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Chapter 28 Impressionism, Post-Impressionism, Symbolism: Europe and America, Y P 1870 to 1900 Selections From: Chapter 34 Japan

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Chapter 28 Impressionism, Post-Impressionism, Symbolism: Europe and America, Y P 1870 to 1900 Selections From: Chapter 34 Japan Chapter 28 Impressionism, Post-Impressionism, Syypmbolism: Europe and America, 1870 to 1900 Selections from: Chapter 34 Japan, 1336 to 1980 3rd quarter of 19th century – 2nd Industrial Revolution. 1st – textiles, steam, iron 2nd – steel,,y,, electricity, chemicals, oil: foundation for plastics, machinery, building construction, and automobiles. Inventions of radio, electric light, telephone, and electric streetcar shortly followed. URBANIZATION – farmers with less land were squeezed from properties. Work opportunities in factories, improved health/living conditions in cities. MARXISM and DARWINISM 19th century empiricists, believed scientific, rational law governed nature. Marx –economic forces based on class struggl e iidnduced hihitstori cal change. Germans living in Paris, Marx and Engles wrote the communist Manifesto in 1848, advocating the creation of a socialist state – working class seized power and destroyed capitalism. Darwin challenged religious beliefs by postulating a competitive system where only fittest survive – contributed to growing secularism. SOCIAL DARWINISM: Herbert Spencer applied Darwinism to rapidly developing socioeconomic realm – justified colonization of less advanced peoples and cultures. By 1900 major economic and political powers divided up much of the world. French colonized N. Africa and Indochina; Br itish occu pied India, Australia, Nigeria, Egypt , Sudan, Rhodesia, Union of South Africa; Dutch were a majjpor presence in Pacific . MODERNISM: Darwin’s ideas of evolution, Marx’s emphasis on continuing sequence of conflicts – acute sense of world’s impermanence and constantlyygy shifting reality. Modernists transcend simple depiction of contemporary world (Realism), they examine premises of art itself (Manet in Le Dejejner l’Herbe). 20th century art critic Clement Greenberg wrote, “The limitations that constitute the medium of painting – the flat surface, the shape of the support, the properties of the pigment . Modernist painting has come to regard . as positive factors that are to be acknowledged openly.” Japanese art had a profound impact on late 19th century painting Plein-air painting dominates much of Impressionist art Post-Impressionists reacted against what they saw as the ephemeral quality of Impressionist painting. Symbolist painters seek to portray mystical personal visions. In the 19th century the skyscraper was born as a result of new technologg,ical advances, the invention of the elevator , and the rise of land values. Art Nouveau seeks to create a unified artistic experience combining painting, sculpture, and architecture; it relies on organic forms and motifs. Movement Dates Impressionism 1872-1880s Post-Impressionism 1880s-1890s Symbolism 1890s Art Nouveau 1890s-1914 Avant-garde: an innovative group of artists who generally reject traditional approaches in favor of a more experimental technique Japonisme: an attraction for Japanese art and artifacts that were imported into Europe in the late nineteenth century Modernism: a movement begun in the late 19th century in which artists. embraced the current at the expense of the traditional in both subject matter and in media. Modernist artist often seek to question the very nature of art itself. Plein-air: painting in the outdoors to directly capture the effects of light and atmosphere on a give object Pointillism: a painting technique that uses small dots of color that are combined by the eye at a given distance. Primitive or naïve artist: an artist without formal training; a folk artis t. Henri Rousseau is a prim itive artist Skeleton: the supporting interior framework of a building Zoopraxiscope: a device created by Eadweard Muybridge that projects sequences of photographs to give the illusion of movement Hostile critic named movement in response to Monet’s ppgainting in 1st Imppyressionist show in 1874. By 3rd show in 1878, the artists embraced their title. Before the term was used for sketches, whose qualities apply to Impressionist paintings: abbreviation, speed, spontaneity, sensation, impermanence, and the “fleeting moment” – artists’ sensations, subjective and personal responses to nature. Modernist art opposed to academic art, Royal Academies. Membership and annual exhibitions, “Salons,” were highly competitive. Government subsidized – traditional subjects and polished technique. Dissatisfaction jurors led Napoleon III to establish Salon de Refuses (Rejected). Manet’s Luncheon on the Grass was displayed, entire exhibit was panned by public. In 1867 after more rejections, Manet mounted private exhibit outside World’s Fair. 6 years later, Monet and Impressionists formed own society and held exhibitions from 1874 – 1886. In 1884 Salon of Independent Artists was founded. Venues increased, along with new art forms/styles. Painting en plein air – focus on light and color – instantaneous representation of atmosphere and climate. Scientific studies of light and chemically synthesized pigments increased artists’ sensitivity to multiplicity of colors in nature. Local color is modified by light shining on it, reflections of other objects. Shadows do not appear gray or black, but are modified by reflections . Series of paintings of the same subject done at different times of day/days of the year. Meant to hang together for effect. Haystacks were the first series paintings to hang as a group; some thirty were painted, fifteen hung in the original exhibition. Complementary colors side by side intensify. “Mixed” by juxtaposing colors – more intense. Short choppy brushstrokes captured the vibrating quality of lihlight. Subtle gradations of light on the surface Forms dissolve and dematerialize, color overwhelms the forms Juries rejected modernist work – challenge to established artistic conventions, preventing public to see art that was not officially sanctioned. A student of Monet describes his approach, “. try to forget what objects you have bef ore you . Merel y think , here is a little square of blue, here an oblong of pink, . and paint it just as it looks to you . .” In The Painter of Modern Life,1860 BdliBaudelaire wrote, “Modernity is the transitory, the fugitive, the contingent.” In 1872 Monet moved to Argenteuil, prosperous industrial town on Seine; leisure destination of Parisians. With funds from painting sales, Monet bought a boat to use as a floating studio. Leisure activities of bourgeoisie and industrialization. Manet is painting modern life (as defined by Baudelaire). Adopted younger artist’s subject matter, short brushstrokes and reflected light on water. Cue Card Monet created more than 3 dozen paintings of the Rouen Cathedral from the same view at different times of day, under various climatic conditions. With scientific precision, he carefully recorded the passing of time as seen in the movement of light over identical forms. Focused on light and color to reach a greater understanding of appearance of form. World's first socialist working class The Paris Commune: March – May 1871 uprising. The workers of Paris, joined by insubordinate National Guardsmen, seized the city and set about re-orggganizing the government. The Commune occurred after France was defeated in the Franco-Prussian War and Napoleon III was exiled. Caused by disaster of war and growing discontent of French workers. Between 25 – 35,000 people lost their lives during the street massacres of the Commune’s last days. Painting symbolizes Paris recuperated for the bourgeoisie. Rain on the cobblestones symbolized purification of the streets after the war and uprising of the communards. (A Social history of Modern Art Volume 4: Art in an Age of Civil Struggle 1848 – 1871 by Albert Boime) Redesigning of Paris began in began in 1852, ordered by Napoleon III, to accommodate increased population (1.5 million) and to facilitate movement of troops in case of another revolution. Boulevards widened, new water/sewer systems, street lights, buildings. Transformed medieval Paris, thousands of buildings/streets demolished. Informal/ asymmetrical composition, frame seems to crop figures randomly – suggesting transitory nature of street scene. Set working hours enabled people to plan pastimes. Renoir painted en plein air with Monet and Manet at Argenteuil. Dappled with sunlight and shade, blurred into figures – floating and fleeting light. Outdoor leisure activities of the middle class Clipped figures on extremes of painting suggest photographic randomness Cue Card Child in lower left suggests a relaxed and innocent atmosphere. Casual unposed placement of figures and continuity of space – viewer as participant. People going about their business, they do not pose Classical arts – universal and timeless qualities, Impressionism the opposite – incidental, momentary, and passing aspects of reality. Cue Card Faraway look in the eyes of a bidbarmaid who seems bbdored by her customer. Mirror reflects into our world Uncertainty as to what the mirror is reflecting: is it her back listening to a customer, or is this another barmaid? Trapeze act in far upper left corner, largely ignored by customers Composition pushes goods up close to the customers Modern sales technique of placing the products next to a pretty salesgirl. More formal leisure activities – Paris Opera and ballet school. Diverg ing lines lea d viewer into picture. Figures not centrally placed. 3 similar versions: largest, in grisaille, shown in 1st Impressionist exhibition in 1874. Worked mostly indoors on subjects that suggest movement such as ballet dances PtPreparatory didrawings exitist for almost
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