Final Exam part1
Camille Pissarro
Hoarfrost, 1873
The Birth of Venus, 1863
Alexandre Cabanel
Mary Cassatt
Reading Le Figaro
-her nudity is acceptable because she is a goddess and is therefore idealized and beautified-ultimate classicizing academic painting -did not cause sensation because it was idealized and familiar subject matter-won a medal and purchased by the state -was well received
Alexandre Cabanel, The Birth of Venus
-Paris then and now -marville was commissioned to document changes in paris as it was restructured (by Napoleon) to photograph old streets before they were gone -medieval city and made into modern metropolis w/ large parks and public buildings -paris today is paris that napoleon the third has houseman design -style: inspired by classicism; BEAUX ARTS style -gaslamps kept crime down and encouraged nightlife -became safer, cleaner and fashionable -expensive to live downtown; working class on outskirts
Avenue de L'Opéra during Haussmann's modernization of Paris
Manet
Bar at the Folies Bergere,1882
The Cradle
Berthe Morisot, 1872
Laundresses Hanging Out the Wash
Berthe Morisot, 1875
-subject matter for women circumscribed always indoors and never outside -image of her sister and what was supposed to be her niece
Berthe Morisot, The Cradle
Gustave Courbet
Burial at Ornans, 1849
Hoarfrost
Camille Pissarro, 1873
-open fields and depiction of light -idea of crispy cold fields in the morning -focus of the painting is the land and light, man is a minor element -grayish tones -no dark tones in the mixture of hues -uniform thickness of paint throughout painting -reduced tonal contrast and therefore a flatter look -all 3 zones, FG, BG, MG all appear on the same level
Camille Pissarro, Hoarfrost
Avenue de L'Opéra during Haussmann's modernization of Paris
Charles Marville
Women in the Garden
Claude Monet, 1866
Impression Sunrise
Claude Monet, 1872
Regatta at Argenteuil
Claude Monet, 1872
-exhibited in early impressionist shows -trying to capture a moment before light changes -on white underpaint -broken brush work on very light backgrounds -thick paint, on canvas building up paint -reflections off water -quick work trying to capture the light of day
Claude Monet, Impression Sunrise
-a light-toned underpainting creamy yellow
Claude Monet, Regatta at Argenteuil
-Considered earlier for the conservatism of its subject and composition,was nevertheless almost unprecedented in its depiction of colored shadows and light -
Claude Monet, Women in the Garden
-Painted almost entirely en plein air (the artist actually dug a trench into which he could lower the work so as to paint its upper branches without changing his point of view. -Colored shadows and the juxtaposition of warm and cool hues to achieve modeling of face and hands.
Claude Monet, Women in the Garden
Manet, Dejeuner sur l'Herbe, 1863
Dejeuner sur l'Herbe, 1863
-youngest member of the impressionists -wealthy, he purchased many paintings including Renoir's Moulin de la Galette (1st owner) -helped organize, promote and install impressionist paintings -owned 70 impressionist paintings, left them to the govt. when he died
Gustave Caillebotte
Paris Street, Rainy Day
Gustave Caillebotte, 1877
-brushwork not impressionistic, doesn't do broken brushwork -youngest member of the impressionists -does get time of day and weather conditions
Gustave Caillebotte, Paris Street, Rainy Day
The Dance School
Edgar Degas, 1873
Little Dancer Age 14
Edgar Degas, 1881
The Tub
Edgar Degas, 1886
-Only sculpture by him exhibited in his lifetime, was described by critics as a "monkey", and " a monster.... from a museum of zoology" -one of the few impressionist painters to create a sculpture -not idealized or beautified -lack of understanding from spectators
Edgar Degas, Little Dancer Age 14
-spent a lot of time at the paris opera -very fond of ballet -his images of women are not sexualized -no subject, center or narrative -shape of half oval repeats among groups of ballerinas -well structured and asymmetrical -allows eyes to wander throughout painting
Edgar Degas, The Dance School
-playing with odd point of view- looking down on the image -repeated shapes- round of the tub, back, jugs, handle, hairbrush -space collapsing a little
Edgar Degas, The Tub
View of the Village
Frédérick Bazille
-Approaches a level of abstraction almost unprecedented in the nineteenth-century art. -Daughter of an Italian gardener figure is the subject but also peripheral...staffage and subject at once -the figure and the landscape are self cancelling -this level of abstraction was not very common in 19th century -figure is in open air
Frédérick Bazille, View of the Village
-depiction of a specific time of day, season of the year and location -there is a crisis between the figure and landscape overall -mentioned in a letter from Morisot to her sister...mentions the vast sunlight -affirmation and denial of figure and landscape parallel to monet's on the banks of the seine, Bennecourt
Frédérick Bazille, View of the Village
Impressionism
Frédérick Bazille, View of the Village
-exact same umbrella gives sense of unity -bisected in center by a street lamps -people on the right very close to you -left side down the street -showing space light and atmosphere
Gustave Caillebotte, Paris Street, Rainy Day
-tight brushwork, not aware of the surface as much = less flat -white underpaint, makes it pop out flat blacks and grays -water on cobblestone very effective -grasps at life in paris
Gustave Caillebotte, Paris Street, Rainy Day
Burial at Ornans
Gustave Courbet, 1849
Stonebreakers
Gustave Courbet, 1849
The Studio of the Painter: A Real Allegory Summing Up Seven Years of My Artistic Life
Gustave Courbet, 1854-5
-massive painting; normally painting of this size would be a historical painting -painting of this size would signify the funeral of an important person...this is not the case here -makes the everyday heroic -people appear disconnected, not really into funeral -rough technique and not idealized
Gustave Courbet, Burial at Ornans
-painting destroyed-- images we have of it were taken before WW2 -no faces; no narrative; heads do not break horizon line -brown, grey, dirty earth tones (both the men and the background)
Gustave Courbet, Stonebreakers
-racey; ordinary people shocked by uncomfortable painting -subject matter: 2 men breaking rocks for building roads; torn clothing= hard work
Gustave Courbet, Stonebreakers
-Courbet felt he was the judge of his work, not someone else -great exhibition in crystal palace with tent full of paintings -government sponsored event; jury judged/ selected painters and paintings -Courbet felt he was the judge of his work, not someone else
Gustave Courbet, The Studio of the Painter: A Real Allegory Summing Up Seven Years of My Artistic Life
-important painting shows how artist can be center of political world -on back, faded version of peasants coming home from fair with oxen -center of painting, Courbet painting landscape and muse of nude woman -young boy looking at landscape, unspoiled viewer -most important paintings of time discussed everyday life and realism -painting technique-- thick paint, pallet knives not brushes
Gustave Courbet, The Studio of the Painter: A Real Allegory Summing Up Seven Years of My Artistic Life
Young Ladies on the Banks of the Seine
Gustave Courbet,1856-7
Oedipus and the Sphinx
Gustave Moreau, 1874
Claude Monet
Impression Sunrise, 1872
The Sower
Jean-François Millet
The Gleaners
Jean-François Millet, 1857
-form of charity; after harvest, farmers allow poorest of the poor to pick up everything left behind; hard, backbreaking work; women of the earth -rhythm, heads don't break horizon, nicely painted and structured; poetic, landscape beauty -subject matter: reverse of normal farming-- depiction of rural poor -mixed critic reviews -compared to view of dordrecht (but woman in that painting OWNED cows)
Jean-François Millet, The Gleaners
-inspired Van Gogh -labeled a socialist -started peasant pictures after 10 years without success -less politically minded than people would think
Jean-François Millet, The Sower
-produced oil and pastel -1867 found success; 1868 received lesion of honor -2 versions of this painting -fills canvas with figure with grain bag, birds in background, not elegant or funny, sacred act of farming
Jean-François Millet, The Sower
-unusual in subject matter -includes landscape, but more interested in painting peasants who worked on the land -got attention when was exhibited; commented on by 19 critics-- favorablethick paint disconcerted people
Jean-François Millet, The Sower
Reading Le Figaro
Mary Cassatt
-Older Women of considerable presence and dignity are neither overwhelmed nor oppressed by the passage time or the ominous shadows of interior space , but are constructed as firmly in control and at ease in their social and pictorial setting.
Mary Cassatt, Reading Le Figaro
Berthe Morisot
Laundresses Hanging Out the Wash, 1875
Edgar Degas
Little Dancer Age 14, 1881
Dejeuner sur l'Herbe
Manet, 1863
Olympia
Manet, 1863
Bar at the Folies Bergere
Manet, 1882
-shown at the 1882 paris salon exhibition...yr before his death -subject matter same as impressionists hard to decipher -play with vision and light -nightclub where many serving women would also offer other kinds of services -view of the new world of paris where commodities are available everywhere -modern life and the world of the flaneur -implied fanciness of location due to chandeliers
Manet, Bar at the Folies Bergere
-One of his most famous paintings -Contemporary man sitting with naked woman was scandalous -He rejects idea that painting has to be a perfect depiction of a perfect world beyond...to him this was unnecessary -Thought to be sloppy work
Manet, Dejeuner sur l'Herbe
-It depicts a naked white woman reclining on a bed gazing at the viewer, and a clothed black woman holding a bouquet of flowers and gazing at olympia. -french prostitute, Olivia, common name for prostitute -these types of services were popular in france at the time -reworking of TItians "Venus of Urbino"...not as shocking as Manet's -not a lot of modeling
Manet, Olympia, 1863
-incorporating techniques of japanese woodblock prints -one of the most notorious paintings in the history of art -subversion of the genre of the nude and rejection of received ideas of sex and race -exhibited alongside Christ Mocked at 1865 salon -critics called it a mockery
Manet, Olympia, 1863
Pierre-Auguste Renoir
Moulin de la Galette, 1876
Gustave Moreau
Oedipus and the Sphinx, 1874
Manet
Olympia, 1863
The Horse Fair
Rosa Bonheur, 1853
Gustave Caillebotte
Paris Street, Rainy Day, 1877
Moulin de la Galette
Pierre-Auguste Renoir, 1876
-depiction of family and other people having a good time -painted outdoors on a sunday afternoon
Pierre-Auguste Renoir, Moulin de la Galette
-working class area and different from la grenouille -slightly darker, underground-ish -critics did not understand the painting and so were outraged at its presence -sketchy quality -clotted paint
Pierre-Auguste Renoir, Moulin de la Galette
Rosa Bonheur
Ploughing in the Nivernais, 1849
Claude Monet
Regatta at Argenteuil, 1872
-painting farm animals; pride in depiction of farming activities, did not focus on rural poor -gorgeous qualities of light -seasons, activity of agriculture, natural
Rosa Bonheur
-powerful horses going around ring in front of potential buyers -sketches in slaughterhouses to learn anatomy of horses -not something seen in everyday life -big and beautiful
Rosa Bonheur
-very celebrated painter, but slipped out of history -dressed in men's clothing in order to go outside to paint in the fields
Rosa Bonheur
-was able to experience world as man in many ways women could not -father taught her how to paint -won first class medal -Queen Victoria loved animal paintings, Bonheur painted for her -purchased by Cornelius vanderbelt and in now in NYC MET
Rosa Bonheur
Ploughing in the Nivernais
Rosa Bonheur, 1849
Gustave Courbet
Stonebreakers, 1849
Alexandre Cabanel
The Birth of Venus, 1863
Berthe Morisot
The Cradle 1872
Edgar Degas
The Dance School, 1873
Jean-François Millet
The Gleaners, 1857
Rosa Bonheur
The Horse Fair, 1853
Jean-François Millet
The Sower
Gustave Courbet
The Studio of the Painter: A Real Allegory Summing Up Seven Years of My Artistic Life, 1854-5
Edgar Degas
The Tub, 1886
Frédérick Bazille
View of the Village, 1868
Claude Monet
Women in the Garden, 1866
-more shocking than a nude when first showed because working class women -on banks of river, gathering flowers, picnic, boat with mans hat in background (male visitor somewhere in scene-- not visually, but shows they are not high fasion ladies, maybe prostitutes) -woman in underwear and dress is underneath her as a pillow, shawl over petty coats -comparison to birth of venus
Young Ladies on the Banks of the Seine
Gustave Courbet
Young Ladies on the Banks of the Seine, 1856-7
-Could show nude body as long as it was in an academic, classicizing context....this one was not of course
manet
-No shading on the woman....almost flat -Copying from a print from marcantonio -Raimondi, judgement of paris -Refers to great renaissance artist...not completely abandoning the past
manet
