St. Peters Basilica and Piazza, Vatican, Rome
- Carlo Maderno and Gianlorenzo Bernini
- Pope Paul V Borghese commissioned Carlo to provide church with longitudinal nave and new facade
- started 1607 and finished 1615 (except facade bell towers)
- rooted in design of il geese facade, moderno's facade
David
- Gian Lorenzo Bernini
- for nephew pope Paul V in 1623
- introduced a new type of 3 dimensional composition that intrudes forcefully into the viewers space
- young hero bends at the waist and twists far to one side, ready to launch the lethal rock at Gol
Baldacchino
- Gian Lorenzo Bernini
- Urban VII elected pope in 1623 gave job of designing bronze baldachin or canopy over high altar of St peters to Bernini
- focus on altar was essential to size of church
- 1633
- stands almost 100 feet high and exemplifies baroque
St. Teresa of Avila
- Gian Lorenzo Bernini
- church of Santa Maria della Vittoria in Rome
- swoons in ecstasy on bank of billowing marble clouds
- angel tugs on her robe, aiming arrow at her breast
- gilded bronze rays of super natural light descend and actual light illumina
Bernini
- emotional and theatrical style in response to religious and political climate in Rome during period of spiritual renewal known as the counter reformation
- protestant reformation as an outgrowth of renaissance humanism with its emphasis on rationality a
Baroque
- irregular shaped pearl - beautiful, fascinating, and strange
- evokes intense emotional responses from viewers
- dramatically lit, theatrical compositions often combine several media within a single work as artists highlight their technical virtuosity
17th century version of classism
- moving and dramatic variant of renaissance ideals and principles featuring idealization based on observation of the material world; balanced (often asymmetrical) compositions, diagonal movement in space, rich, harmonious colours, and inclusion of visual
Cornaro Chapel, Church of Santa Maria Della Vittoria
- Bernini
- 1642-52
- funeral chapel of Venetian cardinal federigo Cornaro (designed by Carlo Maderno earlier in the century)
- dedicated to the Spanish saint Teresa of Avila
- designed it as a rich and theatrical settings for the portrayal of a central e
Church of San Carlo
- Borromini - nephew of maderno
- intersection o two of the wide, straight avenues created by Pope Sixtus V inspired city planners to add a special emphasis, with fountains marking each of the four corners of the crossing
- 1634 - Trinitarian monks decide
San Carlo Facade
- undulating patten, dramatic s curve
- play of convex and concave surfaces
- no pilasters, colossal and small columns
- heavy unbroken entablature on lower level
- upper level - broken entablature, interrupted
- two decades later
- undulating, sculpture
Caracci
- ordered classism
- schooled in norther italian renaissance traditions, with its emphasis on chiaroscuro and venetian colour and sfumato
- rejected the artifice of the mannerist style and fused their northern roots with the central italian high renaissan
caravaggio
- baroque demand for drama and clarity by developing realism a powerful new direction
- painted pope he saw in world around him - even the lowlife of Rome - and worked directly from models without elaborate drawings and compositional notes
- ignore the in
ceiling of gallery, palazzo farnese
- annibale Carracci
- decorate family roman palace
- paint scenes of love based on ovid's metamorphoses (celebrate weding of Duke Ranuccio Farnese of Parma to niece of the pope)
- primary image, set in the centre of the vault, is the triumph of bacchus an
Bacchus
Caravaggio
1595-96
oil on canvas
"farmers tan" - of those parts of this partially dressed youths skin - hand and face - that have been exposed to the sun, as well as the dirt under his fingernails
- androgynous
- painted lips and smoothly arching eyebrows
tenebrism
- forms emerge from a dark background into a strong light that often falls from a single source outside the painting
Calling of St. Matthew
- one of caravaggios first religious commissions
- contarelli chapel in french community's church of St. Louis
- 1599-1600
- subject is conversion (common counterreformation theme)
- jesus calls levi, the tax collector, to join his apostles (counting mone
Accepted version of st. Matthew and the Angel for Contarelli Chapel
- 1602
- needed to be doctrinally correct
- 1st was rejected
- caravaggio
Conversion of St. Paul
Caravaggio
160, oil on canvas
Cerasi Chapel in Santa Maria Del Popolo
first pair was rejected when Caravaggio delivered them, and they were acquired for a private collector
- second version - direct and simple
- paul internal involvement with a pivotal mo
Judith Beheading Holofernes
Artemisia Gentileschi
1619-20, Oil on canvas
Caravaggio follower, help spread the caravaggesque style beyond rome
- elected at age of 23, to florentine academy of design
- move from rome to florence
- example of Caravaggio's tenberism and naturalism
- sub
The Triumph of the name of Jesus and the fall of the damned
Giovanni Battista Gaulli
fills vault of the Jesuit Church Il Gesu
- 1560s, Giacomo da Vignola had designed an austere interior for Il Gesu, but when the Jesuits renovated their church a century later, they commissioned a religious allegory to cover the na
Baroque Ceiling
drama of an immeasurable heaven that extended into vertiginous zones far beyond the limits of high renaissance taste
quadratura - architectural setting painted in meticulous perspective and usually requiring that it be viewed from a specific spot to achie
Self Portrait with Isabella Brandt
Peter Paul Rubens
1609-10, oil on canvas
munich
- evokes state of marital bliss
- engage viewers directly and the rich detail of their lavish costumes is described with meticulous precision, foregrounding both the artists virtuosity and the couples wealth
The Raising of the Cross
Peter Paul Rubens
first major commission in antwerp
large canvas triptych for main altar of the church of St. Walpurga
1610-11
- extended the central action and the landscape through all three panels
- center panel: herculean figures stain to haul upright
Henry IV receiving the portrait of Marie De Medici
Rubens
Marie De Medici asked Rubens to paint the story of her life, to glorify her role in ruling France, celebrate life and achievement through 24 paintings
language of courtly allegory
chance to show skill
- also to commemorate founding of the new bourb
Martyrdom of St. Bartholomew
Jusepe de Ribera - studied caravaggio, influence art in naples, combined classical caraveggio style he had learned in Rome to create a new neapolitan and eventually spanish style
- ribera became link extending from caravaggio in italy to the spanish maste
St. Serapion
- oil on canvas
- hyper realism
- hanging
- half length
- intense lighting with no background d
- viewers struck by realism
- aid to mobilize empathy
- 3 dimensional white robe - dominant, sculpture?
- viewer supposed to be confused - sculpture for painti
Water Carrier of Seville
Diego Velasquez - devoted to study and sketching, fascinated with objects, began career as tenerbrist and naturalist
1619
genre painting - every day scene
- advertise skill - water drops in jug
- glass vs. ceramic , showcase ability
- works way into spani
Surrender of Breda (the lances)
Diego Velasquez
1634-35
treats theme of triumph and conquer in an entirely new way - far removed from traditional gloating military propaganda
defeat of dutch by spanish
opposing armies stand on hilltop overlooking vast valley where the city of breda burn
Las Meninas
Diego Velasquez
10 x 10 - huge
1656, near end of his life
- challenge viewers and stimulate debate
draws viewers directly into the scene
- viewer stands in space occupied by King Philip and his queen, who's reflections can be seen in large mirror on the b
Banqueting House, Whitehall Palace
Inigo Jones
- stuarts had catholic sympathies - despite church of england
- palace for parties
renaissance classism, based on the style of italian architect Andrea Palladio, into england
- studied Palladio's work in Venice and he filled his copy of of Pal
Interior, Banqueting House, Whitehall Palace (ceiling)
- Charles I commissioned Rubens to decorate ceiling
- Jones divided the flat ceiling into nine compartments, for which Rubens painted canvases glorifying the reign of James I
- installed in 1635 - the central oval shows the triumph of the Stuart dynasty w
Charles I at the Hunt
Anthony Van Dyck
oil on canvas, 1635
portray king truthfully and still present him as an imposing figure
- dressed casually for the hunt and standing on a bluff overlooking a distant view
- charles appears taller than his pages and even than his horse, si
Louis XIV
Hyacinthe Rigaud
1701
based off of louis 13th
reforms france into united nation
uses culture/art as propaganda
starts academy
works that portray him in powerful position
moral order for public
- builds versailles, demands court to live in versailles with
Garden Facade of the Palace of Versailles/ Hall of Mirrors
- project connected of two phases: first additions by Le Vau, begun in 1668; and an enlargement completed after Le Vau's death by his successor, Jules
Louis Le Vau and Jules Hardouin Mansart
- Le Brun
- mathematics was the true basis of beauty
- sources f
Landscape with St. Matthew and The Angel and Landscape with St. John on Patmos
Nicholas Poussin
perfected french ideal of the classical landscape
organized natural elements and figures into gently illuminated, idealized compositions
influenced by annibale carracci and to some extent by venetian painting
- commissioned by pope urban
Pastoral Landscape
Claude Lorrain
preferred landscape
fascinated with light
place one or two large objects in the foreground (where viewers eye enters the scene and proceeds into the distance
- leads his viewer actively into the painting in a continuing, zigzagging fashion
Malle Babbe
Frans Hals
oil on canvas
1630-33
netherlands love of description and inspired by the caravaggesque style
- tried to recreate optical effects of light on the shapes and textures of objects
- painted boldly with slashing strokes and angular patches on the p
Officers at the Haarlem Militia Company of St. Adrian
Frans Hals
group portraiture documenting the membership of corporate organizations was a dutch specialty
challenged painters to present a coherent, interesting compositions that nevertheless gave equal attention to each ind portrait
- transforms the group
Self Portrait - Judith Leyster
1635
oil on canvas
thought to be Hals
JL with a star, which refer to her surname
- shows clear echoes of her exposure to the Utrecht painters who had enthusiastically adopted the principle features of Caravaggio's style
- close with hal, worked in his sho
Self portrait - Rembrandt
- interest in naturalism, drama, and tenebrism
- est. in amsterdam primarily as a portrait painter, but also appointed wide range of narrative themes and landscapes
- 1658
- artist assumes a regal pose, at ease, with arms and legs spread, holding a staff
Anatomy Lesson of Dr. Nicolaes Tulp
rembrandt
1632
scientific and human interest
transformed it into a charged moment from a life story
- Dr. Tulp - head of surgeons guild, sits at centre, while a group of fellow physicians gather around to observe the cadaver and learn from the famed antag
The Company of Captain Frans Banning Cocq
rembrandt
1642, oil on canvas
idea of a group portrait as a dramatic event even farther
- because a dense lay of grime had darkened and obscured its colours
- once thought to be a nocturnal scene, and was therefore called the night watch
- now exhibits a
3 crosses
Rembrandt van Rijn
1653 - drypoint
focused on etching, softer line, not hard edge, rich soft line
- dry point - only 12, good point impressions - therefore limited and rare
- etching and drypoint = characteristic of a drawing - constantly evolve compositi
Woman holding a balance
Johannes Vermeer
1664, oil on canvas
- 17th century dutch art
- naturalism, represent middle class domestic
- genre painting
- moment of supreme stillness
- women contemplates the balance in her right hand, drawing our attention to the act of weighing and
The Suitors Visit
Gerard ter Borch
1658, oil on canvas
well dressed man bows to lady of status
- dressed in luscious white satin
- another women plays lute
- man turns to see who has arrived
- stands in furnished room
- painting appears to represent a prosperous gentleman
Feast of St. Nicholas
Jan Steen
1660-65, oil on canvas
- middle class excesses - feasts and rituals
- noisy and happy commotion, joyous family get together, children react in various ways to the pre christmas gifts st. nicholas has left for them in their shoes
- objects scatte
View of Harlem from Dunes at Overseen
Jacob van Ruisdael
1670, oil on canvas
- landscape, type of genre painting
- valued land, north province, flat, below sea level therefore flood
- landscape with little narrative content
- realistic and descriptive, not accurate - not painted on location
-
Still Life with Tazza
Pieter Claesz
1636, oil on panel
- urban, protest, materialistic = dutch culture
- delighted in things wealth could buy
- also worried about overarching wordiness
- moralyl problematic
- christian - reject worldly things ---> tension
- delight with materi
Flower Still Life
Rachel Ruysch - specialized in flower paintings
- made $$
- shallow space - created by recession and table
- flowers that bloom at different point throughout year
- flowers are fragile, emblematic of vanitas theme
- lifesize - as are shells and insects
-
Salon De La Princesse
- Germain Boffrand
- Paris, 1732
- enlightenment - faith in humans to solve problems
- acquired through knowledge and education not birth
- enlightenment humanism: subject and object, human behaviour is focus, beginning of modern academic disciplines
- lo
rococo
- when court culture of versailles was replaced by the salon culture of Paris
- combines barocco (irregular shaped pearl, possible the source of the word baroque) and the french rocaille (popular form of garden or interior ornamentation using shells and p
Signboard of Gersaint
Jean-Antoine Watteau
1721, oil on canvas
- signboard he pained for art dealer, shows interior of these shops
- paintings from venetian and netherlandish schools
- visitors to gallery are elegant ladies and gentleman (knowledgable about paintings = atmosph
The Pilgrimage to the island of cythera
- Watteau, 1717, oil on canvas
- french rococo art at first was about retreat from public - sensuous, enclosing space of hotel/garden
- aristocrats gather to play games
- lush vegetation - like titian
- therefore.. venetian aspects - colour, ambiguity (er
Girl Reclining: Louise O'Murphy
Francois Boucher, oil on canvas, 1751
- teenage mistress to louis XV
- nude female in erotic pose
- hair done up aka just disrobed
- private, for courtier close to him?
- provocatively pink and naked, sprawled across a day bed on her stomach, looking out
The Swing
Jean - Honore Fragonard, 1767, oil on canvas
- master of french rococo
- catered to taste of aristocratic clientele
- identity of patron is unknown
- studied with boucher
- private park frolic
- statues of cupid - "shhh"
- other statues.. egg on lovers in
Triumph of Venus
Boucher, 1740
passes of private view painting for history paintings
history painting yet erotic image with multiple nudes
salon exhibitions of academy were public
- crossed classes - lower and upper
- beginning of art press and criticisms
- academy serves
The Governess
Jean Chardin, 1739, oil on canvas
- subdued color
- 17th century dutch genre scene of middle class domestic life
- virtuous life
- well dressed young boy with books
- addressed by governess
- scattered on floor is a racquet, shuttlecock, paying cards, the
Village Bride
Jean Baptiste Greuez, 1761, oil on canvas
- diderot inspired Greuze, wrote about middle class drama
- communicated moral and civil lessons through stories of everyday life
- dramatic spotlight
- designed to communicate clear lesson about moral and public
Portrait of Marie Antoinette with Her Children
oil on canvas, 1787
Marie - Louise Elisabeth Vigee Lebrun
- drawing on them of "good mother"
- portrays queen as a kindly, stabilizing mother, a a flagrant work of royal propaganda aimed at counteracting public perceptions of her as selfish, extravagant,
Self Portrait with Two Pupils
Adelaide Labille - Guiard
- response to sexist rumours that her work had actually been painted by men
- only male figure is father - shown in a bust behind her canvas, as her muse, a role usually played by women
- she is a force to be reckon with
- women
Septimus Severus reproaching Caracalla
Greuze , 1769
- salon/ academy - growing public for art in 18th century France
speak on public behalf - used against academy and rococo tastes - represent immoral decadent lifestyle of king and family taste
- father scolding son
- caracella was ruthless e
Oath of the Horatii
Jacques - Louis David, 1784-85, oil on canvas
- reflects tastes and values of louis XVI - sympathetic to enlightenment
- didactic history painting
- play based on roman historical texts
- loyalty to father (patriarchal loyalty, generational passage, bonds
Death of Marat
David, 1793, oil on canvas
- david sided with jacobins
- non violence/ sensationalism
- powerfully stripped down image - blank space to focus eye on figure - little spatial depth
- looks to christian art not roman classical
- marat into figure of dead chr
Portrait of Jean Baptiste Belley
Anne Louis Girodet - Trioson, 1797, oil on canvas
- trained by David
- david's restrained colour and tight composition
- infused with aristocratic elegance
- political portrait
- republic ruled by freed african slaves - overturned the french colonial powe
Plan and Exterior of Chiswick House
Richard Boyle (lord burlington), West London, England
1724 - 1729
- neo classism emerged as reaction to decadence of Italy
- architects advocated for return to simple forms in classically inspired architecture
British Neo- Palladianism
- struck by villa r
Park at Stourhead
Henry Flitcroft and Henry Hoare
Wiltshire England, 1744-65
- carried Kent's ideas for english garden much further
- english picturesque garden
- mimic the compositional device of pictures by french landscape painter Claude Lorrain
- garden designed with c
Kent
- imitate appearance of natural rural landscape
- look like scenes of pictures
- not like versaille - structured
- gardens abandoned the regularity and rigid formality of baroque gardens
- featured winding paths, a lake with a cascade, irregular plantings
The Apotheosis of Homer
Josiah Wedgwood
1790-95
white jasper ware body with a mid blue do and white relief
neo classical decorative art
fine grained, unglazed, coloured pottery called jasper ware
chemist and artist
appeal to british neoclassical taste
- white figures
- details d
am i not a man and a brother?
William Hackwood for Josiah Wedgwood
1787, black and white jasper ware
- figure of african man kneeling in china
- humanize and create empathy
- socially conscious enlightenment cause
Strawberry Hill
Horace Walpole
Twickenham, England 1749-76
gothic revival, transformed house in gothic castle that he described in his fiction
added decorative crenellations, tracery windows and turrets, to create a fanciful gothic castle
- interior was re designed accor
Picture Gallery
- strawberry hill
- walpole, chute and bentley
after 1754
- engravings of medieval architecture found in books
- ceiling modelled on that of the chapel of Henry VII at westminster but transformed to suit walpoles tastes
- crimson wall
- portraits
- ceilin
House of Parliament
Charles Barry and Augustus Welby Northmore Pugin
1836-60
english perpendicular gothic style
Barry - classical plan - symmetry suggests the balance of powers within the British parliamentary system
Pugin - intricate gothic decoration
- should be no feature
Trinity Church
Richard UpJohn, NYC, 1839-1846
- crenellation
- tall spire, long nave, and squared off chancel
- early 14th century british gothic style
- every detail in rendered with historical accuracy but the vaults are plaster, not masonry
- stain glass window above
US Capitol, Washington
William Thornton Benjamin Henry, 1808
neoclassical building for public
large dome over a temple front flanked by two wings to accommodate house representatives and the senate
grand staircase and corinthian colonnade ont he east front
latrobe - repaired wi
Monticello (little mountain)
Thomas Jefferson, 1769-82, charlottesville, Virginia
- based on villa rotunda
- utilizing palladian stlye
- modelled on chiswick house - but war with brit so changes into french style (enlarging house and redesigning the brick and wood exterior so that it
Lady Sarah Bunbury Sacrificing to the Graces
Joshua Reynolds, oil on canvas, 1765
historical and mythological portraiture called the grand manner
large canvas - history painting
details evoke a classical setting
- dress is classicizing costum e
- lady sarah plays part of a roman priestess making a s
Robert Andrews and Frances Carter
Thomas Gainsborough, oil on canvas, 1748-50
unfinished, painted after their wedding
shows wealthy young rural landowner and his wife posed on the ground of their estate
- sudbury river and hills of suffolk in background
- youthful franc�s carter sits stif
Marriage Contract
William Hogarth, oil on canvas, 1743-45
- modern moral theme presented in satirical manner, morally correct
1st work = satirical engravings - masquerade and operas, or the bad taste of the town (works of great authors in middle, foreign taste over british
Academicians of the Royal Academy
Johann Zoffany
1771-1772, oil on canvas
British royal academy after founded
setting up a life drawing class and engaging in lively conversation
gathered to draw - make nude figure
2 women present - not in flesh but on portraits on wall (mary Moser and Ang
Cornelia Pointing to her children as her treasures
Angelica Kauffman, 1785, oil on canvas
- takes place in second century during republican era of rome
- career as history painter ( very rare)
- public virtue and reality - virtuous mother, shows children as precious jewels
- women showing cornelia her jew
The Death of General Wolfe
Benjamin West, 1770, oil on canvas
- break from neo classism and academic history painting
- west argued that history painting was not depend on dressing figures in classical costume, it could represent a contemporary subject as long as the grand themes a
The Nightmare
John Henry Fuseli, 1781, oil on canvas
- powerfully expressive style and classism
- drew heavily on the passion of some roman art
- est. self as history painter
- interest in dark recesses of human mind led him to paint supernatural and irrational subject
neo classism vs. romanticism
neo classism = universal, rational, ordered, symmetrical, light of reason, time and space are logical, public art
romanticism = individual/subject, private, irrational spaces of fantasy and dream, time and space are illogical, inward, force beyond control
sublime
- aesthetic shifted from intellect to passion
- psych in artistic response
- aw and terror given artist importance - negative qualities
Newton
Will Blake, 1795-1805, color print finished in ink and watercolour
- probing nature of good and evil
- idiosyncratic form of christian belief that drew on elements from the bible, greek mythology, and British legend
- reject reason
- heroically naked in c
Snow storm: Hannibal and his army crossing the alps
Joseph Mallord William Turner. 1812, oil on canvas
- romanticism view of the awesomeness of nature
- in aw of natural force
- overwhelming nature - humans are overpowered by natural tones
- enormous vortex of wind, mist, and snow masks sun and threaten to
The Hay Wain
John Constable, 1821, oil on canvas
- quiet, slow moving scene
- fresh colour and sense of visual exactitude that persuades viewers to believe that it must have been painted directly from nature
- empirical view of nature
- records simple truths of rural
Napoleon Crossing the Saint Bernard
Jacques- Louis David
- represented in grand manner
- artistic license to imagine how he would have appeared as he led his troops over the alps into italy
- framed by red drapery, exhorts his troops to follow as he charges uphill on his powerful rearing ho
Napoleon in the Plague House
Antoine - Jean Cros, 1804, oil on canvas
- david was his teacher
- huge painting
- history painting - contemporary
- represents event in grandmanner
- campaign against ottoman turks
- to quiet fears and forestall panic among his soldiers, napoleon decided
The sleep of reason produces monsters
Francisco goya, etching and aquatint, 1796-98
- worked for spanish court
- neo classical style
- king wary of french revolution - scared of revolt
- reinstated inquisition (religious police force), clamped down on enlightenment ideas
- goya responded with
Family of Charles IV
Goya, 1800, oil on canvas
- some of goya's ambivalence
- elevated and intellectual play
- figures are overly stiff, dazed, crazy
- erotic
- figures look like mannequins
- figures turn head away from viewer but royal patrons like it
- critique of royal fam
Third of May
- Goya, 1808, oil on canvas
- napoleon invade spain
- dark side of enlightenment
- large paitning
- heard nap wanted to execute royal family so royal family rose up --> executions of spanish popular classes, citizens
- given heroic proportion
- rigid unif
The Raft of the Medusa
Theodore Gericault, 1818-19, oil on canvas
- history painting - large, multi figured composition that represent an event in history
- jean charles = hero, black man from french senegal who showed endurance and emotional fortitude in face of extreme peril
Liberty Leading the People: July 28 1830
Eugene Delacroix, 1830, oil on canvas
history of france after the fall of napoleon
- louis XVIII - power was limited by a constitution and parliament
- records aspects of actual events it also departs from facts in ways that further the intended message
-
Large Odalisque
Jean-Auguste Dominique Ingres, 1814, oil on canvas
- popular student of David
- erotic cool nudes, cool classism
- romanticism, sensual
- warm voluptuous subject manner and cool sharp precision
- different sensuous fabrics
- despite interest in classism -
Portrait of Madame Desire Raoul Rochelle
Ingres, 1830, graphite on paper
- relaxed and elegant sitter
- glove right hands draws to her social status - fine kid gloves were worn only by members of the upper class who did not work with their hands
- ungloved left hand reveals her marital status wi
Rue Transnonain, Le 15 Avril 1834
Honore Daumier, 1834, lithograph
- part of series of large prints sold by subscription to raise money for le charivaris legal defence fund and thus further freedom of the press
- government guard had been shot and kill on the rue transnonain during a demo
The Stone Breakers
Gustave Courbet, 1849, oil on canvas
images of rural labour
different from constables view of the english countryside
large painting
monumental labourers
union between middle class and radical working class
- avant garde or realist
- young boy and an old
Gleaners
Jean - Francois Millet, 1857, oil on canvas
- political radicalism
- 3 women gathering stray grain from the ground after harvest
- soothing, warm colours
- extreme poverty
- gleaning was form of relief offered to rural poor by landowners
- bent over to re
A Burial at Ornans
Gustave Courbet, 1849, oil on canvas
- vast painting, rural burial life size, row of figure
- subject: countryside funeral of courbets grandpa
- criticized as being brute portrait of everyday life
- no aristocracy or monarchal rule
- complained about flat
Universal Expedition
1855
courbet was rejected so stages one man expedition
makes realist manifesto
asserts artistic freedom and individuality of artist
art of beauty reality and receive suffering and injustice
portray contemporary but use rural
Les Desmoiselles des Bords de la Seine
Courbet, 1856
chooses subject of modern urban life
posture, coths = clear that these were prostitutes
banks were place not pick up
normal companions
modern
current, contemporary, present, value of contrast with the ancients
modernity
certain character or quality of being modern, self consciousness of the present; Baudelarian modernity was contradictory - glorify the modern but also an inherent critique of social modernization (displacement of individual by industrial revolution, incre
Constantine Guys at the Theatre
1860
images of modern life
in flux, social status was hidden, unfixed
modernism
aesthetic category, way of engaging with modern through visual arts, refers to subject and form
Hausmannization
- renovation of city
- straight and wide boulevards
- creation of public space and parks
- for upper class
- changed way paris was viewed and occupied
- working class and urban poor forced out of city
Le Dejeuner sur l'herbe
Edouard Manet, 1863, oil on canvas
academy rejected manet
lunch on grass
manet thought to be unskilled, attacked by critics
2 bourgeois gentlemen in modern clothing
nudity here is not acceptable in relation to academic art
- flaneur - propagandist for mod
flaneur
transformation of paris, new open spaces, straight street, new shifting views of urban enviro, middle class but doesnt necessarily work
ideal painter of modern life
testify theme of modern life against high art - saw new plans
manet becomes flaneur
modern
Birth of Venus
Cabanel, 1863, oil on canvas
work promoted by academy
nudity presented in academically acceptable way
dominated salon
neo classical subject = acceptable
Olympia
Edouard Manet, oil on canvas, 1863
- scandal, less ambiguity, no attempt for idealized nude, naked prostitute, olympia associated with 19th cent french prostitute
- recognize reference to venus of urbino (titian)
- waiting to be dressed vs. waiting for cu
A Bar at Folies Bergere
Edouard Manet, 1881-82, oil on canvas
- critique of bourgeois and modern life
- or embrace spectacle and celebrate leisure
- viewers are figure approaching bar
- see via mirror in top right
- reflection shows her leaning toward aka different position - pu
Impression: sunrise
Claude Monet, 1872, oil on canvas
view of the sun rising in the morning fog over the harbour at his home town of Le Havre
rendered almost entirely of strokes of color
- the foreground is ambiguous and the horizon line disappears among the shimmering shape
avant garde
political commentary to disappear from art
no sociopolitical critique
Wooden Landscape at l'hermitage, pontoise
Camille Pissarro, 1878, oil on canvas
- light palet, sketchiness
- quality of life through screen of trees
- rural
- enigma
- founding member of anonymous society
- direct social commentary
- anarchist - idealized rural life and french peasant > urban lif
Moulin de la Galette
Pierre - Auguste Renoir
- celebrate middle class leisure
- impression of flickering light falling through trees
- working class neighbourhood on sunday afternoon (renoir and rides visiting)
- non conflict - include presence of children
- friendly world, r
Paris Street, Rainy Day
Gustave Caillebotte, 1877, oil on canvas
- fashion, hausman Paris
- individual wealth - visually and aesthetically influence in hausman paris
- wide sidewalks
- street/buildings are clean, empty and spotless - except for upper bourgeois
- remove other fig
The Rehearsal on Stage
Edgar Degas, 1874,
- pastel over brush and ink drawing on paper
- laid on bristol board mounted on canvas
- closest to market - subject manner, social critique
- not interested in painting outdoors
- composed works in studio using drawings and photographs
The Tub
Edgar Degas, 1886, pastel on cardboard
- represents a crouching woman, perched within a small tub, washing her neck with a sponge
- may seem to be two separate pictures, at left the compact posed women balanced precariously on the steep floor of a recedin
Summers Day
Berthe Morisot
lesson from well known teachers
- impressionist technique - sketchiness dissolve image
- abstract form
- represent women as dignified - not working class with questionable morals
- two elegant young ladies enjoying an outing on the lake of
Mother and Child
Mary Cassatt
1890, oil on canvas
taken seriously, virtuous women, female domestic labour, sensitive representation of mother and child
- combination of impressionistic style brush work
- kind of domesticated, secularized madonna and child
- domestic and s
Cassatt vs. Renoir
- cassat chose to paint women in public spaces they could go
- left - male shadowed in composition, part of spectacle being look at
- right - active, engaged, more conservative dress, actively looking, figure looking at women in distance, not captured by
A Sunday Afternoon on Island of La Grande Jatte
Georges Seurat
1884-86, oil on canvas
- theme of weekend leisure is typically impressionist
- stiff formality of the figures
- high calculated geometry of the composition produce a solemn effect quite at odds with the casual naturalism of impressionism
-
Self Portrait with Bandaged Ear
Vincent VanGogh
1889
mythology that is unescapable
tormented
beautiful act out of suffering and hardship
constructed myths themselves to a certain degree
- outsider - avant garde strategy
Starry Night
Van Gogh
1889 oil on canvas
- protestant minister - asked to leave
- magazine illustrator - developed crude style
- socially useful images
- became strategically modern painter
- adapted pointillism into thick application of paint in multidimensional stro
Japonaiserie: Flowering Plum Tree
Vincent Van Gogh, 1887, oil on canvas
represent figures marginalized by modern world
- seek inspiration in other cultures
- fascinated by japanese woodblock print
- copied the plum orchard from hiroshiges wood block print
- artist quickly drawn - exotic,
Mahana No Atua (day of the god)
Paul Gauguin, 1894, oil on canvas
respectable stock broker, dabbing in impressionism
stock market crashed --> painter
- present = corrupt
- impressionist work - completely middle class
- leaves bohemian life conservative
- seeks otherness
- old traditions
Burghers of Calais
Auguste Rodin, 1884-89, bronze
roughly modelled figures in awkward poses
unconventional
- appreciate by aesthetic avant garde
- reject by school
- give self up for execution
- wearing own nooses
- king impressed by courage and not execute and still lift s
Mont Saint Victoire
Paul Cezanne
1885-87
oil on canvas
different approach to rework impressionism
same view 30x
greatest impact on modernist painters
modern subject and impressionist style
capture sensations --> nature
- did not seek to capture transitory effect of light and
Still Life with Basket of Apples
- Paul Cezanne
- 1880-94, oil on canvas
- spatial and perceptual ambiguities
- objects eem to us an incorrectly drawn
- wine bottle has different silhouettes, apples view from straight on
- question, rejects 1 perceptive
- derive from rejection of the rul