What the Victorian Age knew Art Piero Scaruffi 2004 1 What the Victorian Age knew • The Arts – Continued from victophi.ppt 2 What the Victorian Age knew • Painting – See also artbysubject.ppt 3 What the Victorian Age knew • Painting/ From Realism to Impressionism – Eduard Manet (1832, France): • “Le Dernier Dejouner” (1863) - four disconnected characters, violation of the law of perspective, shadows oriented in opposite directions 4 What the Victorian Age knew • Painting/ From Realism to Impressionism – Eduard Manet (1832, France): • “Music in the Tuileries” (1862) - chaotic scene without a focus, no hierarchy, curved trees 5 What the Victorian Age knew • Painting/ From Realism to Impressionism – Eduard Manet (1832, France): • “Boats” (1873) - curved horizon • “Boating” (1874) - no horizon 6 What the Victorian Age knew • Painting/ From Realism to Impressionism – Edgar Degas (1834, France): Movement “La Classe de Danse” (1876) “La La At the Cirque Fernando” (1879) 7 What the Victorian Age knew • Painting/ Social realism – Gustave Doré (1832, France): “London: A Pilgrimage” (1872 with 180 engravings 8 What the Victorian Age knew • Painting/ Social realism – Hubert von Herkomer (1849, Britain) – Luke Fildes (1844, Britain) “Applicants for Admission to a Casual Ward” (1874) “On Strike” (1891) 9 What the Victorian Age knew • Painting/ Social realism – Adolph Menzel (1815, Germany) – Stanhope Forbes (1857, Britain) 10 “Fish Sale on a Cornish Beach” (1885) “The Iron-rolling Mill” (1875) What the Victorian Age knew • Painting/ From Realism to Impressionism – First impressionist exhibition in Paris (1874) – Ordinary life in motion – Light effects – The real subject is the brush stroke itself – The expression of a national loss of confidence (France, a former superpower defeated by a small country, Prussia, in 1870) 11 What the Victorian Age knew • Painting/ From Realism to Impressionism – Pierre Renoir (1841, France) “Ball at the Moulin de la Galette” (1876) 12 What the Victorian Age knew • Painting/ Impressionism – Claude Monet (1840, France) • Series painting: the same subject from the same point at different times of the day and of the year (“Haystacks”) • Time and change, not only space • Blurred images (“Water Lilies”) remove boundaries • Colors with no boundaries instead of shapes with boundaries • The ultimate subject of painting is light 13 What the Victorian Age knew • Painting – Claude Monet (1840, France) Orangerie (1920) “Haystacks” (1891) “Cathedrale de Rouen” (1894) What the Victorian Age knew • Impressionism – Claude Monet “Bridge Over a Pond of Water Lilies” (1899) “The Artist's Garden at Giverny” (1900) What the Victorian Age knew • Painting – Claude Monet “Nimphee” (1926) What the Victorian Age knew • Pointillism – Georges-Pierre Seurat (1859, France) • Sense of tranquillity and civility • Idealized civilized life “La Parade du Cirque” (1888) “La Grande Jatte” (1884) What the Victorian Age knew • Naïve/Primitive style – Henry Rousseau (1844, France) • Beauty and terror “Carnival Evening” (1886) 18 “Sleeping Gypsy” (1897) What the Victorian Age knew • Naïve/Primitive style – Henry Rousseau (1844, France) “The Dream” (1910) 19 What the Victorian Age knew • Pre-Raphaelites – Dante Gabriel Rossetti: “Astarte Syriaca” (1877) – Edward Burne-Jones: “King Cophetua and the beggar maid” (1884) 20 What the Victorian Age knew • Naturalism and Realism in the USA – Winslow Homer (1836): “Snap the Whip” (1872) – Thomas Eakins (1844): “The Gross Clinic” (1875) 21 What the Victorian Age knew • Photography in the USA – William Talbot publishes the first book eentirely illustrated by photography: “Pencil of Nature” (1844) 22 What the Victorian Age knew • Photography – Mathew Brady: “Dunker Church and the Dead” (1862) – Tim O’Sullivan (1840, New York): “A Harvest of Death” (1863) – Julia-Margaret Cameron (1815, India): “The Echo” (1868) 23 What the Victorian Age knew • Photography – Eadweard Muybridge (1830, San Francisco): “Galloping Horse” (1878) 24 What the Victorian Age knew • Photography in the USA – Jacob Riis (1849): “Bandits Roost” (1888) 25 What the Victorian Age knew • Photography in the USA – Alfred Stieglitz (1864) “The Terminal” (1892) “The Steerage” (1907) 26 What the Victorian Age knew • Photography in Europe – Antongiulio Bragaglia (1890, Italy) “Macchina da Scrivere” (1911) “Salutando” (1911) 27 What the Victorian Age knew • Painting – Emancipation of color: color becomes “the” painting • Monet • Cezanne • Van Gogh • Guaguin • Matisse 28 What the Victorian Age knew • Paul Cezanne (1839, France) – Still life and landscape: absence of change, movement, time – Timelessness – Multiple perspectives in the same painting (“Still Life With Fruit Basket” in which each object is painted from a different perspective) – Color instead of line, shading, perspective – Color to create a sense of depth – Cezanne abstracts form the way Van Gogh abstracts color – Reducing objects to the fundamental forms (cones, cylinders, spheres) 29 What the Victorian Age knew • Paul Cezanne (1839, France) “Still Life With Fruit Basket” “Large Bathers” (1905) “Montagne Sainte-Victoire” (1906) “Bay from L’Estaque” (1886) 30 What the Victorian Age knew • Van Gogh (1853, Holland) – Emotional use of color Wheatfield with Crows (1890) Night Café (1888) “Starry Night” (1889) 31 What the Victorian Age knew • Painting – Paul Guaguin (1848, France) • Color to cause emotion • “Color expresses something by itself” • The grass is red in “Vision After the Sermon” • Non-Western traditions • Allegorical quality • Musical quality “Vision After the Sermon” (1888) 32 What the Victorian Age knew • Painting – Paul Guaguin 33 “La Orana Maria” (1891) What the Victorian Age knew • Painting – Paul Guaguin (1848, France) “Where Have We Come From” (1897) 34 What the Victorian Age knew • Painting/ Symbolism – Edvard Munch (1863, Norway) • Human suffering • The age of anxiety 35 “Dance of Life” (1900) “The Scream” (1893) What the Victorian Age knew • Painting/ Symbolism – Fernand Khnopff (1858, Belgium) 36 “The Caress” (1896) What the Victorian Age knew • English Arts & Crafts Movement (1880s) – John Ruskin: industrialization has caused tasteless mass-produced goods, decline in creativity, prominence of engineering over art – William Morris: return to handmade crafts and communal life; art is not separate from craft; any object can become an artwork – First magazine devoted to the visual arts: “The Century Guild Hobby Horse” (1884) – Revival of fine book printing (Kelmscott Press, Essex House, Doves Press) – 1902: The village of Chipping Campden becomes a commune of the arts & crafts guild 37 What the Victorian Age knew • English Arts & Crafts Movement 38 William Morris’ fantasy novel “The Story of the Glittering Plain” (1891) What the Victorian Age knew • European Arts & Crafts Movement (1900s) – Henri van de Welde/Velde (1863, Belgium): “The Renaissance in Modern Applied Art” (1901) • Machine-made objects can be art too • Weimar’s “Academy of Fine Arts” (1902), predecessor of the Bauhaus • Architecture can help create a utopian society 39 What the Victorian Age knew • German Arts & Crafts Movement (1900s) – 1907: Werkbund (Craftsmen Association) in Munich – Design for the age of the machine (vs William Morris’ contempt for machine-made goods) – The “Gesamkultur”: culture for a world in which humans and machines coexist – Peter Behrens (1868, Germany) designs furniture, appliances and industrial components 40 What the Victorian Age knew • Ukiyo-e influence (1880s) – Japanese painting style that becomes famous in Europe after Japan is forced to open up by the USA 41 What the Victorian Age knew • Painting – James Ensor: “Entry of Christ into Brussels” (1888) – Ferdinand Hodler: “Night” (1890) 42 What the Victorian Age knew • Art Nouveau – Precursors • James Whistler (1834, USA): “Peacock Room” Jules Cheret (1836, France): lithographic posters • Klimt, William Blake, Japanese art, Celtic art • English arts and crafts movement 43 “Peacock Room” (1877) What the Victorian Age knew • Art Nouveau – Jules Cheret’s posters “liberate” women: neither a whore nor a saint but an independent woman who has fun in sexy dresses 44 What the Victorian Age knew • Art Nouveau – Posters/ graphic design 45 Paul Berthon's Ermitage card (1897) What the Victorian Age knew • Art Nouveau – Primacy of ornament, not only as decoration – Unity of the art and its environment – Encompassing more than the traditional arts (eg posters, fashion, furniture) – Florid, organic forms – Influenced by symbolist poetry (spiritual, metaphysical) reacting to materialism of industrial society – Towards abstract art – Not imitation of the past but a truly innovative style 46 What the Victorian Age knew • Art Nouveau/ architecture – Victor Horta (1861)’s house for Tassel in Brussels (1893) – Hector Guimard (1867) near Paris (1904) 47 Horta What the Victorian Age knew • Art Nouveau – Posters and magazine illustrations • Eugene Grasset (1841, Switzerland) Grasset’s poster (1894) 48 What the Victorian Age knew • Art Nouveau – Posters and magazine illustrations • Jan Toorop (1858, Holland) poster (1894) 49 magazine illustration (1893) What the Victorian Age knew • Art Nouveau – Posters and magazine illustrations • Jan Toorop (1858, Holland) 50 Jan Toorop’s ‘O Grave, where is thy Victory’ (1894) What the Victorian Age knew • Art Nouveau – Aubrey Beardsley (1872, Britain) Aubrey Beardsley’s illustration for Aubrey Beardsley’s illustration for Wilde’s “Salome” (1894) 51 “Mort d’Arthur”(1893) What the Victorian Age knew • Art Nouveau