Neo-Classicism (in your head!

)
>Greek/Roman references, heroic, moralistic
>uses strong line, academic compositional rules
>rational, linear, harmonious, even lighting
Note visual similarities to Raphael, Poussin and
the Renaissance
Subject matter includes classical stories/myth as
well as current events and portraits
American Neoclassicism
1770-1850
Sculpture:
Houdon and
Greenough
Both are George
Washington
Focuses on democracy
for the new American
republic
Architecture:
Thomas Jefferson
Lots of classical
influences!
Roman temple facades
Government and other
public buildings
 Thomas Jefferson
American Neoclassicism Architecture

Rotunda – University of
Virginia
Influenced by Pantheon
Roman temple facades

Traveled to Europe to view Greek and

Roman buildings
Used Palladio’s The Four Books of
Architecture

Monticello – Jefferson’s home

Influenced by Palladio’s Villa
Rotonda
 Romanticism
In your heart!
>Emotional, Movement, Drama, Heroic, moral
>uses color for composition and emotion
>painterly, high contrast of light/dark
>Note visual similarities to Rubens and Italian Baroque
>Subject matter: literature, exotic/foreign, the past, landscapes, as well as
current events & portraits
Romanticism
• Depicted exoticism and landscapes
• Improvisational and Instinctive
• Rejected structured order and
rationalism
• Dominated European writing, music,
and history
• Placed human emotions above other
 Romanticism
(An emphasis on feeling, intuition, and subjective
emotion.)
-Painting (oil on canvas)
-Metal relief etching
-Fresco(limited)

Dynamic
Naturalistic details
Dark
Dream-like Eugene Delacroix, Liberty Leading the
People

Fantasies
Henry Fuseli, The Nightmare
Looked to Medieval ages:
Superstition
Barbarism
Francisco de Goya, The Third of May,
1808 Miracle
- Dark mystery
depicte Grotesque
d to Sadistic
create Terrible
empath Infernal
y and Nightmarish
emotion William Blake, Abel Ghoulish.
Francisco de Goya
Greatly admired Diego Velazquez

Saturn Devouring
One of His
Children
The Third of May, 1808 The Colossus

Commitment to
the unleashing of
imagination,
emotions, and
nightmares.

Family of Charles IV

expressing fear
Evoking feeling, emotion, and
awe.
Heavy lights and darks =
drama. Wildness, boldness, Master of etching/aquatint
and brutality.
 Delacroix (France)
• His power of imagination would inflame viewers’
imaginations.
• Erotic overtones and intense hues and varied shadings
and reflections/balanced
• (Poetic) Allegorical Personification and Literature
•Beauty exists in the fierceness of the natural world.
• Work developed the Impressionists.
• Salon of 1859
• Patronized by the French government
 ROMANTIC LANDSCAPE
PAINTING

•Influenced by Rousseau
•Expresses feeling/mood
•From objective nature to
subjective emotion
•Interest in medieval period
•It’s sublime(feeling of awe
mixed with terror) or pastoral
•Used nature as allegory
•Spiritual, moral, historical,
and philosophical issues
•Artist as translators of
nature’s meaning
•“Picturesque”
 J.M.W. Turner

• Response to encroaching
industrialization
• Turbulent swirls of frothy
pigments
• Passion and energy
• Illustrates sublime
• Emotional power of pure color
• Discovered the aesthetic and
emotional power of pure color &
pushing of the medium’s fluidity
• Financially independent
 Painting: oil on canvas, etching,
Romanticism—Late 18th Century metal etching.
Giovanni Battista: -- ghoulish, sadistic, infernal,
Carceri 14 terrible, nightmarish, grotesque,
La Marseillaise Middle Ages= “dark ages.”
Sculpture: cast bronze, carved
marble
Architecture: Gothic or
Elizabethan revivial

Jaguar Devouring a Hare

Lady MacBeth
(1812)

Barry & Pugin: House of Parliament

a/k/a Revivalist Architecture
Henry Fuseli
(1741-1825)
Influence of and
parallel to Literature
strong in England and
Silence France

The Nightmare

Uni-Bielefeld
 Late 19th Century advancements: Photography

Daguerreotype - Daguerre
Talbot-calotype

c. 1839-1900

MUYBRIDGE - Moving Images

 “coarse” application of paint
Visual accuracy/focus on present or political
Treats everyday subjects painted with the solemnity
of a history painting

Realism - c. 18050s-60s
 Realism in the 19th Century

Movement was developed in France during the mid
19th Century and displays a taste for Democracy.
Appears in England around the same time as a
reaction against Victorian materialism and the
conventions of the Royal Academy in London.
Mediums used during this time period include oils
(mostly on canvas) and Lithography.
In spite of its social inclinations, Realism
produces no new style in architecture and few
sculptures.
Realism sets as a goal not to imitate past artistic
achievements but to produce the truthful and
accurate depiction of the models that nature and
contemporary life offer to the artist.

Rue Transnonain, 1834. Lithograph.

The Lemon, Oil Painting. Edouard Manet
Honore Daumier Colonel William F. Cody
Rosa Bonheur

Artists during this time were sometimes jailed for their political views. Those artist
who were considered extreme political activists were often times punished.

Many paintings and works were created as a response to the extreme political and
social upheaval during this time.
 Jean Desire Gustave
Courbet
“I have never seen an angel. Show me an angel, and I’ll paint one”

June 10,1819-December Gustave Courbet-Portrait by Nadar

31,1877

French Painter

Led Realist Movement in 19th

Century France
Burial at Ornans, 1849. Oil on Canvas

Painter of figurative compositions,

landscapes, seascapes, and still-lifes. The Stone Breakers, 1849 Oil on Canvas

Addressed social issues in his work.

Often Painted subjects others thought

to be mundane and trivial, such as The Desperate Man, Oil On Canvas
peasants and working class laborers.

Courbet shunned labels, but did

accept the term “Realism” as
descriptive of his art.
Basket of Flowers, Oil On Canvas

First artist to ever stage a private

exhibition of his own work. Curator of the Metropolitan
Museum of Art discussing
Courbet with Artist John Currin
INGRES_Apotheosis of Homer (1827)
French
Academic Art
GARNIER_The Opéra(1861- 1874)
1800- 1870
Canova_Pauline Borghese as Venus
(1808)

École des Beaux-Arts

Early 1800s, Neo-classicism was the Academic style based on

Poussin “Classical Baroque” and David’s teachings; incorporates BOUGUEREAU Nymphs and Satyr 1873

some Romanticism in the mid-1800s, resulting in a style such as

Bouguereau and others in the later 1800s.

- After Classical Antiquity

- Style Taught in French Academies
- Mythological,Religious & Historic themes
- Use of Renaissance Techniques:
Line, Perspective, Light & Shade
- Eventual synthesis of NeoClassic & Romantic
 ADOLPHE-WILLIAM BOUGUEREAU – French Academic Painter
1825 - 1905
Temptation 1880
- Most Popular and Prolific
Painter of period
- Portraiture, Mythological,
Religious, Genre themes
- Classical Idealism
- Highly Polished Technique
- Photo Realistic Appearance
- Skin, Hands & Feet
The Flagellation of Christ 1880 - Female Form

The Abduction of Psyche

1895

The First Kiss 1873

Portrait of Madame La
www.goodart.org/artofwb.htm Nymphs and Saytr 1873 Contessa Cambaceres 1895 The Shepherdess 1889
 Academic Art:
Pygmalion & Galatea

Realism: Sculptor is studio, Eakins

Look at the treatment of the figure and

the background; Note the subject
matter of each – reality vs mythology.
Breaking the control of the Salon/Academy:

Realist exhibition (Courbet),

Salon of the Refused (Manet and others),
Impressionist (Independent group)exhibitions.
 Manet - Transitioning from Realism to Impression
Note – change in paint strokes/palette, interest in light
Realism Impressionism
Only the things of one’s own time−what An attempt to capture a fleeting
people could see for themselves−were moment−not an absolutely fixed,
“real” precise sense of a Realist painting
• Clearer images
• Strong contrasts between light & dark
• Stronger colors • Brushstrokes
are blurred and
roughly applied
• lighter colors
• Uses light to
Dejeuner
sur l'herbe flatten &
(Luncheon highlight areas
on the
Grass),
1863
On the Beach,
1873

A Bar at
the
Folies-
Olympia, Bergere
1863-1865 ,
1881-
1882
 Manet
As Realist, influenced by Hals, Ribera,
Velazquez, Giorgione, and Titian
• Oil on canvas & etching
• Still life, portraits, M. and Mme Auguste Manet,
1860
landscapes, & genre
• Bold brushwork, absence of
half-tones, chiaroscuro, and a
generous amount of black

Transitioning from Realism to Impression

The Bellevue Garden, 1880

The Railway
Impressionism (of the moment)
Light/color, reflection, atmosphere
Oils in tubes, painting outdoors
Influences: Photography
Japanese Prints
 EUROPE AND AMERICA 1870-1900
IMPRESSIONISM
-Originally the term “impressionism” was
used in an insulting manner
-Art of urbanized Paris

-It was the reaction to the tumultuous

changing of French life that happened
Caillebotte: Paris: A Rainy Pissarro: Boulevard
during the later part of the 19th century.
Day Montmartre
-Up close, the paintings are hard to
distinguish

Edgar Degas: The

Claude Monet: Impression: Rehearsal
Sunrise
Cassatt: The
Bath
 CLAUDE MONET

-Painted Outside

-Carried the study of light

and color further than any
other Impressionist
Saint-Lazare Train
-Used speed and short Station
brushstrokes in his paintings
Madame Monet and Her
Son

The Studio
Boat
Self Portrait
Rouen
Cathedral
 Claude Monet 1840-1926
• Known as the father of Rouen Cathedral Portrait
Impressionism
• Worked primarily on oil
paints, often outdoors
• He would paint the same
object numerous times to
understand different types of
light with his unique style of
painting
• His main influence was the Sunrise
colorful Japanese art.

Saint Lazare Train station

Post-Impressionism c. 1886-
1906
Expressionistic Approach

van Gogh, The Night Café, 1888. Oil on
canvas.
Visual characteristics
vary greatly by artist
Express emotion through
color
Gaugin, The Vision after the Sermon, 1888. Oil
Interest in experimenting on canvas.

with color theory

Color & form are of
primary importance
Content takes a back
seat

Gaugin, Where Do We Come From?, 1897. Oil on

van Gogh, Starry Night, 1889. Oil on canvas.
 Post-Impressionism

van Gogh
1853-1890

Self-Portrait, 1889. Oil on canvas.

The Night Café, 1888. Oil on canvas.

Starry Night, 1889. Oil on canvas.

Explored the capabilities of

colors & distorted forms
to express emotion
Thickness, shape, direction
of brushstrokes
(expressive paint
application)
Intense color schemes
The Café Terrace on the Place du Irises, 1889. Oil on canvas.
Forum, Arles, at Night, 1888. Oil on
 Post Impressionism 1886-1906
A reaction to the limitations of Impressionism
expressive emotion or controlled study

Seurat, Sunday on La Grande Jatte

Gauguin, Where Do We Come From? Look for:

Focused on: Distorted forms
Personal experience of the Experimentation in color
painter theory
Capturing the sensibilities Thick paint application or
of modern life flat areas or pointillism
Real life subject matter Vivid colors
Oils on Canvas
Van Gogh, Irises

Toulouse-Lautrec, At the Moulin

Rouge
Cezanne, Mont Sainte-Victoire
Vincent van Gogh(1853-1890)
His use of color and expressive style went on to
influence Fauvism, Cubism, Surrealism and
German Expressionism.

Van Gogh, Self-

Thick application of pigment (impasto).
Swirling thick animated brushstrokes.

Portrait
Dominant use of blues and yellows.
Painted what he felt and not what he saw
(wanted to express his emotions).
Painted portrait’s, townscape’s and landscape’s.
Van Gogh,
Influences; Sun Flowers
o Japanese woodblock prints.
o Monet’s bold use of colors and improvised
Van Gogh,
brush strokes. Sheaves of
o Seurat’s pointillist technique. Wheat
Sold only 1 painting in his lifetime.

Van Gogh, Starry

Night
Van Gogh, Night Cafe
 Vincent Van Gogh
(1853 – 1890)

Self-portrait
 Form and color freely distorted Van Gogh

 Oil on canvas
“Starry Night”  Expressive palette and brushwork to transfer
Van Gogh

emotion to his canvases

 Typifies the impressionism of the mad, artistic talent
 Used color and line to express inner feelings “Café Terras at Night Aries”
Van Gogh

 Textile like effect, squeezed dots or streaks from

paint tube enhanced the intensity of colors
 Reflects joys, hopes, anxieties and despair

“The Night Café”

Self-portrait with Van Gogh
bandaged ear
Van Gogh
“I paint as a means to make life bearable… Really we can speak only through our paintings”
– Van Gogh
Formalist or expressionist approaches

Formalist
Flattensor
spaces, figures
Expressionist??
 Lithography

"Stone-printing"

19th-Century
Transfer Press
 Art Nouveau 1890
• Inspired by naturalism and
symbolism
• Prompted by arts and crafts
movement
• Influenced by Japanese
Klimt
prints, Van Gogh, Gauguin’s Gaudi

colors.
• For mass produced, based
on natural forms

Beals
Tiffany
Antonio Gaudí 1852-1926
• Realistic and useable
everyday sculptures and
buildings.
• Influenced by Spanish
architecture the Moors. Dining Room at Casa
Batllo
• Believed everything
created should be
beautiful and have Church of Sagrada
Familia
symbolism.

Barcelona: Casa
Mila: Ext.: facade Bench: front view
 Fin-De-Siécle or “End of
the Century”
-describes life in the very late 1800s
-heavily centered on sex and subconscious exploration

Painting styles: Symbolism & Art Nouveau

Pluralism (many styles at same time) – Post-Imp,

Symbolism, Art/Crafts, Art Nouveau and Academic Art
all continue to the end of the century
Auguste Rodin
-Leading French sculptor of early 19th
century
-emphasis was the human body and
motion
-Influenced by impressionism
-focused on reproducing the surface to
radiate “love, passion and life”
Turn of the Century - Into 20th- expressionist
styles – expressing ideas and emotions;
arbitrary use of color; often with bold,
evident brushstroke, and build up of paint
Themes can be personal, war, political or
other types of oppression, “causes”

Symbolism/Expressionism
Munch, The Scream

Expressionism could be part of

painting, sculpture or
printmaking.

Sculptors branching out…

Rodin, attention to surfaces-no
pedestals-expressive
Turn of the Century (Fin-De-Siecle)
Architecture
Urbanization, Industrialization,
Modernization, Capitalism
2nd Industrial Revolution focus: steel,
Inventions: steel, electricity, elevators
electricity,
Architecture: metal frame often encased in masonry,
concrete

Sculpture: marble, bronze,

interest in movement/surface

Painting: Symbolism
Alexander Gustave Eiffel / Eiffel Tower
(1889)
Material : cast iron skeleton
Purpose : marking The World’s Fair (1889)

New technology / revolution in architecture

Modern material/design, no distinction–interior/exterior
Opposed by Anti-Industrialization/modernization groups
Outstanding well-constructed design. The tallest for 40
years
ARCHITECTURE 1850s-1900

Metal frame construction

Pre-fab – metal & glass
Reinforced concrete
Iron, then Steel
Suspension construction

IRON TO STEEL, ELEVATORS