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30.3 Modernism and Realism

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Europe and America, 1800-1870, Modernism and Realism • Examine the meanings of “Modernism” and “Realism” and the rejection of Renaissance illusionistic space. • Understand the changes in Realist art in form, style, and content. • Examine the use of art – especially photography and printmaking -- to provide social commentary. 1 The Art of Realism • Understand Realist art in its forms, styles, and content. • Examine the social commentary, shocking subject matter, formal elements, and public reaction to Realism. 2 Realist Influences: Pieter Breughel Louis Le Nain, Family of Country People, ca. 1640 Le Nain Brothers, The Cart or Return from Haymaking, 1641 Realist Influences: Chardin, Woman Cleaning Turnips, 1738 Figure 30-27 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5’ 3” x 8’ 6”. Formerly at Gemäldegalerie, Dresden (destroyed in 1945). 7 Figure 30-28 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, 10’ 3 1/2” x 22’ 9 1/2”. Musée d’Orsay, Paris. 8 GUSTAVE COURBET, The Painter’s Studio: A Real Allegory of a Seven Year Phase in my Artistic and Moral Life, 1855. Oil on canvas, 11’ 10” x 19’ 9 ”. Musée d’Orsay, Paris. 9 Figure 30-29 JEAN-FRANÇOIS MILLET, The Gleaners, 1857. Oil on canvas, 2’ 9” x 3’ 8”. Musée d’Orsay, Paris. 10 Figure 30-32 ROSA BONHEUR, The Horse Fair, 1853–1855. Oil on canvas, 8’ 1/4” x 16’ 7 1/2”. Metropolitan Museum of Art, New York (gift of Cornelius Vanderbilt, 1887). 11 ROSA BONHEUR, Plowing in the Nivervais, 1849. Oil on canvas, 5’ 9” x 8’ 8”. Musee d’Orsay 12 Honore Daumier, Louis Philippe as Gargantua Figure 30-30 HONORÉ DAUMIER, Rue Transnonain, 1834. Lithograph, 1’ x 1’ 5 1/2”. Philadelphia Museum of Art, Philadelphia (bequest of Fiske and Marie Kimball). 17 Figure 30-31 HONORÉ DAUMIER, Third-Class Carriage, ca. 1862. Oil on canvas, 2’ 1 3/4” x 2’ 11 1/2”. Metropolitan Museum of Art, New York (H. O. Havemeyer Collection, bequest of Mrs. H. O. Havemeyer, 1929). 18 Figure 30-33 ÉDOUARD MANET, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863. Oil on canvas, 7’ x 8’ 10”. Musée d’Orsay, Paris. 19 Giorgione, Pastoral Symphony 30.4 The French Academy and Other Classical Models • Examine the importance and influence of the French Royal Academy of Art, the artists it trained and the styles it promoted. • Understand the popularity of other classical models in art. 21 Figure 30-34 ÉDOUARD MANET, Olympia, 1863. Oil on canvas, 4’ 3” x 6’ 2 1/4”. Musée d’Orsay, Paris. 22 Figure 30-35 ADOLPHE-WILLIAM BOUGUEREAU, Nymphs and Satyr, 1873. Oil on canvas, approx. 9’ 3/8” x 5’ 10 7/8” high. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. 23 German and American Realism • Examine German artist’s interests in regional and national characteristics, folk customs and culture. • Identify the American artists and key works of Realist art. 24 Figure 30-36 WILLIAM LEIBL, Three Women in a Village Church, 1878-1882. Oil on canvas, 2’ 5” x 2’ 1”. Kunsthalle, Hamburg. 25 Figure 30-37 WINSLOW HOMER, Veteran in a New Field, 1865. Oil on canvas, 2’ 1/8” x 3’ 2 1/8”. Metropolitan Museum of Art, New York (bequest of Miss Adelaide Milton de Groot, 1967). 26 Winslow Homer, The Gulf Stream Key West, Hauling Anchor (watercolor) Figure 30-38 THOMAS EAKINS, The Gross Clinic, 1875. Oil on canvas, 8’ x 6’ 6”. Philadelphia Museum of Art, Philadelphia. 30 Figure 30-39 JOHN SINGER SARGENT, The Daughters of Edward Darley Boit, 1882. Oil on canvas, 7’ 3 3/8” x 7’ 3 5/8”. Museum of Fine Arts, Boston (gift of Mary Louisa Boit, Florence D. Boit, Jane Hubbard Boit, and Julia Overing Boit, in memory of their father, Edward Darley Boit). 34 Figure 24-30 DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid. 35 Figure 30-40 HENRY OSSAWA TANNER, The Thankful Poor, 1894. Oil on canvas, 2’ 11 1/2” x 3’ 8 1/4”. Collection of William H. and Camille Cosby. 36 Henry Ossawa Tanner • Student of Thomas Eakins • 19th centuryAfrican American life Portrait of Henry Ossawa Tanner by Eakins and Photograph Figure 30-41 EDMONIA LEWIS, Forever Free, 1867. Marble, 3’ 5 1/4” high. James A. Porter Gallery of Afro- American Art, Howard University, Washington, D.C. 39 30.5 Pre-Raphaelites • Examine the Pre-Raphaelites’ choice of subject matter in contrast to the Realists. • Understand the influences of the literary world and of the critic John Ruskin in the art of the Pre-Raphaelites. • Identify artists and styles of the Pre-Raphaelite movement. 40 Figure 30-42 JOHN EVERETT MILLAIS, Ophelia, 1852. Oil on canvas, 2’ 6” x 3’ 8”. Tate Gallery, London. 41 Figure 30-43 DANTE GABRIEL ROSSETTI, Beata Beatrix, ca. 1863. Oil on canvas, 2’ 10” x 2’ 2”. Tate Gallery, London. 42 30.6 19th Century Architecture • Examine the variety of revivalist styles in architecture, the origins of the designs and their impact. • Discuss how the availability of new building materials will affect the structure and appearance of architecture 43 Figure 30-44 CHARLES BARRY and A. W. N. PUGIN, Houses of Parliament, London, England, designed 1835. 44 Figure 30-45 JOHN NASH, Royal Pavilion, Brighton, England, 1815–1818. 45 Figure 30-46 CHARLES GARNIER, the Opera, Paris, France, 1861-1874 46 Figure 30-47 HENRI LABROUSTE, reading room of the Bibliotheque Sainte-Genevieve, Paris, France, 1843-1850. 47 Figure 30-48 JOSEPH PAXTON, Crystal Palace, London, England, 1850-1851; enlarged and relocated at Sydenham, England, 1852-1854. Detail of a color lithograph by ACHILLE-LOUIS MARTINET, ca. 1862. Private collection. 48 30.7 Photography • Examine the origins of photography and its impact in visual art. • Discuss initial uses of the new art medium known as photography. • Recognize the artists and the works of early photography. • Examine artist’s use and response to the technology of photography. 49 Figure 30-49 HONORÉ DAUMIER, Nadar Raising Photography to the Height of Art, 1862. Lithograph, 10 3/4” x 8 3/4”. Museum of Fine Arts, Boston. 50 Figure 30-50 LOUIS-JACQUES-MANDÉ DAGUERRE, Still Life in Studio, 1837. 6 1/4” x 8 1/4”. Daguerreotype. Collection Société Française de Photographie, Paris. 51 Harmen Steenwyck The Vanities of Human Life Figure 30-51 JOSIAH JOHNSON HAWES and ALBERT SANDS SOUTHWORTH, Early Operation under Ether, Massachusetts General Hospital, ca. 1847. Daguerreotype. Massachusetts General Hospital Archives and Special Collections, Boston. 53 Figure 30-38 THOMAS EAKINS, The Gross Clinic, 1875. Oil on canvas, 8’ x 6’ 6”. Philadelphia Museum of Art, Philadelphia. 54 Figure 25-12 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”. Mauritshuis, The Hague. 55 Figure 30-1 NADAR, Eugène Delacroix, ca. 1855. Modern print, 8 1/2”x 6 2/3” from original negative in the Bibliothèque Nationale, Paris. 56 Figure 30-52 JULIA MARGARET CAMERON, Ophelia, Study no. 2, 1867. Albumen print, 1' 1" x 10 2/3". George Eastman House, Rochester (gift of Eastman Kodak Company; formerly Gabriel Cromer Collection) 57 Figure 30-53 TIMOTHY O’SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania, July 1863. Negative by Timothy O’Sullivan. Original print by ALEXANDER GARDNER, 6 3/4" x 8 3/4". New York Public Library (Astor, Lenox and Tilden Foundations, Rare Books and Manuscript Division), New York. 58 Figure 30-54 EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print, 9” x 12”. George Eastman House, Rochester, New York. 59 Discussion Questions Identify the formal artistic differences between Neoclassicism and Romanticism. Describe the debate over 19th century aesthetic theory, as characterized by the Poussinistes vs. the Rubenistes. What is meant by French academic art? How did the works of the Realists factor into French academic standards? How would you describe the work of Eduoard Manet? What were major developments in 19th century architecture? What was the impact of photography during the 19th century? 60 .
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