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Prebles’ Artforms

Twelfth Edition

Chapter 21

Late Eighteenth and Nineteenth Centuries

Learning Objectives (1 of 2)

21.1 Explain the social and political ideas that gave rise to Neoclassical art and architecture.

21.2 Identify the visual characteristics and themes in Romanticism.

21.3 Discuss the developments in photography and the medium’s relationship to painting in the nineteenth century.

Learning Objectives (2 of 2)

21.4 Describe the stylistic features and artistic concerns characterizing Realism.

21.5 Explain the principal characteristics of Impressionist painting.

21.6 Distinguish the various trends in the Post-Impressionist period.

Introduction

Modern age launched by Industrial, American, and French Revolutions

Enlightenment

Age of Reason

Rational and scientific approach to beliefs

Stylistic pluralism

Traditional sources of patronage gradually withered

Neoclassicism (1 of 3)

21.1 Explain the social and political ideas that gave rise to Neoclassical art and architecture.

Neoclassicism

Emulation of classical Greek and Roman art

An effort to represent non-hereditary government (republic)

David, The Oath of the Horatii

Story of virtue and readiness to die for liberty

Sculptural quality of figures

Women overcome, unable to participate

Reflects belief of the time that women were unfit for public life

Women were banned from art academy classes where unclothed models were used

Jacques-Louis David. The Oath of the Horatii. 1784. Oil on canvas. 10' 10" × 14'. Musée du Louvre, Paris, France. RMN-Grand Palais/Gérard Blot/Christian Jean. [Fig. 21-1]

Neoclassicism (2 of 3)

21.1 Explain the social and political ideas that gave rise to Neoclassical art and architecture.

Angelica Kauffmann

Overcame obstacles of women’s exclusion from professional art

Design

A different vision of women’s abilities in comparison to Oath of the Horatii

Angelica Kauffmann. (1740–1807). Design. 1778–80. Oil on canvas. 4’4” × 5’. © Royal Authority of Arts, London. Photographer: John Hammond. [Fig. 21-2]

Neoclassicism (3 of 3)

21.1 Explain the social and political ideas that gave rise to Neoclassical art and architecture.

Thomas Jefferson, Monticello

Based on Andrea Palladio’s reinterpretation of Roman country-style houses

Often called Federal Style

Inspired civic virtues of courage and patriotism

Neoclassical architecture found in almost every U.S. city

Thomas Jefferson. Monticello. Charlottesville, Virginia. 1793–1806. Monticello/Thomas Jefferson Foundation, Inc. Ffooter © Shutterstock. [Fig. 21-3]

Romanticism (1 of 6)

21.2 Identify the visual characteristics and themes in Romanticism.

Romanticism

In reaction to Neoclassicism

Agrees with Neoclassic importance of individual liberty

Emotional expression

Imagination/emotion more valuable than reason

Nature less corrupt than civilization

Preoccupation with current events

Romanticism (2 of 6)

21.2 Identify the visual characteristics and themes in Romanticism.

Francisco Goya

Experienced horrors of Napoleon's occupation

The Third of May, 1808

Depicts firing squad executing suspects

Mechanical uniformity of faceless firing squad

Ragged, emotional targets

Protest against tyrannical governments

Francisco Goya. The Third of May, 1808. 1814. Oil on canvas. 8’9” × 3’4”. Museo Nacional del Prado, Madrid. © Photograph: MNP/Scala, Florence. [Fig. 21-4]

Romanticism (3 of 6)

21.2 Identify the visual characteristics and themes in Romanticism.

The Burning of the Houses of Lords and Commons, J.M.W. Turner

Captures disastrous fire in Parliament from only months before

Loose, expressive brushwork

Introduced distortions and exaggerations

Flames did not go as high as depicted

Turner straightened river to achieve wide horizon

Emphasis on feeling rather than actual geography

Joseph Mallord William Turner. The Burning of the Houses of Lords and Commons. 1834. Oil on canvas. 36-1⁄4” × 48-1⁄2”. © Cleveland Museum of Art, OH, USA/Bequest of John L. Severance/Bridgeman Images. [Fig. 21-5]

Romanticism (4 of 6)

21.2 Identify the visual characteristics and themes in Romanticism.

American landscape painting

Thomas Cole, The Oxbow

Broad, panoramic view

Hudson River School style

Broad, panoramic view

Carefully rendered details

Light-filled atmosphere

Thomas Cole. The Oxbow. 1836. Oil on canvas. 51-1⁄2” × 76”. The Metropolitan Museum of Art, New York. Gift of Mrs. Russell Sage, 1908 (08.228) [Fig. 21-6]

Romanticism (5 of 6)

21.2 Identify the visual characteristics and themes in Romanticism.

American landscape painting

Blue Hole, Little Miami River

Robert S. Duncanson, an African-American with an international reputation

Modified precise realism of Hudson River School

Original, poetic softening

Orchestrated light, color, and detail

Robert S. Duncanson. Blue Hole, Little Miami River. 1851. Oil on canvas. 29-1⁄4” × 42-1⁄4”. Cincinnati Art Museum, Ohio, USA. Gift of Norbert Heerman and Arthur Helbig.

1926.18/Bridgeman Images. [Fig. 21-7]

Romanticism (6 of 6)

21.2 Identify the visual characteristics and themes in Romanticism.

France’s Romantic paintings

The Death of Sardanapalus

Based on a play by Lord Byron

Title character takes poison and orders favorite possessions destroyed before him

Viewers’ response to this horrifying event

Diagonal composition with chiaroscuro recalling the Baroque

Painterly

Loose, open style

Photography (1 of 3)

21.3 Discuss the developments in photography and the medium’s relationship to painting in the nineteenth century.

Cameras freed painters from the role of narrator/illustrator.

Technology cumbersome, toxic in its early phases

Presented practical challenges in barren regions of the Western wilderness

Photography (2 of 3)

21.3 Discuss the developments in photography and the medium’s relationship to painting in the nineteenth century.

Timothy O’Sullivan, Iceberg Canyon

Stark, austere, and well-crafted

Sitter perfectly positioned on rocks

Timothy O’Sullivan. Iceberg Canyon, Colorado River, Looking Above. 1871. Albumen print. 8” × 11”. National Gallery of Art, Washington D.C. Diana and Mallory Walker Fund and Horace W. Goldsmith Foundation through Robert and Joyce Menschel 2005.10.1. [Fig. 21-9]

Photography (3 of 3)

21.3 Discuss the developments in photography and the medium’s relationship to painting in the nineteenth century.

Difference between camera vision and human vision apparent to Delacroix

Cameras useful for details of complete construction

Nadar (Félix Tournachon)

Elevated mechanical aspects

Recognized photography as a mechanical process

Most notable artists, writers, intellectuals of Paris had him make portraits

Sarah Bernhardt

Exhibits link between Romantic painted and modern glamour portraits

Nadar (Félix Tournachon). Sarah Bernhardt. 1855. Photograph. Courtesy of the George Eastman Museum. [Fig. 21-10]

Realism (1 of 8)

21.4 Describe the stylistic features and artistic concerns characterizing Realism.

Academic art

Tradition-minded works that follow formulas laid down by an academy or school

French Academy’s Salon

Annual exhibition in the nineteenth century and only way an artist might become known in those days

Realism (2 of 8)

21.4 Describe the stylistic features and artistic concerns characterizing Realism.

Realism

A style depicting the ordinary without idealism, exoticism, or nostalgia

Reaction to both Neoclassicism and Romanticism

“Look at this”

Gustave Courbet, The Stone Breakers

Ordinary road workers

No dramatization of struggle

Realism (3 of 8)

21.4 Describe the stylistic features and artistic concerns characterizing Realism.

Accusations toward Courbet

Raising “a cult of ugliness”

Inartistic and socialistic work

Led him to set up his own exhibitions

Oil painting outdoors

First done by Courbet

Made possible by portable paint tubes

Ability to capture first impressions

Gustave Courbet. The Stone Breakers. 1849 (destroyed in 1945). Oil on canvas. 5’5” × 7’10”. The Artchives/Alamy Stock Photo. [Fig. 21-11]

Realism (4 of 8)

21.4 Describe the stylistic features and artistic concerns characterizing Realism.

Rosa Bonheur, The Horse Fair

Specialized in rural scenes with animals

Surging energy

Possible self-portrait near the center

Rosa Bonheur. The Horse Fair. 1853–55. Oil on canvas. 96-1⁄4” × 199-1⁄2”. The Metropolitan Museum of Art, New York. Gift of Cornelius Vanderbilt, 1887. (87.25). Fig. 21-12]

Realism (5 of 8)

21.4 Describe the stylistic features and artistic concerns characterizing Realism.

Jean-Léon Gérôme

Teacher of Thomas Eakins

Pygmalion and Galatea

Story from mythology executed with academic, controlled fashion

Jean-Léon Gérôme. Pygmalion and Galatea. c.1860. Oil on canvas. 35” × 27”. The Metropolitan Museum of Art, New York. Gift of Louis C. Raegner, 1927. (27.200). [Fig. 21-13]

Realism (6 of 8)

21.4 Describe the stylistic features and artistic concerns characterizing Realism.

Eakins

William Rush Carving His Allegorical Figure

Story from mythology executed with academic, controlled fashion

Contrasts Pygmalion with a realist view

Somewhat lumpy model

Painting people the way they actually looked shocked the public.

Thomas Eakins. William Rush Carving His Allegorical Figure of the Schuylkill River. 1876–77. Oil on canvas on masonite. 20-1⁄8” × 26-1⁄8”. Philadelphia Museum of Art. Gift of Mrs. Thomas Eakins and Miss Mary Adeline Williams, 1929. Acc.n.: 1929-184-27. © Photograph: The Philadelphia Museum of Art/Art Resource/Scala, Florence. [Fig. 21-14]

Realism (7 of 8)

21.4 Describe the stylistic features and artistic concerns characterizing Realism.

Tanner, The Banjo Lesson

Best-known African-American painter before the twentieth century

Studied with Eakins in Philadelphia

Dignified portrayals of blacks

Avoids sentimentality but exhibits humanistic content

Henry Ossawa Tanner. The Banjo Lesson. 1893. Oil on canvas. 49” × 35-1⁄2”. Hampton University Museum, Virginia. [Fig. 21-15]

Realism (8 of 8)

21.4 Describe the stylistic features and artistic concerns characterizing Realism.

Edouard Manet

Predecessor of Impressionism

Combined flattened painting in the Japanese style with Courbet's realism

Interest in visual issues over content

Luncheon on the Grass

Female nude with clothed males and no allegorical context

Shocked viewers and critics

Édouard Manet. Le Déjeuner sur l'herbe (Luncheon on the Grass). 1863. Oil on canvas. 7’ × 8’10”. Musée d'Orsay, Paris. classicpaintings/Alamy Stock Photo. [Fig. 21-16]

Impressionism (1 of 8)

21.5 Explain the principal characteristics of Impressionist painting.

Group formed after denial to 1873 Salon and organized independent exhibition

“Impressions” of what the eye actually sees, rather than what the mind interprets

Claude Monet, Arrival...

Focuses on play of light amid steam of locomotive

Impressionism (2 of 8)

21.5 Explain the principal characteristics of Impressionist painting.

Painting

Claude Monet, La Gare Saint-Lazare (St. Lazare Station)

Focuses on play of light amid steam of locomotive

Claude Monet. La Gare Saint-Lazare (St. Lazare Station). 1877. Oil on canvas. 30-1⁄4” × 41-1⁄2”. Musée d’Orsay, Paris. Inv. No. RF 2775. akg-images/Laurent Lecat. [Fig. 21-17]

Impressionism (3 of 8)

21.5 Explain the principal characteristics of Impressionist painting.

Painting

Impressionists

Term arose from Monet’s versions of Impressions: Sunrise

Initially meant to be derogatory, but a fitting description for the artists

Small dabs of color that are separate strokes close up, blended farther away

Pure color for more vibrancy

Optimistic about new technology

Claude Monet. Impression: Sunrise. 1872. Oil on canvas. 19-1⁄2” × 25-1⁄2”. Musée Marmottan Monet, Paris/Bridgeman Images. [Fig. 21-18]

Impressionism (4 of 8)

21.5 Explain the principal characteristics of Impressionist painting.

Painting

Renoir, Le Moulin de la Galette

Contemporary middle-class people enjoying outdoor leisure activities

Interest in human drama balanced by interest in light filtering through trees

Pierre-Auguste Renoir. Le Moulin de la Galette (The Pancake Mill). 1876. Oil on canvas. 51-1⁄2” × 68-7⁄8”. Musée d'Orsay, Paris. RMN-Grand Palais (Musée d'Orsay)/Hervé Lewandowski. [Fig. 21-19]

Impressionism (5 of 8)

21.5 Explain the principal characteristics of Impressionist painting.

Painting

Edgar Degas

Approach differed somewhat from Impressionists

Spontaneous-looking compositions actually posed like street photography

The Ballet Class

Shows unglamorous character of class

Edgar Degas. The Ballet Class. c.1879–80. Oil on canvas. 32-3⁄8” × 30-1⁄4”. Philadelphia Museum of Art. Purchased with the W. P. Wilstach Fund. W1937-2-1. © Photograph: The Philadelpha Museum of Art/Art Resource/Scala, Florence. [Fig. 21-20]

Impressionism (6 of 8)

21.5 Explain the principal characteristics of Impressionist painting.

Painting

Mary Cassatt

The Boating Party

Resemblance to Japanese prints

Subtle feminist content

Mary Cassatt. The Boating Party. 1893–94. Oil on canvas. 35-7⁄16” × 46-3⁄16”. National Gallery of Art, Washington, D.C. 1963.10.94 Chester Dale Collection. [Fig. 21-21]

Impressionism (7 of 8)

21.5 Explain the principal characteristics of Impressionist painting.

Mary Cassatt: American Impressionist

Philadelphia-born, befriended Manet and Degas in Paris

Exhibited with Impressionists four times

Specialty became painting modern women in their own situations

Young Mother Sewing

Not sentimental, don’t idealize motherhood

Mary Cassatt. Self-Portrait. c.1880. Gouache and watercolor over graphite on paper. 13” × 9-7/8”. National Gallery of Art, Washington, D.C. NPG. 76.33. © 2018. Photo National Portrait Gallery Smithsonian/Art Resource/Scala, Florence. [Fig. 21-22]

Mary Cassatt. Young Mother Sewing. 1900.

Oil on canvas. 36-3/8” × 29”.

Metropolitan Museum of Art. H.O. Havemeyer Collection. Bequest of Mrs. H.O. Havemeyer, 1929. (29.100.48). [Fig. 21-23]

Impressionism (8 of 8)

21.5 Explain the principal characteristics of Impressionist painting.

Sculpture

Auguste Rodin, sculptor

Contemporary to Impressionists

Used Michelangelo’s unfinished pieces as inspiration for rough finishes

Media of plaster and clay

The Thinker

Universal artist/poet as creator

Auguste Rodin. The Thinker. c.1910. Bronze. Life-size. Photograph: Christie's Images Ltd./SuperStock. [Fig. 21-24]

The Post-Impressionist Period (1 of 11)

21.6 Distinguish the various trends in the Post-Impressionist period.

Did not share a single style

All reactions to Impressionism

Formal Organization

Seurat, A Sunday on La Grande Jatte

Not an image of a fleeting moment despite Impressionist qualities

Divisionism (pointillism)

Optical color mixture achieved by controlled dots of color and mixed with the eyes

Georges Seurat. A Sunday on La Grande Jatte. 1884–1886. Oil on canvas. 81-3⁄4” × 121-1⁄4”. The Art Institute of Chicago, IL, USA/Helen Birch Bartlett Memorial Collection 1926.22/Bridgeman Images [Fig. 21-25]

The Post-Impressionist Period (2 of 11)

21.6 Distinguish the various trends in the Post-Impressionist period.

Formal Organization

Paul Cézanne

Intended to make Impressionism “solid and enduring” like museum art

Planar surfaces of subjects seen in terms of color modulation

Mont Sainte-Victoire

Impression of air, depth through color use

Almost geometric planes and masses

Rhythm of parallel brush strokes

Paul Cézanne. Mont Sainte-Victoire. 1902–4. Oil on canvas. 27-1⁄2” × 35-1⁄4”. Philadelphia Museum of Art. The George W. Elkins Collection, 1936. © 2018. Photograph: The Philadelphia Museum of Art/Art Resource/Scala, Florence. [Fig. 21-26]

The Post-Impressionist Period (3 of 11)

21.6 Distinguish the various trends in the Post-Impressionist period.

Personal Expression

Expressionist style

Emotional intensity through strong color contrasts, bold brushwork, and contours

Vincent van Gogh

Highly textural brushwork

Strong color to express emotions clearly

Influence of Japanese prints

Flat color areas and simplified shapes

Japonaiserie: Flowering Plum Tree

Vincent van Gogh. Japonaiserie: Flowering Plum Tree. 1887. After Hiroshige. Oil on canvas. 21-1⁄2” × 18”. Van Gogh Museum, Amsterdam (Vincent Van Gogh Foundation). [Fig. 21-27]

The Post-Impressionist Period (4 of 11)

21.6 Distinguish the various trends in the Post-Impressionist period.

Personal Expression

Vincent van Gogh

The Sower

Bold, simplified shapes

Flat areas of color

Strength of tree trunk balances the sun

Vincent van Gogh. The Sower. 1888. Oil on canvas. 12-3⁄5” × 15-3⁄4”. Van Gogh Museum, Amsterdam (Vincent Van Gogh Foundation). [Fig. 21-28]

The Post-Impressionist Period (5 of 11)

21.6 Distinguish the various trends in the Post-Impressionist period.

Personal Expression

Vincent van Gogh

The Starry Night

Powerful symbolism

Tremendous cosmic forces in sky

Church’s spire echoes cypress trees

Small scale of human life

Vincent van Gogh. The Starry Night. 1889. Oil on canvas. 29” × 36-1⁄4”. The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest (472.1941).

The Post-Impressionist Period (6 of 11)

21.6 Distinguish the various trends in the Post-Impressionist period.

Personal Expression

Paul Gauguin

Critical of materialism of industrial society

Worked as a stockbroker for several years

The Vision After the Sermon

Depicts Brittany peasants’ vision

Tilted, brightly colored background plane

Divided by trunk of apple tree

Paul Gauguin. The Vision After the Sermon (Jacob Wrestling with the Angel). 1888. Oil on canvas. 28-3⁄4” × 36-1⁄2”. National Galleries of Scotland. [Fig. 21-30]

The Post-Impressionist Period (7 of 11)

21.6 Distinguish the various trends in the Post-Impressionist period.

Personal Expression

Paul Gauguin

Desired to rejuvenate European art with insights from non-Western tradition

Left family for Tahiti at age 43 in attempt to break with civilization

Mahana no Atua

Summary of several years of painting

Symbolic “language of dreams”

Color of water nothing like reality

Paul Gauguin. Mahana no Atua (Day of the God). 1894. Oil on canvas. 26-7⁄8” × 36”. The Art Institute of Chicago, IL, USA/Bridgeman Images. [Fig. 21-31]

The Post-Impressionist Period (8 of 11)

21.6 Distinguish the various trends in the Post-Impressionist period.

Personal Expression

Henri de Toulouse-Lautrec

At The Moulin Rouge

Unusual angles and cropping

Expressive, unnatural color heightens feelings about the people in the world he painted

Henri de Toulouse-Lautrec. At the Moulin Rouge. 1893–95. Oil on canvas. 48-3⁄8” × 55-1⁄4”. The Art Institute of Chicago, Helen Birch Bartlett Memorial Collection, 1928.610.

Shawshots/Alamy Stock Photo. [Fig. 21-32]

The Post-Impressionist Period (9 of 11)

21.6 Distinguish the various trends in the Post-Impressionist period.

Symbolism

Developed around 1885

Decorative forms and symbols that were intentionally vague or open-ended

Edvard Munch

Carried Symbolism to expressive intensity

The Scream

Dominant figure caught in isolation, fear, and loneliness—a "soul-cry"

Edvard Munch. The Scream. 1893. Tempera and crayon on cardboard. 36” × 28-7⁄8”. National Gallery, Oslo. Photograph: Jacques Lathion/Nasjonalmuseet.

The Post-Impressionist Period (10 of 11)

21.6 Distinguish the various trends in the Post-Impressionist period.

Art Nouveau

“New art” of architecture and interior design

Brought nature into art in new ways

Hector Guimard

Castel Beranger, first Parisian Art Nouveau house

Designed exterior, wallpaper, door handles, carpets, light fixtures

Lobby strongly exploits motif of organic growth

Abstracted plant forms

Scheme makes no reference to past styles

Hector Guimard. Lobby of Castel Beranger. Paris. 1897–98.

B.O’Kane/Alamy Stock Photo. [Fig. 21-34]

The Post-Impressionist Period (11 of 11)

21.6 Distinguish the various trends in the Post-Impressionist period.

Art Nouveau

Antoni Gaudí

Casa Milà

Locals call it La Pedrera (The Quarry)

Art Nouveau ideas in the framework

Wildly curving blocks

Organically shaped window openings

Antoni Gaudí, Casa Milà, Barcelona. 1906–12. View of the façade (photograph).

Le Pedrera (Casa Mila) Barcelona, Spain/Bridgeman Images. [Fig. 21-35]