The Rise of Modernism:

1

• Chapter 21
• The Rise of Modernism
• Art of the Later 19th Century

2
Quiz question for next Tuesday Modernism and
Realism

• 15 minutes Outline the key ideas of
  Modernism, Realism, and the Avant-garde,
  and show how they can be SEEN in the form and
  content of two artworks the Crystal Palace and
  either one photograph or one painting.
• NOTE Make specific references to lecture, to
  Gardners Art through the Ages, and to the video,
  A Fresh View Impressionism and
  Post-Impressionism. Show that you can integrate
  and apply the three sources of information to
  works of art.

3
Industrialization of Europe and U.S. about 1850
4
THOMAS EAKINS (American, 1844-1916) The Gross
Clinic, 1875, oil on canvas, 8 x 6 6.
Jefferson Medical College of Thomas Jefferson
University, Philadelphia.Empiricism, Positivism,
faith in science (Enlightenment reason).
5
Eadweard Muybridge (British-American 18301904),
Horse Galloping, 1878. Collotype print.
6
http//americanhistory.si.edu/muybridge/img/gifs/i
_0_01_ani.gif Eadweard Muybridge, Walking and
turning around rapidly with a satchel in one
hand, a cane in the otherAnimal Locomotion
Plate 49, 1887, CollotypeAnimal Locomotion is a
series of 100 motion studies Muybridge made at
the University of Pennsylvania between 1884 and
1887.
7
Gustave Courbet (French, 1819-1877)
Self-Portrait, c. 1845A father of the
avant-garde, Courbet combined the Romantic view
of the artist as lone individual against middle
class (bourgeois) values with the empiricism of
the Positivists.
8
GUSTAVE COURBET, The Stone Breakers, 1849. Oil on
canvas, 5 3 x 8 6. Formerly at
Gemäldegalerie, Dresden (destroyed in 1945).
Gustave Courbet is considered a father of
avant-garde modernism. Show me an angel and
Ill paint one.
9
William Bouguereau (French academic artist,
1825-1905)(left) Mother and Children, The Rest,
1879 (right) Home From the Harvest, 1878
10
Gustave Courbet, A Burial at Ornans 1849-1850,
oil on canvas, 10' 3 x 21' 9" Musee d'Orsay,
Paris
11
Thomas Couture (French academic artist, 1815-79),
Romans of the Decadence, 1847

12
Courbet, Burial at Ornans, 1849 compare with
Thomas Couture, Romans of the Decadence, 1847
13

• 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 Pavilion of
  Realism, 1855

14
(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
15
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
16
ÉDOUARD MANET, Le Déjeuner sur lherbe (Luncheon
on the Grass), 1863, oil on canvas, 7 x 810,
Musée dOrsay, Paris.
17
ADOLPHE-WILLIAM BOUGUEREAU, Nymphs and Satyr,
1873. Oil on canvas, approx. 8 6 high. Sterling
and Francine Clark Art Institute, Williamstown,
Massachusetts.
18
ÉDOUARD MANET, Olympia, 1863, oil on canvas, 4
3 x 6 3. Musée dOrsay, Paris.
19
Figure 21-26 ÉDOUARD MANET, A Bar at the
Folies-Bergère, 1882. Oil on canvas, approx. 3
1 x 4 3. Courtauld Institute of Art Gallery,
London.
20
Figure 21-20 CLAUDE MONET, Impression Sunrise,
1872. Oil on canvas, 1 7 1/2 x 2 1 1/2. Musée
Marmottan, Paris.
21
Figure 21-21 CLAUDE MONET, Saint-Lazare Train
Station, 1877. Oil on canvas, 2 5 3/4 x 3 5.
Musée dOrsay, Paris.
22
Figure 21-22 GUSTAVE CAILLEBOTTE, Paris A Rainy
Day, 1877. Oil on canvas, approx. 6 9 x 9 9.
The Art Institute of Chicago, Chicago, Worcester
Fund.
23
Figure 21-23 CAMILLE PISSARRO, La Place du
Théâtre Français, 1898. Oil on canvas, 2 4 1/2
x 3 1/2. Los Angeles County Museum of Art, Los
Angeles (the Mr. and Mrs. George Gard De Sylva
Collection).
24
Figure 21-24 HIPPOLYTE JOUVIN, The Pont Neuf,
Paris, ca. 18601865. Albumen stereograph.
25
Figure 21-25 PIERRE-AUGUSTE RENOIR, Le Moulin de
la Galette, 1876. Oil on canvas, approx. 4 3 x
5 8. Louvre, Paris.
26
Figure 21-27 EDGAR DEGAS, Ballet Rehearsal,
1874. Oil on canvas, 1 11 x 2 9. Glasgow
Museum, Glasgow (The Burrell Collection).
27
Figure 21-28 BERTHE MORISOT, Villa at the
Seaside, 1874. Oil on canvas, approx. 1 7 3/4 x
2 1/8". Norton Simon Art Foundation, Los
Angeles.
28
Figure 21-29 CLAUDE MONET, Rouen Cathedral The
Portal (in Sun), 1894. Oil on canvas, 3 3 1/4 x
2 1 7/8. Metropolitan Museum of Art, New York
(Theodore M. Davis Collection, bequest of
Theodore M. Davis, 1915).
29
Figure 21-30 EDGAR DEGAS, The Tub, 1886. Pastel,
1 11 1/2 x 2 8 3/8. Musée dOrsay, Paris.
30
The Beginning of Impressionism

• Examine the Impressionists interest in
  sensation, impermanence, and the fleeting
  moment as it was expressed in their art.
• Understand the importance of light, color theory,
  and relevant scientific experiments.

31
Japonisme and Later Impressionism

• Examine issues of other Impressionist, such as
  the influence of the Japanese print and concerns
  with formal elements.

32
Figure 21-31 MARY CASSATT, The Bath, ca. 1892.
Oil on canvas, 3 3 x 2 2. The Art Institute
of Chicago, Chicago (Robert A. Walker Fund).
33
Figure 21-32 HENRI DE TOULOUSE-LAUTREC, At the
Moulin Rouge, 18921895. Oil on canvas, approx.
4 x 4 7. The Art Institute of Chicago, Chicago
(Helen Birch Bartlett Memorial Collection).
34
Figure 21-33 JAMES ABBOTT MCNEILL WHISTLER,
Nocturne in Black and Gold (The Falling Rocket),
ca. 1875. Oil on panel, 1 11 5/8 x 1 6 1/2.
Detroit Institute of Arts, Detroit (gift of
Dexter M. Ferry Jr.).
35
21.5 Post-Impressionism

• Understand the differences in emotional
  expression and subject choices between the
  Impressionists and the Post-Impressionists.
• Understand the Post-Impressionist experimentation
  with form and color.
• Recognize the individuality of the
  Post-Impressionist artists and the styles each
  one developed.

36
Emotion and the Impressionists

• Understand emotional expression and subject
  choices in Post-Impressionist art.

37
Figure 21-34 VINCENT VAN GOGH, The Night Café,
1888. Oil on canvas, approx. 2 4 1/2 x 3. Yale
University Art Gallery, New Haven (bequest of
Stephen Carlton Clark, B.A., 1903).
38
Figure 21-35 VINCENT VAN GOGH, Starry Night,
1889. Oil on canvas, approx. 2 5 x 3 1/4.
Museum of Modern Art, New York (acquired through
the Lillie P. Bliss Bequest).
39
Figure 21-36 PAUL GAUGUIN, The Vision after the
Sermon or Jacob Wrestling with the Angel, 1888.
Oil on canvas, 2 4 3/4 x 3 1/2. National
Gallery of Scotland, Edinburgh.
40
Post-Impressionist Experimentation

• Understand the Post-Impressionist experimentation
  with form and color.

41
Figure 21-37 PAUL GAUGUIN, Where Do We Come
From? What Are We? Where Are We Going?, 1897. Oil
on canvas, 4 6 13/ 16 x 12 3. Museum of Fine
Arts, Boston (Tompkins Collection).
42
Figure 21-38 GEORGES SEURAT, detail of A Sunday
on La Grande Jatte, 18841886.
43
Figure 21-39 GEORGES SEURAT, A Sunday on La
Grande Jatte, 18841886. Oil on canvas, approx.
6 9 10. The Art Institute of Chicago,
Chicago (Helen Birch Bartlett Memorial
Collection, 1926).
44
Post-Impressionist Form

• Examine the extraordinary art of Cezanne and his
  interest in form, paving the way for Cubism.

45
Figure 21-40 PAUL CÉZANNE, Mont Sainte-Victoire,
19021904. Oil on canvas, 2 3 1/2 x 2 11 1/4.
Philadelphia Museum of Art, Philadelphia (The
George W. Elkins Collection).
46
Figure 21-41 PAUL CÉZANNE, The Basket of Apples,
ca. 1895. Oil on canvas, 2 3/8 x 2 7. The Art
Institute of Chicago, Chicago (Helen Birch
Bartlett Memorial Collection, 1926).
47
Figure 21-42 PIERRE PUVIS DE CHAVANNES, The
Sacred Grove, 1884. Oil on canvas, 2 11 1/2 x
6 10. The Art Institute of Chicago, Chicago
(Potter Palmer Collection).
48
Figure 21-43 GUSTAVE MOREAU, Jupiter and Semele,
ca. 1875. Oil on canvas, approx. 7 x 3 4.
Musée Gustave Moreau, Paris.
49
Figure 21-44 ODILON REDON, The Cyclops, 1898.
Oil on canvas, 2 1 x 1 8. Kröller-Müller
Museum, Otterlo, The Netherlands.
50
21.6 Symbolism

• Examine the issues of imagination, fantasy, and
  formal changes in the art of the Symbolists.
• Understand the expression of modern psychic
  life in the art of the Symbolists.

51
Figure 21-45 HENRI ROUSSEAU, The Sleeping Gypsy,
1897. Oil on canvas, 4 3 x 6 7. Museum of
Modern Art, New York (gift of Mrs. Simon
Guggenheim).
52
Figure 21-46 EDVARD MUNCH, The Cry, 1893. Oil,
pastel, and casein on cardboard, 2 11 3/4 x 2
5. National Gallery, Oslo.
53
21.7 Sculpture in the Later 19th Century

• Examine the issues of realism and expression
  related to sculpture in the later 19th century.
• Understand the selection of contemporary subject
  matter by sculptors.
• Recognize representative sculptors and works of
  the later 19th century.

54
Sculpture Realist and Expressive

• Examine issues of realism, expression and subject
  matter in sculpture of the later 19th century.

55
Figure 21-47 JEAN-BAPTISTE CARPEAUX, Ugolino and
His Children, 18651867. Marble, 6 5 high.
Metropolitan Museum of Art, New York (Josephine
Bay Paul and C. Michael Paul Foundation, Inc. and
the Charles Ulrich and Josephine Bay Foundation,
Inc., gifts, 1967).
56
Figure 21-48 AUGUSTUS SAINT-GAUDENS, Adams
Memorial, Rock Creek Cemetery, Washington, 1891.
Bronze, 5 10 high.
57
Figure 21-49 AUGUSTE RODIN, Walking Man, 1905,
cast 1962. Bronze, 6 11 3/4 high. Hirshhorn
Museum and Sculpture Garden, Smithsonian
Institution, Washington (gift of Joseph H.
Hirshhorn, 1966).
58
Figure 21-50 AUGUSTE RODIN, Burghers of Calais,
18841889, cast ca. 19531959. Bronze, 6 10 1/2
high, 7 11 long, 6 6 deep. Hirshhorn Museum
and Sculpture Garden, Smithsonian Institution,
Washington (gift of Joseph H. Hirshhorn, 1966).
59
21.8 The Arts and Crafts Movement

• Examine the ideas of Ruskin and Morris in shaping
  the Arts and Crafts Movement.
• Understand the interest in aesthetic functional
  objects in the Arts and Crafts Movement.
• Examine the preference for high-quality
  artisanship and honest labor.
• Examine the preferred nature forms of Art Nouveau
  in art and architecture.

60
Objects and Décor of the Arts Crafts

• Understand the interest in aesthetic functional
  objects and the preference for high-quality
  artisanship and honest labor.

61
Figure 21-51 WILLIAM MORRIS, Green Dining Room,
1867. Victoria Albert Museum, London.
62
Figure 21-52 CHARLES RENNIE MACKINTOSH,
reconstruction (19921995) of Ladies Luncheon
Room, Ingram Street Tea Room, Glasgow, Scotland,
19001912. Glasgow Museum, Glasgow.
63
Figure 21-53 VICTOR HORTA, staircase in the Van
Eetvelde House, Brussels, 1895.
64
Figure 21-54 AUBREY BEARDSLEY, The Peacock
Skirt, 1894. Pen-and-ink illustration for Oscar
Wildes Salomé.
65
Nature in Art Nouveau Architecture

• Examine the organic nature forms in Art Nouveau
  architecture.

66
Figure 21-55 ANTONIO GAUDI, Casa Milá,
Barcelona, 1907.
67
Figure 21-56 GUSTAV KLIMT, The Kiss, 19071908.
Oil on canvas, 5 10 3/4 x 5 10 3/4. Austrian
Gallery, Vienna.
68
21.7 Architecture in the Later 19th Century

• Understand the new technology and changing needs
  of urban society and their effects on
  architecture.
• Examine new materials use in architecture and the
  forms made possible as a result.
• Understand how architects were able to think
  differently about space as a result of new
  technology and materials.
• Examine the remarkable work and theories of Louis
  Sullivan.

69
New Technology and Materials

• Understand new technology, changing needs of
  urban society, and new materials in architecture.

70
Figure 21-57 ALEXANDRE-GUSTAVE EIFFEL, Eiffel
Tower, Paris, 1889 (photo 18891890). Wrought
iron, 984 high.
71
Figure 21-58 HENRY HOBSON RICHARDSON, Marshall
Field wholesale store (demolished), Chicago,
18851887.
72
The Architecture of Louis Sullivan

• Understand the issues of space and decoration in
  the remarkable work and theories of Louis
  Sullivan.

73
Figure 21-59 LOUIS SULLIVAN, Guaranty
(Prudential) Building, Buffalo, 18941896.
74
Figure 21-60 LOUIS SULLIVAN, Carson, Pirie,
Scott Building, Chicago, 18991904.
75
Figure 21-61 RICHARD MORRIS HUNT, The Breakers,
Newport, Rhode Island, 1892.
76
Figure 21-62 LOUIS COMFORT TIFFANY, Lotus table
lamp, ca. 1905. Leaded Favrile glass, mosaic, and
bronze, 2 10 1/2 high. Private collection.
77
Discussion Questions

• In what ways did the Modernist art of the later
  19th century break from the past?
• How did Modernist artists call attention to the
  facts of art making?
• Why did the public find the subjects, forms, and
  techniques of the Impressionists shocking?
• What would you consider the most important
  breakthrough in architecture?