The Nineteenth Century:
The Birth of the “isms”
Neoclassicism:
Roman Fever
Neoclassicm
This period reflects a return to an interest in
Roman and Greek art as a reaction
against the ornate Rococo art. Important
subjects included Greek and Roman
history and mythology. The tone of
paintings was calm, serious and rational.
The art was meant to be inspirational and
morally uplifting.
Jacques-Louis David
Oath of the Horatii
(1784).
Jean
Auguste
Dominique
Ingres
Pauline Eleanore de
Galard de Brassac
de Bearn, Princesse
de Broglie
1853
Ingres
Napoleon on his
Imperial Throne
1806
Benjamin West
The
Death of
General
Wolfe
(1770)
John Singleton Copley
Paul
Revere,
1768 (oil on
canvas,
Museum of
Fine Arts,
Boston)
Gilbert Stuart
George
Washington,
1796
Francisco de Goya (No “ism”
The Third of
May, 1808
1814-15
Romanticism
The Power of Passion
Theodore Géricault
The Raft of the Medusa, 1818-1819
Géricault
La Monomane de l'envie,
1819-1820
Wounded Cuirassier
leaving the battle), 1814
Eugène
Delacroix
Orphan girl at the
Cemetery, 1824
Eugène
Delacroix
Hamlet and Horatio in
the Graveyard, 1835
John Constable
Parham
Mill at
Gillingham
1826
John Constable
The
White
Horse,
1819
Constable
Deutsch: Wolken-Studie, 1822
J. M. W. Turner
The Fighting Téméraire tugged to her last Berth to be broken, 1838,
Watercolour
J. M. W. Turner
Flint Castle, 1838
Thomas Cole:
Hudson River School
The Course of the Empire: The
Savage State, 1836
Cole
The Voyage of Life: Old Age
1842
George Caleb Bingham
Raftsmen Playing Cards, 1847
George Caleb Bingham
Fur Traders Descending the Missouri, 1845
Realism
Honore Daumier
In the Theatre,
c. 1860-64
Honore Daumier
The
ThirdClass
Carriage,
1862
Rosa Bonheur
'Le
Retour
du
Moulin',
before
1878
Gustave Courbet
"Les
Cribleu
ses de
blé",
1854
Industrial Age Architecture
The Industrial Revolution, which began in England
about 1760, brought architects and engineers new
materials with which to build - cast iron, steel and
glass. Initially, architects disguised the raw materials
in neoclassical (Roman and Greek) style elements
however bridges, factories and other basic buildings
were more basic and didn't disguise the materials
used. Soon architects and engineers realized that
this style was cheaper and more efficient to use and
the style became widespread.
Joseph Paxton, The Crystal Palace,
1850-51, London)
Gustave Eiffel, Eiffel
Tower, 1889, Paris
Art Nouveau
Between 1890 and World War 1,
artists and architects brought in an
ornamental style to counteract the
functional and sterile work of the
Industrial Age. Flowering forms,
curvy lines and tendril like curves
and water lily shapes appeared in
wrought-iron work, jewelry, glass
and even print.
Aubrey
Beardsley,
The
Peacock
Skirt, 1892
Louis Comfort
Tiffany,
Lampshade c. 1900
Early Photography
A new form of art, photography, was developed
due to new discoveries in chemistry in optics.
The first surviving photo was taken in 1826 by
Nicephore Niepce, a French chemist. He
required 8 hours for a hazy image to be
captured. Daguerre invented a more efficient
process that only required 10 - 15 minutes.
Other processes were invented that would speed
up the exposure time and provide a more
precise image until the instant photograph
replaced the daguerreotype in 1858.
Louis-Jacques-Mandé Daguerre,
Boulevard du Temple,
late 1838 or early 1839, Paris,
Jacob Riis,
Bandit's
Roost, 1888
Paul Nadar
(Gaspard-Felix
Tournachon),
Sarah
Bernhardt,
1859, Paris
Impressionism
A totally new style of art was born in
France in the early 1860's. It rejected
Renaissance composition,
perspective, idealized or realistic
depictions and the use of light and
shadow to depict depth (chiaroscuro).
The Impressionist artists were more
concerned with capturing the initial
glimpse of a scene, the changing
effect of light, reflection and weather
on colour.
Édouard MANET
Manet prefered to paint contemporary
scenes and updated versions of old
masters. He painted simplified forms
of flat colour patches with hard edges
often outlined in black, with dark
partches of colour against light. His
early work is somber while later work
is more colourful.
The Railway
1872-73
A Bar at the Folies-Bergeres
1881-82
Claude MONET
Monet painted landscapes, water
scenes, haystacks and buildings (and
some figures). His later work
included water lilies that were very
near to being abstract. He prefered
to paint with bright hues, using
primary colours dabbed side by side.
He created shadows using
complementary colours. Subjects
had soft edges and glowed with light.
Coquelicots (Poppies, Near Argenteuil) 1873
Water Lillies, 1906
Meule, Effet de Neige, le Matin
(Morning Snow Effect), 1891
Pierre-Auguste RENOIR
Renoir painted café society, children, flowers
and women. He avoided black and used blue
for darker areas, rich reds and primary
colours as his main colours. His first works
were blurred figures executed with quick
brushstrokes, blended in hazy backgrounds.
His later works here more classical and
solidly formed females.
Le Moulin de la Galette
1876
Dance in the
Country
1883
The Luncheon of the Boating
Party - 1881
Edgar DEGAS
Degas specialized in portraits of people in
action poses, for example ballerinias, horse
races, café society, circus performers and
workers. He used strong coloured pastels
that gave vibrancy to his images. In later
years he like to portray women with
stronger coloured pastels. His work often is
drawn with asymmetrical balance, figures
cropped at the edges or using odd angles.
The Dance Class, 1874
L'absinthe
1876
Dance Class at the Opera
1872
Post-Impressionists
Post-Impressionism was driven by French artists
Seurat, Gauguin, Cézanne and Toulouse-Lautrec.
Vincent van Gogh was a Dutchman who did his
major work in France. They built on the style of
the now accepted Impressionist, especially the
use of bright colour and light, however they
wanted to capture more than a moment in time,
an impression.
Georges SEURAT
Henri de
TOULOUSE-LAUTREC
Paul CÉZANNE
Paul GAUGUIN
Vincent VAN GOGH
Early
Expressionism
–
Edvard
Munch
–
Henri Rousseau
Symbolism
Odilon Redon