Art history discuss( no reference)

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Gauguin didn’t like other artists, including Monet and Seurat. He was from an affluent family, lived in Peru as a child, and traveled around the world. He was a successful stockbroker who supported six children very well. He exhibited with the Impressionists and even had a painting accepted into the Salon of 1876 as a hobbyist. Rejected his family and lifestyle in 1886 to settle in a town in rural Brittany with a group of painters who wanted to learn how to paint like children. Gauguin exemplifies the avant-garde’s acceptance of mental events as the subject of painting; he said, “I close my eyes to see better.” (My favorite quote of all time) This is the image for SmartHistory HW #10.

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There are prominent symbols in this painting. What do you see? What is the significance of the halo, apples, and snake? How does Gauguin view himself? Gauguin is a man divided within himself. He has a mischievous and arrogant expression. Flat shapes that make up his torso are yellow and the background is red, it has a feeling of a playing card which symbolizes risk taking: a central aspect of his character. Gauguin explored a style similar to van Gogh’s. He used flat shapes, bold colors, and heavy outlining. There is an influence of Japanese prints. Gauguin also used symbolism to project the ideas that originate in the “mysterious centers of thought.”

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Gauguin left France for Tahiti in 1891; an escape to beauty and simplicity. La Orana Maria means “we greet thee, Mary.” He uses muted earth tones and pastels and a simplified drawing style to depict a world where epiphanies and the natural world merge. This painting describes his desire for faith and simplicity. He went back to Paris in 1893 and was welcomed back by the avant-garde who called him “Gauguin the savage.” An exhibition of his works was held to raise money for his return to Tahiti. Upon his return, his work made a deeper connection to the myths and traditions of the people he lived with in the South Pacific. Gauguin believed that art had the power to change the way an artist perceived reality and thus changing the artist’s self.

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Continuing with his idea of art as religion, this painting is one of his largest at 4 1/2 feet by 12 feet and was done after the news of his favorite daughter’s death. As he felt despair at this news, he attempted suicide by drinking arsenic. He painted this after he recovered. It asks profound questions about the human condition and features people throughout the human lifecycle. His painting continued to portray the dream rather than the reality of his life in Tahiti. Gauguin was productive until his death in 1903. When he died, the natives mourned him in a traditional manner as they saw him as one of their own. His influence is profound on other artists in the 20th century.

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Cézanne was an informal exhibiting member of Impressionist group in the 1870s and 1880s, but broke with the Impressionists because he believed their art lacked structure (late 1880s). There is a connection to Impressionism with his new style. There are the familiar brushstrokes of Monet and parallel layers of color, but there is a strong sense of structural surface. Color, for Cézanne, was perspective. He was financially independent - had an inheritance - and became a recluse on his estate in the south of France. Cézanne took impressionism apart and reconstructed it. His work became the basis for the avant-garde of the 20th century.

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Cézanne’s work is not part of a formula and reflects the introspective character that Cézanne was. He received very little recognition by the public, but before he died in 1906 he received attention from the most important group: the avant-garde. This work reflects the influence he had on the Cubists. Please read: https://www.khanacademy.org/humanities/becoming-modern/avant-garde-france/post-impressionism/a/czanne-mont-sainte-victoire

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Cézanne uses color to create structure. He affirms the surface of the canvas and the visual language used to create the image. It seems to absorb light, the geometry is off, and there is no perspective. Warm colors to make forms appear close and cool colors to make forms recede. Cézanne shared Manet’s observation that objects painted in flat, but bright colors, seem to achieve fullness of form without shading. Please read: https://www.khanacademy.org/humanities/becoming-modern/avant-garde-france/post-impressionism/a/czanne-the-basket-of-apples

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There was a spirit of end the century melancholy or soul sickness and morbid subject matter was popular. This is depicting the biblical story of Salomé, a young princess who danced for her stepfather King Herod, demanding in return the execution of John the Baptist (remember Donatello’s Feast of Herod ?). Moreau’s draftsmanship is exquisite. This is also an introduction of the femme fatale: a seductress, castrating female. She plays the central role in many writers’ work and the work of such artists as Redon, Munch, Klimt, and Picasso.

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Henri Rousseau was a tax collector who retired at 42 and devoted himself to creating art. He was self-taught, but attempted to imitate the fine detail of Academic painting and photography, yet his work retains an innocence not found in other artists’ works. This painting has the luminous clarity of a dream and has the aspect of a child’s artwork, but done through the experience of an adult living in contemporary Paris.

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This painting was cultivated from Rousseau’s visits to the botanical gardens in Paris and postcards of tropical places. There is a real illustrative style to his work that is endearing and modern at the same time. Picasso would become one of his friends and Rousseau’s work would inspire the Surrealists.

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Edvard Munch (pronounced Moonck) was a Norwegian artist. Most painters in Scandinavia were trained in Germany and were influenced by realist schools, especially in landscape. Munch had a profound impact on the German Expressionists and was part of a radical group of bohemians who worked in a naturalist mode. He spent some time in Paris in 1889 and 1892, probably influenced by Post-Impressionism, then was invited to exhibit with the Society of Berlin Artists in 1892. His work created a backlash of criticism, so they closed the exhibition after less than a week. This lead to the forming of the Berlin Secession and Munch settled in Germany until 1908. His work comes out of his literary and mystical Scandinavian approach, and intensified by his tortured psyche; most of his family died before 1895, so sickness and death pervades his work. What does this work and self-portrayal tell you about who he is as a person?

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His most famous work of art, but there are three versions of this (I actually saw all three in a matter of a few months last year!). It’s a symbol of modern anxiety and alienation. Munch painted after he “felt a great, infinite scream pass through nature.” It definitely relates to the kind of “soul sickness” that people were experiencing at the turn of the century (like what the Symbolists were describing in their work). Please read: https://www.khanacademy.org/humanities/becoming-modern/symbolism/a/munch-the-scream

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Munch’s paintings of women coincide with Freud’s theories on sex and sexual identity. He was obsessed with women because he had a very troubled past with love and rejection.

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Beardsley was an English artist. This poster is admired for its beauty and condemned for sexual content. It is based on Oscar Wilde’s 1894 poem Salome, the same subject matter as Moreau’s The Apparition : the femme fatale. Imitations of his style can be found in book illustrations and posters in Europe and in America from this time.

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Klimt was a successful decorative painter and fashionable high-society portraitist. He was familiar with other Art Nouveau artists, but also studied Byzantine mosaics. Klimt lead the 1897 Vienna Secession – a group of artists opposed to the intolerance by the Academy. The version of Art Nouveau that was practiced by the Viennese and Germans was called Jügendstil which translates to the Young Style. Klimt ad a passion for erotic themes and developed a painting style that integrated nude figures with brilliantly colored decorative patterns.

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Horta was inspired by Rococo concepts of linear movement in space. He studied plant growth and French architect and theorist, Eugene Viollet-le-Duc’s theories on design. The iron provides strength, but looks delicate in the linear way it was designed. Horta viewed modern architecture as being derived from the environment.

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Tiffany is one of the best known designers to work in the Art Nouveau style. He specialized in the decorative arts, especially table lamps. They look handmade, but were industrially manufactured (a hallmark of Art Nouveau). Tiffany not only was in touch with the European movements, but had an impact on them as well, which was almost unheard of in the early 20th century.

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The greatest sculptor of the 19th century and who can stand with the array of painters of the century is Auguste Rodin. He was an admired and respected public figure. Rodin rejected sentimental idealistic notions and was also rejected from the official Salons like many of his contemporaries, yet he had patrons - which is of the utmost importance as sculpture is a much more expensive art practice. He studied Michelangelo’s sculpture and felt liberated by the experience. This work is based on a historical account of the Hundred Years’ War in the 14th century to gain control over the city of Calais from the English. Five men (burghers are like city council members) offered themselves as hostages. There is a great psychological complexity among the figures in their dramatic gestures, rough faces, large hands and feet, and informal composition. They are presented on a low rectangular platform inviting the viewer to approach the figures directly. The city of Calais commissioned Rodin for this sculpture and it wasn’t what they wanted. They wanted a more Neoclassical kind of work that displayed the men as heroic. Here we have ordinary people struggling with the choice they’ve made. It ended up in a less visible place for display in the city. If you went to the Norton Simon, you saw this on your way into the museum on the righthand side of the walkway.

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This is a portal for the proposed Museum of Decorative Arts in Paris, based on Dante’s Inferno and the Florence Baptistry (Ghiberti’s “Gates of Paradise”). They really are equalled to the Sistine Ceiling as sculpture, but was never carried beyond the stage of preliminary studies and a few completed figures during Rodin’s lifetime. The doors were assembled posthumously. You will notice that many of his free standing sculptures are included in the composition including the famous Thinker near the top. Today, there are three of these sets of doors. I saw one set at the Minneapolis Institute of Art when I was about 7. I grew up Lutheran and thought hell was a very real place. These doors are enormous and towered over me. It was a very scary experience and most students find it amusing that I’m an art historian today. Ha!

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Rodin shared the Impressionists’ fascination with the revealing gesture, the unposed expressive posture of a person caught unaware. I also like showing students that he worked in marble as well.

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Claudel was a student of Rodin’s, but she became his lover and fell prey to the trap of being under a male artist’s wing. The relationship ended badly and she had a nervous breakdown. Her family institutionalized her and this hospitalization was controlled by her brother. She never left and died in the hospital after being there for over 25 years. This is a portrait of Rodin and you can see the similarities between her work and his.

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This is the kind of work Claudel would do. Her work was very passionate, and people (mainly male critics) had a difficult time labeling her work as feminine: “She’s a woman, of course she should be producing feminine art!” That was the attitude of the time. This work was shocking because of its depiction of male nudity and we know that women weren’t allowed to work from the live nude model.

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A real shame this is not in your textbook as it’s the crowning achievement of this architect’s work. Gaudí was nfluenced by the art of the Middle Ages. He is a symbol of nationalism for Catalonia. This church is a study of natural forms as a spiritual basis for architecture (much like Frank Lloyd Wright’s philosophy on architecture and naturalism). Gaudí was nfluenced by architect and theorist Eugene Emmanuel Viollet-le-Duc who restored medieval buildings and analyzed Gothic structures in light of modern advances. Gaudi’s early architecture was part of the Gothic Revival movement, but he employed the use of unusual materials, especially in textural and coloristic arrangement. He has a very personal style in ornamental ironwork and was a pioneer in experimental architecture: no on would even come close to the designs he created until the mid-20th century. This was his first major commission: a church already begun by another architect in the Gothic Revival style. He worked on it intermittently until his death, never completely finishing it and it’s still being built today! There is no real historic style – one that is of Gaudi’s imagination only. There is biological ornamentation and abstract decoration. He uses brightly colored mosaic embellishment on the spires. This is all part of his structural principles informed by his spiritual beliefs. Please watch: https://www.khanacademy.org/humanities/becoming-modern/symbolism/v/gaud-church-of-the-sagrada-fam-lia-1882-consecrated-2010-still-under-construction And: https://www.youtube.com/watch?v=RcDmloG3tXU

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I love using this as an example of something similar to Gaudí’s work, AND it’s found in our backyard here in Los Angeles! If you’ve never visited the Watts Towers, you should. Many of the same techniques of using rebar and concrete with embedded mosaic materials found at the Sagrada Familia can be found in this outsider artwork. Rodia was an Italian blue-collar immigrant to Southern California and he decided to build this large scale sculpture on his property in Watts. The sculpture itself is a ship and the towers are the masts. He collected soda bottles, seashells, and tile fragments for the decoration. He was unaware of Gaudí’s work in Barcelona which makes it even more amazing. Check out: http://www.lacma.org/art/exhibition/watts-towers

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This is an apartment house constructed around open courtyards. It is a whole continuous movement of sculptural volumes that seems to have no beginning and no end. Many students say his architecture reminds them of something coming out of a Dr. Seuss book. Check this out for a virtual tour! https://www.lapedrera.com/Tours/Tour_Pedrera-eng/flash/Tour_Pedrera-eng.html

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This was the 984-foot tower for the World’s Fair in Paris in 1889. A competition was held and Eiffel was chosen as the designer for the centerpiece of the 1889 World’s Fair. Eiffel was an engineer and architect who is best known for designing exhibition halls, bridges, and the interior armature for the Statue of Liberty. Construction started in 1887 and was finished 26 months later. There are two visibly distinct parts: a base and a tower. Three different colors of paint are used to give the tower a uniform look: a lighter color on the bottom to contrast against the darker ground and a darker color to contrast the lighter sky. Not everyone was for the tower and a petition of 300 names was presented to the city government in protest of its construction. It was only supposed to be up for 20 years, but it became very popular with tourists and important as a radio antenna for the military and for commercial purposes.

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This large, entire block covering department store building is more like Romanesque and Renaissance palaces in Italy. There is a three part or tripartite elevation and rounded arches with ratios of 1:1, 2:1 and 4:2. It emphasizes the solidity of form. Richardson influenced the Chicago School along with Louis Sullivan and Frank Lloyd Wright. This is the beginning of the modern city skyscraper.

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Piers separate windows and end in an arch at the top. Each horizontal band under the windows is ornamented. The building has a base, piers and an attic, much like a temple. One could argue this is a temple to modern ways of doing business. The oval windows at the top echo the curve of the cornice. With this building, we can truly see the beginnings of the modern urban office building. The structure is a steel skeleton sheathed with terracotta (a form of clay). Louis Sullivan coined the term “form follows function” and in this case it certainly does. The ground floor was reserved as commercial space for customers to come in and conduct business with insurance salespeople, while the rest of the floors are dedicated office space for the rest of the employees of the insurance company.

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Figure 23-20 PAUL GAUGUIN, The Vision after the Sermon or Jacob Wrestling with the Angel, 1888. Oil on canvas, 2’ 4 3/4” x 3’ 1/2”. National Gallery of Scotland, Edinburgh.

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PAUL GAUGUIN, Self-Portrait, 1889

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‹#› PAUL GAUGUIN, La Orana Maria, 1891

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Figure 23-21 PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are We Going?, 1897. Oil on canvas, 4’ 6 13/ 16” x 12’ 3”. Museum of Fine Arts, Boston.

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PAUL CÉZANNE, Houses in Provance, ca. 1880

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Figure 23-22 PAUL CÉZANNE, Mont Sainte-Victoire, 1902–1904. Oil on canvas, 2’ 3 1/2” x 2’ 11 1/4”. Philadelphia Museum of Art, Philadelphia.

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Figure 23-23 PAUL CÉZANNE, The Basket of Apples, ca. 1895. Oil on canvas, 2’ 3/8” x 2’ 7”. The Art Institute of Chicago, Chicago.

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‹#› Figure 23-25 GUSTAVE MOREAU, The Apparition, 1874-1876. Watercolor on paper, 3’ 5 3/4” x 2’ 4 3/8.” Louvre Museum, Paris.

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Symbolism : A late-19th-century movement based on the idea that the artist was not an imitator of nature but a creator who transformed the facts of nature into a symbol of the inner experience of that fact.

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Figure 23-27 HENRI ROUSSEAU, The Sleeping Gypsy, 1897. Oil on canvas, 4’ 3” x 6’ 7”. Museum of Modern Art, New York.

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Figure 23-27A HENRI ROUSSEAU, The Dream, 1910

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‹#› EDVARD MUNCH, Self-Portrait in Hell, 1895

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‹#› Figure 23-29 EDVARD MUNCH, The Scream, 1893. Oil, pastel, and casein on cardboard, 2’ 11 3/4” x 2’ 5”. National Gallery, Oslo.

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‹#› EDVARD MUNCH, Madonna, 1894-95

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‹#› Figure 23-28A AUBREY BEARDSLEY, The Peacock Skirt, 1894. Pen-and-ink illustration for Oscar Wilde’s Salomé.

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Art Nouveau : French, “new art.” A late-19th-and early-20th century art movement whose proponents tried to synthesize all the arts in an effort to create art based on natural forms that could be mass produced by technologies of the industrial age.

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Figure 23-30 GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4”. Austrian Gallery, Vienna.

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Figure 23-38 VICTOR HORTA, staircase in the Van Eetvelde House, Brussels, 1895.

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‹#› Figure 23-38B LOUIS COMFORT TIFFANY, Water lily table lamp, 1904-1915. Leaded Favrile glass, mosaic, and bronze.

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Figure 23-33A AUGUSTE RODIN, Burghers of Calais, 1884–1889, Bronze, 6’ 10 1/2” high, 7’ 11” long, 6’ 6” deep.

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Figure 23-34 AUGUSTE RODIN, Gates of Hell, 1880-1900 (cast in 1917). Bronze, 20’ 10” x 13’ 1”. Rodin Museum, Paris.

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‹#› AUGUSTE RODIN, The Kiss, 1886

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‹#› CAMILLE CLAUDEL, Auguste Rodin, ca. 1885

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‹#› Figure 23-35 CAMILLE CLAUDEL, The Waltz, 1895. Bronze, 1’ 4 7/8” high. Private collection, Paris.

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‹#› ANTONIO GAUDI, Church of the Sagrada Familia, Barcelona, 1883-1926

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‹#› SIMON RODIA, Watts Towers, 1921-54

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Figure 23-39 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.

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Figure 23-40 ALEXANDRE-GUSTAVE EIFFEL, Eiffel Tower, Paris, 1889. Wrought iron, 984’ high.

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‹#› Figure 23-41 HENRY HOBSON RICHARDSON, Marshall Field wholesale store, Chicago, 1885–1887 (demolished 1930).

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Figure 23-42 LOUIS SULLIVAN, Guaranty (Prudential) Building, Buffalo, 1894–1896.