ART HISTORY ESSAY (no reference)

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This map shows us the industrialization of Europe. More and more people were moving to cities for the opportunities to work, especially in places like factories. The Industrial Revolution was fully engaged in 1850. Because cities like Paris, London, and New York ended up with such large populations, everything that goes with a population boom and jobs, like consumerism and entertainment, increased as well. Artists were interested in capturing this new reality and they did in many different ways as you will see in this chapter.

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Impressionism : In 1874 there was an exhibition at Nadar’s studio of 30 artists who called themselves the Independents; they were referred to as the Impressionists after Monet’s work, Impression: Sunrise; was meant to be derogatory as if the works were somehow not finished Monet is the best known artist of the Impressionist group, but there are many others that we will cover today Monet was to have studied law, but moved to Paris in 1859 to study art He admired and learned much from Manet and depended on him financially often Left the museums behind (that differs from Manet) and went outside to paint in the open air: he started and finished works entirely outside, not in the studio This painting is often referred to as the “outdoor Manet” in the way that it is painted. Monet (try not to get confused between Edouard Manet and Claude Monet) hadn’t perfected the technique that he would be best known for yet, but we can see the beginnings of it.

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This is the work that created the term Impressionism. It was painted in Le Havre upon Monet’s return to France. He had moved to London during 1870-71 to escape military service during the Franco-Prussian war. Everything dissolves into the single element of light, and is based on how the eye actually sees, not mechanically like the camera. The public and the critics thought Monet could not draw, and certainly saw a work like this as unfinished and just a sketch. What Monet was attempting to do was to capture a brief momentary time of when the sunlight was hitting the water through the fog of early morning. One of the most wonderful things to do with a Monet in person is to get as close as you can to it so you can see all the wonderful texture and brushstrokes, then slowly back away. The image comes into focus as you do so revealing the subject matter. It’s really genius. Impressionism is another movement that reacts to the invention of the camera, but instead of trying to imitate the exactitude of the camera’s mechanical eye, artists become more painterly. The camera can reproduce the world as it was, these artist’s wanted to explore new perspectives.

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Monet believed that color was the basic content of human perception and called it instantaneity – objective sensations received by the eye from nature. When he painted out of doors, Monet applied colors to the canvas in small separate brushstrokes so that the eye would assemble them together to form a whole, the way we would see nature. Monet also loved the constructed, man-made parts of city life like the Saint-Lazare Train Station. He liked how the steam and smoke from the engines seemed to produce their own atmosphere in which the light would filter through. He would paint places like this train station multiple times and each painting would look different from the next as light and color change throughout the day. Think of it this way: light in the morning is washed out and bright (if it’s sunny) and warm and mellow at the end of the day. Objects seem to appear different because of how the light is hitting them during different times of day and season.

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By the 1890s, Monet achieved financial and critical success with the public. He started painting the sensation of perception itself. This artwork is part of a series of 15 paintings that explore the changing conditions of light. There is an emphasis on flatness and it’s all about the light and color.

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See how the light changes when we take a different look at sunset?

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This artwork is part of a series of almost 40 paintings of Rouen’s façade. Monet uses thick strokes of paint that look like a kind of tactile screen. At high noon, the facade is washed out. We seen tones of cream and yellow with periwinkle shadows.

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In this slide, we see the church’s facade in the early morning. Does the stone actually change color from blue to yellow? Of course not, but the light and shadow make it seems as thought it does. The next time you’re out and about, look at something you see every day and make note of how it looks at different times of day. There was scientific proof that the eye sees interacting colors, not only relative but ever changing Monet had a very long career and finished his life at his estate in Giverny. His large canvases encompass the entire viewer’s field of vision and became environments that rivaled nature itself. His famed water lilies are part of this period in his life.

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The sister-in-law of Manet, early in her career Morisot appeared in the Salon, but then foreswore the Salon for the cause of the Impressionist group. She continued to paint in the Impressionist vein long after some of the group’s members like Renoir had abandoned it. Morisot was able to combine a marriage, motherhood, and a career, which was unusual at the time. Her upper-class status afforded her that opportunity. The beauty of her work is the emphasis on femininity, but is not to say that her figures are weak or just there to be beautiful.

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I like the way a story can be told about this piece; the figure in this work looks at us directly which signals she is a strong woman. The frenzied brushwork parallels the frenzy one feels trying to prepare a meal with a small dog underfoot. I know I can relate to this!

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Renoir liked to capture goodness and good times. A festive atmosphere, this was an inexpensive dancehall and restaurant in Montmartre (turned into a less savory spot after Renoir painted it). Notice how this image is composed like a candid photograph. People aren’t posed and figures are cut off at the edges. Renoir uses the same kind of brushwork as Monet and pays attention to the light filtering through the trees.

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Another image detailing good times. This party is on a boat and, once again, features people in candid positions. As you look from person to person, note the things they are doing. Renoir is telling us a story about each person in the work of art.

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This is one of Manet’s last works. The woman behind the bar is kind of blank in her expression, like she’s seen it all before. The most interesting thing about this work is the reflection of the bar maid in the mirror – it is skewed, not a perfect reflection so that we may see she is dealing with a customer (who also happens to be us). The brushstrokes are much more loose, but Manet was NOT an Impressionist, though. While he supported the efforts of the Impressionist group, he never exhibited any of his works with them. Manet was determined to make his art and that of his contemporaries part of the academic system. It would never happen.

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Degas also had a family who wanted him to go into law, but he was from a family of aristocrats. The artist was very intellectual and is best known for capturing images with a kind of detachment, but also with the kind of intimacy that was characteristic of some of the other Impressionists. Let’s look at this composition: Is it balanced? What elements of the painting draw you in or seem to capture your attention? Ultimately, what does this painting look like? Like Renoir, Degas uses a kind of photographic composition. It is candid and the figures are cut off on the edges. He places a spiral staircase to obstruct our view, making us detached observers like a fly on the wall.

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Japanese print inspired in the way he handles the angle, above looking down. It is descriptive, and he doe not use accurate perspective. Like most of Degas’s works, it is an intimate, yet detached, portrayal of a woman taking a bath. Also, please note that this is a pastel drawing. Pastel is a colored chalk that was used by Impressionists since the technique of using it on rough drawing paper produced a soft, blurry line, much like what the artists were accomplishing in their paintings.

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I love that this work follows Degas’s The Bath . Cassatt was an American who went to Paris to study painting and was close friend of Degas. She had her own distinct style and was influenced by Japanese prints. Mothers and children were favorite subjects of the artist as she was never a mother. Notice the multiple patterns and the angle in which she portrays her subjects. The influence of Japanese prints and Degas can particularly be seen here, especially in comparison with Degas’s work. Please watch: https://www.khanacademy.org/humanities/becoming-modern/avant-garde-france/impressionism/v/mary-cassatt-the-child-s-bath-1893

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Japanese influences can be seen in the contrasting patterns on the wall and chair and in the woman’s dress. There is also a strong use of the diagonal and a skewing of perspective as we can see the scene from a couple of differing angles simultaneously (another thing Japanese woodcut artists would do). Cassatt was a master printmaker as well as painter.

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Definitely Whistler’s most famous work, notice how it isn’t titled “Whistler’s Mother,” but Arrangement in Gray and Black No. 1. Whistler was from America and went to Paris for a brief period before settling in London. Some of his landscapes are reminiscent of J.M.W. Turner (see next slide). Whistler was vocal about paintings being just paintings and that artists shouldn’t be mere imitators, but innovators. This kind of attitude aligns him with the later abstract artists.

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The Pre-Raphaelite critic, John Ruskin, criticized this painting and accused Whistler of “flinging a pot of paint into the public’s face.” Whistler sued Ruskin for libel, won his case, but went virtually bankrupt doing it and he doesn’t fully recover from this setback. Whistler’s goal as an artist was, like the Impressionists, to paint transience itself. The colors and light he captures are fleeting, just like this supposed explosion over water.

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Toulouse-Lautrec reflected and influenced Art Nouveau with his expressive and descriptive use of line. He was a transitional figure between 19th century avant-garde and 20th century artists like Munch, Picasso, and Matisse. Toulouse-Lautrec was interested in Goya and Ingres, but was a disciple of Degas in the way he composed his works and in how he was a detached observer. Disfigured by weak bones, he was only 4 1/2 feet tall. The artist was from an aristocratic family who did not want him to become an artist. He is best known for his color lithographs, but was a painter in the decade prior to poster making. There is an overt use of garish colors set the tone for this painting. It’s casual, yet seedy. I call this the “absinthe” painting because of the green.

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Brightly colored and stylized, everyone knew the artist at these dance halls. Jane Avril was a popular dancer and this poster is an advertisement for her. The linear quality and silhouetted shapes are part of the Art Nouveau aesthetic. Toulouse-Lautrec’s posters inspired other graphic designers throughout the West.

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Post-Impressionism : 1886 was the year of the last Impressionist exhibition and the movement spurred a wide range in approaches to art Take their art beyond the sensations of the optical world; to perceive reality through ideas, feelings, symbols and dreams George Seurat was affected by scientific theories and tried to apply them to his art: his artistic objective was to control the spectators response in a scientifically predictable way. The dot: a mathematical point of color – supports the perfectly controlled structure of his painting. This work is over 6 feet tall and 10 feet long. Seurat put in over 1 year of labor, making over 50 preparatory sketches. It was exhibited at the last Impressionist exhibition – was stunning and controversial. Divisionism : broke down color into primary and secondary groups. Seurat would put yellow and blue dots next to each other letting the viewers eye mix the two to make green, There is a luminous representation of light, it is spatially well organized, and mathematically precise. Seurat’s work is exemplary of the nineteenth century optimism that every aspect of culture could be reformed and reinterpreted by science. People believed human emotional responses could be predicted mathematically.

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Here you can see the blue and yellow dots next teach other. There’s no doubt that he uses some green as well, but when you are looking at the painting, those dots are no longer decipherable to the human eye.

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Another work by Seurat that uses the same principles and techniques as the previous painting. His works are so precise and organized. Notice how the angles of the legs match the angle of the bass neck, the conductor’s baton, the way people are looking up.

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Hands down, one of my favorite people, not just a favorite artist, Vincent van Gogh contributed much during his short ten-year career as an artist. Please read: http://www.metmuseum.org/toah/hd/gogh/hd_gogh.htm This painting is part of his first period as an artist, the Holland period which lasted from 1880-1886. A failed attempt at becoming a minister, Van Gogh wanted to help those less fortunate in his own way. He chose people who were humble and poor. This is an example of his sincerity and genuine love of humanity and concern for the poor. He was largely self-taught, thus his figures look cartoon-like. During this period he paints with very drab, neutral colors to emphasize the humbleness of his subjects.

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One of three self-portraits I’ve included for lecture. I want you to look at all three portraits and think about the things that have remained the same and those that have changed from period to period. Think about how Van Gogh presents himself in each image. This portrait was painted when he was still in Holland.

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Van Gogh’s second period was in Paris from 1886-1888. He moved to Paris on his brother Theo’s invitation. Theo was an art dealer who financially supported Vincent. It was in Paris where Vincent learned about the avant-garde and Impressionism - pretty easy to see that in this painting! Because of limited technology, images from the avant-garde had not left Paris – it was very insular at this point.

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Van Gogh moved to Arles in southern France and lived there from 1888 until his death in 1890. It was the most productive part of van Gogh’s career: over 200 paintings in 2 years. His work is the most vibrant from this time. Van Gogh invited Paul Gauguin to live in Arles with him, but their personalities clashed and van Gogh started having seizures in December of 1888. This is the self-portrait he painted for Gauguin. Please watch: https://www.khanacademy.org/humanities/becoming-modern/avant-garde-france/post-impressionism/v/vincent-van-gogh-self-portrait-dedicated-to-paul-gauguin-1888

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Always communicative about his art and feelings, Vincent wrote hundreds of letters to his brother Theo; that’s how we best know about van Gogh’s thoughts and moods. He painted how he felt about people and places. How do you think he felt about this place?

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After a psychotic episode, Van Gogh checked himself into St. Remy, a mental hospital in May 1889. He was suffering from epilepsy and most modern doctors believe that Vincent was also bipolar, may have been on the autism spectrum, and dealt with ADHD. This is his most famous work of art and was one of the first pieces of art purchased by the Museum of Modern Art in New York when it opened in 1929. Modern scientists have looked to this work as proof that Van Gogh understood the difficult theory of turbulence. Please watch: https://www.youtube.com/watch?v=PMerSm2ToFY Van Gogh left St. Remy after little improvement and was under the care of Dr. Paul Gachet. To no avail, van Gogh’s condition worsened and the conventional story is that he killed himself by shooting himself in the stomach in July of 1890, but there is a theory that he was shot by someone else. He didn’t die immediately, but days after; it was an agonizing death.

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Industrialization of Europe and U.S. about 1850

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CLAUDE MONET, Terrace at Le Havre, 1867

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Figure 23-2 CLAUDE MONET, Impression: Sunrise, 1872. Oil on canvas, 1’ 7 1/2” x 2’ 1 1/2”. Musée Marmottan, Paris.

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Plein-air : An approach to painting much popular among the Impressionists , in which an artist sketches outdoors to achieve a quick impression of light, air, and color. The artist then takes the sketches to the studio for reworking into more finished works of art.

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Figure 23-4 CLAUDE MONET, Saint-Lazare Train Station, 1877. Oil on canvas, 2’ 5 3/4” x 3’ 5”. Musée d’Orsay, Paris.

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CLAUDE MONET, Haystack (Sunrise), 1890-91

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CLAUDE MONET, Haystack (Sunset), 1890-91

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Figure 23-3 CLAUDE MONET, Rouen Cathedral: The Portal (in Sun), 1894. Oil on canvas, 3’ 3 1/4” x 2’ 1 7/8”. Metropolitan Museum of Art, New York.

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‹#› CLAUDE MONET, Rouen Cathedral (early morning), 1894

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Figure 23-13A BERTHE MORISOT, Villa at the Seaside, 1874. Oil on canvas, approx. 1’ 7 3/4” x 2’ 1/8". Norton Simon Art Foundation, Los Angeles.

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BERTHE MORISOT, In the Dining Room, 1886

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Figure 23-7 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas, approx. 4’ 3” x 5’ 8”. Louvre, Paris.

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PIERRE-AUGUSTE RENOIR, Luncheon of the Boating Party, 1881

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Figure 23-1 ÉDOUARD MANET, Bar at the Folies-Bergère, 1882. Oil on canvas, approx. 3’ 1” x 4’ 3”. Courtauld Institute of Art Gallery, London.

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Figure 23-8 EDGAR DEGAS, Ballet Rehearsal, 1874. Oil on canvas, 1’ 11” x 2’ 9”. Glasgow Museum, Glasgow (The Burrell Collection).

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Figure 23-9 EDGAR DEGAS, The Tub, 1886. Pastel, 1’ 11 1/2” x 2’ 8 3/8”. Musée d’Orsay, Paris.

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Figure 23-12 MARY CASSATT, The Bath, ca. 1892. Oil on canvas, 3’ 3” x 2’ 2”. The Art Institute of Chicago, Chicago.

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MARY CASSATT, Maternal Caress, 1891

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JAMES ABBOTT MCNEILL WHISTLER, Arrangement in Gray and Black No. 1 (The Artist’s Mother), 1871

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‹#› Figure 23-11 JAMES ABBOTT MCNEILL WHISTLER, Nocturne in Black and Gold (The Falling Rocket), ca. 1875. Oil on panel, 1’ 11 5/8” x 1’ 6 1/2”. Detroit Institute of Arts, Detroit.

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Figure 23-14 HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Oil on canvas, approx. 4’ x 4’ 7”. The Art Institute of Chicago, Chicago.

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Figure 23-14 HENRI DE TOULOUSE-LAUTREC, Jane Avril, 1893. Color lithograph, 4’ 2 1/2” x 3’ 1”. San Diego Museum of Art, San Diego (gift of the Baldwin M. Baldwin Foundation).

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Figure 23-17 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, approx. 6’ 9” x 10’. The Art Institute of Chicago, Chicago.

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Pointilism : A system of painting devised by the 19th-century French painter Georges Seurat. The artist separates color into its component parts and then applies the component colors to the canvas in tiny dots (points). The image becomes comprehensible only from a distance, when the viewer’s eyes optically blend the pigment dots.