th
19
Romanticism,
Century Photography,
French Realism,
Impressionism and
Post Impressionism
Jasmine, Nick, Katie
Romanticism (1770-1840)
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Rousseau’s concept of freedom
Reaction to the Enlightenment; individualism
Imagination over reason; Emphasized feeling,
imagination, intuition, and subjective emotion
HENRY FUSELI, The Nightmare, 1781.
Oil on canvas
• Horror, demonic, macabre
• Classically and mythologically
inspired, Gothic fantasies
• Sexually-charged
• Darkness of human subconscious
WILLIAM BLAKE, Ancient of Days,
frontispiece of Europe: A Prophecy,
1794. Metal relief etching, hand colored
• Spiritual
• Ideal classical anatomy merges
with the inner dark dreams of
Gothic Romanticism
GIOVANNI BATTISTA PIRANESI,
Carceri 14, ca. 1750. Etching,
second state
• Grim, infernal-looking architectural
fantasies
• Menacing structures vs tiny people
FRANCISCO GOYA, The Family of
Charles IV, 1800. Oil on canvas
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FRANCISCO GOYA, The Third of
May 1808, 1814. Oil on canvas
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FRANCISCO GOYA, The Sleep of
Reason Produces Monsters, from Los
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Caprichos, ca. 1798. Etching and
aquatint
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• Creatures= folly and
ignorance
• Suppression of reason
or Romantic spirit
French execution of Spanish
citizens May 3, 1808
Powerful and expressive use of
color
War depicted without heroes or
glory; heightens effect of horror
and grotesqueness of the event
• Naturalistic portrait of The Family
of Charles IV
• Goya included himself (similar to
Diego Velázquez’s Las Meninas)
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THÉODORE GÉRICAULT, Raft of the Medusa,
1818–1819. Oil on canvas
• Depicts actual event
• Realistic with elements of drama and
horror
• Pyramidal composition
• Line and light
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FRANÇOIS RUDE,
La Marseillaise, Arc
de Triomphe, Paris,
France, 1833–1836
• Densely packed relief
sculpture
• Allegory of national pride
and glory
• Liberty
EUGÈNE DELACROIX, Liberty Leading the
People, 1830. Oil on canvas
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Balances contemporary historical
fact with poetic allegory
• towers of Notre-Dame in Paris=
specific date and time
• Pyramidal composition
CASPAR DAVID FRIEDRICH, Abbey
in the Oak Forest, 1810. Oil on
canvas
• Solemn and dark
• Nature reclaiming its
place
• Human mortality
• Keen perception of
messages in physical
environment
JOHN CONSTABLE, The Haywain,
1821. Oil on canvas
• Placid and picturesque
rural scene
• Nostalgic and tranquil
• Delicate brushstrokes;
muted greens and golds
• Disappearing rural
pastoralism
• People are at one with
nature
JOSEPH MALLORD WILLIAM
TURNER, The Slave Ship, 1840
• Power of nature
• Frenzied emotional
depiction; no defining
outlines
• Miniscule human forms
vs vast nature
• Emotive power of pure
color
Hudson River School: American Landscape painters
THOMAS COLE, The Oxbow,
1836. Oil on canvas
• Divided composition
• Stormy vs. Sunny: country’s
future?
• Reflections and moods
romantically appealing to the
public
ALBERT BIERSTADT, Among the
Sierra Nevada Mountains, California,
1868. Oil on canvas
• Almost transcendental
with sun’s rays; heavenly
• Reinforced Manifest
Destiny
FREDERIC EDWIN
CHURCH, Twilight In the
Wilderness, 1860s. Oil on
canvas
• Majestic nature
• Does not include
evidence of
upheaval or
turbulence
• Idealistic; no people
19th Century Photography
LOUIS-JACQUES-MANDÉ
DAGUERRE, Still Life in Studio, 1837.
Daguerreotype.
EUGÈNE DURIEU and EUGÈNE
DELACROIX, Draped Model (back
view), ca. 1854. Albumen print
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Photos with qualities beyond simple
reproduction
Draping cloth
Careful lighting
• Daguerrotype: photograph that
was made on a piece of silver or a
piece of copper covered in silver
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Captured details, textures, shapes,
and tones; inspired by Dutch vanitas
Calotype: process in which negatives
were made using paper coated with
silver iodide.
JOSIAH JOHNSON HAWES and ALBERT SANDS
SOUTHWORTH, Early Operation under Ether,
Massachusetts General Hospital, ca. 1847.
Daguerreotype
NADAR (GASPARD-FÉLIX
TOURNACHON), Eugène Delacroix,
ca. 1855
• Remarkable presence; expressed
Delacroix’s personality
• “wet-plate” technology
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Viewer in the position of medical students
observing
Viewpoint flattens spatial perspective and
emphasizes the relationships of figures
Blurring caused by motion
JULIA MARGARET CAMERON,
Ophelia, Study no. 2, 1867.
Albumen print
• Literary subject
• Ethereal haziness(focus not
sharp)
• Reminiscent of preRaphaelite paintings
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TIMOTHY O'SULLIVAN, A Harvest of Death,
Gettysburg, Pennsylvania, July 1863. Negative
by Timothy O'Sullivan. Original print by
ALEXANDER GARDNER.
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Historical record importance
High price of war
Sobering and depressing
More impressive than
newspaper engravings
EADWEARD MUYBRIDGE, Horse Galloping, 1878.
Collotype print
• Sequential photography
• Illusion of motion; persistence
of vision
• Realism
GERTRUDE KÄSEBIER, Blessed Art
thou Among Women, 1899.
Platinum print on Japanese tissue
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Romantic-Realist; Pictorial style
Symbolic
Naturalism in photography
Everyday life scenes with
spiritual and divine
Pre-Raphaelite
French
Realism
• Argued that only the things from ones time, and what people can see for themselves, are “real”
• Focused attention on everyday life
• Disapproved historical and fictional subjects
GUSTAVE COURBET, The Stone Breakers,
1849. Oil on canvas
• Depicted the lowest class in
France
• Not Romanticised or Idealized
• Depicted with directness and
accuracy
• Dirty browns and grays help
depict the awful task
GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas,
• Depicts a burial attended by normal people
• Faces are Courbet’s sisters and friends
• Depicts the mundane realities of life and death
JEAN-FRANÇOIS MILLET, The
Gleaners, 1857. Oil on canvas
• Depicts the lowest level in society
• Would pick up the leftovers after a
harvest
• Seemed like a political manifesto for
the lower class
• Middle class land owners resisted
gleaning (previously allowed)
HONORÉ DAUMIER, Rue
HONORÉ DAUMIER, Nadar
Transnonain, 1834. Lithograph,
Raising Photography to the
approx. 1'x 1'5 1/2"
• Sniper killed a civil guard
Height of Art, 1862. Lithograph
• Guards rushed into apartment
building and killed everyone inside • Ongoing struggle to have
photography recognized as art
• Didn’t depict the dramatic
• Court decision acknowledged
moments but instead the quiet
aftermath
photography as art
• Comparable to the 3rd of May, by • Depicts the elevation of
Goya
photography’s status
HONORÉ DAUMIER, The
Third-Class Carriage, ca. 1862.
Oil on canvas
• Vague faces, impersonal
and ordinary appearances
• Cramped space
• Dark and grey colors
• Depicted the lowest class
• unfinished
ÉDOUARD MANET, Le Déjeuner sur
l'Herbe (Luncheon on the Grass), 1863.
Oil on canvas
• From illusion to painting’s properties
with color flatness
• “Unorthodox” subject matter
(prostitutes)
• Soft focus rendered figures; loosely
painted landscape
• Strong light vs dark contrasts
• Form (not line) is the only function of
paint and light
ÉDOUARD MANET, Olympia,
1863. Oil on canvas
• Meets viewer’s eyes with
indifference; shameless
• Moral depravity, inferiority,
animalistic sexuality
• Racial divides
• Rougher brushstrokes
• Tonality shifts abrupt
Public and
critics hated
Manet’s works
Impressionism
(Late 19th century)
CLAUDE MONET,
Impressionism: Sunrise
1872. Oil on Canvas
 Exhibited in first
Impressionism show: 1874
 Abbreviation, speed, and
spontaneity
 “Sketch quality”
 Response to nature
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Result of industrialized, urbanized Paris
Single moment
Fleetingness
Reaction to Realism
CLAUDE MONET, Saint-Lazare
Train Station
1877. Oil on Canvas.
 Energy and Vitality
 Depicts industrial
development
 Agitated paint application
 Parisian Life, busy commercial
area
Gustave Caillebotte
Paris: A Rainy Day
1877. Oil on Canvas.
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Depiction of “New Paris”
Informal and asymmetrical composition
Artists “impression” of the city
Haussmannization: Haussmann’s
renovations on Paris
CAMILLE PISSARRO
la place du theatre francais
1898. Oil on Canvas
 Moment in time
 Blurred dark accents on light
ground- visual sensations from
high above ground
HIPPOLYTE JOUVIN
The Pont Neuf, Paris.
1860-1865. Albumen stereograph
 Twin-lensed camera
 Sharp focus in the foreground, soft
focus in the distance
 Similar to paintings with the arbitrary
cutoffs and flattening effect of high
points
PIERRE AUGUSTE RENOIR
Le Moulin de la Galette.
1876. Oil on Canvas.
 Lively atmosphere
 Dappled sunlight and shade
create a fleeting light effect
 Casual placement suggest
continuity of the space
 Passing aspects of reality
ÉDOUARD MANET
A Bar at the Folies-Bergére
1882. Oil on Canvas.
 Blurred and roughly applied
brush strokes in background
 Mirror?
 Radical break in tradition and
redefinition of the function- 1st
modernist artist
EDGAR DEGAS
Ballet Rehearsal
1874. Oil on Canvas.
 Random order
 Illusion of continuous floor
 Inspired by Japanese Woodblock
print (Suzuki Harunobu)
BERTHE MORISOT
Villa at the Seaside
1874. Oil on Canvas.
 Mood: Relaxed Leisure
 Open brushwork and plein air
(outdoor) lighting characteristic of
Impressionism
 Swift, sketchy strokes
 Escaped Criticism (sensibility, grace, and
delicacy)
CLAUDE MONET
Rouen Cathedral: The Portal (in
Sun)
1894. Oil on Canvas.
 40 views of the Cathedral in
different times of the day or
year
 Intensive study on light and
color
 Movement of light
 Fleeting atmospheric effect
EDGAR DEGAS
The Tub
1886. Pastel.
 Master of line
 Boldly evident contour
lines
 Contrasts of 3d and 2d
surfaces
HENRI DE TOULOUSEMARY CASSATT
LAUTREC
The Bath
At the Moulin Rouge
1892. Oil on Canvas
1892. Oil on Canvas.
 Genuine Sentiment
 Inspired by Degas but more
frequent theme
satirical edge
 Flattening effects with the
 Asymmetrical, spatial
bold contour lines
diagonals, and strong line
 Compare to Degas and
patterns
Japanese woodblock prints Exaggerated elements
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Depictions of the odd stature
of high society
Post-Impressionism
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VINCENT VAN GOGH, The
Night Café
1888. Oil on Canvas
• Charged energy
• Convey oppressive
atmosphere
• Tilted perspective
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JAMES ABBOTT MCNEILL
WHISTLER
Nocturne in Black and Gold
the Falling Rocket
1875. Oil on Panel.
 Atmospheric effects
 Emphasis on harmonious
arrangement of shapes
and colors
 Bankrupt
VINCENT VAN GOGH, Starry Night
1889. Oil on Canvas
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Conflicted feelings with religion
Asylum view
Turbulent brush strokes, quiet but
pervasive depression
Whirling exploding stars with the
vastness of the universe
PAUL GAUGUIN, Where Do We
Come From? What are we? Where
Are We Going?
1897. Oil on Canvas.
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Expansiveness
Flat areas of unmodulated
color, convey a lushness and
intensity
Pessimistic view on life’s cycle
of inevitability
Georges Seurat
A Sunday on La Grande Jatte
1884-1886. Oil on Canvas
 Use of pointillism
 Focus on line, color, value, and shape
 Flat patterns and spatial depth