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Home , At the Moulin Rouge, Edvard Munch, Impressionism, Symbolism (arts)

Chapter 3.8 The Modern Aesthetic: to PART 3 HISTORYImpressionism, AND CONTEXT Post- and

▪ The second half of the nineteenth century saw rapid changes in society:

◆ Railways, steamships, industrial growth, urban development ▪ Expanding middle class ▪ of ▪ Artists responded with multiple forms of experimentation

◆ Explore impact of formal qualities (e.g. Impressionists) but still representational

◆ Abstraction (e.g. Expressionists)

◆ Convey or emotion (e.g Symbolists)

Gateways to : Understanding the Visual , Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Édouard Manet, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863. Oil on canvas, 6’9⅞” × 8’8⅛”. Musée d’Orsay, , Chapter 3.8 The Modern Aesthetic: Realism to Expressionism PART 3 HISTORY AND CONTEXT Edouard Manet, Le Déjeuner sur l’Herbe

▪ Rejected from the 1863 ; instead it was exhibited at the Salon des Refusés ▪ Nude female is not idealized; looks directly at the viewer – strong light flattens her ▪ Marks the beginning of , spatially incoherent ▪ Figures do not occupy the space as in nature, lack of cast shadows

Gateways to Art: Understanding the , Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Chapter 3.8 The Modern Aesthetic: Realism to Expressionism PART 3 HISTORY AND CONTEXT Impressionism ▪ Rejected the Academic tradition ▪ Scenes of everyday life ▪ Often painted (outdoors) ▪ Quick, sketch-like brushstrokes ▪ Depicted effects of light, atmosphere, and color ▪ Studied optics and color theory ▪ Catching moments of people’s lives, sometimes intimate, improvisational

Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Pierre-Auguste Renoir, Bal du Moulin de la Galette, 1876. Oil on canvas, 51⅝ × 68⅞”. Musée d’Orsay, Paris, France , Dancers, c. 1898. on paper, 25½ × 25½”, The Pushkin State Museum of Fine Arts, Moscow, Edgar Degas The Rehearsal 1873 , Woman with a Parasol 1886 Captures a quick moment of a turn Motion conveyed and reinforced by the brushwork of light shown around them and through the parasol Claude Monet – San Maggiore at Dusk 1908-12 Henri de Toulouse-Lautrec, La Goulue at the , 1891. Lithograph in black, yellow, red, and blue on three sheets of tan wove paper.

One of the earliest advertising works, combining illustration with bold marketing message Less text, more bold characters and images, simplified figures boiled to flat shapes, use of contrast, movement Toulouse Lautrec Ball at the Moulin Rouge 1890 A Sunday on La Grande Jatte 1885 Pointilism Chapter 3.8 The Modern Aesthetic: Realism to Expressionism PART 3 HISTORY AND CONTEXT Post-Impressionism ▪ Impressionism was criticized for lacking substance and being too preoccupied with depicting and color/light relationship ▪ Personal expression, structure, color as meaning, exploration of space, both stretching and flattening it.

Gateways to Art: Understanding the Visual Arts, Second Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields Paul Cézanne, Mont Sainte-Victoire, c. 1886–88. Oil on canvas, 26 × 36¼”. , London Chapter 3.8 The Modern Aesthetic: Realism to Expressionism PART 3 HISTORYPaul AND CCONTEXTézanne, Mont Sainte-Victoire

▪ Forms abstracted, planes shifted ▪ Blends warm and cool colors to create a push-pull effect for viewers which adds structure and plays with spatial relationships-flat versus deep space and form

Gateways to Art: Understanding the Visual Arts, Third Edition, Debra J. DeWitte, Ralph M. Larmann, and M. Kathryn Shields , Parau Api. What News 1892 Flat areas of color inspired by the lushness of Tahiti. Strong outline. Flat areas of shapes, solid and patterned. His celebration of an ideal society, pure, unsoiled by western civilization and Sleeping Gypsy 1897 Drama and , what dangers in sleep, dream world. Beauty in the primitive world. The surrealists take this subject up later as the inspiration for their work The Church at Auvers 1890 Chapter 1.10 Content and Analysis PART 1 FUNDAMENTALS

Vincent Van Gogh Wheat Field with Crows 1890 “This sadness last forever.” This was the last piece he, for he shot himself right as it was completed. How much of his mental/emotional state should we consider to weigh the piece as art. How much should it add or detract from its meaning? Should it be a factor at all? Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields , The Waltz, 1889–1905. Bronze 9⅞ × 5¾ × 4”. Cast Eugene Blot, Paris, No.4. Loan of the Bayerische Landesbrandversicherung AG to the Bayerische Staatsgemäldesammlungen. Munich,

Movement and feeling more important than the representation of the body

Led a tragic life. Lover and co-worker of Rodin, who she left finally. Mother rejected her. Finally a sink into bouts of mental instability which was challenged over the years after her family (gladly) committed her. Spent 30 years in a mental institution. The Gates of Hell 1880-1917 A stand alone . His work is based less on representational standards of the human form and more about movement and feeling , Judith I, 1901. Oil and gold plating on canvas, 33 × 16½”. Österreichische Galerie Belvedere, Vienna, Austria

The Judith from the Bible His idea of the femme fatale, his ideal beauty. Long necked, piled high hair, slim and pale with slightly closed smoky look to the eyes

This forms contrast against the gold plated and flatly patterned background. Takes some cues from the Pre-Raphaelite woman and

1893 Emotion and psychology conveyed through rhythmic line, color and the expression on the face. Not a realistic human face, but transformed by feeling