19th Century continued…
Manet was a reluctant father of Impressionism. His
followers, including Edgar Degas, Claude Monet,
Auguste Renoir, Alfred Sisley, Camille Pissarro, and
Paul Cezanne, were passionately against the “Salon”
painters of the time and their rigid philosophy of Art,
and therefore decided to hold their own exhibits, to
which Manet never participated.
There were other artists also that were particularly
against both the ‘Salon’ painters and the
‘Impressionists’ as well. Reacting to the
Industrialization of England in the mid 19th Century,
and epitomizing Raphael (their favorite Renaissance
painter) they chose the path of idealized beauty and
exquisitely staged compositions. They are the ‘PreRaphaelites’. It is they who primarily shaped the
modern concept of Medieval Chivalry and Romance,
Painting romanticized scenes of Young, handsome
knights in fantasy armor, beautiful maidens and nonhistorical portrayal of Arthurian legends.
Many Art Historians skip over the art of the ‘PreRaphaelites’ thinking them too illustrative and Nonartistic in concept, However, Historically the subject
matter and the style are viable parts of art history and
in many ways represent a greater adherence to the
concepts and purpose of art than do the
Impressionists, and that is to capture the human ideal
rather than the stark reality and genre paintings of the
Impressionists.
This section of the 19th Century is broken up into
those two components with a section on Architecture.
Édouard Manet,
(1832-1883)
Impressionist
Edvard
Munch, The
scream 1893
The Lady of
Shalott, 1916
by preRaphaelite
John William
Waterhouse
Edouard
Manet
(1832-1883)

Boating, 1874,
Metropolitan Museum of
Art, New York.
The Railway. 1873. Oil on
canvas. The National
Gallery of Art, Washington,
DC, USA.
The Fifer, 1866, oil
on canvas, Musée
d'Orsay, Paris.
Impressionism
In April 1874 a group of artists, calling themselves "Société
Anonyme des Artistes, Peintres, Sculpteurs, Graveurs" -roughly "Artists, Painters, Sculptors, Engravers, Inc." -- opened
an exhibition independent of the official Salon. Conspicuously
absent was Edouard Manet, recognized leader of the avantgarde. Manet never participated in any of their eight
exhibitions, but his bold style and modern subjects inspired
these younger artists, who came to be known as
"impressionists."
 Today, Impressionistic Art is the most widely known and most
often reproduced artistic styles in the world. It is often used in
advertising and commercial endeavors, to sell everything from
cars, Xerox machines, and cigarettes to vacations and wine.


Berthe Morisot was a French impressionist painter. Influenced
by the artists Camille Corot and Edouard Manet, she gave up her
early classical training to pursue an individualistic impressionistic
style that became distinctive for its delicacy and subtlety. Her
technique, based on large touches of paint applied freely in every
direction, give her works a transparent, iridescent quality. She
worked both in oil and in watercolor, producing mainly landscapes
and scenes of women and children, as in Madame Pontillon Seated
on the Grass
Berthe
Morisot
(18411895)
A Summer's Day, 1879, National Gallery, London
Gustave Caillebotte 1848-1894

Gustave Caillebotte began
his career by painting
several very large pictures
of the newly constructed
neighborhoods of northern
Paris. One of these, Paris
Street; Rainy Day, shows a
complex intersection near
the Gare Saint-Lazare. A
meticulous and highly
intellectual artist,
Caillebotte based the
painting's careful
organization on
mathematical perspective.
Despite its highly
organized structure and
finished surface, Paris
Street; Rainy
Dayexpresses the
momentary, the casual,
and the atmospheric as
effectively as the paintings
by Monet, Renoir, and
Degas included here. This
monumental urban view,
which measures almost
seven by ten feet, is
considered the artist's
masterpiece. The painting
dominated the celebrated
Impressionist exhibition of
1877, largely organized by
Caillebotte himself.
Paris Street- Rainy Weather, 1877, oil on canvas, The
Art Institute of Chicago.
Hilaire Germain Edgar Degas was a French painter and sculptor whose innovative
composition, skillful drawing, and perceptive analysis of movement made him one of
the masters of modern art in the late 19th century.
 Degas is usually classed with the impressionists, and he exhibited with them in seven
of the eight impressionist exhibitions. However, his training in classical drafting and
his dislike of painting directly from nature produced a style that represented a
related alternative to impressionism.

The Rehearsal, 1877. oil on canvas, 23” x 33”. Glasgow Museum
Edgar
Degas
(18341917)
Edgar Degas
(1834-1917)


In the 1880s, when his eyesight began to fail,
Degas began increasingly to work in two new
media that did not require intense visual
acuity: sculpture and pastel. In his sculpture,
as in his paintings, he attempted to catch the
action of the moment, and his ballet dancers
and female nudes are depicted in poses that
make no attempt to conceal their subjects'
physical exertions. His pastels are usually
simple compositions containing only a few
figures. He was obliged to depend on vibrant
colors and meaningful gestures rather than on
precise lines and careful detailing, but, in spite
of such limitations, these works are eloquent
and expressive and have a simple grandeur
unsurpassed by any of his other works.
Degas was not well known to the public, and
his true artistic stature did not become evident
until after his death. He died in Paris on
September 27, 1917.
The Morning Bath, 1890, pastel on
paper, The Art Institute of Chicago.
Mary Cassatt (1844-1926)




Mary Cassatt was an American born painter who lived
and worked in France as an important member of the
impressionist group.
In Paris, her work attracted the attention of the French
painter Edgar Degas, who invited her to exhibit with his
fellow impressionists.
Beginning in 1882 Cassatt's style took a new turn.
Influenced, like Degas, by Japanese woodcuts, she
began to emphasize line over mass and experimented
with asymmetric -and informal, natural gestures and
positions. Portrayals of mothers and children in intimate
relationship and domestic settings became her theme.
Her portraits were not commissioned; instead, she used
members of her own family as subjects. France
awarded Cassatt the Legion of Honor in 1904; although
she had been instrumental in advising the first American
collectors of impressionist works, recognition came
more slowly in the United States. With loss of sight she
was no longer able to paint after 1914.
The Bath, 1891-92, oil on canvas, The Art
Institute of Chicago.
Claude Monet, (1840-1926)
It was this picture from
which Impressionistic
Artists derived their
style namesake.
 The Impressionists
were concerned with
visually conveying the
impression of the
moment of the
painting rather than a
distorted historical
accounting.
 They painted quickly,
capturing the idea of
the color of the scene,
with bold, loose brush
strokes and untempered emotion.
Impression: Sunrise, 1872
oil on canvas, 19 1/2 x 25 1/2 in. Musee Marmottan,
Paris.
Claude Monet
(1840-1926)


In late January or early February 1892,
Monet rented rooms across from Rouen
cathedral. He remained until spring,
painting its looming facade many times,
most often as we see it here, close up
and cropped to the sides.
He worked on a number of canvases
simultaneously, moving from one to the
next as the light and weather changed.
Rouen Cathedral, West Façade,
Sunlight, 1894
oil on canvas, 100.05 x 65.8 cm (39 3/8 x 25
7/8 in.)
Chester Dale Collection
Rouen Cathedral
as it appears
today.
Claude Monet
(1840-1926)
He brought the cathedral paintings back to his home in Giverny
(about half-way between Paris and Rouen) and worked on them
laboriously in the studio. Heavily painted surfaces show him
struggling at times to finish these paintings, to harmonize them as
a group. Monet conceived of them together and did not consider
that any one of them was complete until all were finished.
He finally exhibited twenty of them in Paris in 1895. This
collectiveness suggests that Monet's aims were no longer to
simply record his sensory experience, but to explore light and
color more deliberately as purely artistic concerns and as
expressions of mood. He was seeking, he wrote a friend while
working on the cathedral series, "more serious qualities."
Progression of
Monet’s Rouen
Cathedral
Paintings.
Claude Monet (1840-1926)
During the later years of his life, Monet stayed at his home and
painted scenes from his extensive gardens with his wife and
daughter.
 He would employ up to five full time gardeners to tend his gardens
so they were always worthy of painting.

The Luncheon. 1873. Oil on canvas.
Musée d'Orsay, Paris, France.


Better known for rural subjects,
Pissarro came to paint urban
scenes only late in his career after
eye problems prevented him from
working outdoors. He rented
rooms that afforded him views
into the streets of Rouen, Paris,
and other cities. Probably
influenced by Monet’s series
paintings, he set up a number of
easels to work simultaneously on
different canvases as light and
weather conditions changed. This
is one of twenty-eight views he
painted of the Tuileries from a
hotel room in the rue de Rivoli.
The buildings depicted are part of
the Louvre.
With this sidelong view, dappled
with shade and interrupted on all
sides of the picture frame,
Pissarro's composition captures
the restless activity of the busy
city. His quick brushwork seems to
mimic the action it depicts. Notice
the wheels of the carriages and
buggies, where scoured circles of
paint trace motion. With the
movement of his brush, Pissarro
does not simply paint but reenacts
the wheels' rolling progress. This
painting, done more than a
quarter century after the first
impressionist exhibition, still has
the same fresh energy of those
early impressionist pictures.
Camille Pissarro
(1830-1903)
Place du Carrousel, Paris, 1900
Ailsa Mellon Bruce Collection
Auguste Renoir
(1841-1919)
Le Moulin de la Galette 1876, Oil on
canvas, 131 x 175 cm; Musée d'Orsay

Renoir is perhaps the
best-loved of all the
Impressionists, for his
subjects---pretty
children, flowers,
beautiful scenes, above
all lovely women---have
instant appeal, and he
communicated the joy
he took in them with
great directness. `Why
shouldn't art be
pretty?', he said,
`There are enough
unpleasant things in the
world.' He was one of
the great worshippers
of the female form, and
he said `I never think I
have finished a nude
until I think I could
pinch it.' One of his
sons was the celebrated
film director Jean
Renoir (1894-1979),
who wrote a lively and
touching biography
(Renoir, My Father) in
1962.
James Abbott McNeill Whistler
(1834-1903)

James Abbott McNeill
Whistler was an
American painter and
etcher, who
assimilated Japanese
art styles, made
technical innovations,
and championed
modern art. Many
regard him as
preeminent among
etchers.
Arrangement in Grey and Black: Portrait of the
Artist's Mother, 1871, Musée d'Orsay, Paris.
Georges Seurat
(1859-1891)
Sunday
Afternoon
on the
Island of la
Grande
Jatte, 11841886, Oil on
canvas,
approx. 6’8”
x 10’. Art
Institute of
Chicago.

Georges Seurat was a French painter who with fellow artist
Paul Signac originated the influential theory and practice of
neoimpressionism. Seurat was born in Paris and trained at the
École des Beaux-Arts. He rejected the soft, irregular
brushstrokes of impressionism in favor of pointillism, a
technique he developed whereby solid forms are constructed
by applying small, close-packed dots of unmixed color to a
white background.
Paul Cézanne (1839-1906)

Paul Cézanne
was a French
painter, often
called the father
of modern art,
who strove to
develop an ideal
synthesis of
naturalistic
representation,
personal
expression, and
abstract pictorial
order.
Mount SainteVictoire Seen
from Bellevue. c.
1882-85. Oil on
canvas. The
Metropolitan
Museum of Art, New
York, USA.
Paul Cézanne (1839-1906)

Among the artists of his
time, Cézanne perhaps has
had the most profound
effect on the art of the
20th century. He was the
greatest single influence
on both the French artist
Henri Matisse, who
admired his color, and the
Spanish artist Pablo
Picasso, who developed
Cézanne's planar
compositional structure
into the cubist style.
During the greater part of
his own lifetime, however,
Cézanne was largely
ignored, and he worked in
isolation. He mistrusted
critics, had few friends,
and, until 1895, exhibited
only occasionally. He was
alienated even from his
family, who found his
behavior peculiar and
failed to appreciate his
revolutionary art.
Onions and Bottle, 1895-1900, oil on canvas, Musée d'Orsay, Paris.
Vincent van Gogh (1853-1890)


The Starry Night. Saint-Rémy. June
1889. Oil on canvas. The Museum of
Modern Art, New York, NY,

The Starry Night was
completed near the mental
asylum of Saint-Remy, 13
months before Van Gogh's
death at the age of 37.
Vincent's mental instability is
legend. He attempted to take
Paul Gauguin's life and later
committed himself to several
asylums in hopes of an
unrealized cure.
Van Gogh painted furiously and
The Starry Night vibrates with
rockets of burning yellow while
planets gyrate like cartwheels.
The hills quake and heave, yet
the cosmic gold fireworks that
swirl against the blue sky are
somehow restful.
This painting is probably the
most popular of Vincent's
works.
Vincent van Gogh (1853-1890)
Imperial Crown Fritillaria in a
Copper Vase. 1887. Oil on canvas.
Musée d'Orsay, Paris, France.
The All-Knight Café at Arles. 1888. Oil on canvas.
Yale University Art Gallery, New Haven CT, USA.
Paul Gauguin (1848-1903)
Spirit of the Dead Watching
1892 (130 Kb); Oil on burlap mounted on
canvas, 72.4 x 92.4 cm (28 1/2 x 36 3/8 in);
Albright-Knox Art Gallery, Buffalo, NY

Gauguin's art has all the
appearance of a flight from
civilization, of a search for
new ways of life, more
primitive, more real and
more sincere. His break away
from a solid middle-class
world, abandoning family,
children and job, his refusal
to accept easy glory and easy
gain are the best-known
aspects of Gauguin's
fascinating life and
personality. This picture, was
painted in 1892, shortly after
Gauguin's arrival in Tahiti.
During his first stay there (he
was to leave in 1893, only to
return in 1895 and remain
until his death in 1903),
Gauguin discovered primitive
art, with its flat forms and
the violent colors belonging
to an untamed nature. And
then, with absolute sincerity,
he transferred them onto
canvas.

Like van Gogh and Gauguin, Henri de Toulouse-Lautrec has become a legend,
and his biography is as intriguing as his art. He chose to immerse himself in an
aspect of modern life far removed from the healthy, outdoor scenes of the
Impressionists, the spirited nightlife of Montmartre. In At the Moulin Rouge,he
focused on a group of friends, clientele and employees of Paris's most famous
dance hall (the artist included himself in the background). The composition, with
its oblique perspective, acid palette, bizarre artificial lighting, and mask like faces,
is a haunting and unforgettable image of the dissolute Bohemian life of turn-ofthe-century Paris.
Henri De
ToulouseLautrec (18641901)
At the Moulin Rouge
Oil on canvas, 1895; 123 x 141 cm
Helen Birch Bartlett Memorial
Collection
Pierre Puvis de Chavannes (1824-98)
Puvis de Chavannes, Pierre (1824-98). The foremost French mural painter of the
second half of the 19th century.
 His reputation has since declined, his idealized depictions of antiquity or allegorical
representations of abstract themes now often seeming rather anaemic. He remains
important, however, because of his influence on younger artists.

The Sacred Grove, 1884, Oil on canvas, 2’ 11 ½” x 6’ 10”. The Art Institute of Chicago
Gustave Moreau
(French, 1826-1898)
One of the greatest Symbolist artists of the 19th
Century.
 In 1884 succeeded Elie Delauney as a teacher
at the Beaux-Arts. Matisse, Marquet, Camoin
and Roualt were among his students and their
works show his influence. The heir of
Romanticism and an admirer of the Italian
masters of the Quattrocento, Gustave Moreau is
the embodiment of Symbolism. He defined his
art as a "passionate silence" and transcribed in
it obsessions and oneiric themes which made
him one of the great masters of sexual
Symbolism. He seized upon the personage of
Salome and made her one of the main themes
of his work, if not indeed the most important.
In his many variations on this theme, he
portrayed Woman as both a seductress and an
innocent.

Jupiter and Semele
1885, Oil on canvas,
7’ x 3’ 4”. Musée Gustave Moreau, Paris.
Henri Rousseau (1844-1910)

The Sleeping Gypsy,
1897, oil on canvas.
4’3” x 6’7”. The
museum of Modern Art.
New York
Henri Rousseau was a self-taught Sunday painter who
began intensive painting when he was 40 years old. At
his times he was belittled and even today some art
critics regard his art as something nice to look at but
not as serious art. Henri's big drawback was his
background. He came from the working class.
Edvard
Munch
(18631944)

Edvard Munch was a
Norwegian artist whose
brooding and anguished
paintings and graphic
works, based on personal
grief and obsessions, were
instrumental in the
development of
expressionism.
The Scream, 1893, oil, tempera and pastel on
cardboard, National Gallery, Oslo.
Reaction to the Impressionists
Reactions to this new form of Art
was varied and often outspoken.
Artists themselves did not readily
accept everything about the
impressionists and even attempted
to discount them as a fad or a trend
that would eventually go away like
a bad headache.
 The Impressionists were here to
stay, and their art and style
influences artists today.
 It goes to prove that one needn’t
have talent to be an artist.
Application of the correct Elements
and Principles, intrinsic motivation
and active participation are the
keys.
Amedeo Modigliani (Italian, 1884-1920)

Madame Czechowska with a Fan, 1919,
Musée d'Art Moderne de Ville de Paris.
Dante Gabriel Rossetti and the Pre-Raphaelite Brotherhood




Pre-Raphaelite Brotherhood - A group of English artists
which formed an association in 1848 to recapture the beauty
and simplicity of the medieval world. Their painting style and
art movement reacted to the sterility of English art, along with
the materialism resulting from England's industrialization. They
identified Raphael (Italian, 1483-1520) with the scientific
interests of Renaissance art, which they felt had led to modern
technological development. They aimed to study nature, to
sympathize with what is direct, serious and heartfelt in earlier
art, and to infuse their works with literary symbolism, bright
colors, and strict attention to detail.
The founders of the Brotherhood were the painters Dante
Gabriel Rossetti (1828-1882) Charles Lutwidge Dodgson, aka
Lewis Carroll, English mathematician and writer, author of Alice
In Wonderland , as well as photographer, 1832-1898), 1863],
William Holman Hunt (1827-1910), John Everett Millais (18291896), James Collinson (1825-1881), Frederic George Stephens
(1828-1907), sculptor Thomas Woolner (1825-1892), and writer
William Michael Rossetti (1829-1919), the painter's brother.
Their initial efforts brought them much condemnation, but in
1851 they gained the support of the influential art critic John
Ruskin (English, 1819-1910).
By 1854 however, the Brotherhood had fallen apart. Apart from
it came a second wave of Pre-Raphaelitism in Victorian art,
chiefly characterized by pseudo-medieval subjects and ethereal
female beauties painted by Sir Edward Burne-Jones (18331898) and Dante Gabriel Rossetti. John William Waterhouse
(1849-1917), Sir Lawrence Alma-Tadema (1836-1912), and
John Melhuish Strudwick (1849-1937) are among the later
exponents of this tradition.
The
P.R.B.
Dante Gabriel Rossetti (1828-1882)

English painter and
poet, he was a
founding member of
the Pre-Raphaelite
brotherhood.
The Day Dream,
1880, oil, The
Victoria and Albert
Museum in London.
William-Adolphe
Bouguereau
(1825-1905)

Adolphe William Bouguereau, had a long,
successful career as an academic painter,
exhibiting in the annual Paris Salons for
more than 50 years. His paintings of
religious, mythological, and genre subjects
were carefully composed and painstakingly
finished. Thus he opposed the admission of
works by the impressionists to the Salon,
because he believed that their paintings
were no more than unfinished sketches.
After a period of neglect following his death,
Bouguereau's paintings were returned to
view as part of a renewed interest in and
reappraisal of academic painting and of
Ecole des Beaux-Arts works in general. A
major retrospective exhibition opened in
Paris and was seen in Montreal and
Hartford, Conn., in 1984.
Nymphs & Satyr, 1873, oil on canvas,
Sterling & Francine Clark Art Institute,
Williamstown, Massachusetts.
Frederic, Lord Leighton
(1830-1896)


Frederick Leighton, Baron Leighton of
Stretton, was an English academic
painter and sculptor.
This picture, Cimabue's Madonna
Carried in Procession Through the
Streets of Florence was purchased
by Queen Victoria. He painted
mythological and historical subjects,
and his espousal of classicism
established his reputation in England.
In 1868 he was made a Royal
Academician, and he became president
of the Royal Academy of Arts in 1878.
The day before his death in 1896,
Leighton was given the rank of baron
(Lord), the first English painter to
receive that distinction. Leighton
admired the rich coloring of the
landscapes in Spain and Egypt and
spent much time painting in those
countries. He collected many objects
from abroad for his opulent London
home, now Leighton Museum.
Cimabue's Celebrated Madonna is Carried in Procession through the Streets of
Florence, detail of left half, 1653-55, oil on canvas, Royal Collection- on loan to The National
Gallery, London.
John William Waterhouse (1849-1917)

Waterhouse is one of the rare artists who became popular and relatively
well-off financially when he was alive. He continued to paint until his death
on the 10th of February, 1917 after a long illness. His style became a
major influence on many of the later Pre-Raphaelites including Frank
Dicksee and Herbert James Draper.
Hylas and
the
Nymphs,
detail,
c.1896,
Manchester
City Art
Gallery.
John William Waterhouse (1849-1917)


The Lady of Shallot, c.1888, Tate
Gallery at London.
Waterhouse, was an avid
scholar of ancient history
during his youth, and
unlike most members of
the Royal Academy his
only tutorage in art was
from his father. When
admitted as a
probationer in the
Sculpture School in July
of 1870 he was
fortunately sponsored by
a painter- F.R. Pickersgill.
It was he who returned
young Nino's attentions
back to the art of
painting.
Around 1885 he was
finally elected as an
Associate of the Royal
Academy. In 1888 he
exhibited a painting at
the Academy which was
to become his most
famous masterpiece"The Lady of Shallot".
Although most of the
critics praised it only
lightly, it was later
bought by the Tate
Gallery for far above the
standard prices of the
Sir Frank Dicksee (British, 1853-1928)

Dicksee's paintings are executed with
textural fluidity and rich orchestrations
of color. They reveal a curious blend of
influences, in particular the classicism
of Frederic Leighton and the abstracted
idealism of G. F. Watts. His predilection
for the decorative aspects of painting
grew out of his studies with Henry
Holiday, a designer of stained glass.
La Belle Dame Sans Merci,1902, Oil on canvas. City
of Bristol Art Gallery, Bristol, England.
He passionately championed the Victorian ideals of
High Art and publicly condemned the artistic trends that
emerged towards the end of his life. His work covers a
wide range of subject-matter and genres, including
biblical and allegorical paintings
Romeo and Juliet, Southampton City Art Gallery.
Edmond Blair Leighton (1823-1855).


Historical genre painter.
Son of Charles Blair
Leighton, a portrait and
historical painter (18231855).
His pictures of elegant
ladies in landscapes or
interiors have a similar
kind of charm to those of
Tissot.
Alain Chartier, 1903
The Accolade,
Tristan and Isolde, 1902
1800s, Bridgeman
Art Library.
Late 19th C. Sculpture and Architecture

Jean Baptiste
Carpeaux, (French,
1827-1875)
Bust of Napoleon III,
1873, marble,
Metropolitan Museum of
Art, New York.
Sculpture did not adjust as readily as
painting seems to have in the latter
part of the 19th century. Realism was
still the preferred style.

Augustus SaintGaudens, (1848-1907)
American Realist
sculptor.
Ugolino, 1863.
plaster. Musee
d'Orsay, Paris.
Adams Memorial,
1891, Bronze, 10”
high. Rock Creek
Cemetery,
Washington, D.C.
François-Auguste-René Rodin
1840 - 1917

The French artist Auguste Rodin had a profound influence on
20th-century sculpture. His works are distinguished by their
stunning strength and realism. Rodin refused to ignore the
negative aspects of humanity, and his works confront distress
and moral weakness as well as passion and beauty.
The Kiss
1886, Bronze, 87 x 51 x 55 cm;
Musee Rodin, Paris
The Burghers of Calais
1884-86, Bronze, 82 1/2 x 95 x 78 in;
Rodin Museum, Philadelphia
Joseph Paxton (1801-1865)

The Palace at Sydenham, designed by Sir
Joseph Paxton, consists entirely of glass and
iron. It was constructed mainly with the
materials of the first great Industrial Exhibition
of 1851, and was opened in 1854. It is
composed of a spacious central hall or nave
1608 feet long, with lateral sections, two
aisles, and two transepts. A third transept at
the north end which formed a palm house, of
imposing dimensions, was burned down in
1866. The cost of the whole undertaking,
including the magnificent garden and grounds,
and much additional land outside, amounted
to a million and a half sterling.
Crystal
Palace,
London,
1850-1851.
Iron and
glass.
(Photo top
right thanks
to Corbis.)
Alexandre Gustave
Eiffel
Dijon, France 1832 - Paris,
France 1923.
Alexandre Gustave Eiffel was born in Dijon
France in 1832. He graduated from the Ecole
Centrale des Arts et Manufactures, Paris in 1855
and joined a Belgian firm which specialized in
railway equipment. He established an
independent practice in 1864 after which he
established a career as an engineer-contractor.
 Eiffel was a master of elegantly constructed
wrought-iron lattices, which formed the basis of
his bridge constructions and led to his project for
the Eiffel Tower. He was mainly recognized as
an engineer and bridge builder.
 Eiffel died in Paris in 1923.

Henry Hobson
Richardson
(1838-81)


Marshall Field Wholesale Store Chicago,
1885-1887.
Block scale coherent ordering of facade
creating a strong presence without use
of historical detail.
Shepley, Rutan,
Coolidge:
Flour and Grain
Exchange,
Boston, 1889.
Trinity Church,
Boston, 1872-77
Louis Sullivan (1856-1924)

Louis Sullivan: Carson, Pirie, Scott,
Building, Chicago, 1899. Photo
Often called
the Father of
modern
‘skyscraper’
building
structures,
where the
structural steel
skeleton takes
the place of
the old load
bearing walls.
before 1903-4 enlargement by
Daniel Burnham; Architectural Record, 1904.
Sullivan and Adler: Guaranty
Building, Buffalo, 1894-95
Richard Morris Hunt (1827-1895)


"Richard Morris Hunt
provided a professional
model for architects at the
end of the 19th century. His
work, bridging the move
from High Victorian to formal
classicism, similarly provided
models in diverse areas,
ranging from apartment
complexes, spacious
residences for the wealthy,
public libraries, collaborative
works of sculpture and major
art museums.“
Designed the pedestal for
the Statue of Liberty.
The Breakers,
Newport, RI, 1895