Art History-19th CenturyBirth of “Isms”

• Neoclassisim• Romanticism• Realism• Impressionism• Post-Impressionism

Neoclassism

• 1780-1820• Words associated with this period-virtue;

patriotism; • Tone: calm, rational• Technique: stressed drawing with lines not

color, smooth surface and glossy, no trace of brushstrokes

• ordered grids,

Neoclassical

• Values:• Order, solemnity• Subjects: Greek & Roman History• Role of Art: Morally uplifting, inspirational• Founder & leader of movement: David• French & British Academies behind,

preached that reason, not emotion, should dictate art

Oath of the Horatii

Jacque Louis David1784

Louvre, Paris, France

Romanticism

• Dramatic, emotional, violent energy; Themes-liberty power of nature; compare/associations to Baroque – ‘history repeats itself’

Romanticism

• Imaginative idealized creations• Values: Intuition, Emotion, Imagination• Inspiration: Medieval & Baroque eras,

Middle and Far East• Tone: Subjective, spontaneous,

nonconformist

Romanticism continued…

• Color: Unrestrained, deep rich shades of color

• Subjects: Legends,exotica, nature, violence• Genres: Narratives of heroic struggle,

landscapes, wild animals• Technique: Quick brushstrokes, strong

light-and-shade contrasts• Composition: Use of diagonals

Gericault (Raft of the Medusa, 1818) & Delacroix (Liberty Leading the People, 1830)

• Teacher and his student

• Gericault (Raft of the Medusa, 1818) & Delacroix (Liberty Leading the People,1830)

Early Photo-Realism

• Photo realism; tromp l’oeil-fool the eye• Ultra realistic painting, American painter

Harnett

Realism

• Unadulterated rendering; poor people in everyday situations; landscapes

Realism

• Courbet, the father of the Realist movement • Portrayed drab figures at everyday tasks• First one man show, when rejected by an art

jury built a shed to show his painting Interior of My Studio

• Burial of Ornans, • The Stone Breakers,

French Realism:

• Courbet• Corot• Millet, Barbazon School

American Realism

• Winslow Homer• Eakins

Art for art’s sake

• James McNeil Whistler• Arrangement in Grey and Black No. 1,

1872, Muse d’Orsay, Paris• Nocturn in Black and Gold: the Falling

Rocket, 1875

Manet

• Often called the “Father of Modern Art”• 1832-1883• Never exhibited with the Impresionists• Striped away idealizing mythology to

portray modern life candidly• Sketchy brushwork-images appear flat and

hard

Manet, “Olympia”, 1863

“Dejeuner sue l’herbe” (1863)“ The Luncheon on the Grass”

Luncheon:

• Painting offended on moral and aesthetic grounds

• Indecent because the nude was not idealized• (nudity was only acceptable if disguised in

Classical trappings)• Based on historic art precedent, Giorgione,

Titian, • Brushstrokes, applied in broad strokes

Impressionism

• En plein air-Paint outside• Concerned with effects of light; • Dabs of pure color painted side by side• Viewer’s eye blends the colors• Shadows not black but blends of colors• Country, City associated with

Impressionism-France, Paris

Compositions

• Japanese prints and new tool influenced Impressionists; cropping-cutting off

• Camera/photography

Impressionists

• Grouped together because of way painted and concern for light

• Purpose; to portray immediate visual sensations of a scene

• Impressionists: Manet, Monet. Renior, Degas

• Also: Pizzaro, Sisley, Marisot, Casatt• 1862-1886

Impressionist subjects:

• Outdoors, seaside, Parisian streets and cafes

Post-Impressionism

• Grouped together because making art at the same time- but not because of similar style

• 1880-1905• Post Impressionists: Seurat, Toulouse-

Lautrec, Cezanne, Gauguin, van Gogh

Different styles

• Small dots of pure color on canvas, Seurat• Pointillists• Textural paint, sick man• van Gogh• Reduce to basic shapes: cone, cylinder,• Cezanne

“Starry Night”

Pointillism, Seurat, “A Sunday on La Grande Jatte” 1884-1886

Cezanne, “Still Life”

Cezanne

• Cezanne liberated art from reproducing reality by reducing reality to its basic compositions

• Cylinder, sphere, cone• To create illusions of depth placed cool

colors like blue, which seem to recede, at rear and warm colors like red, which seem to advance, in front ( Mt. St. Victoire, 1902)