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Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2016 The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt. Jessica Cresseveur University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the American Art and Architecture Commons, Modern Art and Architecture Commons, and the Theory and Criticism Commons Recommended Citation Cresseveur, Jessica, "The queer child and haut bourgeois domesticity : Berthe Morisot and Mary Cassatt." (2016). Electronic Theses and Dissertations. Paper 2409. https://doi.org/10.18297/etd/2409 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE QUEER CHILD AND HAUT BOURGEOIS DOMESTICITY: BERTHE MORISOT AND MARY CASSATT By Jessica Cresseveur B.A., University of Louisville, 2000 M.A., University College London, 2003 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Comparative Humanities University -
Artist Spotlight
ARTIST SPOTLIGHT Édouard Manet DAN SCOTT The Bridge BetweenÉdouard Realism Manet and Impressionism Édouard Manet (1832-1883) was a French painter who bridged the gap between Real- ism and Impressionism. In this ebook, I take a closer look at his life and art. Édouard Manet, Boating, 1874 2 Key Fact Here are some of the key facts and ideas about the life and art of Manet: • Unlike many of his contemporaries, he was fortunate enough to be born into a wealthy family in Paris on 23 January 1832. His father was a high-ranking judge and his mother had strong political connections, being the daughter of a diplomat and goddaughter of Charles Bernadotte, a Swedish crown prince. • His father expected him to follow in his footsteps down a career in law. However, with encouragement from his uncle, he was more interested in a career as a paint- er. His uncle would take him to the Louvre on numerous occasions to be inspired by the master paintings. • Before committing himself to the arts, he tried to join the Navy but failed his entry examination twice. Only then did his father give his reluctant acceptance for him to become an artist. • He trained under a skilled teacher and painter named Thomas Couture from 1850 to 1856. Below is one of Couture’s paintings, which is similar to the early work of Manet. I always find it interesting to see how much a teacher’s work can influence the work of their students. That is why you need to be selective with who you learn from. -
DOMESTIC LIFE and SURROUNDINGS: IMPRESSIONISM: (Degas, Cassatt, Morisot, and Caillebotte) IMPRESSIONISM
DOMESTIC LIFE and SURROUNDINGS: IMPRESSIONISM: (Degas, Cassatt, Morisot, and Caillebotte) IMPRESSIONISM: Online Links: Edgar Degas – Wikipedia Degas' Bellelli Family - The Independent Degas's Bellelli Family - Smarthistory Video Mary Cassatt - Wikipedia Mary Cassatt's Coiffure – Smarthistory Cassatt's Coiffure - National Gallery in Washington, DC Caillebotte's Man at his Bath - Smarthistory video Edgar Degas (1834-1917) was born into a rich aristocratic family and, until he was in his 40s, was not obliged to sell his work in order to live. He entered the Ecole des Beaux Arts in 1855 and spent time in Italy making copies of the works of the great Renaissance masters, acquiring a technical skill that was equal to theirs. Edgar Degas. The Bellelli Family, 1858-60, oil on canvas In this early, life-size group portrait, Degas displays his lifelong fascination with human relationships and his profound sense of human character. In this case, it is the tense domestic situation of his Aunt Laure’s family that serves as his subject. Apart from the aunt’s hand, which is placed limply on her daughter’s shoulder, Degas shows no physical contact between members of the family. The atmosphere is cold and austere. Gennaro, Baron Bellelli, is shown turned toward his family, but he is seated in a corner with his back to the viewer and seems isolated from the other family members. He had been exiled from Naples because of his political activities. Laure Bellelli stares off into the middle distance, significantly refusing to meet the glance of her husband, who is positioned on the opposite side of the painting. -
Impressionism and Post-Impressionism National Gallery of Art Teacher Institute 2014
Impressionism and Post-Impressionism National Gallery of Art Teacher Institute 2014 Painters of Modern Life in the City Of Light: Manet and the Impressionists Elizabeth Tebow Haussmann and the Second Empire’s New City Edouard Manet, Concert in the Tuilleries, 1862, oil on canvas, National Gallery, London Edouard Manet, The Railway, 1873, oil on canvas, National Gallery of Art Photographs of Baron Haussmann and Napoleon III a)Napoleon Receives Rulers and Illustrious Visitors To the Exposition Universelle, 1867, b)Poster for the Exposition Universelle Félix Thorigny, Paris Improvements (3 prints of drawings), ca. 1867 Place de l’Etoile and the Champs-Elysées Claude Monet, Boulevard des Capucines, Paris, 1873, oil on canvas, Nelson-Atkins Museum of Art, Kansas City, Mo. Pierre-Auguste Renoir, The Great Boulevards, 1875, oil on canvas, Philadelphia Museum of Art Pierre-Auguste Renoir, The Pont Neuf, 1872, National Gallery of Art, Ailsa Mellon Bruce Collection Hippolyte Jouvin, The Pont Neuf, Paris, 1860-65, albumen stereograph Gustave Caillebotte, a) Paris: A Rainy Day, 1877, oil on canvas, Art Institute of Chicago, b) Un Balcon, 1880, Musée D’Orsay, Paris Edouard Manet, Le Balcon, 1868-69, oil on canvas, Musée D’Orsay, Paris Edouard Manet, The World’s Fair of 1867, 1867, oil on canvas, Nasjonalgalleriet, Oslo (insert: Daumier, Nadar in a Hot Air Balloon, 1863, lithograph) Baudelaire, Zola, Manet and the Modern Outlook a) Nadar, Charles Baudelaire, 1855, b) Contantin Guys, Two Grisettes, pen and brown ink, graphite and watercolor, Metropolitan -
Berthe Morisot: a Life of Crossed Boundaries and Exceptions Erin E
Articulāte Volume 4 Article 4 1999 Berthe Morisot: A Life of Crossed Boundaries and Exceptions Erin E. Gyomber Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Gyomber, Erin E. (1999) "Berthe Morisot: A Life of Crossed Boundaries and Exceptions," Articulāte: Vol. 4 , Article 4. Available at: http://digitalcommons.denison.edu/articulate/vol4/iss1/4 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. 24 Erin E. Gyomber 25 paintings that portray a working woman artist from the time is Edma's Berthe Morisot BERTHE MorusoT: A LIFE oF CROSSED BouNDARIES Painting. In it, Berthe Morisot confronts a canvas with dirty brushes and an intense AND ExCEPTIONS glare. She is a painter, not simply a woman painting. It is a picture quite unlike Maner's Portrait ofEva Gonzales, painted only a few years later, which portrays Eva Gonzales, a contemporary painter, looking out from the canvas dressed in a sitting gown and BY ERIN E. GYOMBER '99 painting a picture already framed and decorated. A woman could nor be a painter and Morisot is an interesting case. A bourgeois woman who prided herself on her a painter could not be a woman in early nineteenth century France. Clearly, not even elegant and fashionable clothes, a mother and a wife who valued both these the wardrobe was the same. However, Berthe Morisot lived the duality. -
Manet the Modern Master
Manet the Modern Master ‘Portrait of Mademoiselle Claus’ Edouard Manet (1832-1883) oil on canvas, 111 x 70 cm Painted in 1868, the subject of the portrait is Fanny Claus, a close friend of Manet’s wife Suzanne Leenhoff. It was a preparatory study for ‘Le Balcon’ which now hangs in Musée d’Orsay. Originally the canvas was much larger, but Manet cut it up so that Berthe Morisot appears truncated on the right. He kept the painting in his studio during his lifetime. The artist John Singer Sargent then bought it at the studio sale following the artist’s death in 1884 and brought it to England. It stayed in the family until 2012 when it was put up for sale and The Ashmolean launched a successful fundraising campaign to save the painting from leaving the country. © Ashmolean Museum A modern portrait? Use of family and friends as models Manet’s ‘Portrait of Mlle Claus’ has an Manet broke new ground by defying traditional enigmatic quality that makes it very modern. techniques of representation and by choosing The remote and disengaged look on Fanny’s subjects from the events and circumstances face suggests a sense of isolation in urban of his own time. He also wanted to make society. The painting tells no story and its very a commentary on contemporary life and lack of narrative invites the viewer to construct frequently used family and friends to role play their own interpretations. It is a painting that has everyday (genre) scenes in his paintings. the ability to speak to us across the years. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not se^d UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note wiU indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this co^r for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Com pany 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Nimiber 9505207 E v a Gouzalès (1849— 1.883): A n examination of the artist’s style and subject matter. -
Page 70 H-France Review Vol. 3 (March 2003), No. 18 Carol
H-France Review Volume 3 (2003) Page 70 H-France Review Vol. 3 (March 2003), No. 18 Carol Armstrong, Manet Manette. New Haven and London: Yale University Press, 2002. xviii, 400 pp. Figures, notes, and index. $50 U.S. (hb). ISBN 0-300-09658-5. Review by James Smalls, University of Maryland, Baltimore County. Just when you thought that everything has been said about the creative magnificence of Edouard Manet, a book such as Manet Manette by Carol Armstrong appears and provides a fresh approach and outlook. This hefty volume of 315 pages of text, in addition to sixty-three pages of explanatory endnotes, is intelligently illustrated and rich in art-historical and critical detail. Armstrong has not only harnessed and unpacked a great deal of information on Manet and his unique brand of modernism but also has done so with the art of many of his contemporaries. The book is ambitious in scope and divided into three interrelated parts, each of which has a successful outcome. Armstrong opens her text with a discussion of, what Clement Greenberg described as Manet’s “inconsistency,” that is, his sustained tendency not to paint in “connected series but in large ambitious singles.” This "inconsistency," according to Greenberg, is what sets him apart from other modernists who came before and after him (p. xvii) and was the significant aspect of his status as a unique modern artist. The first section of Armstrong’s book sets out to measure Manet’s “inconsistency” through the politics and poetics of his exhibition strategies. For the most part, Armstrong agrees with Greenberg and considers the “inconsistency,” “undecidability,” “irreducibility,” and the non-unified aspects of Manet’s brand of modernism as what makes him unique among his contemporaries. -
Berthe Morisot 1841 - 1895
Berthe Morisot 1841 - 1895 Going where few women had gone before… Bourges, France 1841 C’est la vie! I’d rather be painting… Berthe grew up in a wealthy family. She moved to Paris at age 7. “The Balcony” by Edouard Manet Art Instruction Berthe & her 2 sisters were educated at home until, in their teens, they were sent to private school to learn the feminine arts of needlework, drawing and piano. Berthe’s giftedness in art became apparent. Regardless of social traditions, Berthe decided to pursue a career in art. Berthe began by copying the great masters, but was attracted to a group of artists called the “Impressionists” who tried to quickly capture the effects of sunlight on everyday scenes of life. Berthe later developed an Impressionistic style of her own. Impressionism •Sketchy •Choppy brush-strokes •Thick gobs of paint (impasto) •Bright colors •Often outside •Not detailed •Feature ordinary people, not mythic or heroic Other Impressionists in Paris Manet Pissaro Renoir Monet Subject Matter While her male counterparts were painting landscapes, Berthe, being a woman, could not wander about unaccompanied. She, therefore, painted the life she saw: • Women & children • Wealthy women at their leisure Berthe used a naturalistic palette (green trees were painted in green), unlike some of the other impressionists. “Dans la Salle a Manger” (In the Dining Room) by Berthe Morisot “The Cheval Glass” by Berthe Morisot “Fillette au Chien” (Girl on a Chair) by Berthe Morisot “Julie Daydreaming” (the artist’s daughter) “Julie Manet and her Greyhound Laertes” (the artist’s daughter) En Plein-Air Berthe married the brother of fellow impressionist, Edouard Manet, in 1874. -
Edouard Manet
Edouard Manet Edouard Manet (mah-NAY) 1832-1883 French Painter Edouard Manet was a transitional figure in 19th Vocabulary century French painting. He bridged the classical tradition of Realism and the new style of Impressionism—A style of art that originated in Impressionism in the mid-1800s. He was greatly 19th century France, which concentrated on influenced by Spanish painting, especially changes in light and color. Artists painted Velazquez and Goya. In later years, influences outdoors (en plein air) and used dabs of pure from Japanese art and photography also affected color (no black) to capture their “impression” of his compositions. Manet influenced, and was scenes. influenced by, the Impressionists. Many considered him the leader of this avant-garde Realism—A style of art that shows objects or group of artists, although he never painted a truly scenes accurately and objectively, without Impressionist work and personally rejected the idealization. Realism was also an art movement in label. 19th century France that rebelled against traditional subjects in favor of scenes of modern Manet was a pioneer in depicting modern life by life. generating interest in this new subject matter. He borrowed a lighter palette and freer brushwork Still life—A painting or drawing of inanimate from the Impressionists, especially Berthe Morisot objects. and Claude Monet. However, unlike the Impressionists, he did not abandon the use of black in his painting and he continued to paint in his studio. He refused to show his work in the Art Elements Impressionist exhibitions, instead preferring the traditional Salon. Manet used strong contrasts and Color—Color has three properties: hue, which is bold colors. -
Seeing Laure: Race and Modernity from Manet's Olympia to Matisse
Seeing Laure: Race and Modernity from Manet’s Olympia to Matisse, Bearden and Beyond Denise M. Murrell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2013 Denise M. Murrell All Rights Reserved ABSTRACT Seeing Laure: Race and Modernity from Manet’s Olympia to Matisse, Bearden and Beyond Denise M. Murrell During the 1860s in Paris, Edouard Manet and his circle transformed the style and content of art to reflect an emerging modernity in the social, political and economic life of the city. Manet’s Olympia (1863) was foundational to the new manner of painting that captured the changing realities of modern life in Paris. One readily observable development of the period was the emergence of a small but highly visible population of free blacks in the city, just fifteen years after the second and final French abolition of territorial slavery in 1848. The discourse around Olympia has centered almost exclusively on one of the two figures depicted: the eponymous prostitute whose portrayal constitutes a radical revision of conventional images of the courtesan. This dissertation will attempt to provide a sustained art-historical treatment of the second figure, the prostitute’s black maid, posed by a model whose name, as recorded by Manet, was Laure. It will first seek to establish that the maid figure of Olympia, in the context of precedent and Manet’s other images of Laure, can be seen as a focal point of interest, and as a representation of the complex racial dimension of modern life in post-abolition Paris. -
Exhibiting Berthe Morisot After the Advent of Feminist Art History
CORE Metadata, citation and similar papers at core.ac.uk Provided by VCU Scholars Compass Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Exhibiting Berthe Morisot after the Advent of Feminist Art History Kristie Couser Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/484 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. EXHIBITING BERTHE MORISOT AFTER THE ADVENT OF FEMINIST ART HISTORY A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. by Kristie L. Couser (Bachelor of Arts, Ball State University, May, 2004) Director: Dr. Margaret A. Lindauer, Associate Professor and Museum Studies Coordinator, Department of Art History Virginia Commonwealth University Richmond, VA April 23, 2013 Acknowledgement I express my gratitude to Dr. Margaret Lindauer for her direction in this project, which stemmed from her intellectually stimulating museum studies courses. Thank you, Peggy, for your candidness, kindness, and flexibility throughout this process and for encouraging my growth in the field. To my readers Dr. Eric Garberson and Dr. Catherine Roach, thank you for your enthusiasm from the start of this project; your thoughtful comments invaluably shaped its scope and organization. I am grateful for the generosity of the Department of Art History, which granted me the excellent opportunity to research at the Musée Marmottan Monet in Paris and raised my spirits to boot.