Romanticism, Realism & Photography

THEME: Features of Romanticism“Man is born free, but is everywhere in chains!” - Rousseau

P.I.N.E.

Past – Longing for the medieval past, pre-industrial Europe (Gothic architecture will be revived)

Irrational/ Inner mind / Insanity – Romantic artists depict the human psyche and topics that transcend the use of reason. One Romantic artist, Gericault, chose to do portraits of people in insane asylums

Nature – longing for the purity of nature, which defies human rationality

Emotion/ Exotic – Romantics favored emotion and passion over reason. Exotic themes and locales were also popular because they did not adhere to European emphasis on rationality

Imagination, not reason, FEELING, not thinking = FREEDOM

Jean-Auguste-Dominique Ingres

Grande Odalisque1814oil on canvas2 ft. 11 in. x 5 ft. 4 in.

Francisco Goya

The Sleep of Reason Produces Monstersfrom Los Caprichos

ca. 1798etching and aquatint8 1/2 x 6 in.

Francisco Goya

Family of Charles IV

1800oil on canvas9 ft. 2 in. x 11 ft.

Francisco Goya

The Third of May, 18081814oil on canvas8 ft. 8 in. x 11 ft. 3 in.

Francisco Goya

Saturn Devouring His Children

1819-1823fresco on canvas4 ft. 9 in. x 2 ft. 8 in.

Théodore Géricault

Raft of the Medusa

1818-1819oil on canvas16 x 23 ft.

Eugène Delacroix

Liberty Leading the People

1830oil on canvas8 ft. 6 in. x 10 ft. 8 in.

John Constable, The Haywain

1821oil on canvas4 ft. 3 in. x 6 ft. 2 in.

Nature as allegory

Caspar David Friedrich

Abbey in the Oak Forest

1810oil on canvas3 ft. 7 1/2 in. x 5 ft. 7 1/4 in.

“The artist should not only paint what he sees before him, but also what he sees within him. If he does not see anything within him, he should give up painting what he sees before him.” - Friedrich

Joseph Mallord William Turner

The Slave Ship

1840oil on canvas2 ft. 11 11/16 in. x 4 ft. 5/16 in.`

Thomas Cole

The Oxbow

1836oil on canvas4 ft. 3 1/2 in. x 6 ft. 4 in.

Albert Bierstadt

Among the Sierra Nevada Mountains, California1868oil on canvas6 ft. x 10 ft.

Romantic Architecture • IRON

• Iron framework with Gothic or Romanesque skin• Progressive artists exposed iron + glass

• REVIVAL of the past• Middle ages – a time when religion was more devout and sincere• Modern living corrupted Industrial Revolution • Not just Medieval revival but also Egyptian, Islamic, Baroque… anything old!

Charles Barry & A.W.N. Pugin

Houses of Parlaiment

London, England

designed 1835

“All Grecian, Sir. Tudor details on a classical body” - Pugin

“Neo-Gothic”

John Nash

Royal Pavilion

Brighton, England

1815-1818

“Indian Gothic”

Joseph Paxton

Crystal Palace

London, England

1850-1851

Louis-Jacques-Mandé Daguerre

Still Life in Studio

1837Daguerreotype

Julia Margaret Cameron

Ophelia, Study no. 2

1867albumen print1 ft. 1 in. x 10 2/3 in.

Timothy O’Sullivan

A Harvest of Death, Gettysburg, Pennsylvania, July 18631863gelatin-silver print

PRE-MODERNISM: REALISM & THE PRE-RAPHAELITE BROTHERHOOD

19th century continued…

Ah, Romanticism…isn’t it romantic?

REALISM – no! get REAL!• Started in mid 1800s France• Influenced by Positivism, a philosophical model developed by Auguste Comte

• Knowledge must come from proven ideas based on science or scientific theory• Darwin! Karl Marx!

• Artists depicted scenes of everyday contemporary life, disproved of historical or fictional subjects, they weren’t REAL

• “[An artist must apply] his personal faculties to the ideas and events of the times in which he lives… Art in painting should consist only in the representation of things visible and tangible to the artist. Every age should be respected only by its own artists, that is to say, by the artists who have lived in it. I also maintain that painting is an essentially concrete art form and can consist only of the representation of both real and existing things.” – Courbet, 1861

Gustave Courbet

The Stone Breakers1849oil on canvas5 ft. 3 in. x 8 ft. 6 in.

“Show me an angel and I’ll paint one” – Courbet’s famous words sum up Realism

Gustave Courbet

Burial at Ornans1849oil on canvas10 ft. x 22 ft.

Jean-François Millet

The Gleaners1857oil on canvas2 ft. 9 in. x 3 ft. 8 in.

Honoré Daumier

Rue Transnonian

1834lithograph12 x 17 1/2 in.

Honoré Daumier

The Third-Class Carriage

ca. 1862oil on canvas2 ft. 1 3/4 in. x 2 ft. 11 1/2 in.

Édouard Manet

Le Déjuner sur l’Herbe

1863oil on canvas7 ft. x 8 ft. 10 in.

Édouard Manet

Olympia

1863oil on canvas4 ft. 3 in. x 6 ft. 3 in.

Winslow Homer

The Veteran in a New Field

1865oil on canvas2 ft. 1/8 in. x 3 ft. 2 1/8 in.

Thomas Eakins

The Gross Clinic

1875oil on canvas8 ft. x 6 ft. 6 in.

John Singer Sargent

The Daughters of Edward Darley Boit1882oil on canvas7 ft. 3 3/8 in. x 7 ft. 3 5/8 in.

Pre-RaphaelitesFictional, historical and fanciful subjects with a convincing degree of illusion

Refused to be limited to contemporary scenes of the REALIST movement

John Everett Millais

Ophelia

1852oil on canvas2 ft. 6 in. x 3 ft. 8 in.

Her clothes spread wide,And mermaidlike awhile they bore her up-Which time she chanted snatches of old tunes,As one incapable of her own distress.

Dante Gabriel Rossetti

Beata Beatrix

ca. 1863oil on canvas2 ft. 10 in. x 2 ft. 2 in.

Impressionism (1874)

• Modernist movement – avant-garde artists• Pioneered independent art exhibitions (1874) as the “Anonymous

Society of Painters, Sculptors, Printmakers,” adopted “Impressionists” soon thereafter

• Rely on the transient, the quick and the fleeting• Seek to capture the effects of light

• Knew shadows had color, seasons effect object• Plein-air painting• Landscape and still-life painting

• Impressionists prided themselves on being antiacademic and antibourgeois

Claude Monet

Impression: Sunrise

1872oil on canvas1 ft. 7 1/2 in. x 2 ft. 1 1/2 in.

Intersection of what the artist SAW and what the artist FELT- Complementary color, choppy brushstrokes

Claude Monet

Rouen Cathedral: The Portal (in Sun)

1894oil on canvas3 ft. 3 1/4 in. x 2 ft. 1 7/8 in.

Gustave Caillebotte

Paris: A Rainy Day

1877oil on canvasapproximately 6 ft. 9 in. x 9 ft. 9 in.

URBANIZATIONBaron Georges Haussman – gave Paris a makeover under Napoleon III’s orders

Pierre-Auguste Renoir

Le Moulin de la Galette

1876oil on canvas4 ft. 3 in. x 5 ft. 8 in.

Leisure activities of the Parisian middle class

Édouard Manet

A Bar at the Folies-Bergère

1882oil on canvas3 ft. 1 in. x 4 ft. 3 in.

Edgar Degas

Ballet Rehearsal

1874oil on canvas1 ft. 11 in. x 2 ft. 9 in.

Inspirations: Formal leisure activities, movement, photography and Japanese woodblock prints

Edgar Degas

The Tub

1886pastel1 ft. 11 1/2 in. x 2 ft. 8 3/8 in.

JAPONISME- With new open trade in Japan, woodblock prints had

great effect on French art and style—tea sets, folding screens, fans, kimonos

- An admiration for the beauty and exoticism of the Japanese aesthetic

- Valued for use of diverging lines and flat forms- Familiar and intimate subjects

Torii Kiyonaga, detail of Two Women at the Bath

Katsushika Hokusai

The Great Wave off Kanagawa

1857color woodblock print9 7/8 x 14 3/4 in.

Mary Cassatt

The Bath

ca. 1892oil on canvas3 ft. 3 in. x 2 ft. 2 in.

Cassatt, Woman Bathing, etching

James Abbott McNeil Whistler

Nocturne in Black and Gold(The Falling Rocket)

ca. 1875oil on canvas1 ft. 11 5/8 in. x 1 ft. 6 1/2 in.

John Ruskin accused Whistler of, “flinging a pot of paint in the public’s face”

POST-Impressionism (1880s-1890s)Back to picture making rather than copying nature

• Just as the Impressionists were being taken seriously as artists, a new group came along feeling that the Impressionists neglected too many traditional elements in favor of capturing a fleeting moment

• Artists explore the properties and expressive qualities of formal elements

• Borrows from Impressionism in new and unique ways

• Combine Impressionist ideals (light, shading and color) with structure

• Nearing abstraction while retaining volume or depth

Cezanne, the quintessential Post-Impressionist wished to, “make Impressionism something solid and durable, like the art of the museums”

Henri de Toulouse-Lautrec

At the Moulin Rouge

1892-1895oil in canvas4 ft. x 4 ft. 7 in.

What influenced Lautrec?

Georges Seurat

A Sunday on La Grande Jatte

1884-1886oil on canvas6 ft. 9 in. x 10 ft. https://www.youtube.com/watch?v=vBBOMLURSGA

POINTILLISM

Vincent van Gogh

The Night Café

1888oil on canvas2 ft. 4 1/2 in. x 3 ft.

“a place where one can ruin oneself, go mad, or commit a crime”

Vincent van Gogh

Starry Night

1889oil on canvas2 ft. 5 in. x 3 ft. 1/4 in.

Paul Gauguin

The Vision after the Sermon

1888oil on canvas2 ft. 4 3/4 in. x 3 ft. 1/2 in.

Paul Gauguin

Where Do We Come From? What Are We? Where Are We Going?

1897oil on canvas4 ft. 6 13/16 in. x 12 ft. 3 in.

Paul Gauguin

Where Do We Come From? What Are We? Where Are We Going?

1897oil on canvas4 ft. 6 13/16 in. x 12 ft. 3 in.

Paul Cézanne

The Basket of Apples

ca. 1895oil on canvas2 ft. 3/8 in. x 2 ft. 7 in.