The Fifer. 1866. Musee d'Orsav, Paris

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Édouard Manet, Le déjeuner sur l'herbe (Luncheon on the Grass), oil on canvas, 1863 (Musée d'Orsay, Paris)

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41

Warm-Up3/16/12• How does Courbet

pave the way for Manet?

• How does Manet pave the way for Monet?

• Describe the artistic and philosophical relationship between these three painters.

42Edouard Manet. A Bar at the Folies-Bergère. 1882. Oil on canvas. Courtauld Institute Galleries, London, UK. 

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Claude Monet, 1840-1926

• First official “Impressionist” – Although the term is used

derogatory at first• Applied the process of

artwork to outdoor painting– Oil paint in tubes, portable

easals • Focus on the intensity of

color as it interacts with light and memory to capture an “impression” of a moment– Opposite of the planning

theatrics of the Baroque– Opposite of the mathematical

and supernatural constructions of the Renaissance

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Landscape is nothing but an impression, and an instantaneous one, hence this label that was given us, by the way because of me. I had sent a thing done in Le Havre, from my window, sun in the mist and a few masts of boats sticking up in the foreground....They asked me for a title for the catalogue, it couldn't really be taken for a view of Le Havre, and I said: 'Put Impression

Claude Monet, Impression, soleil levant, 1872. Oil on canvas

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Claude Monet. The River). 1868. The Art Institute of Chicago. Potter Palmer Collection

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Claude Monet. Red Boats, Argenteuil. 1875. Harvard University Art Museums, Cambridge, Massachusetts.

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57Monet, Rouen Cathedral, 1894.

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What is Impressionism?

• 19th century Parisian movement (extending over the pond starting with Whistler in 1855)1. Small, thin, yet visible

brush strokes2. Open composition3. Emphasis on the changing

of light over time over ordinary subjects

4. Diffuse reflection and shadows

• Light is the subject, not the objects behind it.

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Auguste Renoir, 1841-1919

• Leading Impressionist painter– What is the “heroism

of modern life”?– Bourgeois in the

carefree style of Steen or Hogarth, yet controlled compositions (harmony of Poussin and Ruben)

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Pierre-Auguste Renoir. The Luncheon of the Boating Party. 1881. Oil on canvas. Phillips Collection, Washington, DC, USA. 

63Edouard Manet. A Bar at the Folies-Bergère. 1882. Oil on canvas. Courtauld Institute Galleries, London, UK. 

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Warm-Up 02/26/12• 2004 (10 minute question)• The following statement, made by Mary

Cassatt in 1904, refers to her 1879 collaboration with the artistic group with which she is most closely associated.

 • “Our . . . exhibition . . . was a protest

against official exhibitions and not a grouping of artists with the same tendencies . . . . ”

• To which group of artists does Cassatt’s remark pertain? Referring to the Cassatt work shown and a work by one other artist in this group, defend her claim that these artists did not have the same stylistic tendencies. (5 minutes)

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Edgar Degas, 1• Wealthy Aristocrat who

studied photography, but works in impressionistic pastel– Advantages of Pastel as an

Impressionist?– What types of scenes does

Degas draw?– How does he interact with

the design/color debate?• “Art is not what you see, but

what you make others see.”

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Edgar Degas. The Absinthe Drinker. 1875-76. Oil on canvas. Musée d'Orsay, Paris, France.

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The Star. 1876-77. Pastel on monotype. Musée d'Orsay, Paris, 

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Edgar Degas. Little Fourteen-Year-Old Dancer. 1879/81. Bronze, painted in part, tulle skirt, satin bow, wooden stand. The Metropolitan Museum of Art, New York, USA.

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Edgar Degas. Woman Combing Her Hair. c.1885-86. Pastel on cardboard. The Hermitage, St. Petersburg, Russia. 

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Edgar Degas. The Tub. 1886. Pastel on paper. Musée d'Orsay, Paris, France. 

72Edgar Germain Hilaire Degas . 1895 Oil on canvas. 25 5/8 x 31 7/8 in. 2001.20 

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Warm-Up 3/20/12• What are the differences

between impressionism and post-impressionism according to you readings last night?

• Make a prediction on the focus of art in Ch. 23

• 768-775• 776-781• 782-789• 790-796• 797-801

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Les Trois Grandes Dames• 1894 exhibition of

three notable Impressionist women– Marie Bracquemond– Mary Cassat– Berthe Morisot

• Reveals the inclusive nature of the Impressionist movement, as well as the diversity of thought, process and form typical of growing modernity

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Berthe Morisot, 1841-1895)

• Married to Manet’s brother.

• One of several talented female artists during Impressionism

• Exhibited in the Solon de Paris in 1864

• 1874, joined “rejected” impressionists Degas, Monet, Pissarro, Renoir, and Cezanne

• Went to plein air painting before Manet

Édouard Manet, Berthe Morisot with a Bouquet of Violets, 1872

76Berthe Morisot, The Cradle, 1872, Musée d'Orsay

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On the Balcony, New York. 1872

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Lady at her Toilette, The Art Institute of Chicago 1875

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Eugene Manet on the Isle of Wight, Private Collection 1875

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Mary Cassatt, 1844-1926

• Upper-middle-class family in Pennsylvania– Father is a stockbroker and land

speculator– Mother from banking family– Spent 5 years in Europe as part

of her education• First contact with French

artists at 1855 world’s fair• Studied at Pennsylvania

Academy of the Fine Arts at 15, and later with private French tutors

• “O how wild I am to get to work, my fingers farely itch & my eyes water to see a fine picture again”

81Cassatt, Little girl in a blue arm chair, c. 1878

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The Child's Bath (The Bath) by Mary Cassatt, 1893, oil on canvas, Art Institute of Chicago

83Summertime, c. 1894, oil on canvas

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Tea by Mary Cassatt, 1880, oil on canvas, 25½ × 36¼ in.,Museum of Fine Arts, Boston

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Marie Bracquemond, 1840-1916

• Absence from art textbooks due to her husband’s campaign to thwart her development

• Born in an uncultured household atypical of other female impressionists

• Exhibited in Impressionists galleries in 79, 80, and 86

• Influence of Gauguin

86Marie Bracuemond. Under the Lamp. 1887. Oil on Canvas

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Barbizon School, 1830-1870

• Barbizon, France arose in the context of the Romantic Movement– Focus on tonal qualities, color,

loose brushwork, and softness of form

– Focus on rural and simple landscapes

• Easily accepted as the dominant American style of Impressionism– Industrial growth and immigrant

explosions, American looks more Old World, and takes on similar tastes

– Landscape painting gives way to “heroism of daily life”

88Winslow Homer. The Gulf Stream.1899. Oil on Canvas

89Henry Tanner. The Banjo Lesson. 1893

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Thomas Eakins. Willian Rush carving his allegorical figure of Schylkill River. 1877

92

Warm-Up 2/27/13• Attribute the

painting to an artist you have studied. Justify your attribution by identifying and discussing specific characteristics seen in the painting. (10 minutes)

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Auguste Rodin

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Auguste Rodin, 1840-17

• Working class family in Paris– Largely self-educated– 14-17: Petite Ecole, which

developed his personality before observing, drawing from recollections

– Moved in with Rose Beuret (his main mistress until the end of their lives) in Paris in 1877

• Focused on the “growth” of clay from unformed matter

• Removed sculpture from its allegorical niche

95The Age of Bronze,  1877Alte Nationalgalerie, Berlin.

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97St. John the Baptist Preaching(1878)

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Art Snapshot 2/28/13

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Thematic Discovery Project Presentations

• Round 1 (20 minutes): Fully analyze each theme with your team. Answer the following questions when presenting and listening:– 1. What is each theme’s central thesis? How would you

describe the theme in relation to art? – 2. Describe each arch-theme artwork you chose, including

MARCS. Is there overlap in any of the arch-themes? What are they?

– 3. Briefly explain each sub-theme and how you went about choosing the artwork.

• Round 2 (10 minutes): Compare and contrast your poster with a student from another team doing the same arch-themes as you.– Choose one person to present from the Round 2 team to

explain the comparison of themes to the class.

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The Kiss 1886 (100 Kb); Bronze, 87 x 51 x 55 cm; Musee Rodin, Paris 

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The Gates of Hell 1880-1917 (260 Kb); Bronze, 18 x 12 ft; Rodin Museum, Philadelphia 

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Iris, Messenger of the Gods 1890 (10 Kb); Bronze, 37 1/2 x 34 1/4 x 15 3/4 in; Los Angeles County Museum of Art 

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Rodin. Monument to Balzac. 1897-98. Bronze

106Andromeda (26 x 30 x 21 cm, Musée Rodin S. 811, and Philadelphia Rodin Museum

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Camille Claudel. Ripe Age. ñ. 1907. Bronze, 87.6 x 21.9 cm. Musee d'Orsay, Paris