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

Modern Art 109 From mid-19 th century to mid-20 th century. (left) Édouard Manet (French Realist painter, ‘father’ of the avant-garde), photograph by Nadar, 1867

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

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  1. 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?”

  2. Realism and the Origin of the Avant-Garde in Paris Gustave Courbet and Edouard Manet

  3. Gustave Courbet (French, 1819-1877) Self-Portrait, c. 1845

  4. Gustave Courbet, The Cellist, Self-Portrait, 1847, Oil on canvas 46 1/8 x 35 1/2 in (117 x 90 cm) Nationalmuseum, Stockholm

  5. 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

  6. Courbet, Man With a Pipe, 1946

  7. Gustave Courbet, Self-Portrait with Dog, 1842

  8. 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."

  9. Gustave Courbet, Portrait of Proudhon and his Children, 1853  ”Anarchy is Order Without Power”

  10. 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?

  11. Thomas Couture (French Academic painter), Romans of the Decadence, 1847

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

  13. 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 painting’s value: first history, then portrait painting followed by genre, landscape, and still life. Note relatively small size of Chardin’s painting. Courbet’s Burial at Ornans is 10' 3’ x 21' 9"

  14. William Bouguereau(left) Mother and Children, The Rest, 1879 (right) Home from the Harvest, 1878, Cummer Museum of Art, Jacksonville, Florida

  15. Honoré Daumier (French) , Third Class Carriage, o/c, 1862, c. 25“ x 35"

  16. Honoré Daumier, The Uprising, 1849, oil on canvas

  17. 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

  18. “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

  19. (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

  20. 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

  21. Gustave Courbet, Self-Portrait at Sainte-Pelagie, 1872 Last self-portrait as prisoner (6 months) for Communard activities.

  22. Henri Fantin-Latour. Portrait of Édouard Manet. 1867, oil on canvasArt Institute of Chicago, ChicagoParisian dandy, flaneur, and “Painter of Modern Life”

  23. Édouard Manet, At the Café, lithograph, 1869

  24. 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

  25. Édouard Manet, LeDejeuner Sur L’Herb (The Luncheon on the Grass), 1862

  26. Titian, Concert Champêtre (Italian Renaissance) 1510 compare with Édouard Manet (French Realism), LeDéjeuner Sur L’Herbe, 1862

  27. Marcantonio Raimondi, Judgment of Paris, (engraving after Raphael), 1520 compare with ÉdouardManet, Déjeuner Sur L’Herbe, 1862

  28. Édouard Manet, Olympia, 1863, oil on canvas, 51 x 74¾ inMusée d'Orsay, Paris

  29. Titian or Giorgione, Venus of Urbino, 1510 (Louvre) source for Manet’s Olympia1863

  30. Alexandre Cabanel (French Academic Painter, 1823-1889) TheBirth of Venus, 51 x 88 inches, 1863

  31. Jean-Léon Gérôme (French Academic painter), Phrynee Before the Judges, 1861Honoré Daumier cartoon: “Venuses Again, Always Venuses”

  32. William Bouguereau, Birth of Venus, 1879 and Paul Baudry, Venus and Cupid, c. 1857

  33. Édouard Manet, Universal Exposition of 1867, 1867, o/cPainter of Modern Life

  34. Emperor Napoleon III by Hipolyte Flandrin (Salon of 1863) with Plan of Paris – radical urban renewal of Paris 1853-1869 designed by Baron Haussmann,

  35. 1867 Paris International Exhibition

  36. Napoleon III and Baron Haussmann’s urban renewal of Paris:1853-1869 Contemporary view of Blvd. Haussman with Galeries Lafayette, one of the first department stores: commodity culture

  37. Édouard Manet, Civil War in Paris (the Commune) 1871, lithograph

  38. Édouard Manet, The Bar at the Folies Bergere, 38 x 51 in, 1881, Courtauld, London

  39. (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

  40. 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 Arts“Oh, 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 art’s sake” raised by the Whistler vs. John Ruskin trial? How are they “modern”?

  41. Architecture as Emblem of Modernity 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

  42. Top: Joseph Paxton, The Crystal Palace, Hyde Park, London, 1851Below right: Charles Barry (1795–1860) A. W. N Pugin (1812–52), Houses of Parliament, London, Gothic Revivalism, largely completed by 1858 Contemporaneous English buildings: one emblematic of the future, one emblematic of the past.

  43. The House of Lords in the Palace of Westminster (Houses of Parliament), London, designed by A.W.N. Pugin. Neo-Gothic interior design

  44. Britain’s 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, 1819–1869) The Queen and the Prince, wet plate 1854

  45. 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

  46. Queen Victoria opens the Great Exhibition in the Crystal Palace in Hyde Park, London in 1851

  47. Joseph Paxton, Crystal Palace, 1851, detail of exterior structure

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