Realism Art Questions

Total Page：16

File Type：pdf, Size：1020Kb

Realism Art Questions Go to the AP European History part of the website (http://mrdivis.yolasite.com/). On the right- hand side under “Nationalism,” click on “Realism Art PPT”. This is a slideshow of some of the most well-known artists and paintings from the Realist era. To answer the follow questions, scroll through the slides. 1. How was the work of the Realists different than the Neo-Classical era before it? 2. What was the purpose of what the Realist painters work and what they were trying to get across? 3. Name 3 Realist painters of this era. 4. Millet’s The Gleaners is widely regarding as one of the most symbolic of the Realist paintings. In your opinion, what is it about this work that stands out so much? What does it portray? 5. What would the caption be for Daumier’s The Third-Class Carriage? 6. Describe who the people in Daumier’s Burden or The Beggars reflected in society at the time? What was he trying to say by painting these scenes? 7. What statement was Courbet making by not accepting the Legion of Honor award and by refusing to sell one of his paintings to Napoleon III? 8. What does it say about Courbet that he painted a portrait of Pierre-Joseph Proudhon, a self-described anarchist? 9. Describe what Courbet’s The Stonebreakers shows about society. 10. Name 3 French Realist authors. 11. In your opinion, what makes Flaubert’s Madame Bovary a novel in the Realist era? 12. What was the common thread in the following Russian works: Gogol’s Dead Souls and Chekhov’s The Island of Sakhalin? 13. What was Tolstoy’s War and Peace about? 14. How and why did Tolstoy’s work and ideas influence social, political, and religious changes? 15. In your opinion, what was Dostoevsky’s Crime and Punishment saying about life and society in Russia in the 19th century? 16. What is the general theme of the work of Charles Dickens? .

Copy Link

Recommended publications

Taylor Acosta
Taylor Acosta book review of World History of Realism in Visual Arts, 1830–1990: Naturalism, Socialist Realism, Social Realism, Magic Realism, New Realism, and Documentary Photography by Boris Röhrl Nineteenth-Century Art Worldwide 15, no. 3 (Autumn 2016) Citation: Taylor Acosta, book review of “World History of Realism in Visual Arts, 1830–1990: Naturalism, Socialist Realism, Social Realism, Magic Realism, New Realism, and Documentary Photography by Boris Röhrl,” Nineteenth-Century Art Worldwide 15, no. 3 (Autumn 2016), https://doi.org/10.29411/ncaw.2016.15.3.9. 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. Acosta: World History of Realism in Visual Arts, 1830–1990 Nineteenth-Century Art Worldwide 15, no. 3 (Autumn 2016) Boris Röhrl, World History of Realism in Visual Arts, 1830–1990: Naturalism, Socialist Realism, Social Realism, Magic Realism, New Realism, and Documentary Photography. Hildesheim, Germany: Georg Olms Verlag, 2013. 680 pp.; 97 b&w ills.; notes; bibliography; index; dictionary. $78.00 (cloth) ISBN: 978-3-487-14387-3 The literature on Realism is extensive and includes theoretical texts, historical analyses, and artist monographs, and at the center of many of these intellectual projects is a persistent debate surrounding the term itself. In 1856, the art critic Edmond Duranty declared, “To give a definition of realism regarding aesthetics would be time lost—an opening of sluice gates releasing a flood of discussion solely about words” (1).
[Show full text]
The Green Herrings of Realism
The green herrings of realism Devin Fore, Realism after Modernism: The Rehumanization of Art and Literature, MIT Press, Cambridge MA, 2012 hb and 2015 pb. 416 pp., £26.95 hb., £17.95 pb., 978 0 262 01771 8 hb., 978 0 262 52762 0 pb. According to Roman Jakobson, writing in 1922, seeking freedom from modern alienation and ‘mute realism ‘is an artistic trend which aims at conveying reality’, but an immanence akin to Adorno’s ‘mimesis reality as closely as possible and strives for maximum of the hardened and alienated’. Through examples verisimilitude. We call realistic those works which crossing a series of representational renewals – of we feel accurately depict life by displaying verisimili- figuration in painting and photography; perspective tude.’ Acknowledging the diversity of artistic move- in photography; gesture and filmic documentation ments which have made claim to exactly this sense in theatre; representation, myth and autobiography of realism in their works – futurism, expressionism, in fiction – Fore presents a case for the deepening of various modernisms, as well as the nineteenth-cen- both ‘realism’ and ‘modernism’ as innovative forms of tury movement known as ‘realism’ – Jakobson notes epistemic enquiry. This, he argues, is especially the the ‘extreme relativity of the concept of “realism”’. case for figuration, since the return to representa- Hereafter, further ambiguities unfold. The most tion of the human form depended upon an object/ poised is perhaps that summarized by Jakobson subject that had entirely changed: a new kind of under the heading B (as if issued from the position human being. In sum, realism was not the same after of an author’s intention to be realistic): modernism.
[Show full text]
The Early Netherlandish Underdrawing Craze and the End of a Connoisseurship Era
Genius disrobed: The Early Netherlandish underdrawing craze and the end of a connoisseurship era Noa Turel In the 1970s, connoisseurship experienced a surprising revival in the study of Early Netherlandish painting. Overshadowed for decades by iconographic studies, traditional inquiries into attribution and quality received a boost from an unexpected source: the Ph.D. research of the Dutch physicist J. R. J. van Asperen de Boer.1 His contribution, summarized in the 1969 article 'Reflectography of Paintings Using an Infrared Vidicon Television System', was the development of a new method for capturing infrared images, which more effectively penetrated paint layers to expose the underdrawing.2 The system he designed, followed by a succession of improved analogue and later digital ones, led to what is nowadays almost unfettered access to the underdrawings of many paintings. Part of a constellation of established and emerging practices of the so-called 'technical investigation' of art, infrared reflectography (IRR) stood out in its rapid dissemination and impact; art historians, especially those charged with the custodianship of important collections of Early Netherlandish easel paintings, were quick to adopt it.3 The access to the underdrawings that IRR afforded was particularly welcome because it seems to somewhat offset the remarkable paucity of extant Netherlandish drawings from the first half of the fifteenth century. The IRR technique propelled rapidly and enhanced a flurry of connoisseurship-oriented scholarship on these Early Netherlandish panels, which, as the earliest extant realistic oil pictures of the Renaissance, are at the basis of Western canon of modern painting. This resulted in an impressive body of new literature in which the evidence of IRR played a significant role.4 In this article I explore the surprising 1 Johan R.
[Show full text]
Realism Impressionism Post Impressionism Week Five Background/Context the École Des Beaux-Arts
Realism Impressionism Post Impressionism week five Background/context The École des Beaux-Arts • The École des Beaux-Arts (est. 1648) was a government controlled art school originally meant to guarantee a pool of artists available to decorate the palaces of Louis XIV Artistic training at The École des Beaux-Arts • Students at the École des Beaux Arts were required to pass exams which proved they could imitate classical art. • An École education had three essential parts: learning to copy engravings of Classical art, drawing from casts of Classical statues and finally drawing from the nude model The Academy, Académie des Beaux-Arts • The École des Beaux-Arts was an adjunct to the French Académie des beaux-arts • The Academy held a virtual monopoly on artistic styles and tastes until the late 1800s • The Academy favored classical subjects painted in a highly polished classical style • Academic art was at its most influential phase during the periods of Neoclassicism and Romanticism • The Academy ranked subject matter in order of importance -History and classical subjects were the most important types of painting -Landscape was near the bottom -Still life and genre painting were unworthy subjects for art The Salons • The Salons were annual art shows sponsored by the Academy • If an artist was to have any success or recognition, it was essential achieve success in the Salons Realism What is Realism? Courbet rebelled against the strictures of the Academy, exhibiting in his own shows. Other groups of painters followed his example and began to rebel against the Academy as well. • Subjects attempt to make the ordinary into something beautiful • Subjects often include peasants and workers • Subjects attempt to show the undisguised truth of life • Realism deliberately violates the standards of the Academy.
[Show full text]
The Image of Early Netherlandish Art in the Long Nineteenth Century
ALISON HOKANSON & EDWARD H. WOUK The past is always present: The image of early Netherlandish art in the long nineteenth century In 1881, the American collector Stephen Whitney Phoenix bequeathed to the Metropolitan Museum of Art in New York a painting by the artist Wilhelm (Guillaume) Koller (1829- 1884/1885) entitled Hugo van der Goes painting the portrait of Mary of Burgundy (fĳig. 1). Koller, who trained in Vienna and Düsseldorf, moved in 1856 to Belgium, where he exhibited this painting at the Brussels Salon of 1872.1 The picture imagines an encounter between Van der Goes (ca. 1440-1482) and Mary of Burgundy (1457-1482), shown as a child seated on the lap of her young stepmother Margaret of York (1446-1503). Behind them is likely 1 Charles the Bold (1433-1477), who married Margaret after the death of Mary’s mother, Wilhelm (Guillaume) Koller, Hugo 2 van der Goes painting the portrait Isabella of Bourbon (1434-1465). Koller’s painting offfered nineteenth-century audiences of Mary of Burgundy, ca. 1872, an appealing, if fĳictional, image of an esteemed northern European artist depicting a oil on panel, 59.4 x 86.4 cm, New York, The Metropolitan moment in the domestic life of a noble dynasty closely identifĳied with the history and Museum of Art, inv. 81.1.662. heritage of Belgium.3 146 Oud Holland 2020 - 3/4 volume 133 Downloaded from Brill.com09/27/2021 04:53:44PM via free access Koller specialized in genre scenes celebrating fĳifteenth- and ixteenth-centurys European culture, and particularly that of present-day Belgium, Austria, and Germany.
[Show full text]
Nature in American Realism and Romanticism and the Problem with Genre
Nature in American Realism and Romanticism and the Problem with Genre BY MARTIN GROFF Early literature in the United States, written during a time when the vast North American landscape remained largely unexplored by European settlers, reflects a profound connection to nature and the centrality of the wilderness to the young nation’s culture and consciousness. But as the romantic and transcendentalist movements began to fade in the United States by the mid-nineteenth century, the portrayal of nature began to change as well, shifting away from the sublime and overtly spiritual and towards a so-called realist style. Ecocritics have long given attention to romantic representations of nature given the prominence of this aesthetic in both eighteenth and nineteenth century US and British literature. Though earlier scholarship tended to view nature predominantly as a spiritual metaphor for romantics, recent ecocritics “tend to place a new emphasis on the romantics’ engagement with the materiality of nature and their acute sense of the deterioration of wild and rural landscapes during processes of enclosure and industrialization.”1 Despite such shifts in critical emphasis, contemporary ecocriticism nonetheless frequently continues to rely on canonical assumptions. For instance, Ashton Nichols’s recent Beyond Romantic Ecocriticism: Toward Urbanatural Roosting (2011), even in its rethinking of certain traditional canonical models, reinforces the category of romanticism as a basis for analyses of historical ecologies. Confining ecocritical studies to the 1U. K. Heise, “Environment and Poetry,” in The Princeton Encyclopedia of Poetry and Poetics, ed. Roland Greene, et al. (Princeton: Princeton University Press, 2012), 437. Valley Humanities Review Spring 2015 1 borders of genres and movements such as “romanticism” and “realism,” however, presents certain risks.
[Show full text]
Lesson 09: Michelangelo- from High Renaissance to Mannerism
East Tennessee State University Digital Commons @ East Tennessee State University Art Appreciation Open Educational Resource 2020 Lesson 09: Michelangelo- From High Renaissance to Mannerism Marie Porterfield Barry East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/art-appreciation-oer Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Editable versions are available for this document and other Art Appreciation lessons at https://dc.etsu.edu/art-appreciation-oer. Recommended Citation Barry, Marie Porterfield, "Lesson 09: Michelangelo- rF om High Renaissance to Mannerism" (2020). Art Appreciation Open Educational Resource. East Tennessee State University: Johnson City. https://dc.etsu.edu/art-appreciation-oer/10 This Book Contribution is brought to you for free and open access by Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Art Appreciation Open Educational Resource by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Michelangelo from High Renaissance to Mannerism” is part of the ART APPRECIATION Open Educational Resource by Marie Porterfield Barry East Tennessee State University, 2020 Introduction This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. This is an Open Educational Resource (OER), an openly licensed educational material designed to replace a traditional textbook.
[Show full text]
Chapter 11 the Rhetoric of Realism: Courbet and the Origins of the Avant-Garde - 261 11.2 Jean-Frangois (1850, P
CHAPTER 11 The Rhetoric ofRealism: Courbet and the Origins ofthe Avant-Garde c. 1840-1880 INTRODUCTION The story of Realism is one of the But it did one new and remarkable thing: it made the insur- most perplexing for students of nineteenth-century art. gent classes-the ones addressed by Karl Marx in The Within the domain of culture, we usually take the word Communist Manifesto (1848)-its subject, in some cases "realism" (lowercase) to mean a work of art or literature adopting even their language or argot. In William Holman that represents reality in a faithful way. If a picture bears a Hunt's Rienzi Vowing to Obtain Justice ... (1848-49), we see close resemblance to some person or thing in the world, a triad of plain Englishmen in the left foreground (modeled or a novel conjures up a plausible likeness, we might say it is "realistic." But in the context of nineteenth-century art, on young members of the PRB themselves) vowing to take Realism is something else entirely. revenge against the patrician warriors who wantonly killed Around the time of the revolutions of 1848, workers and the recumbent boy-figure in front. The composition is clear, the lower middle class in the major European and American the gestures immediately legible, and the detail almost pho- cities began to demand and expect a culture that spoke to tographic. In Millet's much more painterly TheSower(1850), them in a language they could understand. Forced by enclo- we see a rough-hewn peasant enacting the familiar, biblical sure laws, higher rents, impoverished soils, and poor crop parable of Christ as the sower who can plant the seed of faith yields to leave the countryside to find work in urban facto- only in the most favorable soil.
[Show full text]
Representation Realism and the Baroque
CHAPTER FOUR REPRESENTATION REALISM AND THE BAROQUE Oddly perhaps, the term ‘baroque’ was apparently not used in connection with literature, as distinct from the visual arts and music, until the late nineteenth century and the publication of Renaissance und Baroque in 1888 by Heinrich Wölfflin (1964). However, it was only widely taken up in the 1920s and 30s, particularly in Germany (though Wellek [1946] says that Valdemar Vedel, a Danish scholar used the term as early as 1914 – but this was, he thinks, ‘completely ignored’ due to its being Danish). Since then it has been applied both retrospectively to, for example, Shakespeare, Cervantes, the English metaphysical poets, Corneille and Racine and to modern and contemporary writers. Forkey (1959) says that Dylan Thomas, T.S. Eliot, Christopher Fry and W.H. Auden have all been labelled baroque; Shapiro (1993) places Nikolai Gogol within a baroque ‘milieu’. I would suggest that Jorge Luis Borges is quintessentially baroque as is the writer I discuss in more detail in this chapter, Thomas Pynchon10. Though there are certain stylistic attributes which turn up repeatedly in baroque writing such as parody, antithesis and oxymoron etc, Hatzfeld (1955, p.161) argues that to qualify as ‘baroque proper’ there must be a sense of the ontological doubt occasioned by the ‘tension between Galilean experience and Tridentine faith’, otherwise it is merely mannerism or what he calls baroquism. In contemporary terms this translates into a tension between a master narrative and its counter, for the baroque is always a subversion in some respect of a dominant orthodoxy. Baroque writing is characterised by ‘points of wit and quirks of epigram’ and other ‘puerilities’ as John Dryden (1693) famously said of the work of metaphysical poet Abraham Cowley in his Discourses on satire and epic poetry.
[Show full text]
“Baroque”: a Term Used in the Literature of the Arts with Both Historical and Critical Meanings and As Both an Adjective and a Noun
003_Baroque.doc READINGS: BAROQUE Background: “Baroque”: A term used in the literature of the arts with both historical and critical meanings and as both an adjective and a noun. The word has a long, complex and controversial history (it possibly derived from a Portuguese word for a misshapen pearl, and until the late 19th century it was used mainly as a synonym for `absurd' or `grotesque'), but in English it is now current with three principal meanings. Primarily, it designates the dominant style of European art between Mannerism and Rococo. This style originated in Rome and is associated with the Catholic Counter-Reformation, its salient characteristics--overt rhetoric and dynamic movement--being well suited to expressing the self- confidence and proselytizing spirit of the reinvigorated Catholic Church. It is by no means exclusively associated with religious art, however, and aspects of the Baroque can be seen even in works that have nothing to do with emotional display--for example in the dynamic lines of certain Dutch still-life paintings. Secondly, it is used as a general label for the period when this style flourished, broadly speaking, the 17th century and in certain areas much of the 18th century. Hence thus phrases as `the age of Baroque', `Baroque politics', `Baroque science', and so on. Thirdly, the term `Baroque' (often written without the initial capital) is applied to art of any time or place that shows the qualities of vigorous movement and emotional intensity associated with Baroque art in its primary meaning. Much Hellenistic sculpture could therefore be described as `baroque'. The older meaning of the word, as a synonym for `capricious', `overwrought' or `florid', still has some currency, but not in serious criticism.
[Show full text]
Nationalism in Europe
Nationalism Do Now Explain your pride in your country? What would you do for your nation? Why? Learning Targets and Intentions of the Lesson 1. KNOW how Nationalism and Liberalism dominated the political landscape of the 19th Century. 2. UNDERSTAND and explain the contrasts between Realism and Romanticism. 3. Complete a guided reading and short response assignment on the significance of Nationalism (SKILLS). What is Liberalism? A political philosophy founded on the ideas of liberty and equality. Nineteenth-century liberalism was more than an economic and political theory: it was a way of viewing the world. Foundations of Liberalism are in Enlightenment ideas, English liberties, the principles of the Declaration of the Rights of Man Nationalism A nation – people joined together by the bonds of: common language, common customs, culture, and history, administered by the same government. Political and ethnic boundaries should coincide. What is Nationalism? Culture – History - shared way a common of life past Nationality – shared Language- shared ethnic Nationalism communication ancestry Religion- Territory shared by – land belongs to most group Positives –overthrow absolute rule, democratic governments Negatives – Forced assimilation of minority, extreme nationalism leads to dictatorship How did “nationalism” affect Europe in the 19th-century? Following the defeat of Napoleon, the Congress of Vienna met to create a peace settlement in Europe Battle of Waterloo The Congress’s purpose was to establish a balance of power in Europe and return monarchs to power. Prince Klemens von Metternich Congress of Vienna (1814 – 1815) But, the French Revolution had inspired the rise of nationalistic movements in many European countries. Nationalism is the loyalty of a people to their values, traditions, geography…their Country Nationalistic Movements: The unification of Germany was led by Otto von Bismarck.
[Show full text]
Optics and Realism in Renaissance
PORTRAIT OF GIOVANNI ARNOLFINI AND HIS WIFE (opposite page), projected by lenses or mirrors and then filling in the outlines painted in oil on an oak panel by Jan van Eyck in 1434, is cited with paint. The author raises technical questions about the by artist David Hockney as evidence that painters of the early theory, in part by examining in the pages that follow various Renaissance achieved startling realism by tracing images details (highlighted above) from van Eyck’s painting. 76 SCIENTIFIC AMERICAN DECEMBER 2004 Optics and Realism i n renaissance a r t A much publicized assertion holds that 15th-century painters achieved a new level of realism with the help of lenses and mirrors. But recent findings cast doubt on that idea By David G. Stork s ’ ) hen we consider the grand trajectory of West- ); FROM “REFLECTIONS OF ern painting, we see something very interest- ing taking place at the dawn of the Renais- this page sance. Before roughly 1425, most images were rather styl- W perspective lines rectified reflection in van Eyck ized, even schematic, but afterward we see paintings that have an almost photographic realism. For instance, Portrait of Giovanni Arnolfini and His Wife, by the early Renais- PROC. MEASURING ART: A SCIENTIFIC REVOLUTION sance master Jan van Eyck (1390?–1441), reveals a three- dimensionality, presence, individuality and psychological ); ELIZA JEWETT ( depth lacking in earlier works. For the first time, we find portraits that really look like us. What happened? In seeking to explain the emergence of this remarkable VOL. 36, NO. 3; SUMMER 2004 ( new art, or ars nova as it was called, the celebrated con- temporary artist David Hockney came up with a bold and controversial theory.
[Show full text]