AH 2 Ch. 30
19 Century Art in Europe and the
United States
th
- The Enlightenment "wheel" is
"snowballing".
- Manufacturing, transportation, and
communication advance.
- widespread belief in optimistic
"progress"
- Industrial Revolution (began in 18th
century England): steam power
stoked the demand for coal, iron,
metallurgy, and transportation. The
locomotive and steamship were
subsequently developed.
 SCIENCE: telegraph, telephone,
radio and electric motors, and
railways
 CHEMISTRY: aspirin, disinfectants,
photo chemicals, more effective
explosives, and steel (an alloy of iron
and carbon)
 MEDICINE and PUBLIC HEALTH:
pasteurization of beverages through
heat, vaccines, sterilization, and
antiseptics (increased life spans)
 GEOLOGY: a conclusion that the
earth was far older than 6,000 years This upsets biblical literalists.
Charles DARWIN proposed all life
evolved from a common ancestor
through natural selection. British and
American colonizers borrowed his
"survival of the fittest" theory as a
rationale for colonizing
"underdeveloped" regions and powerful
employers use it to continue the
exploitation of a “less evolved” working
class. The need for cheap materials and
labor fueled imperialism.
In search of work, many rural poor
moved to cities during the Industrial
Revolution. Men, women, and children
suffered miserable working conditions in
industrial manufacture. They also had
horrific living conditions. SOCIALIST
thought developed as a result of this
exploitation.
SOCIALISM: a theory by which the
means of production and distribution are
owned by society, rather than by
individuals. (communal or state
ownership)
THE COMMUNIST MANIFESTO:
Written in 1848 by Karl Marx and
Frederick Engels, it predicted the violent
overthrow of the bourgeoisie (the
economic elite, the social class
that, according to Marxist theory, owns
the means of producing wealth and is
regarded as exploiting the working
class) by the proletariat (the working
masses) and the creation of a classless
society.
(Addl.) COMMUNISM: The most radical
socialist movement. It called for the
abolition of private property.
WOMEN'S RIGHTS IN AMERICA: Also
in 1848, the 1st women's rights
convention was held in
Seneca Falls (New York). They called
for equality before the law, property
rights for married women, access to
higher education, admission to all
professions, equal pay and suffrage.
White American women achieved the
full right to vote in the US in 1920.
Addl: SLAVERY: Largely eliminated in
the U.S. as a result of the devastating
Civil War (1861-65).
(Addl.) POST CIVIL WAR: The US
becomes a major industrial power. The
Northeast's rapid urbanization fueled by
millions of European immigrants seeking
a better life.
(Addl.) POSITIVISM: The French
philosopher, Auguste Comte, used this
term in the 1830s to describe the "final"
stage of philosophy in which all
knowledge would derive from science
and scientific methods.
ART PATRONAGE: As the power of the
Church and the Crown declined over the
19th century, so did their influence over
artistic production. In their place, the
capitalist bourgeoisie, nation-states, and
national academies became major
patrons of the arts. Large annual
exhibitions (salons) became increasingly
important. Art criticism in magazines
proliferated, and in the late decades of
the century, commercial art dealers
gained in importance as marketers of
both old and new art.
P. 967, Early Photography in Europe,
1840 as we know it, 1839 really
- 1826 early experiment by Niépce (U.
of Texas)
- POSITIVISM, new technology,
descriptive accuracy
- Camera Obscura: 1st account dates
to 1500
Show ARTS 1301 PowerPoint
segment, Stanley!
"PROGRESS"
France: Niépce made the 1st photo
(heliograph): asphalt plate, sunlight
exposureDaguerre becomes partner in
1829 (lens maker): daguerreotype –
positive print on copper plate produces
a unique (one only) image.
England: Talbot invented the Calotype, which
produces a paper negative to print on a paper
positive (reproducible prints)
Demo: aperture = hole (amount of light),
shutter = time
 Photography is the single most
important invention in the history of
art. Early photographers sought to
use it to continue the artistic tradition
Addl. Matthew Brady, Cooper Union
Lincoln Portrait, 1860
- Tell me what this is.
- Photography is the most realistic of
all the art media – yet it is still an
illusion.
30- 2 (Addl. view) Charles Garnier,
The Opera, Paris 1861-74, façade
- a (neo)Baroque version of the
Louvre (French Academic)
- It suggests the continuity of
French greatness and flatters
Emperor Napoleon III by
equating him with Louis XIV.
- Garnier attended the Ecole de
Beaux-Arts (a French
academy).
- luxuriant, ostentatious display
of wealth and power, a "temple
of pleasure," to hear, to see
and to be seen
- cast iron is used as an internal
hidden support only.
- It maintains the established
“Tradition” of architecture.
30- 5 Jean-Baptiste Carpeaux, The
Dance, 1867-68, plaster, 15 feet high
-
-
Realism Highlights:

another Beaux-Arts graduate
French Academic, a new taste for
lighthearted pleasure
Positivist realism is in physical details.
Erotic Dionysian revelry – It shows the ideal
brought down to earth. The new business
patrons liked that realism.
Mythological subject with erotic
connotations.
30- 38 Gustave Courbet, A Burial at
Ornans, 1849, o/c, 10' 3½" high
- No hierarchical arrangement, a
"real” scene of his grandfathers
funeral.
- political art, REALISM
- "democratic" art, independent
of the "academy"
- ordinary citizens, Church
officials appear indifferent.
- In the Revolution of 1848 –
Parisian workers establish the
"Socialist Second Republic".
- Courbet supported this
revolution.
30- 13 Jean-François Millet, The
Gleaners, 1857, o/c, 33" high
- REALISM: real objects
objectively rendered
- No Venuses here! Nostalgia for
a pre-industrial past is on
display.
- Dignity is given to rural workers
and tasks (no technology).
- people of the earth, serenity,
peasants as monuments,
generalized - He saw their
acceptance of their lot in life as
biblical and ideal.
- A social reformer? A socialist?
This book says "no."



Part of the avant-garde (strikingly new,
experimental and radical)
Saw themselves as working in advance
of an increasingly bourgeois society
Spawned in a social and political
backdrop of mid 19th century labor
struggles, high food prices, high
enemployment, government inaction
and political disenfranchisement
A commitment to paint the modern world
honestly, without turning away from the
brutal truths of life for many ordinary
people.
Addl. (Compare to 30- 16) Rosa
Bonheur, The Horse Fair, o/c, 1853-68,
96" high
-
-
Real subjects objectively rendered
REALISM
She was the first woman to receive the
Grand Cross, France's highest honor.
Trained by her father. Her parents were
radicals who believed in equal rights for
women and a in a female messiah
She preferred rural animals to Paris
scenes.
Bonheur, Millet, Courbet and Daumier
are the “Generation of 1848” (the
year of a Parisian workers revolt).
Are there socialist characteristics of
United States government now? If so,
what are they?
Addl. Henri Fantin-Latour, A Studio in
the Batignolles Quarter, 1870, o/c, 80"
high, French Realism
----------------------------------------------------------------------------------------------------------AMERICAN ART: 1850-1900 is
marked by a schism between the
Realists (American, democratic)
and the Academicians (ideal
“higher” Western European
culture, Neoclassicists)
Addl. (Compare to 30- 22) Winslow
Homer, Snap the Whip, 1872, o/c, 22¼”
high
- a reassuring scene of American
innocence
- Homer saw naturalist art in
France. (Corot, Bonheur, Millet,
Bastien-Lepage, etc.)
REALISM
- nostalgia for a pre-industrial
past
- Homer was a New Yorker.
- Many of these “kinds” of
paintings were reproduces as
wood engravings (detailed
prints) in books
- His was a popular, “American”
art!
30- 21 Thomas Eakins, The Gross
Clinic, 1875, o/c, 8’ high
- The light on Dr. Gross’
forehead signifies the
knowledge that modern science
attributes to medicine. This was
too REAL for the general
public.
- Eakins introduced the nude
model to American art schools
(REALISM). He then lost his
job at the Pennsylvania
academy of fine arts by
allowing women to draw male
nudes after an administrative
ultimatum.
- Eakins attended Gross’ lectures
at Jefferson Medical College
TJU (Philadelphia).
- positivism, Enlightenment
thinking, and educational art
Addl. T. Eakins, Biglen Brothers Racing,
1873, o/c, 24” high, REALISM
Addl. John Singer Sergeant, Daughters
of Edward Darley Boit, o/c, 1882
- Boston expatriate
- REALISM
----------------------------------------------------------------------------------------------------------Sub., compare to 30-37 William
Holman Hunt, The Hireling Shepherd,
1851, o/c, 30" high
- A leader of the Pre-Raphaelite
Brotherhood. They rejected
Raphaelesque academic
conventions in England. They
advocated the naturalism of the
Northern Renaissance and the
moral approach of Hogarth.
- Moral truth = VISUAL
ACCURACY
- There is lots of secondary
symbolism - like the Northern
Renaissance – woman as Eve,
Shepherd as pastor who would
rather discuss ideas than tend
to his flock.
Addl. Jules Bastien-Lepage, Joan of
Arc, o/c, 100" high, 1879
- a French Realist
French Realism spawned
Impressionism. Impressionist themes
and painting techniques were devoted to
middle-class leisure, city life, and
countryside views (from a city dwellers
point of view) after 1870. They first
used white grounds and plein air.
 The SALON des REFUSÉS (SALON
OF THE REJECTED ONES)
- nearly 3000 rejects from the 1863
Salon Exhibit
- Progressive artists were frustrated
with the official academic Salon
tyrannical standards.
- Napoleon III ordered the "Salon
des Refusés" to mediate the
surging dispute of such large
numbers of excluded works.
-
Louis-Napoléon Bonaparte (20 April 1808 – 9 January 1873)
was the President of the French Second Republic and as
Napoleon III, the ruler of the Second French Empire. He was the
nephew and heir of Napoleon I, christened as Charles Louis
Napoléon Bonaparte. Elected President by popular vote in 1848,
he initiated a coup d'état in 1851, before ascending the throne as
Napoleon III on 2 December 1852, the forty-eighth anniversary of
Napoleon I's coronation. He ruled as Emperor of the French until
4 September 1870. He holds the unusual distinction of being both
the first titular president and the last monarch of France.
-
Napoleon III is primarily remembered for an energetic foreign
policy which aimed to jettison the limitations imposed on France
since 1815 by the Concert of Europe and reassert French
influence in Europe and abroad. A brief war against Austria in
1859 largely completed the process of Italian unification. In the
Near East, Napoleon III spearheaded allied action against Russia
in the Crimean War and restored French presence in the Levant,
claiming for France the role of protector of the Maronite
Christians. A French garrison in Rome likewise secured the Papal
States against annexation by Italy, defeating the Italians at
Mentana and winning the support of French Catholics for
Napoleon's regime.
-
In the Far East, Napoleon III established French rule in
Cochinchina and New Caledonia. French interests in China were
upheld in the Second Opium War and the Taiping Rebellion; an
abortive campaign against Korea was launched in 1866 while a
military mission to Japan participated in the restoration of Imperial
rule. French intervention in Mexico was less successful and was
terminated in 1867 due to mounting Mexican resistance and
American diplomatic pressure.
-
Domestically, Napoleon's reign was a major period of
industrialisation for the French economy. He also oversaw a
major renovation of Paris that created the outline of the modern
city. The Second French Empire was overthrown three days after
Napoleon's disastrous surrender at the Battle of Sedan in 1870,
which resulted in both the proclamation of the French Third
Republic and the cession of the territory of Alsace-Lorraine to the
newly-formed German Empire.[1]
30- 17 Édouard Manet, Le Déjeuner sur
l'Herbe (Luncheon on the Grass), 1863,
o/c, 7' high
- Realism / (Pre)Impressionism
- another modernized Titian
(Pastoral Concert)
- Titian/Giorgione's theme of
"ease in nature"
- We are an estranged outside
observer (her gaze).
- a modern version of sacred &
profane love (bird, frog, water,
2 women, gesture) – thumb &
finger (man at right)
- a portrayal of modern alienation
- The "duality of man" was one of
Charles Baudelaire's central
concerns (from an 1863
newspaper article "The Painter
of Modern Life" - written in
1859).
- Manet fulfilled Baudelaire's call
for "The Painter of Modern
Life." They were friends.
- very painterly (loose
brushwork)
- no visual hierarchy
- The 1863 Salon des Refusés
succès de scandale helped
establish manet’s career as a
radical artist.
30- 17 É. Manet, Olympia, 1863, o/c, 4'
3" high
- Realism / (Pre)Impressionism
- a redo of Titian's Venus of
Urbino
- a modernized version of the
accommodating nude
- She stares at us. She is
angular, not curvaceous.
- Olympia was a common name
for prostitutes of the era. One
critic recognized the model as a
prostitute.
Addl. Titian, Venus of Urbino, 1538,
o/c, 3’11" high
Addl. Claude Monet, Terrace at
Sainte-Adresse, 1867, o/c, 38 5/8" high
- from the upper-middle class
- Impressionism
- Monet demonstrates that his
tastes, values and pleasures do
come at an industrial cost.
- tourist-landscape pleasures
- his stated aim for his early
artwork: "pure vision"
- sketch aesthetics = "finished
paintings"
- He thought art benefits from
naïve vision (no hierarchy)
30- 28 Pierre-Auguste Renoir, Moulin
de la Galette, 1876, o/c, 4' 3½" high
- Impressionism
- PLEIN AIR PAINTING
- Upper-middle class
recreation/leisure, dappled light
- The subjects were typical of his
clientele.
- His models were his friends.
idyllic innocence
- He said pictures should be
pretty!
Addl. P.-A. Renoir, Luncheon of the
Boating Party, 1880-81, o/c, 51cm high
- his friends, a "young man's" art
- Impressionism
Addl. (compare to 30-56) Edgar
Degas, The Rehearsal, c.1878, o/c, 19"
high
- Impressionism
- a studio artist plein air painter, He
was academically trained at the
Beaux-Arts and spent 3 years in Italy.
- son of a Parisian banker
- He was a former history painter.
- Japonisme, careful contrivance
factual record
- intended to delight the eye
Addl. E. Degas, Dancers in Blue, c.
1899, pastel on paper, 64 cm high
- Impressionism
- Japonisme: composition,
space, and color
- photography-inspired
Addl. E. Degas, The Tub, c. 1885-86,
27½" high
- Impressionism
- off-center, photography inspired
- awkward reach  academic
grace
- He intended her bodiliness and
naturalism to be "visually
refreshing".
- arbitrary color, Japonisme
- Write the Japanese traits here:
Addl. E. Degas, Young Dancer Fourteen
Years Old, 1880-81, bronze, gauze &
satin, 39½" high
- Impressionism
- his only piece of exhibited
sculpture during his life
- cast in bronze after his death
- 150 small figurines found in his
studio – he used them as
painting studies
Addl. Compare to 30- 29
Mary Cassatt, Woman in a Loge, 1879,
o/c, 32" high
- Impressionism
- American expatriate (women &
domestic scenes)
- She rejected the Impressionist
label yet showed with the
Impressionists in 1879 because
she opposed the tyranny of the
Salon jury system.
- Her sister was the model. This
captures glamorous Parisian
social life.
Two Addls. (compare to 30- 30)
Berthe Morisot, In the Dining Room,
1886 & La Lecture, 1888
- Impressionism
- She tried to demonstrate
women's unique (delicate)
vision.
- She was a Feminist. She
married Manet's brother in
1874.
- a very painterly style (Spanish
painterly influence?)
- sketch aesthetics for sure!
(again domestic imagery)
A Closer Look p. 980
Édouard Manet, A Bar at the FoliesBergère, 1881-82, o/c, 37¾" high
Addl. Information:
LATER IMPRESSIONISM OR THE
CRISIS OF IMPRESSIONISM
(pessimism)
- After 1880, many impressionists got
bored with the Impressionist
spontaneous brushwork technique
and the imagery/content (uppermiddle-class leisure).
-
Addl. Claude Monet, Rouen Cathedral
The Portal (in Sun), 1894, o/c, 39" high
- Impressionism placed in an
enduring historical context
- Fleeting light effects preoccupy
Monet's later work.
Addl. (compare to 30- 29) Mary
Cassatt, The Bath, 1891, o/c, 39½" high
- firmer, more classical forms in her
later work (crisis of
Impressionism/Later
Impressionism)
- Japonisme, timelessness, and the
universal: maternal/domestic
- The subject matter offers evidence of
the contemporaneous gender politics.
-
-
-
LATER IMPRESSIONIST, disillusionment
his last major painting, a barmaid at the
Folies-Bergère. See the trapeze? very
painterly!
The barmaid is echoed in champagne
bottles
Cool/passion juxtaposition, reality/passion,
reason/passion (duality of man =
Baudelaire)
Monet would love the naïve vision!
longing for happiness  disappointing reality
urban alienation, fear, fatigue
still, an upper-middle-class setting,
Japonisme
Van Eyck-like mirror
----------------------------------------------------------------------------------------------------------Post-Impressionism begins here in the
text: a broad reaction to (against)
Impressionism. An avant-garde style. It
was highly influential to early 20th
century modernism (Fauvism,
Symbolism, Cubism, Futurism, etc.).
Roger Fry coined the term in 1910 –
well after "Post-Impressionism" (after or
against Impressionism). Paul Cézanne,
Paul Gaugin, Vincent van Gogh, and
Georges Seurat were the principal four
(the big 4). They rejected
Impressionism's spontaneous, natural
light and form in order to develop more
abstract and orderly formal structure.
Cézanne had the biggest impact on the
next generation of modernist painters
(Matisse, Picasso, Braque, and
Kandinsky). He had little professional
success until he was an old man. His
artistic “offspring” showed the world
what he had invented. Cézanne said he
wanted to "make something of
Impressionism that would be solid and
lasting, like the art in museums." The
Salon consistently rejected his early
works. He dedicated himself to the
objective transcription of his "petite
sensations" of nature. He strove for a
sense of order through a methodical
application of color. With PostImpressionism, art becomes highly
individualized.




Cézanne, general traits: "harmony of
opposites," 3D/2D, stable/unstable,
Post-Impressionism
Paul Cézanne: He was from
Southern France
 Swaid's House, 1872-73
 (sub 30- 49), Mont Sainte-Victoire
and the Viaduct of the Arc River
Valley, o/c, 25¾" high (date
unavailable)
 Mont Sainte-Victoire, o/c, 27½" high,
1902-04
 Mont Sainte-Victoire, o/c, 1904-06
 Black Clock
 Still Life with Apples, 1879-1882
 Kitchen Table (Still life w/ basket)
1880-90
 (30- 63) Still Life with Basket of
Apples, 1890-94, 243/8” high
 Still Life with Peppermint Bottle,
c.1894
 Apples and Oranges, 1895-1900
 (Detail) Still Life with Basket
 Uncle Dominique as a Monk, 186567
 Self-portrait, c. 1877
 Madame Cézanne in a Yellow
Armchair, 1890-94
 Mademoiselle Cézanne, 1890
 Boy in Red Waistcoat, 1890-95
 Woman with the Coffeepot, 1895
 Clockmaker, 1895-1900
Three Bathers, 1879-82
Bathers, 1885-1887
Card Players, 1885-90
30- 50 Les Grande Baigneuse (The
Large Bathers) 1906, o/c, 6'10" high
(his largest)
- Post-Impressionism
- unfinished state
- orderly composition
- He worked from earlier
sketches, photos, and memory.
- serene remoteness
30- 34 Georges Seurat, A Sunday
Afternoon on the Island of La
Grande Jatte, 1884-86, o/c, 6’9½”
high
- Post-Impressionism
- a self-acknowledged “avantgarde,” divisionism
- He found Impressionism “too
shallow”.
- pointillist, color theorist,
conflicting interpretations
- He worked on this for 3 years
(the SAIC says 5).
- An interest in simultaneous
contrast of colors
30- 35 Vincent van Gogh, The Starry
Night, 1889, o/c, 28¾” high
-
-
-
Post-Impressionism
Painted from his mental asylum – he
voluntarily committed himself. He later
killed himself (July 1890).
It expresses intense feelings by visual
language.
An early and famous example of
EXPRESSIONISM (feelings override fidelity
to actual appearance).
He was Dutch.
He experimented with divisionism.
letters to Theo, his brother
son of a Protestant minister
painted for only 10 years
He painted more from imagination than
from nature. See Gaugin quote (p. 1046)
-
“Don’t paint from nature too much…”
Gaugin told him “dream before nature”.
“Shake it down.” - Ben Friedman (Stan’s
Modernist WVU Drawing/Painting Prof.),
1988
JAPONISME (page 944): a widespread
fascination with Japan and its culture.
Japonisme began
shortly after the US Navy forcibly
opened Japan to Western trade and
diplomacy in 1853. The art critic who
coined the term for this vogue in 1872
was Philippe Burty. Japonisme affected
painting, printmaking, applied arts,
architecture, and landscape
architecture.
adopted Characteristics of Japonisme:
flat space, asymmetry,monochromaticism,
strong outline, lack of chiaroscuro, isometric
perspective, and spare harmony
1860 -1890 saw the most European
impact of Japonisme, as both Bohemian
and bourgeois people adored it. Artists
used the influence in diverse, individual
ways. This is a great (and early)
example of MULTICULTURALISM.
When combined with a growing
dissatisfaction with Western traditions
and institutions, one can see why it was
such a big hit. Europe was "thirsty for
newness."
Could the fascination with animé be a
lingering Japonisme? I think so!
Addl. Van Gogh:
 Sunflowers, Aug. 1888
 Wheat Field with Cypresses, 1889
 Starry Night
 The Sower
 Orchard
 Blooming Almond Branch
 The Church at Auvers
 Self-portrait, 1890
 Self-portrait, 1889
 Postman Roulin, Aug. 1888
 La Berceuse, 1888-89
 Dr. Gachet
 The Night Café, 1888
 Vincent’s House at Arles, 1888
 Van Gogh’s Bedroom, 1888
Japonisme? You bet!
-----------------------------------------------------Addl. (compare to 30- 36) Paul
Gaugin, Ia Orana Maria (We hail thee
Mary), c. 1891-92, o/c, 44¾”
high,
- Post-Impressionism
- (1891, moved to Tahiti)
- Seeking blissful ignorance, he
left Europe.
- He incorporated Tahitian color,
patterns and images into his
traditional European theme
(hence, the title).
- enigmatic and suggestive of
unstated meanings
- He was a bourgeois
stockbroker in Paris. In 1883 he
lost his job in a market crash. In
1886 he abandoned his wife
and five children to “paint.” He
was disgusted by corrupt urban
Europe and sought a more
“primitive” existence. Paris
Brittany Panama
Martinique Arles with Van
Gogh for 2 months Tahiti
(1891) France Tahiti (died
in 1903 – Syphilis)
- Inspired by medieval stained
glass, folk art, and Japanese
prints. Featured: simplified
drawing, flattened space and
anti-naturalistic
- He called his style synthesism
(observation &feelings).
- Despite the “vulgar”
westernization of Tahiti, he
depicted it as an edenic ideal.
 Addl. Vision after the Sermon (Jacob
Wrestling the Angel), 1888, o/c, 28¾”
high
- Breton woman
- Post-Impressionism
- Japonisme
 30- 36 The Spirit of the Dead
Watching, 1892, o/c, 28½” high PostImpressionism
Addl. Henri de Toulouse-Lautrec, At the
Moulin Rouge, 1892, o/c, 48½” high
- Post-Impressionism
- urban alienation, arbitrary (antinaturalistic) color
- contradicts Renoir’s optimism
- a lesser recognized Post
Impressionist
----------------------------------------------------------------------------------------------------------SYMBOLISM in painting…
A late 19th century international art
and literature movement. Like the
Romantics, the symbolists
opposed rationalism and material
progress. They focused on
emotion, imagination, and
spirituality. They sought a deeper,
more mysterious, reality. They
conveyed ambiguous subject
matter and hidden, elusive,
content. Often comparing their
work to dreams, they gave
pictorial form to psychic
experience. Sigmund Freud wrote
The Interpretation of Dreams
(1900) during the Symbolist
period.
The 1880’s saw rapid change in
society, industry and technology. Did
the art change as well? How could it
not? Do “the times create the art” or
does the “art create the times”? (Joe
Kaminski’s Rock and Roll Theory)
30- 41 Edvard Munch, The Scream,
1893, tempera and casein on
cardboard, 36” high
- A Norwegian SYMBOLIST and
EXPRESSIONIST, he treated
death and sex in an avant-garde
and frank way
- rejections created personal and
professional anxiety
- nature shrieks, cloud of blood
- a dread of open spaces and
death
- Life in a changing modern world
reflects inner neurotic anxieties.
Addl. E. Munch, The Death Chamber,
1896, lithograph, 15” high
30- 43 Auguste Rodin, Burghers of
Calais, 1884-89, bronze, 6’10½” high
- The premier European sculptor
of the late 19th century, he
overcame early major failures
and rejections.
- He won a competition for this
memorial commemorative
statue. The six burghers are
preparing to fill King Edward
III’s (England) order for six
victims. They offered their lives
to end the siege of Calais in
1347.
- Rodin shows ordinary citizens
as heroes on our level (seminal
pedestal removal).
- The exaggerations and
EXPRESSIONISTIC
stylizations are seminal.
- He’s famous for a coarse,
unfinished quality (sculptor’s
sketch aesthetics?).
Addl. (Compare to 30-78) Anton
Gaudi, Casa Mila Apartment, 1905-07,
Barcelona
- Late Art Nouveau, proliferating twiny
plant forms
- Form follows fantasy here.
Addl. Childe Hassam, Union Square in
the Spring, o/c, 21½” high
- Lingering naturalist, realist and
impressionist traits
- New York? Yes! Manhattan
- An American IMPRESSIONIST
painter
Addl. Aubrey Beardsley, The Toilet,
from the Rape of the Lock, 1896
- British illustration, He died at age
25
- Alexander Pope wrote the poem
“The Rape of the Lock”.
- a poem to heal the estrangement
between 2 Catholic families
- Victorian era illustrator, very
popular, known also for his erotic
images
30-79 Gustav Klimt, The Kiss, 1907-08,
o/c, 5’10¾” high
- He was part of the Austrian
(Vienna) Secession (Its first
president). Freud was a
member as well. ART
NOUVEAU
- Decorative art offers an
alternative to the ordinary
world.
- Abstract, flat space, pattern,
Gestalt psychology
- Byzantine mosaic look,
geometric shapes = male,
organic shapes = female
Transcripts such as the one you are
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but you already knew that!
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