18th and 19th century ARTH Exam 3

fumisme, fumisterie

"a disdain for everything and translated itself on the outside by acts of aggression and jokes"

Stéphane Mallarmé

- Debussy's favorite poet and founder of poetic Symbolism (strives for impression of feelings) - author of the poem "Afternoon of a Faun"

Seurat, conté crayon drawings ("Little Girl in a Slouch Hat", "Man in a Top Hat")

-maybe a study of the drawings he was going to composite to make into a sunday at la grande jatte

Neo-Impressionism

A late-19th century movement growing out of Impressionism. Though interested in capturing the effects of light and atmosphere, these artists also introduced the ideas of color theory and optics into their works. Pointillism was a common technique.

Japonisme

A style in French and American nineteenth-century art that was highly influenced by Japanese art, especially prints.

artist colonies

An art colony or artists' colony is a place where creative practitioners live and interact with one another. Artists are often invited or selected through a formal process, for a residency from a few weeks to over a year.

Impressionism

An artistic movement that sought to capture a momentary feel, or impression, of the piece they were drawing

colonialism

Attempt by one country to establish settlements and to impose its political, economic, and cultural principles in another territory.

Nabi

Hebrew word for prophet

Monotype

One of a kind print made from painted or inked surface.

en plein air painting

Painted out of doors. A practice used by the Impressionists.

simultaneous contrast of color

Simultaneous contrast refers to the way in which two different colors affect each other. The theory is that one color can change how we perceive the tone and hue of another when the two are placed side by side. The actual colors themselves don't change, but we see them as altered.

modernist primitivism

The appropriation of non-western art objects and aesthetics by modern artists in the west. Modernist primitivism is both dependent upon colonialist practices and, paradoxically, often employed as an indictment of western society.

collapsible paint tubes

The paint tube was invented in 1841 by portrait painter John Goffe Rand, superseding pig bladders and glass syringes as the primary tool of paint transport. Artists, or their assistants, previously ground each pigment by hand, carefully mixing the binding oil in the proper proportions.

café-concert

Type of dining establishment, prominent in late-nineteenth- and early-twentieth-century Paris, that combined the food and drink of a café with musical entertainment, usually songs on sentimental, comic, or political topics.

Charles Baudelaire

a French poet who also produced notable work as an essayist, art critic, and pioneering translator of Edgar Allan Poe.

Conté crayon

a drawing medium developed in the late eighteenth century; similar to pencil in its graphic content, includes clay and small amounts of wax

Synthetism

a genre of French painting characterized by bright flat shapes and symbolic treatments of abstract ideas

cabaret artistique

a title of the singer/dancer dinner before it changed to cafe concert

Morris Column

advertising columns

Cézanne, Small Houses Near Pontoise, ca. 1874, -bold colors to achieve the look -father of modern art - strayed from impressionism - not the fleeting moment

cezann'es houses

non-mimetic color

colors that don't match what the object looks

Degas, Edmondo and Therèse Morbilli, ca. 1867 -Degas' family was relatively affluent, so he did not have to rely entirely on sales of his work for financial support. He was thus free to experiment and choose his own subjects; almost all of his portraits depict relatives or friends. He was also able to delay finishing paintings, reworking them until they met his exacting standards. Many times Degas retrieved works he had already delivered so that he could perfect them. Some he never completed. This unfinished portrait of Degas' sister and her Neapolitan husband is one such example. (The painting was in his studio at the time of his death.) Notice how Thérèse's dress and shawl are undefined masses of color. There, Degas has scraped and rubbed the paint off the canvas. The dark lines indicate changes he intended but never made. The faces, by contrast, are carefully finished, detailed and expressive. Degas hoped to capture his sitters, he said, in "familiar and typical attitudes."

degas' sister and husband

ukiyo-e prints

form of art that consisted of carving out different areas of color and printing them in sections

Impressionist exhibitions, Paris, 1874-1886

https://www.thoughtco.com/the-eight-impressionist-exhibitions-183266

Luce, Homeland, 1891

idk honestly just make something up

Series paintings

paintings that come in a series

Pissarro, View Near Pontoise (Factory), 1873 -"By attending to construction, to solidity and weight, in the space of paintings of landscape imagined to be and described as partial, mere fragments, Pissarro reinvented the relation between painting and beholder and painted pictures that called for a specific kind of viewing, pictures that, in their partialness, worked to put vision into doubt. In making of the partial something 'absolutely seated,' I want to claim, Pissarro produced a relation between painting and beholder, body and vision, wherein the viewer, as he looked, at times with difficulty, was made aware of his own body and, consequently, the body of the artist. As Pissarro constructed his coins [corners], into them, in the act of painting, he inscribed his own body and asked the beholder to acknowledge, fell as it were, its presence. Pissarro's coins work to image the inmixing of the artist's body and the world, and they seem, in all their partialness, to have been brought into being by, in [Emile] Zola's* words, a 'will fierce and strong,' by an artist interested in making his presence eminently felt, by an artist interested in seating himself in his pictures of landscape."

pissaro factory in landscape

Fin-de-siècle

referring to the last years of the nineteenth century; decadent

Psychophysics

the study of relationships between the physical characteristics of stimuli, such as their intensity, and our psychological experience of them

Symbolism

the use of symbols to represent ideas or qualities