Modern Art 109 From mid-19th century to mid-20th century

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Modern Art 109From mid-19th century to mid-20th
century

• (left) Édouard Manet (French Realist painter,
  father of the avant-garde), photograph by
  Nadar, 1867
• (right) Jackson Pollock (American Action
  painter, 1949 Life magazine photo for article,
  Is He the Greatest Living Painter in the United
  States?

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Realism and the Origin of the Avant-Garde in
Paris

• Gustave Courbet
• and
• Edouard Manet

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Gustave Courbet (French, 1819-1877)
Self-Portrait, c. 1845
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Gustave Courbet, The Cellist, Self-Portrait,
1847, Oil on canvas 46 1/8 x 35 1/2 in (117 x
90 cm) Nationalmuseum, Stockholm
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Courbet, Portrait of the Artist (Wounded Man)
1844-54 Oil on canvas 31 7/8 x 38 1/4 in (81 x 7
cm) Musée d'Orsay, Paris
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Courbet, Man With a Pipe, 1946
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Gustave Courbet, Self-Portrait with Dog, 1842
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Gustave Courbet, The Stonebreakers, 1849
(destroyed in WW II)"It is not often that one
encounters so complete an expression of poverty
and so, right then and there I got the idea for a
painting. I told them to come to my studio the
next morning."
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Gustave Courbet, Portrait of Proudhon and his
Children, 1853  Anarchy is Order Without Power
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Gustave Courbet, A Burial at Ornans 1849-1850,
oil on canvas, 10' 3 x 21' 9" Musée d'Orsay,
Paris. What is avant-garde modern about this
painting in form and content?
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Thomas Couture (French Academic painter), Romans
of the Decadence, 1847

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Gustave Courbet, Burial at Ornans, 1849 compare
with Thomas Couture, Romans of the Decadence,
1847
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Jean-Baptiste-Siméon Chardin, Grace at Table,
1740 (19"/15") Louvre, Paris Genre painting was
a traditional category in European academies of
art, which enforced a strict hierarchy of genres
that determined a paintings value first
history, then portrait painting followed by
genre, landscape, and still life. Note
relatively small size of Chardins painting.
Courbets Burial at Ornans is 10' 3 x 21' 9"
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William Bouguereau(left) Mother and Children,
The Rest, 1879 (right) Home from the Harvest,
1878, Cummer Museum of Art, Jacksonville, Florida
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Honoré Daumier (French) , Third Class Carriage,
o/c, 1862, c. 25 x 35"
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Honoré Daumier, The Uprising, 1849, oil on canvas
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Gustave Courbet, The Studio An Allegory of Seven
Years of the Artist's Life, 1855, oil on canvas,
over 20 feet wide, Musée d'Orsay, Paris
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• I have studied, outside of any system and
  without prejudice, the art of the ancients and of
  the Moderns. I no more wanted to imitate the one
  than to copy the other nor, furthermore, was it
  my intuition to attain the trivial goal of art
  for art's sake. No! I simply wanted to draw
  forth from a complete acquaintance with tradition
  the reasoned and independent consciousness of my
  own individuality"
• "To know in order to be able to create, that was
  my idea. To be in a position to translate the
  customs, the ideas, the appearance of my epoch,
  according to my own estimation to be not only a
  painter, but a man as well in short, to create
  living art - this is my goal.
• Gustave Courbet, statement for his Pavilion of
  Realism,
• build next to the Paris International Exhibition
  of 1855

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(left) Destruction of Paris following the
Franco-Prussian war, siege of Paris, and (right)
the Commune 1871, Communards shot by firing squad
of French soldiers in the streets of Paris
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Courbet, the Communard, and the destruction of
the Vendome column, symbol of Napoleonic (French)
imperialism"Inasmuch as the Vendôme column is a
monument devoid of all artistic value, tending to
perpetuate by its expression the ideas of war and
conquest of the past imperial dynasty, which are
reproved by a republican nation's sentiment,
citizen Courbet expresses the wish that the
National Defense government will authorise him to
disassemble this column. Courbet
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Gustave Courbet, Self-Portrait at Sainte-Pelagie,
1872 Last self-portrait as prisoner (6 months)
for Communard activities.
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Henri Fantin-Latour. Portrait of Édouard Manet.
1867, oil on canvasArt Institute of Chicago,
ChicagoParisian dandy, flaneur, and Painter of
Modern Life
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Édouard Manet, At the Café, lithograph, 1869
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Édouard Manet, Concert at the Tuileries, 1862
o/c, c. 46 x 30, National Gallery, London. Two
portraits of Charles Baudelaire by Manet on left,
1865
Modernity is the transient, the fleeting, the
contingent it is one half of art, the other
being the eternal and the immovable. -
Charles Baudelaire
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Édouard Manet, Le Dejeuner Sur LHerb (The
Luncheon on the Grass), 1862
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Titian, Concert Champêtre (Italian Renaissance)
1510 compare with Édouard Manet (French
Realism), Le Déjeuner Sur LHerbe, 1862
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Marcantonio Raimondi, Judgment of Paris,
(engraving after Raphael), 1520 compare with
Édouard Manet, Déjeuner Sur LHerbe, 1862
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Édouard Manet, Olympia, 1863, oil on canvas, 51 x
74¾ inMusée d'Orsay, Paris
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Titian or Giorgione, Venus of Urbino, 1510
(Louvre) source for Manets Olympia 1863
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Alexandre Cabanel (French Academic Painter,
1823-1889) The Birth of Venus, 51 x 88 inches,
1863
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Jean-Léon Gérôme (French Academic painter),
Phrynee Before the Judges, 1861Honoré Daumier
cartoon Venuses Again, Always Venuses
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William Bouguereau, Birth of Venus, 1879 and Paul
Baudry, Venus and Cupid, c. 1857
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Édouard Manet, Universal Exposition of 1867,
1867, o/cPainter of Modern Life
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Emperor Napoleon III by Hipolyte Flandrin (Salon
of 1863) with Plan of Paris radical urban
renewal of Paris 1853-1869 designed by Baron
Haussmann,
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1867 Paris International Exhibition
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Napoleon III and Baron Haussmanns urban renewal
of Paris1853-1869
Contemporary view of Blvd. Haussman with
Galeries Lafayette, one of the first department
stores commodity culture
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Édouard Manet, Civil War in Paris (the Commune)
1871, lithograph
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Édouard Manet, The Bar at the Folies Bergere, 38
x 51 in, 1881, Courtauld, London
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(left) Gustave Courbet, Portrait of Jo, the
Beautiful Irish Girl, c. 1865, oil on canvas, 21
x 26 in. Nationalmuseum, Stockholm,
Realism(right) James McNeil Whistler (US),
Symphony in White, 1864, Japonisme, aestheticism.
Same model, Jo Hiffernan
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James McNeill Whistler (United States expatriate)
Nocturne in Black and Gold The Falling Rocket,
c. 1875, oil on panel, 23 x 18 in, Detroit
Institute of ArtsOh, I knock one off in a
couple of days. (Whistler)Why is a painting
made so quickly so highly valued?What are the
issues around art for arts sake raised by the
Whistler vs. John Ruskin trial? How are they
modern?
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• Modernity is the transitory, the fugitive, the
  contingent, the half of art, of which the other
  half is the eternal and the immutable. . . .
• Charles Baudelaire

Architecture as Emblem of Modernity
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Top Joseph Paxton, The Crystal Palace, Hyde
Park, London, 1851Below right Charles Barry
(17951860) A. W. N Pugin (181252), Houses of
Parliament, London, Gothic Revivalism, largely
completed by 1858
Contemporaneous English buildings one emblematic
of the future, one emblematic of the past.
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The House of Lords in the Palace of Westminster
(Houses of Parliament), London, designed by
A.W.N. Pugin. Neo-Gothic interior design
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Britains Queen Victoria reigned from 1837 to
1901 Her name and values identify the Victorian
era in Europe
Edwin Landseer (British), Windsor Castle in
Modern Times, 1841-5, oil on canvas 44 x 56
Victoria and Albert at home
Roger Fenton (British, 18191869) The Queen and
the Prince, wet plate 1854
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The Great Exhibition of 1851 in the Crystal
Palace by Joseph Paxton architect, Hyde Park,
London, England 1851, moved to Sydenham in 1852,
burned down in 1936
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(No Transcript)
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Queen Victoria opens the Great Exhibition in the
Crystal Palace in Hyde Park, London in 1851
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Joseph Paxton, Crystal Palace, 1851, detail of
exterior structure
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Building the Crystal Palace with prefabricated
truss
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Building The Crystal Palace from prefabricated
iron parts
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Waiting for the Queen, Orientalist décor of
Crystal Palace, Illustration by Joseph Nash for
Dickinson's Comprehensive Pictures of the Great
Exhibition of 1851
Ornamental cover for joints of girders
(disguising modernity)
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Cartoon from Punch, British satirical magazine
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Crystal Palace Science Exhibit- Envelope Machine
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Compare bed and new railroad cars exhibited at
Great Exhibition of 1851 (Crystal Palace)
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William Holman Hunt, The Awakening Conscience,
1853-4 o/c, arched top, 30/22 Tate Britain,
Pre-Raphaelite
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William Morris, La Belle Iseult, 1858, Jane
Burden (future Jane Morris) in medieval dress,
Pre-Raphaelite. Morriss only surviving oil
painting, Tate, London
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Red House designed by Philip Webb for William and
Jane Morris. Designed 1859 completed 1860.
Bexley heath (near London). neo-Gothic
eclecticism, meant to be a palace of art for
artists and writers associated with the
Pre-Raphaelite Movement. Inspiration for the
Arts Crafts movement and the assertion of
anauthentically English tradition. The interior
surfaces of the Red House were covered with
pattern floors, walls, ceilings.
http//www.victorianweb.org/art/architecture/webb/
1c.html
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William Morris, Pimpernel wallpaper, 1876. For
repeating pattern on wallpaper and fabric, Morris
used the ancient technique of hand woodblock
printing in preference to roller printing which
had replaced it for commercial uses.
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William Morris, designer, pages from The
Kelmscott Chaucer (14th century texts), finished
in 1896, figures by Pre-Raphaelite painter,
Edward Burne-Jones
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Announcing the invention of photography (the
daguerreotype) at The Joint Meeting of the
Academies of Science and Fine Arts in the
Institute of France, Paris, August 19, 1839,
unsigned engraving