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chapter18.pptChapter Eighteen
Toward the Modern Era: 1870-1914
Culture and Values
Cunningham and Reich and Fichner-Rathus, 8th Ed.
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- Belle époque
- Growing frustration, restlessness
- Economic disparity, resentment
- Population growth
- Capitalism vs. Socialism
- Loss of religious security
- Migration to the United States
- The Women’s Movement
- The right to vote
- Nietzsche’s Übermensch, “will to power”
The Birth of the Modern Era
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The Visual Arts
- Academic Art
- From Realism Toward Impressionism
- Édouard Manet (1832-1883)
- Le Déjeuner sur l’Herbe (1863)
- A Bar at the Folies-Bergére (1882)
- Olympia (1863-1865)
- Break from tradition
- View of the artist
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18.4 Édouard Manet, Le Déjeuner sur l’Herbe, 1863
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18.4 Édouard Manet, Le Déjeuner sur l’Herbe, 1863. Oil on canvas, 7´3⁄8˝ x 8´103⁄8˝ (2.15 x 2.7 m). Musée d’Orsay, Paris, France//Giraudon/The Bridgeman Art Library
18.5 Édouard Manet, A Bar at the Folies-Bergère, 1882
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18.5 Édouard Manet, A Bar at the Folies-Bergère, 1882. Oil on canvas, c. 37˝ x 51˝ (.95 x 1.3 m). Courtauld Institute and Galleries, London, UK/© SuperStock, Inc./SuperStock
18.7 Edouard Manet, Olympia, 1863-1865
The Visual Arts
Impressionism
- Realism of light, color
- Fidelity to visual perception, “innocent eye”
- Devotion to naturalism
- Strongly influenced by Japanese prints
- Claude Monet (1840-1926)
- Impression: Sunrise (1872)
- Nympheas (Water lilies, water study, morning (1914-1918)
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18.10 Claude Monet, Impression, Sunrise, 1872
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18.10 Claude Monet, Impression, Sunrise, 1872. Oil on canvas, 191⁄2˝ x 141⁄2˝ (50 x 62 cm). © Musée Marmottan, Paris, France//Giraudon/The Bridgeman Art Library
18.12 Claude Monet, Nymphéas (Water lilies, water study, morning (1914-1918)
The Visual Arts
Impressionism
- Pierre Auguste Renoir (1841-1919)
- Beauty of the world, happy activity
- Le Moulin de la Galette (1876)
- Berthe Morisot (1841-1895)
- Young Girl by the Window (1878)
- Edgar Degas (1834-1917)
- Intimate moments as universal experience
- Psychological penetration
- “Keyhole visions”
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18.13 Pierre Auguste Renoir, Le Moulin de la Galette, 1876
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18.13 (Pierre) Auguste Renoir, Le Moulin de la Galette, 1876. Oil on canvas, c. 51˝ x 68˝ (129. 5 x 172. 7 cm). Musée d’Orsay, Paris, France//Réunion des Musées Nationaux/Art Resource, NY
18.14 Berthe Morisot, Young Girl by the Window, 1878
18.15 Edgar Degas, The Rehearsal (Adagio), 1877
The Visual Arts
American Expatriates
- Mary Cassatt (1844-1926)
- Influenced by Manet, photography, and Japanese prints
- James Abbott McNeill Whistler
- Influenced by Courbet and Japanese prints
- Americans in America
- Thomas Eakins (1844-1916)
- Historical events
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18.17 Mary Cassatt, The Boating Party, 1893-1894
18.18 James Abbott McNeill Whistler, Arrangement in Grey and Black, No. 1, 1871
18.19 Thomas Eakins, The Gross Clinic, 1875
The Visual Arts
Post-Impressionism
- Rejection of Impressionism
- Personal artistic styles
- Henri de Toulouse-Lautrec (1864-1901)
- Georges Pierre Seraut (1859-1891)
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The Visual Arts
Post-Impressionism
- Paul Cézanne (1839-1906)
- Impose order on nature
- Priority of abstract considerations
- Mont Sainte-Victoire (1904-1906)
- van Gogh’s Starry Night (1889)
- Autobiographical, pessimistic art
- Social, spiritual alienation
- Paul Gauguin (1948-1903)
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18.23 Paul Cézanne, Mont Sainte-Victoire, 1904–1906
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18.23 Paul Cézanne, Mont Sainte-Victoire, 1904–1906. Oil on canvas, 287⁄8˝ x 361⁄4˝ (73 x 92 cm). Image © The Philadelphia Museum of Art, Philadelphia, PA, USA/Art Resource, NY
18.24 Vincent van Gogh, Starry Night, 1889
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18.24 Vincent van Gogh, The Starry Night, 1889. Oil on canvas, 29˝ x 361⁄4˝ (73.7 x 92.1 cm). The Museum of Modern Art, New York, USA/Digital Image © The Museum of Modern
Art/Licensed by Scala/Art Resource, NY
The Visual Arts
The Birth of Modern Sculpture
- Newfound realism of subject and technique
- More fluid, or impressionistic, handling of the medium
- A new treatment of space
- Rodin’s Impressionist sculpture
- The Kiss (1886)
18.28 Auguste Rodin, The Kiss, 1886
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18.28 Auguste Rodin, The Kiss, 1886. Marble, 6´2˝ (1.9 m) high. Musée Rodin, Paris, France//© Erich Lessing/Art Resource, NY
The Visual Arts
Fauvism
- “Les Fauves”
- Loss of traditional values of color, form
- Distortion of natural relationships
- Henri Matisse (1869-1954)
- The Red Studio (1911)
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18.29 Henri Matisse, Red Room (Harmony in Red), 1908
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The Visual Arts
Expressionism
- Alarm and hysteria
- Edvard Munch, The Scream (1893)
- Autobiographical, social, psychological
- Ernst Ludwig Kirchner
- Die Brücke, Der Blaue Reiter
- Emotional impact, alienation and loneliness
- Wasily Kandinsky
- Kathe Kollwitz
- Sought universal symbols for inhumanity, injustice, and humankind’s self-destruction
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18.30 Edvard Munch, The Scream, 1893
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18.30 Edvard Munch, The Scream, 1893. Tempera and pastels on cardboard, 351⁄2˝ x 283⁄4˝ (91 x 73.5 cm), National Gallery, Oslo, Norway. Copyright © (2009) The Munch Museum/The Munch-Ellingsen Group/Artists Rights Society (ARS), New York//Digital Image © Scala/Art Resource, NY
18.31 Ernst Ludwig Kirchner, Street, Dresden, 1908
18.33 Kathe Kollwitz, The Outbreak, 1903
The Visual Arts
Cubism
- Pablo Picasso (1881-1973)
- Blue Period
- The Old Guitarist (1903)
- Ethnographic art from Africa, Oceania, and Iberia
- Les Demoiselles d’Avignon (1907)
- Analytic Cubism
- Georges Braque (1882-1963)
- Synthetic Cubism
- Futurism
- Umberto Boccioni
- Giacomo Balla
18.34 Pablo Picasso, The Old Guitarist, 1903
18.36 Pablo Picasso, Les Demoiselles d’Avignon, 1907
18.37 Georges Braque, The Portuguese, 1911
The Visual Arts
Architecture
- Eiffel Tower (1889)
- New heights: 984 feet tall
- Gateway to the 1889 World’s Fair
- Built of iron
- Wainwright Building
- St. Louis, Missouri (1890-1891)
- Steel cage construction
- Casa Mila Apartment House
- Antonio Gaudi (1852-1926)
- Avoidance of straight lines and flat surfaces
18.42 Louis Sullivan, Wainwright Building, 1890-1891
18.44 Antonio Gaudi, Case Milà Apartment House, 1905-1907
Music
- Communication beyond musical values
- New treatment of melody, harmony, rhythm
- Composer’s inner emotions, autobiography
- Program music
- Symphonic, tone poems
- Narrative + musical interests
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Music
- Opera
- Georges Bizet (1838-1875)
- Giacomo Puccini
- Light Opera
- Gilbert and Sullivan
Music
Orchestral Music
- Richard Strauss (1864-1949)
- Don Juan
- Till Eulenspiegel
- Alpine Symphony
- Operas
- Autobiographical compositions
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Music
Orchestral Music
- Tchaikovsky’s Pathétique (1893)
- Gustav Mahler (1860-1911)
- Symphonies should contain everything
- Painful joy of human experience
- 9 symphonies, Das Lied vod her Erde
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Music
Orchestral Music
- Claude Debussy (1862-1918)
- Changing flow of sound, shifting tone colors
- Ethereal, intangible, refined
- Natural atmospheres, Der Mer
- Maurice Joseph Ravel (1875-1937)
- Classical form, balance
- Daphnis and Chloe
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Music
Search for a New Musical Language
Arnold Schönberg (1874-1951)
- Expressionistic atonal music
- Pierrot Lunaire (1912), Sprechstimme
- Twelve-tone technique (serialism)
- Row, inversion, retrograde, retrograde inversion
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Music
Search for a New Musical Language
Igor Stravinsky (1882-1971)
- The Rite of Spring (1913)
- “the destruction of music as an art”
- Russian folk subjects
- Changing, complex, violent rhythms
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Literature
- Psychological Insights in the Novel
- Sigmund Freud
- Nature of individual existences
- The subconscious and human behavior
- Fyodor Dostoyevsky (1821-1881)
- Concern for psychological truth
- Human suffering, salvation
- Crime and Punishment (1866)
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Literature
- Marcel Proust (1871-1922)
- Remembrance of Things Past
- Evocation of memory
- Stream of consciousness style
- Anton Chekhov (1860-1904) Irony and satire, passivity and emptiness
- Mark Twain (1885-1910)
- The Mysterious Stranger
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Literature
- Emile Zola (1840-1902)
- J’accusse (I Accuse) (1898)
- Oscar Wilde (1854-1900)
- Playwright
- Mona Caird (1854-1932)
- A.E. Houseman (1859-1936)
- Rudyard Kipling
59-1936)
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The Role of Women
- Family life, society at large
- Right to vote, marriage ties
- Henrik Ibsen’s A Doll’s House (1879)
- Criticism of anti-feminist social conventions
- Kate Chopin’s The Awakening (1899)
- Sexuality as liberation from oppression
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Chapter Eighteen: Discussion Questions
- Explain how Impressionism offers a new type of realism in the visual and musical arts of the early 19th century. What was this artistic style a reaction against?
- Consider the significance of the artist’s perspective and personal emotions and experiences. How is this individualization apparent in the arts of the early 19th century? How are the arts of this period markedly different from earlier periods? Explain, citing specific examples.
- Seen collectively, what are the pervasive characteristics of the arts in the 19th century? Where do all stylistic forms of the period converge? Explain.
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