chapter 22 Europe and America in the early 1900 century

Chalgrin, Arc de Triomphe, Paris, 1806-1836.

Napoleon made this arch to celebrate his military similar to a roman triumphant arch

John Nash, Royal Pavilion (looking northwest), Brighton, England, 1815-1818.

Pastish = little bits of architecture from all over holiday retreat house

photography

a light-sensitive silver salts surface is exposed through a lens and creates an image on the surface

Henry Ossawa Tanner, The Thankful Poor, 1894. Oil on canvas, 2' 11 1/2" x 3' 8 1/4". Collection of William H. and Camille Cosby.

african american artist opportunistic depiction of their situation

Henri Labrouste, reading room of the Bibliothèque Sainte-Geneviève, Paris, France, 1843-1850.

all cast iron library in paris

Anne-Louis Girodet-Trioson, Jean-Baptiste Belley, 1797. Oil on canvas, Château de Versailles

all the slaves were free in any french territory modern european dress leaning on a bust of the person who advocated for the abolishment of slavery

Richard Upjohn, Trinity Church, New York, New York, 1841-1852.

also made in english perpendicular

François Rude, Departure of the Volunteers of 1792 (La Marseillaise), northeast pier relief of the Arc de Triomphe, Paris, France, 1833-1836. Limestone, 41' 8" high.

an allegory of french volunteers that marched to take part is actually part of the building dressed in medieval outfits

Bertall, Duel of Line versus Color / Ingres versus Delacroix, Journal pour Rire

battling in front of where the academy met pousinists - linear grid like rubenists color

Théodore Géricault, Insane Woman, 1822-1823. Oil on canvas, 2' 4" x 1' 9". Musée des Beaux-Arts, Lyons.

bringing attention to mental illness thinks that you can tell based on their facial expression. all attention is drawn to the face

Figure 22-49A Honoré Daumier, Nadar Raising Photography to the Height of Art, 1862. Lithograph, 10 3/4" x 8 3/4". Museum of Fine Arts, Boston.

cameras became more portable now photography architecture Immediately used for pornography

Figure 22-52 Timothy O'Sullivan, A Harvest of Death, Gettysburg, Pennsylvania, 1863. Negative by Timothy O'Sullivan. Albumen print by Alexander Gardner, 6 3/4" x 8 3/4". New York Public Library (Astor, Lenox,and Tilden Foundations, Rare Books and Manuscript Division), New York.

civil war photography

Winslow Homer, Veteran in a New Field, 1865. Oil on canvas, 2' 1/8" x 3' 2 1/8". Metropolitan Museum of Art, New York (bequest of Miss Adelaide Milton de Groot, 1967).

demobilized confederate soldier war ended in august so he went home and put down gun and picked of tool tool he is using is associated with death

Gustave Courbet, The Stone Breakers, 1849. Oil on canvas, 5' 3" x 8' 6". Formerly Gemäldegalerie, Dresden (destroyed in 1945).

depicts Realism= socially real the subject matter is courbet not trained in the system subject matter is now the common people figures depicted at a very large scale corvee -- forced labor in lieu of taxes wearing thrift shop clothes picture is the same size as an altarpiece

Thomas Eakins, The Gross Clinic, from Jefferson Medical College, Philadelphia, Pennsylvania, 1875. Oil on canvas, 8' x 6' 6". Philadelphia Museum of Art, Philadelphia.

dissection clinic there is only one women in the painting if a juvenile was being operated on then a parent must present the women must be the mother

Louis-Jacques-Mandé Daguerre, Still Life in Studio, 1837. Daguerrotype, 6 1/4" x 8 1/4". Société Française de Photographie, Paris.

early photographs were almost always staged scenes

Joseph Mallord William Turner, The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas, 2' 11 1/4" x 4'. Museum of Fine Arts, Boston (Henry Lillie Pierce Fund).

expresses all the passion through the color begin of abstract expression legs and hands sticking out of the water with shackles on them

Théodore Géricault, Raft of the Medusa, 1818-1819. Oil on canvas, 16' 1" x 23' 6". Musée du Louvre, Paris.

figure continues off the painting very confrontational with the viewer ship going to senegal ordered that the ship is going to be abandoned captain took the life boat for himself sail of rescue ship coming towards them modern political corruption (large in size) full spectrum of emotion

John Augustus Roebling and Washington Roebling, Brooklyn Bridge, Brooklyn, New York, 1867-1883.

first cable suspension bridge the weight load is held from up above on the towers

Manet, Mlle Victorine in the Costume of an Espada, 1862, NYC MMA

flaneur realist rejects the renaissance Believe the image on canvas is an abstraction not a depiction of real life you must be of your own time --> create ones own artistic style depiction of spanish life rejection of continuity of time and space

northern europe

gaining wealth and significant advancements in technology all kinds of new power systems

Francisco Goya, The Family of Charles IV, 1800. Oil on canvas, approx. 9' 2" x 11'. Museo del Prado, Madrid.

given commission to paint the royal family paints artists within the works attention to the children and other paintings portrait of a totally dysfunctional group of people very painterly

Charles Barry and Augustus Welby Northmore Pugin, Houses of Parliament (looking southwest), London, England, designed 1835.

gothic revival english perpendicular

JACQUES-LOUIS DAVID (1748-1825),Coronation of Napoleon, 1805-1808. Oil on canvas, Louvre, Paris.

he declared himself emperor in the church of notre dame made the pope oversee cause he imprisoned him crowned himself

Caspar David Friedrich, Abbey in the Oak Forest, 1810. Oil on canvas 4' x 5' 8 1/2". Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin.

landscape painting silently a protest and unquestionably germanic the band of light take the focus of the composition ruin of a gothic religious building german cemetery (mortality and death)

Antoine-Jean gros, Napoleon visiting the plague-stricken in Jaffa, 1804. Oil on canvas, 17'5" x 23'7". Musee de louvre, Paris.

like he has the ability to heal all

Joseph Paxton, Crystal Palace, London, England, 1850-1851; enlarged and relocated at Sydenham, England, 1852-1854. Color lithograph, 8" x 11 3/4", by Achille-Louis Martinet, ca. 1862. Private collection.

made in the time of queen victoria all the side wall and structure is cast iron and glass

Pierre-Alexandre Barthélémy Vignon, La Madeleine, Paris, France, 1807-1842.

made under napoleon's rule has domes inside

Gustave Courbet, Burial at Ornans, 1849. Oil on canvas, 10' 3 1/2" x 22' 9 1/2". Musée d'Orsay, Paris.

massive painting portrait of courbet's own village funeral of his grandfather looks as if it is not composed every head is a portrait of somebody in the village

Antonio Canova, Pauline Borghese as Venus Victorious, from the Villa Borghese, Rome, Italy. 1808. Marble, 6' 7" long. Galleria Borghese, Rome.

multi media sculpture

Edmonia Lewis, Forever Free, 1867. Marble, 3' 5 1/4" high. James A. Porter Gallery of Afro-American Art, Howard University, Washington, D.C.

neoclassical style depicts a free slave while daughter or wife is giving thanks

learning points

new industrial innovation with railroads cities are becoming more like how we see them today no longer period style but rather a mindset

John Henry Fuseli, The Nightmare, 1781. Oil on canvas, 3' 3 3/4" x 4' 1 1/2". Detroit Institute of the Arts (Founders Society Purchase with funds from Mr. and Mrs. Bert L. Smokler and Mr. and Mrs. Lawrence A. Fleishman).

nostalgia of the past great love for exotic explores the subconscious mind don't have a clinical way to talk about it

Adolphe-William Bouguereau, Nymphs and Satyr, 1873. Oil on canvas, 9' 3/8" x 5' 10 7/8" high. Sterling and Francine Clark Art Institute, Williamstown, Massachusetts.

nudes in a landscape the satyr makes this painting okay because its mythological

Jean-François Millet, The Gleaners, 1857. Oil on canvas, 2' 9" x 3' 8". Musée d'Orsay, Paris.

painting rural france uses much more color idealized picture of labor Realist subject matter but religious subtext

Charles Garnier, Opéra (looking north), Paris, France, 1861-1874.

paired columns (from louvre)

FRANCISCO GOYA, Third of May, 1808, 1814. Oil on canvas, 8' 9" x 13' 4". Museo del Prado, Madrid.

part of a pair of pictures shot in a firing squad violence between civilians and troops even warfare doesn't play by the rules organized by brightness and darkness his figure resembles the pose of christ

JOHN CONSTABLE, The Haywain, 1821. Oil on canvas, 4' 3" x 6' 2". National Gallery, London.

plunge viewer into confrontation with nature Landscape he was seeing was actually starting to be filled with smoke stacks a very english painting

Eugène Delacroix, Liberty Leading the People, 1830. Oil on canvas, 8' 6" x 10' 8". Musée du Louvre, Paris.

political painting the barricade of unrest tri color flag represents the first republic very recent political uprising

Théodore Géricault, Charging Chasseur, 1812. Musée du Louvre

portrait of every man hero hourse is trained to not be effected by battle

Francisco Goya, The Sleep of Reason Produces Monsters, no. 43 from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2" x 5 7/8". Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).

printmaker part of a set of prints give a wider and larger audience diagonal composition explores the anxiety of having a bad dream all creatures of the night hunting vulnerable humans

Thomas Cole, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836. Oil on canvas, 4' 3 1/2" x 6' 4". Metropolitan Museum of Art, New York (gift of Mrs. Russell Sage, 1908).

rainstorm that is about to pass over inspiration from english landscape painting

Francisco Goya, Saturn Devouring One of His Children, from Goya's Quinto del Sordo farmhouse, near Madrid, Spain, 1819-1823. Fresco, later detached mounted on canvas, 4' 9 1/8" x 2' 8 5/8". Museo Nacional del Prado, Madrid.

saturn wanted to kill his own zeus only way to kill him was to eat him alive abstract painting

Caspar David Friedrich, Wanderer above a Sea of Mist, 1817-1818. Oil on canvas, 3' 1 3/4" x 2' 5 3/8". Hamburger Kunsthalle, Hamburg.

self portrait of artist as a hiker man alone confronting infinity

John Everett Millais, Ophelia, 1852. Oil on canvas, 2' 6" x 3' 8". Tate Gallery, London.

shakespearian subject commiting suicide subject matter is unreal a literary fantasy

Édouard Manet, Le Déjeuner sur l'Herbe (Luncheon on the Grass), 1863. Oil on canvas, 7' x 8' 8". Musée d'Orsay, Paris.

shown in salon denied by jury salon de refuse salon for the rejects rejection of renaissance conventions

Eugène Delacroix, Death of Sardanapalus, 1827. Oil on canvas, 12' 1 1/2" x 16' 2 7/8".Musée du Louvre, Paris.

shown in the salon he is losing everything so he destroys everything he own

JACQUES-LOUIS DAVID (1748-1825), Napoleon Crossing the Saint-Bernard Pass, 1800-1801. Château de Versailles

strong diagonal line bonaparte wanted to be scene as a man of action carved his name into the rocks marking himself as one of the great

Daguerre, Louis Jacques Mandé, 1787-1851. Paris Boulevard : Detail of a man1839, daguerreotype

the french inventor very long exposure time used a metal plate with photosensitive material early photography had a limitation

Honoré Daumier, Rue Transnonain, April 15, 1834, 1834. Lithograph, 1' 1 3/8" x 1' 6 1/4". Yale University Art Gallery, New Haven (Everett V. Meeks, B.A. 1901, Fund).

the vehicle for political art is printmaking lithography -- chemical process stone full size of the sheet printed on would appear in political satyr magazine arrested for making this print

Figure 22-41A Langhans, Brandenburg Gate, Berlin, Germany, 1788-1791.

this is a gate way

Édouard Manet, Olympia, 1863. Oil on canvas, 4' 3" x 6' 2 1/4". Musée d'Orsay, Paris.

this nude was confrontational modern shoes on a bed with a black maid she is a prostitute she is present and available spatial flatness

Jean-Auguste-Dominique Ingres, Napoleon on His Imperial Throne, 1806. Paris, Musée de l'Armée, Palais des Invalides

thorne based on imperial roman architecture bumblebees are placed all over this robes

Albert Bierstadt, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6' x 10'. National Museum of American Art, Smithsonian Institution, Washington, D.C.

towards the creation of the national parks

Eugène Delacroix, Scenes from the Massacre at Chios, 1822-1824. Oil on canvas, 13' 10" x 11' 7". Musée du Louvre, Paris.

use of a lot of saturated color all of the figures are intertwined drawn from contemporary events

Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827. Oil on canvas, 12' 8" x 16' 10 3/4". Musée du Louvre, Paris.

very academic painting

Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814. Oil on canvas, 2' 11 7/8" x 5' 4". Musée du Louvre, Paris.

very linear painter white european man's fantasy proportions are all wrong exotic --> orientalists

Josiah Johnson Hawes and Albert Sands Southworth, Early Operation under Ether, Massachusetts General Hospital, ca. 1847. Daguerreotype, 6 1/2" x 8 1/2". Massachusetts General Hospital Archives and Special Collections, Boston.

very static poses so that they can stay still

PINE

•Past: Longing for the medieval past, pre-industrial Europe (Gothic architecture will be revived). •Irrational/Inner mind/Insanity: Romantic artists depict the human psyche and topics that transcend the use of reason. One Romantic artist, Gericault, chose to do portraits of people in an insane asylum. •Nature: Longing for the purity of nature, which defies human rationality. •Emotion/Exotic: Romantics favored emotion and passion over reason. Exotic themes and locales were also popular because they did not adhere to European emphasis on rationality.