Realism in France
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Realism in France• Emerges in France as a result of interest in science• Empiricism—knowledge based on direct observation• Positivists—philosophical school advocating for scientific approach
to understanding social and natural processes• Realists in art—did away with myth, imaginary subjects and moved
toward what was directly observed in everyday life• Realism comes about after the downfall of NeoClassicism and
Romanticism• NeoClassicism=classical and mythological subjects oriented toward
moral aim• Romanticism=explores the imagination and subjective experience,
privileges raw creativity and passion
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Art 102 Fall 2011
Realism Lecture
Jacques-Louis David. Oath of the Horatii. 1784
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Goya Saturn Devouring One of His Children 1819-23
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John Henry Fuseli The Nightmare 1781
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Cultural context of Realism
• Marx’s Manifesto of Communist Party 1847• 1848 Revolution in France– After French revolution liberates the middle class, or
bourgeoisie, everyone else remains (esp workers)– Advocated for the right of all to work– Established National Workshops for unemployed, which
were closed and caused a proletariat (“blue collar”) uprising– Uprising is suppressed– New beliefs emerge about working people as a result of
class conflict
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Definition of Realism
• An avant-garde movement that focuses on representing the everyday
• Centers on the materiality of things, contemporary working class life, and urban and rural conflict
• Avant-garde=military term. “To the fore.” Advocates for the political effectiveness of art. Not art for art’s sake.
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Courbet
• Rejects academic art (the training in the French Royal Academy)
• Incorporates “popular” art forms into his painting: woodcuts, prints, almanacs, songbooks. All non-elite forms
• Saw his painting as engine of revolution, capable of enacting social change
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Courbet After Dinner at Ornans 1849
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Courbet After Dinner at Ornans 1849
Large size (five feet) ususally Reserved for history painting
Depicts people from Courbet’s ownLife, including his sleeping father
Status of subjects is unclear—could Be bohemians (urban figures who Rebelled against established society)Or could be country folk
Won a gold medal in Salon 1849,Which gave him free access to 1850Salon.
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Courbet After Dinner at Ornans 1849
Painting includes self-portrait of theArtist. Courbet often used himself as aModel.
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Courbet Peasants of Flagey Returning from Fair at Ornans 1849
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Gainsborough Road from Market 1767-8
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Market 1767-8
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Figures have little interaction
Status of figures is indeterminate-Man walking pig seems to be Bourgeois, wearing a frock coatMan in stovepipe hat (bourgeois)Is also wearing a smock (peasant)
Boundary between city and Country is blurred—class issuesExist in both spheres.
Dull colors—no fanciful nostalgiaOr romanticism
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Courbet Stonebreakers 1849
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Courbet Stonebreakers 1849
Painting destroyed or lost in Dresden in 1945
Another large painting—5.5 x 8 feet
Bodies are shown as tools or machines performing repetitive and alienated labor
Ages of workers suggest life cycle without progression
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Courbet The Burial at Ornans 1849
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Set in Courbet’s home town of Ornans, at the new cemetery22 feet long—painting is on scale of history painting, but the scene is generic, not worthy ofStatus as a history painting. Uses scale of history painting to call attention back to the popular.These are rural people dressed in their best—looking like bourgeoisOverall lack of color, with exception of the beadles in red.Flat composition recalls woodcuts. Appears primitive to critics.Rough technique—paint applied with palette knife
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Courbet The Burial at Ornans 1849
Figures are disconnected from one Another
Also, not idealized. They, and the Whole painting, seem deliberatelyugly
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Jean-François Millet. The Sower. 1850
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Jean-François Millet. The Sower. 1850
Millet is a Romantic Realist—heroizesHis subject more than Courbet
Virtue and nobility of rural poverty
Still a realist based on focus onContemporary life and the conflictBetween urban and rural ways of life
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Jean Francois Millet The Gleaners 1857
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Jean Francois Millet The Gleaners 1857
Represents peasants in the actof gleaning—gathering scrapsOf wheat after the harvest
Millet member of the BarbizonSchool, other members of Which concentrated on Landscape
Representing common peasant Figures like this makes criticsWorry about insurrection
Monumentalizes the poor
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Courbet The Painter's Studio-A Real Allegory 1855
This painting causes Courbet to set up Pavilion of Realism in 1955, across fromExhibition Universelle, from which he was rejected.Exhibition Universelle is fair that celebrates progress11 x 20 feetVery rough application of paint, especially on the top (swaths of brown)
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Courbet The Painter's Studio-A Real Allegory 1855
Places landscape paintingOver history painting—nature Still has redemptive capacity
Painting thought of as a triptychBohemian friends on the right(the aesthetic world)Political world—exploited and Exploiters are on the left
Nude woman is muse—combinedWith landscape shows a Critical view of modernizationRampant in Exhibition Universelle
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Courbet The Painter's Studio-A Real Allegory 1855
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Daumier Rue Transnonain 1834
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Daumier Rue Transnonain 1834
Famous for lithographsUses art for political commentary, was supporter of working classThis lithograph shows massacre by members of the guard trying to suppress demonstrationBy workers