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ART 1850-1900

ART 1850-1900. realism Symbolism Impressionism. Post-. Photography. Not just a new way of making images . . . a new way of seeing. Roger Fenton (British, 1819–1869) Reclining Odalisque , 1858. Matthew Brady or staff, Dead Confederate Soldier with Gun, Petersburg, Virginia 1865.

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ART 1850-1900

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  1. ART 1850-1900 realism Symbolism Impressionism Post-

  2. Photography Not just a new way of making images . . . a new way of seeing

  3. Roger Fenton (British, 1819–1869)Reclining Odalisque, 1858

  4. Matthew Brady or staff, Dead Confederate Soldier with Gun, Petersburg, Virginia1865

  5. Gustave Le Gray (French, 1820–1884)The Great Wave, Sète, 1856–59 Informed by painterly values A trick – image assembled from 2 negatives

  6. Realism – not just realistic What is being realistically depicted?

  7. ACADEMY: OK! Adolphe-WilliamBouguereau, Nymphs & Satyr1873

  8. Manet, LeDejeuner sur l’herbe, 1863 ACADEMY: NOT OK! Grouping similar to a work by Raphael p. 353

  9. Giorgione, Pastoral Concert, 1509

  10. p. 352 COURBET, GustaveA Burial at Ornans, 1849-1850, Oil on canvas, 10’ 3 1/2" x 21' 9” [HUGE]

  11. COURBET, GustaveSeacoast1865Oil on canvas21 1/8 x 25 1/4 in

  12. CAILLEBOTTE, GustaveParis: A Rainy Day, 1877, Oil on canvas, 83 1/2 x 108 3/4" p. 348 Ch. 13.1

  13. Gustave Caillebotte, Fruit Displayed on a Stand, 1882, 30x40in

  14. Manet, EdouardA Bar at the Folies-Bergeres1881-82, Oil on canvas, 37 3/4 x 51 1/4 in p. 370

  15. detail

  16. Renoir, Pierre-AugusteLe Moulin de la Galette1876, Oil on canvas, 51 5/8 x 68 7/8 in p. 374

  17. Impressionism • 1874 exhibition • Monet, Renoir, Sisley, Cassatt, Morisot, others (see p. 374) • “sought to capture fleeting effects of light and color” (p. 374) • used color theory • open air, rather than studio painting • direct application of unmixed colors

  18. p. 371 Monet, Impression: Sunrise, 1872

  19. MONET, ClaudeBoulevard des Capucines1873Oil on canvas31 1/4 x 23 1/4" p. 358

  20. Monet, The Water Lilly Pond, 1899 What are the differences between background and foreground in this work?

  21. not in text; compare p. 372 Monet, St. Lazare Station, 1877

  22. Hokusai, KatsushikaThe Great Wave Off KanagawaFrom "Thirty-six Views of Mount Fuji"1823-29Color woodcut10 x 15 in. p. 373

  23. Other Japanese print examples(Hiroshige, from "One Hundred Famous Views of Edo”)

  24. p. 374 Cassatt, The Boating Party, 1893-94

  25. Morisot, BertheMarine(The Harbor at Lorient), 1869Oil on canvas (17 1/2 x 28 3/4")

  26. Berthe Morisot View of Paris from the Trocadéro, 1872 oil on canvas, 18 x 32 in At 1874 show p. 372

  27. Alfred Sisley, The Chemin de By through Woods at Roches-Courtaut, St. Martin's Summer, 1880 not in text

  28. Odilon Redon,Beatrice 1885example of Symbolism – dream imagery not in text

  29. Post-Impressionism • 1880-1900 • extended impressionist techniques • various steps toward modernist painting • (some works) less spontaneous, more composed • the picture dissolves into planes, brushstrokes, etc. – a consciousness of artistic techniques

  30. Cezanne, PaulApples, Peaches, Pears, and Grapesc. 1879-80, Oil on canvas, 15 1/8 x 18 1/4 in

  31. Cezanne, PaulApples and Oranges {Pommes et oranges}c. 1899, Oil on canvas, 29 1/8 x 36 5/8 in p. 376

  32. CEZANNE, Mont Sainte-Victoire (Le Mont Sainte-Victoire) 1902-04 Oil on canvas 27 1/2 x 35 1/4 in p. 377

  33. SEURAT, GeorgesA Sunday Afternoon on the Island of La Grande Jatte, 1884-86, Oil on canvas p. 376

  34. Seurat, GeorgesThe Side ShowDetail1888Oil on canvas39 3/4 x 59 1/8 in

  35. Gauguin, PaulSelf-portrait with Halo1889Oil on wood79.6 x 51.7 cm p. 377

  36. VAN GOGH, VincentThe Starry Night1889, Oil on canvas, 29 x 36 1/4 in p. 379

  37. Winslow Homer, High Cliff, Coast of Maine, 1894 not in text

  38. p. 369

  39. RODIN – The Gates of Hell • Located at Stanford Art Museum • 1 of 5 in existence • Originally conceived in 1880 • doorways for the Museum of Decorative Arts in Paris (never built)

  40. Rodin, AugusteStriding Man1877-1900Plaster34 inches high

  41. Rodin, AugusteIris, Messenger of the Gods1890Bronze37 1/2 x 34 1/4 x 15 3/4 in.Los Angeles County Museum of Art

  42. Summary • realism – a change in subject matter, a response to contemporary urban life • The picture starts to fall apart • painting as an inquiry into how we see what we see • Sculpture as gesture Note: do not confuse Manet with Monet

  43. p. 371 Monet, Impression: Sunrise, 1872

  44. VAN GOGH, VincentThe Starry Night1889, Oil on canvas, 29 x 36 1/4 in POST- p. 379

  45. Manet, LeDejeuner sur l’herbe, 1863 -- REALISM p. 353

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