French Artists

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● Monet Impression: Sunrise Called "wallpaper in it's embryonic state" by a critic Shows the Le Havre Harbor Shows a reddishorange sun illuminating the harbor [Did many paintings of haystacks and waterlillies] Rouen Cathedral He painted it at various times of the day [Wife was Camille Doncieux] ● Degas The Dance Class [Notable for showing many dancers] [Possibly antisemetic] Musicians in the Orchestra New Orleans Cotton Exchange Show his uncle reading a newspaper The Miliners Young Spartans Shows a bunch of Greek warriors exercising ● Manet Luncheon on the Grass Shows two men with a naked woman having a picnic the woman is modeled after victorine meurent Olympia Shows a prostitute and a black servant There's a black cat at the foot of the bed The main figure is modeled after Victorine Meurent Bar at FoliesBergere Two chandeliers hang in the back Trapeze artist top left Man in a top hat with a mustache on the right side bowl of oranges woman with opera glasses looks at the viewer Niece=Berthe Morisot Battle of the Kearsarge and Alabama The Execution of Emperor Maximillian The Fifer Lithographs for Poe’s the Raven Luncheon of Boating Party Features Courbet? Music in the Tullieries (Concert in the Tullieries Garden) The Philosopher (Beggar with Oysters) Racing at Longchamps The Spanish Singer The Waitress ● Cezanne ○ House of the Hanged Man ○ Still life with a basket of apples ○ The Large Bathers ○ The Card Players ○ The Artist's Mother and Sister ○ Mont SainteVictoire ● Courbet Father of Realism After Dinner The Artists Studio: A Real Allegory of a Seven Year Pahse in my Artistic and Moral Life Burial at Ornans Dog of the Huntsman The Desperate Man Fox in the Snow Grape Picking The Meetingb(The Encounter) Origin of the World Patron was Alfred Bruyas The Peasants at Flagey The Return from the Conference Self Portrait with Black Dog The Sleepers The Sleeping Spinner The Stone Breakers Destroyed in British bombing of Dresden Training Hounds The White Legs The Wounded Man ● Delacroix Liberty Leading the People Notre Dame is in the background Artist is in the painting with a top hat Boy duelwielding pistols The Women of Algiers Black and red door in the background They are smoking from hookahs Massacre at Chios Inspired Constable to repain his "Hay Wain" Turkish people are slaughtering innocent Greeks ● Ingres [Neoclassicist] Jupiter and Thetis La Grande Odalisque The Turkish Bath Oedipus and the Sphinx The Source The Valpicon Bathers ● Poussin A Dance to the Music of Time Death of Germanicus Et in Arcadia Ego Plague at Ashdod ● Gauguin ○ Roomed with van Gogh ○ Vision after the Sermon ■ Jacob wrestling an angel ○ Two Tahitian Women ○ Night cafe at Arles ○ The Yellow Christ ○ Where Do We Come From? What Are We? Where Are We Going? .

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UNIVERSITY OF CENTRAL OKLAHOMA DR. JOE C. JACKSON COLLEGE OF GRADUATE STUDIES Edmond, Oklahoma Hemingway: Insights on Military Leadership A THESIS SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree Of MASTER OF ARTS IN ENGLISH By Shawn Dillon Edmond, Oklahoma 2014 Abstract of Thesis University of Central Oklahoma Edmond, Oklahoma NAME: Shawn Dillon TITLE OF THESIS: Hemingway: Insights on Military Leadership DIRECTOR OF THESIS: Dr. G.S. Lewis PAGES: 86 The literature of Ernest Hemingway is rich with military lessons derived from his lifetime of proximity to war and his understanding of soldiers and leaders at all levels as presented through his characters. Hemingway wrote two significant military works that treat deeply the psyche and behavior of soldiers in war: For Whom the Bell Tolls presented a guerilla band led by an American professor named Robert Jordan, and exposed the different types of junior and senior leaders, as well as an ideal soldier in Anselmo, the old, untrained partisan. Across the River and Into the Trees was equally rich in military insights, at a much higher level of command, through the bitter musings of Colonel Cantwell. Hemingway’s fiction represented and reproduced the detailed awareness he had of soldiers and leaders, good and bad. He was born with the natural instinct to lead, and through his proximity to men performing humanity’s most vaunted of tests, he produced a body of fiction that can serve collectively as a manual for understanding soldiers, terrain, and military
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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.
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O Ex, O -4-» 0)
o ex, o -4-» 0) CO H CO I—zI o p—I CO CO w P4 Terrace at Sainte-Adresse, by Claude Monet (1840-1926), Trench. About 1867. Oil on canvas, 38%, x S'Vs inches. Purchased with special contributions and purchase funds given or bequeathed by friends of the Museum, (>~.2ji Windows Open to Nature MARGARETTA M. SALINGER Associate Curator of European Paintings "Sainte-Adresse," wrote Monet in the early sixties, alluding to the physical aspect of the little seacoast town north of Le Havre and not to his frustrated life there among his exasperated relatives, "Sainte-Adresse - it's heavenly and every day I turn up things that are constantly more lovely. It's enough to drive one mad, I so much want to do it all!" This joyous appreciation, this impatient eagerness, from the most objective and consciously directed of the impressionist painters is echoed twenty-five years later in the bursting enthusiasm of one of Vincent van Gogh's letters written from Aries: "Nature here is so extraordinarily beautiful... I cannot paint it as lovely as it is." What other movement in the whole history of art is so marked by cheerfulness or reflects so much pure delight in life and nature as impressionism? The subject matter alone in dicates the happy things that attracted the young artists: pretty women, children, and pets; places of amusement - theaters, circuses, outdoor dance halls, regattas and sailing parties, restaurants and cafes; and most of all, nature herself, beaches and rivers, flowers and gardens. The question automatically arises why, confronted with so many agree able images, public and critics alike were outraged by what they saw, most of the latter nettled to the point of searing hostility.
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Manet and Modern Beauty
Tyler E. Ostergaard exhibition review of Manet and Modern Beauty Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Citation: Tyler E. Ostergaard, exhibition review of “Manet and Modern Beauty ,” Nineteenth- Century Art Worldwide 19, no. 1 (Spring 2020), https://doi.org/10.29411/ncaw.2020.19.1.15. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Ostergaard: Manet and Modern Beauty Nineteenth-Century Art Worldwide 19, no. 1 (Spring 2020) Manet and Modern Beauty Art Institute of Chicago, Chicago May 26, 2019–September 8, 2019 Getty Center, Los Angeles October 8, 2019–January 12, 2020 Catalogue: Scott Allan, Emily A. Beeny, and Gloria Groom, with Bridget Alsdorf, Carol Armstrong, Helen Burnham, Leah Lehmbeck, Devi Ormond, Catherine Schmidt Patterson, and Samuel Rodary, Manet and Modern Beauty: The Artist’s Last Years. Los Angeles: J. Paul Getty Museum, 2019. 400 pp.; 206 color and 97 b&w illus., 1 table; bibliography; index. $65 (hardcover) ISBN: 978–1606066041 How are we to classify Manet’s last paintings? This question drives the new exhibition Manet and Modern Beauty, which ran at the Art Institute of Chicago from May 26, 2019 to September 8, 2019, and then at the Getty Center, Los Angeles from October 8, 2019 to January 12, 2020. Organized by curators Scott Allan, Emily A. Beeny, and Gloria Groom, Manet and Modern Beauty focuses on Manet’s production—hardly just paintings—from the mid-1870s until his death on April 30, 1883, at age fifty-one.
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The Artists of Les Xx: Seeking and Responding to the Lure of Spain
THE ARTISTS OF LES XX: SEEKING AND RESPONDING TO THE LURE OF SPAIN by CAROLINE CONZATTI (Under the Direction of Alisa Luxenberg) ABSTRACT The artists’ group Les XX existed in Brussels from 1883-1893. An interest in Spain pervaded their member artists, other artists invited to the their salons, and the authors associated with the group. This interest manifested itself in a variety of ways, including references to Spanish art and culture in artists’ personal letters or writings, in written works such as books on Spanish art or travel and journal articles, and lastly in visual works with overtly Spanish subjects or subjects that exhibited the influence of Spanish art. Many of these examples incorporate stereotypes of Spaniards that had existed for hundreds of years. The work of Goya was particularly interesting to some members of Les XX, as he was a printmaker and an artist who created work containing social commentary. INDEX WORDS: Les XX, Dario de Regoyos, Henry de Groux, James Ensor, Black Legend, Francisco Lucientes y Goya THE ARTISTS OF LES XX: SEEKING AND RESPONDING TO THE LURE OF SPAIN by CAROLINE CONZATTI Bachelor of Arts, Manhattanville College, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2005 © 2005 CAROLINE CONZATTI All Rights Reserved THE ARTISTS OF LES XX: SEEKING AND RESONDING TO THE LURE OF SPAIN by CAROLINE CONZATTI Major Professor: Alisa Luxenberg Committee: Evan Firestone Janice Simon Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia December 2005 iv ACKNOWLEDGEMENTS I would like to thanks the entire art history department at the University of Georgia for their help and support while I was pursuing my master’s degree, specifically my advisor, Dr.
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Information to Users
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The Collections of the Nelson-Atkins Museum of Art
French Paintings and Pastels, 1600–1945 The Collections of The Nelson-Atkins Museum of Art Aimee Marcereau DeGalan, Editor 4525 Oak Street, Kansas City, Missouri 64111 | nelson-atkins.org Edouard Manet | The Croquet Party, 1871 The Nelson-Atkins Museum of Art | French Paintings and Pastels, 1600–1945 Edouard Manet, The Croquet Party, 1871 Artist Edouard Manet, French, 1832–1883 Title The Croquet Party Object Date 1871 Alternate and Variant The Croquet Party at Boulogne-sur-Mer; La partie de croquet Titles Medium Oil on canvas Dimensions 18 x 28 3/4 in. (45.7 x 73 cm) (Unframed) Signature Signed lower right: Manet Credit Line The Nelson-Atkins Museum of Art. Gift of Marion and Henry Bloch, 2015.13.11 doi: 10.37764/78973.5.522 the croquet lawn outside the casino at Boulogne-sur- Catalogue Entry Mer, in northern France. On the far left is Paul Roudier, the artist’s childhood friend and a central member of Manet’s social circle; he is the only figure in the scene to Citation address the spectator directly.1 Alongside him is Jeanne Gonzalès (1852–1924), a talented young painter who Chicago: would enjoy recognition at the Paris Salon from the late 1870s (Fig. 1).2 Jeanne was the younger sister of the Simon Kelly, “Edouard Manet, The Croquet Party, painter Eva (1849–1883), who was Manet’s favorite 1871,” catalogue entry in Aimee Marcereau DeGalan, female pupil. Jeanne, too, received artistic lessons from ed., French Paintings, 1600–1945: The Collections of the Manet and frequented his studio.3 She looks toward Nelson-Atkins Museum of Art (Kansas City: The Léon Leenhoff, Manet’s stepson (and, possibly, his Nelson-Atkins Museum of Art, 2021), biological son) and a favorite model for the artist.4 To the https://doi.org/10.37764/78973.5.522.5407 right is Léon’s mother—Manet’s wife, Suzanne Leenhoff MLA: —who raises her mallet to hit a croquet ball alongside an unknown partner.
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Impressionism
IMPRESSIONISM Eugène Boudin (1824 – 1898) was one of the first French landscape painters to paint outdoors. Boudin was a marine painter, and expert in the rendering of all that goes upon the sea and along its shores. His pastels, summary and economic, garnered the splendid eulogy of Baudelaire; and Corot called him the "king of the skies.” He opened a small picture framing shop in Le Havre and exhibited artists working in the area, such as Jean-François Millet, and Thomas Couture who encouraged young Boudin to follow an artistic career. Boudin, The Beach at Villerville 1864 In 1857/58 Boudin befriended the young Claude Monet, then only 18, and persuaded him to give up his teenage caricature drawings and to become a landscape painter, instilling in the younger painter a love of bright hues and the play of light on water later evident in Monet's Impressionist paintings. They remained lifelong friends and Boudin joined Monet and his young friends in the first Impressionist exhibition in 1873. Boudin, Sailboats at Trouville 1884 Johan Jongkind (1819 – 1891) was a Dutch painter and printmaker. He painted marine landscapes in a free manner and is regarded as a forerunner of Impressionism, introducing the painting of genre scenes from the tradition of the Dutch Golden Age. From 1846 he moved to Paris, to further his studies. Two years later, he had work accepted for the Paris Salon, receiving acclaim from critic Charles Baudelaire and later on from Émile Zola. Returning to Rotterdam in1865 he moved back to Paris in1861, where he rented a studio Jongkind, in Montparnasse, the following year meeting in View from the Quai d'Orsay 1854 Honfleur Sisley, Boudin and the young Monet.
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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.
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T T-\Yf-T Dissertation U I V L L Information Service University Microfilms Intemational a Bell & Howell Information Company 300 N
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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.
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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 Qpewriter 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 send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will 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 copy for an additional charge. Contact UMI directly to order. U'^iverSity M;crc!. rrs .:':err'a; orai A Be' & Howe' .'''•or"-3r or C oH rar-, 300 Ncr;r Zeec Roac Anr ArGor Ml AS-06-’ 3A6 3-3 751-4700 600 :2'-050C Order Number 9238208 The effects of art knowledge, pedagogical experience, and contextual information on art teaching Kowalchuk, Elizabeth Ann, Ph.D.
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