8. Nineteenth Century Synopsis: art 162 honors
The Salon What was this all-important Salon that dictated style in french painting for 200 years? Established in 1667 by the french Academy, the salon was an annual art show named for the room, or Salon, in the Louvre where it was originally held. Not just the offficialy sanctioned art fair, the Salon was the only public art exhibition in Paris. As such, jurours wielded supreme power in standardizing taste. Since they were members of the arch-conservative Academy, jurors spurned works by innovative artists and perpetuated the strangehold of history painting on French art. In 1863, jurors rejected 3,000 of 5,000 paintings submitted. Calling the unacceptable work "a serious danger for society," the Salon was obviously hostile to bold art. The resulting outcry came to the attention of Emperor Napoleon III, who ordered the refused works exhibited in a paviilion dubbed the Salon des Refuses. Hugh crowds viewed works by artists like Manet, Cezanne, and Pissaro. The exhibit was a notorious succes de scandale (due mostly
to Manet's epochal "Dejeuner sur l'herbe"). Art historians
date the beginning of modern painting from this point. By the 1880s,
the prestige of the Salon declined steadily, as artists like the
Impressionists staged their own show. Art dealers to began to play
a more important role in displaying nonmainstream art. |
The roots of our modern era, extending deep into the Renaissance, find their early exposure in the mid-19th century work of Manet's Dejeuner sur l'herbe. Although Romantic subject matter had rejected the idealized formality and mythology of Neo-classicism, it still retained to some extent the Classicists' adherance to naturalistic representation. Manet opened the door to Impressionism and 20th century abstraction by focusing attention on the picture surface instead of a mathematically-induced three-dimensionality of the picture plane, which had reigned throughout the Renaissance. Nevertheless, the naturalism of Neo-classicism remained a powerful influence in the Realist movement. These twin branches of artistic philosophy and technique - realism and abstraction - continue on into the world of artistic creation today. - DJB
Mid - Late Nineteenth Century
• 1840 - 1900 Realism
• 1862 - 1886 Impressionism
Terms
Lithography- a method of printing invented in the late 18th century,
a drawing is made on a flat plate with a grease-based crayon and then
washed off. Ink is then applied and it adheres to the crayon but rinses
clean from the rest of the plate. Covering the plate with paper and pressing
lightly to transfer the ink then make a print or lithograph. - World Images
Glossary of Art Terms and Definitions http://www.worldimages.com/art_glossary.php
Caricature - A picture where the subject is depicted
in a satirizing way that exaggerates its distinctive characteristics in
a comical or grotesque way. Often used as a commentary on political or
social matters. - World Images Glossary of Art Terms and Definitions http://www.worldimages.com/art_glossary.php
Pavilion of Realism - gallery set up by Courbet
Daguerreotype - earliest form of photographic
"print" named after co-inventor Louis Jacques Mande Deguerre
(1787-1851)
Salon de Refuses - exhibit of works rejected
by jury of (French) Academy Salon: In 1863 Manet exhibited "Luncheon
on the Grass" at the Salon de Refuses
Avant-garde
Realism
Gustave Courbet, 1819 - 1877
The Stone Breakers, Oil on canvas, 5’3” x 8’6”
1849
A Burial at Ornans, Oil on canvas, 10’ x 22’ 1849
Jean Francois Millet, 1814 - 78
The Gleaners, Oil on canvas, 2’9” x 3'8” 1857
Honore Daumier, 1808 - 79
Rue Transnonain, Lithograph, 1’ x1’ 5 1/2”, 1834
Third Class Carriage, Oil on canvas, 2’l” x 2’ll”,
1862
Edouard Manet, 1832 - 83
Luncheon on the Grass, Oil on canvas, 7’ x 8’lO” 1863
("Luncheon on the Grass" is point
of departure for Impressionist transformation of Tradition begun with
Giotto in Late Gothic/Proto-Renaissance)
Olympia, Oil on canvas, 4’3” x 6’3”, 1863
A Bar at the Folies-Bergere, Oil on canvas, 3’l” x 4’3”
1882
Marie-Rosalie (Rosa) Bonheur, 1822 - 99
The Horse Fair, Oil on canvas, 8’ x 16’7” 1853-55
Thomas Eakins,1844- 1916
The Gross Clinic, Oil on canvas, 8’ x 6’6” 1875
John Singer Sargent, 1856 - 1925
Daughters of Edward Darley Boit, Oil on canvas, 7'3” x 7’3”,
1882
IMPRESSIONISM (First Impressionist exhibit 1874)
Claude Monet, 1840 - 1926
Impression: Sunrise, Oil on canvas, 1’7” x 2’ 1”
1872
Gare St. Lazare Train Station, Oil on canvas, 2’5”
x 3’5” 1877
Claude Monet
Rouin Cathedral Series, 1892-97
Edgar Degas, 1834- 1917
Ballet Rehersal Oil on canvas,1'11" x 2’9” 1876
The Tub, Pastel 1'11"x 2’8” 1886
Pierre Auguste Renoir, 1841 - 1919
Le Moulin de Ia G alette, Oil on canvas, 4’3” x 5’S”
1876
Mary Cassatt, 1844 -1926
The Bath, Oil on canvas, 32” x 2’2” 1892
Henri de Toulouse-Lautrec (1864 - 1901)
At the Moulin Rouge, Oil on canvas, 4’x4’7”, 1892 -1895
James Abbott McNeil Whistler,1834- 1903
Nocturne in Black and Gold: Falling Rocket, Oil on panel,1'11" x
1’6” 1875
Late Nineteenth Century
Post Impressionism 1880 - 1905
Symbolist c.1886 - 1910
SLIDES
Vincent van Gogh (1853 - 1890~
Night Cafe, Oil on canvas, 271/2 x 36 1/4,1888
The Starry Night, Oil on canvas, 28 3/4 x 361/4”, 1889
Paul Gauguin (1848 - 1903)
The Vision After the Sermon (Jacob Wrestling with the Angel) Oil on canvas,
1888
The Spirit of the Dead Watching, Oil on burlap, 281/2 x 363/8”,
1892
Where Do We Come From? What Are We? Where Are We Going? Oil on canvas,
1897
George Seurat (1859-1891)
A Sunday Afternoon on the Island of La Grande Jatte, 1884 - 86
Oil on canvas, 69 1/2” x 101/4”
Paul Cezanne (1839 - 1906)
Mont Saint-Victoire, Oil on canvas, 25.4 x 31.6” 1885 - 87
Still Life with Basket of Apples, Oil on canvas, 24 3/4 x 31”, 1890-
94
Auguste Rodin (1840 - 1917)
The Age of Bronze, Bronze, 1876
The Walking Man, 1905, First cast in 1907, Bronze
Burghers of Calais, Bronze, 1884-1889
Symbolist c.1886 - 1910
Odilon Redon, 1840 - 1916
Cyclops, Oil on wood 24 1/2 x 20”, c.1898
Henri Rousseau, 1844 - 1910
The Sleeping Gypsy, 43” x 67” 1897
The Dream, 1910
Edvard Munch (1863 - 1944)
Puberty, 1894
The Cry, (The Scream), Oil, pastel, & casein on paper, 35 3/4 x 29”,
1893
Antonio Gaudi (1852 - 1926)
Casa Mila, Barcelona, 1907
Links:
Impressionist
and Post-Impressionist Characteristics
(on this site)
19th Century Art Styles
http://loggia.com/art/19th
19th Century Painting
http://www.bc.edu/bc_org/avp/cas/fnart/art/19_ptg.html
Pre-Raphaelite Overview
http://www.victorianweb.org/painting/prb/prbov.html
Pre-Raphaelite Pictures
http://www.stone-circles.org.uk/pr/pr-frame.htm
Notes:
REALISM IN THE SECOND HALF OF THE CENTURY (G9-896)
Realism deals with the replication of an optical field achieved by matching its color tones on a flat surface whether or not the subject matter has or could have been seen by the artist.
Icongraphically, 19th century Realism can be described as the subject matter of everyday contemporary life as seen or seeable by the artist, whether recorded photographically or by other modes of visual report.
Realists diapproved of traditional or fictional subjects on the ground they were not real and visible and were not of the present world. These artists argued that only the things of one's own times, the things one can see, are "real." The Realist vision and method resulted in a modern style - one by definition cut off from the past...works of imagination based on subjects from myth and history were believed false.
RODIN
Rodin wanted to express the "existential situation of modern man, his inability to communicate his despair."