Art History19 th Century Birth of Isms Neoclassisim

Art History-19 th Century Birth of “Isms” • • • Neoclassisim Romanticism Realism Impressionism Post-Impressionism

Neoclassism • 1780 -1820 • Words associated with this period-virtue; patriotism; • Tone: calm, rational • Technique: stressed drawing with lines not color, smooth surface and glossy, no trace of brushstrokes • ordered grids,

Neoclassical • • • Values: Order, solemnity Subjects: Greek & Roman History Role of Art: Morally uplifting, inspirational Founder & leader of movement: David French & British Academies behind, preached that reason, not emotion, should dictate art

Oath of the Horatii Jacque Louis David 1784 Louvre, Paris, France

Romanticism • Dramatic, emotional, violent energy; Themes-liberty power of nature; compare/associations to Baroque – ‘history repeats itself’

Romanticism • Imaginative idealized creations • Values: Intuition, Emotion, Imagination • Inspiration: Medieval & Baroque eras, Middle and Far East • Tone: Subjective, spontaneous, nonconformist

Romanticism continued… • Color: Unrestrained, deep rich shades of color • Subjects: Legends, exotica, nature, violence • Genres: Narratives of heroic struggle, landscapes, wild animals • Technique: Quick brushstrokes, strong light-and-shade contrasts • Composition: Use of diagonals

Gericault (Raft of the Medusa, 1818) & Delacroix (Liberty Leading the People, 1830) • Teacher and his student

• Gericault (Raft of the Medusa, 1818) & Delacroix (Liberty Leading the People, 1830)

Early Photo-Realism • Photo realism; tromp l’oeil-fool the eye • Ultra realistic painting, American painter Harnett

Realism • Unadulterated rendering; poor people in everyday situations; landscapes

Realism • Courbet, the father of the Realist movement • Portrayed drab figures at everyday tasks • First one man show, when rejected by an art jury built a shed to show his painting Interior of My Studio • Burial of Ornans, • The Stone Breakers,

French Realism: • Courbet • Corot • Millet, Barbazon School

American Realism • Winslow Homer • Eakins

Art for art’s sake • James Mc. Neil Whistler • Arrangement in Grey and Black No. 1, 1872, Muse d’Orsay, Paris • Nocturn in Black and Gold: the Falling Rocket, 1875

Manet • • Often called the “Father of Modern Art” 1832 -1883 Never exhibited with the Impresionists Striped away idealizing mythology to portray modern life candidly • Sketchy brushwork-images appear flat and hard

Manet, “Olympia”, 1863

“Dejeuner sue l’herbe” (1863) “ The Luncheon on the Grass”

Luncheon: • Painting offended on moral and aesthetic grounds • Indecent because the nude was not idealized • (nudity was only acceptable if disguised in Classical trappings) • Based on historic art precedent, Giorgione, Titian, • Brushstrokes, applied in broad strokes

Impressionism • • • En plein air-Paint outside Concerned with effects of light; Dabs of pure color painted side by side Viewer’s eye blends the colors Shadows not black but blends of colors Country, City associated with Impressionism-France, Paris

Compositions • Japanese prints and new tool influenced Impressionists; cropping-cutting off • Camera/photography

Impressionists • Grouped together because of way painted and concern for light • Purpose; to portray immediate visual sensations of a scene • Impressionists: Manet, Monet. Renior, Degas • Also: Pizzaro, Sisley, Marisot, Casatt • 1862 -1886

Impressionist subjects: • Outdoors, seaside, Parisian streets and cafes

Post-Impressionism • Grouped together because making art at the same time- but not because of similar style • 1880 -1905 • Post Impressionists: Seurat, Toulouse. Lautrec, Cezanne, Gauguin, van Gogh

Different styles • • • Small dots of pure color on canvas, Seurat Pointillists Textural paint, sick man van Gogh Reduce to basic shapes: cone, cylinder, Cezanne

“Starry Night”

Pointillism, Seurat, “A Sunday on La Grande Jatte” 1884 -1886

Cezanne, “Still Life”

Cezanne • Cezanne liberated art from reproducing reality by reducing reality to its basic compositions • Cylinder, sphere, cone • To create illusions of depth placed cool colors like blue, which seem to recede, at rear and warm colors like red, which seem to advance, in front ( Mt. St. Victoire, 1902)