Impressionism/Post Impressionism Test 1
-Middle class, indoor scene=Scene that Cassatt knew -She was well received by critics -Difference between subjects of men and women painters
Cassatt, Cup of Tea
-Monet didn't show labor in his garden scenes, but Pissarro did -Garden where food is grown, people work on it -Not as vivid as Monet's
Pissarro, Garden at Pontoise (similar)
-Rural scene -Less sketch like compared to Monet -Different kind of landscape
Pissarro, Hoar Frost
-2 females central to Impressionists (Cassatt and Morisot) -Urban entertainment, opera -Sister Lydia -Loge=Partially private space -Privacy, enclosure -Mirror behind Lydia
Cassatt, Lydia in a Loge
-Oldest of the core group of Impressionists -In all 8 exhibitions -School of Pontoise -Likes to show everyday small towns=Unique -Not a touristy area
Pissarro, View of the Hermitage, Jallais Hills, Pontoise
-Courbet was from Ornans -Family of middle class land owners -Moved to Paris -Work not well received at first -Jury rejected all but 3/18 pieces at the Salon -Lack of success prior to 1848, moved to Ornans -After the Revolution of 1848, Courbet began his realist works
Corbet, Self Portrait: The Desperate Man
-Bazille and a few others came up with independent exhibition idea -Monet, Renoir, Zola, Manet, Bazille all depicted -Visual statement of artist's relationships -Bazille presenting work to Manet and Monet -Monet with paint brush, commenting=Father figure, father of Impressionists -Renoir and Zola by stairs -Testament of these artists -1st exhibition failed because of a lack of funds
Bazille, Bazille's Studio, rue de la Condamine
-All figures lined up, simplification of hierarchy -All on same plane -Flattened -Mocks church officials, not seen as serious or religious
Bertall, Character of Burial at Ornans
-Bridge over train station in Paris=Specifically modern -Worker on right, middle class left -Caillebotte likes structures of city, form, mass -Caillebotte is an Impressionist in some aspects (subject), but not in style
Caillebotte, Europe Bridge
-Gendering of the city -Woman with husband -Woman in middle class home -Woman and us=Getting a peek at Paris and modern life
Caillebotte, Interior, Woman at a Window
-Caillebotte helped found exhibitions -Tried to convey feelings of modern Paris, on boulevards, in crowd -Large figures in foreground, almost life size -Haussmannization -Anonymity, alienation, uniformity -Couple seems disconnected -Figure to the right=Cut off, gives off illusion of ever changing scene, puts us in perspective of walking in crowds -Glimpse of scene, always moving, immediacy -Mass production -Umbrella splits background scene of worker and bourgeoisie woman -Couple seems distant -Study for Paris Street -Impressionists often didn't sketch, Caillebotte stands apart -Brushwork almost invisible in final
Caillebotte, Paris Street: Rainy Day & Study
-Looser paint application -Looking down on Haussmann boulevard -City being visually consumed -Sketchiness=Things in motion
Caillebotte, The Balcony
-Gendering of the city -Man looking at woman crossing the street, confident -Man alone -Shamelessly gazing -Compare with Caillebotte, Interior, Woman at a Window
Caillebotte, Young Man at His Window
-Courbet was from Ornans -Family of middle class land owners -Moved to Paris -Work not well received at first -Jury rejected all but 3/18 pieces at the Salon -Lack of success prior to 1848, moved to Ornans -After the Revolution of 1848, Courbet began his realist works
Corbet, Self Portrait: Man with a Leather Belt (look up)
-Represented the activities of ordinary figures on a huge scale -Large scale to ordinary subjects-Characteristic of Courbet -Roughly painted, crude=Physical reality -Figures seem distant, no central focus of unification -Figures not idealized, not picturesque -Courbet showing his world and town
Courbet, After Dinner at Ornans
-Courbet's most criticized piece -Background recognizable, obviously Ornans -Cemetery adjacent to family land -Great uncle's burial -Portraits of family and members of Ornans, not random -Right before ceremony -Enormous scale -Elevated significance of the ordinary, this large scale was normally reserved for royals, myths -"Deliberately made figures ugly"=Criticism -Unsentimentally painted figures -Refused to conform to Paris' ideas of the countryside=Not idealized -Subject of funeral: Emphasis on the materiality of death, hole in front, no emphasis on spiritual, death as a brute fact -Red figures=Church officials -Lack of emotional consciousness -Figures unconnected, not cohesive, no single emotion -Courbet despiritualized death and its ceremony -Creates a portrait of event at a place, no moralizing or idealization -Lack of compositional structure, viewer left without place to look -"Cold image of nothingness" -Courbet attentive to faces -Thick smears of black paint -Brushstrokes equate painting to physical labor -Courbet had paintings tour countryside on their way to Paris, showed the countryside to the countryside, painting for someone other than just the Salon
Courbet, Burial at Ornans
-Courbet on the right -Alfred Bruyas in the middle, servant on the left -Bruyas was a key collector of art -Bruyas organized this meeting -Courbet went to S France to visit -Bruyas bought enough pieces from Courbet to offer him financial independence -Patron making production possible -Courbet bows to no one, independent, sure footed, autonomous, supported by cultured and private individual -Setting scene for artists
Courbet, The Meeting or Bonjour Monsieur Courbet
-Centerpiece of Courbet's unofficial exhibition -Retrospective of retrospective -Courbet in middle, working on landscape -Combining all subjets into one piece -Left: Representation of society, government, inequality -Right: Shareholders, friends, patrons -Otherworld vs. Inner world/Supporters -Middle=Courbet: Back somewhat turned, in act of creating, process of work and production of world -Child by Courbet, possibly a young stone breaker -Courbet associating with nudes, landscaped (subjects he would be painting in the future) -Points to artistic past and future -Realistic nude female -Identifies himself as a realist -Why only 7 years? Revolution of 1848 not referenced, 7 years prior to this painting was 1848, aligns career with revolution -Attendance and sales at his personal exhibition were disappointing -1850s and on: Focus on landscapes, not social pieces like before
Courbet, The Painter's Studio: A Real Allegory Summing Up Seven Years of My Artistic Life
-Left wing critics appreciative of Courbet's work -Bottom of economic scale -Courbet saw them and asked them to come to his studio -Brought real life into studio, didn't work from professional model -Symbolic, Courbet in touch with reality -Emphasis on hardship and poverty -Old and young shows life cycle -Doesn't appeal to emotion or sentiment -No faces -Monochromatic, earth tones -Conveys hardship through rawness=Texture and roughness of clothes, heaviness of shoes, stiff, foreboding landscape, thick brushwork -Canvas is a crude, material object=Rough physicality of painting=Rough physicality of breakers -Landscape confines: Rough, no sky, dark, compressing, enclosing -Landscape from home region, geographically specific -Figures large, almost life size -Picture plain=Figures close -No comfortable distance between viewers and subject -Roughness made apparent to viewers
Courbet, The Stonebreakers
-Housed the World's Fair in England -Indoor or outdoor? No distinction with glass and open air -Attracted visitors just because of the building -No true exterior or interior
Crystal Palace, aerial view (similar pictured) & 2 interior views
-Haussmann wanted to clear the island that Notre Dame was on, "liberated Notre Dame" -Almost all private homes removed, became a center for the city, headquarters, administrative/legal center -Oldest core of the city was changed, it wasn't taken well -Haussmann wanted to improve health and hygiene -Added areas for Parisians to relax, parks became the lungs of Paris -Renovated sewers, increased water supply=2 praised aspects of Haussmannization
Daguerre, Notre Dame from the Pont des Tournelles & Notre Dame, aerial view (similar pictured)
-Very close view -Hat makers -Middle class shopping -Interest in what your body does during these activities -Interest in clothing and costume=Artifice of beauty -Artificial flowers=His artificial landscapes incorporated into fashion
Degas, At the Milliner's (2)
-Degas fought with Monet for power of exhibitions -Could you show at impressionist exhbitions and salon? Struggle -Degas like artificial light, performances, figures, indoors, women -Didn't like term "Impressionists" -Night time urban entertainment -Emphasis on stage lighting, stage -Inclusion of audience -Background=Boulevard
Degas, Café-Concert des Ambassadeurs
-Effect of work on bodies -Urban subjects, human figure figures, especially female -Women at work, ordinary labor -Laundresses=Common in Paris, large industry -Explores movements and gestures -Unidealized, and some even thought these images were ugly portrayals -Professions and what they entailed=Interested Degas -Didn't see this a social commentary
Degas, Laundress, Woman Ironing & Degas, Laundresses (pictured)
-Figures in public square -Portrait of a good friend and his daughter, but he paints them as strangers -Didn't tend to depict Parisian street life -Typical=Unconventional angle with expansive space behind -Off kilter perspective=Glimpsing
Degas, Place de la Concorde
-Didn't like the term Impressionist -Showed in all but 1 Impressionist exhibit -Looks elegant in portraits -Father founded a bank -Mother from New Orleans, visited for 5 months -Had a lot of formal artistic training -Spent time studying in Italy -Known as a figure painter -Ambivalent about public attention for work
Degas, Self-Portrait (2) (similar)
-Entertainment venues=Result of Haussmannization and boulevards -Middle class women working, not places of high/refined culture -Female performers and what their work does to their body -Interest in artificial light
Degas, Singer with the Glove
-Entertainment venues=Result of Haussmannization and boulevards -Middle class women working, not places of high/refined culture -Female performers and what their work does to their body -Interest in artificial light
Degas, Song of the Dog
-Almost life sized -Disconnect between family=Tensions and distance
Degas, The Bellelli Family
-Doesn't just show performance, shows viewers too -Taking it in as a viewer -Working class -Erotic and sexual undertones
Degas, The Café-Concert of the Ambassadeurs (pictured) & Degas, Café-Concert
-Shift in focus to modern subject matter -Modern interior and subject matter -Suggestive narrative, relationship unclear though -He stands against the door, she is half dressed -Man=Observer, Female=Observed
Degas, The Interior
-Print and pastels used for this -Working class, prostitutes -Haussmann, cafes, boulevards -Little distinction between indoors and outdoors -Artificial light
Degas, Women in Front of a Café, Evening
-History and story painting (literary, historical, mythological) -Exhibited it at Salon and Impressionist exhibition -Focus on human figure -Exercising=Ordinary and unimportant, same movements, repetition -Not idealized bodies -Erotic subtext, suggestion
Degas, Young Spartans Exercising
-Network of major roads -Easier movement -More light to streets -Haussmann criticized for getting rid of neighborhoods and streets that stood in the way of his boulevards -Added gas lamps, bathrooms=Walked to make streets walkable
Diagram of Haussmann's Boulevards
-Haussmann expanded city limits, added 8 new neighborhoods -Population almost doubled -Changed was Paris was
Diagram of the Administrative Limits of Paris before and after 1859
-Velazquez's philosophers series -200 year separation, but similar -Single figure, plain and dark background -Manet and his engagement with past art
Diego Velazquez, Aesop
-Railways in and out of Paris, travel -Iron and glass
Gare de l'Est, exterior (pictured) & Main Hall
-Pissarro in all 8 impressionist exhibitions (only one) -After 1874, stopped submitting to salon -Working class landscape, interest in peasant life -Often chose less picturesque landscapes
Pissarro, Wash-House, Bougival
-Manet at easel -Manet as the head of a new school of painting -Zola, Renoir, Bazille, Monet are all here -Figure for younger painters
Henri Fantin-Latour, A Studio in the Batignolles
-Manet engaged with masterpieces of past artists -Focused on modern figures -Father of Impressionist Painting -Born and bred in a urban cosmopolitan world -Fashionable -Academic training -Not an Impressionist, never showed with them -Always studio based
Henri Fantin-Latour, Edouard Manet
-Manet's last masterpiece -Exhibited at salon a year before his death -Manet avoids open declaration of meaning -Modern social entertainment, socialization -Bar maid behind bar, goods she is selling in front of her -Crowd can be seen in back mirror -Bar maid talking to man (in mirror reflection) -Reflection doesn't match? No man in front of bar, maid at different angle -Maybe not actual transcription of bar, maybe a comment about modern women, unclear meaning -None of the bottles are open, visual consumption -Reflection of bottles doesn't match -Mirror=Sketchy style -Maid thin at frontal view, rounder from mirror -Last female painted, last still life, last ode to modern Paris, last ode to modern fashion
Manet, A Bar at the Folies-Bergère
-Middle class leisure -Large scale -Always studio based -Figure based painting, just surrounded by landscape -Interest in female fashion
Manet, Argenteuil
-Controversial, why are there two dressed men in academic clothes with a nude female? Confusing situation -Submitted to Salon, but rejected, but shown a "The Salon of the Rejected" which Napoleon created -Largest piece yet -No explanation or narrative, frustrating for viewers -Immorality was criticized -Subject and style annoyed people -No chiaroscuro, detail to nude, flatness, paleness of woman -Titian, The Pastoral Concert -Marcantonio Raimondi, The Judgment of Paris
Manet, Luncheon on the Grass
-Manet showing his Parisian world -Afternoon concert at the Tuileries Palace (Napoleon's House) -Fashionable crowd, "Bourgeoise Black", upper middle class -No reference to other art or artists -Manner of painting is modern=Rapid, sketchy, visible strokes -Sense of transience of crowd, movement -Manet not an Impressionist though -Manet rarely did self portraits, but he is in this painting, all the way to the left almost out of the frame
Manet, Music in the Tuileries
-Purely contemporary -Rejected from Salon, he showed it in the window of a store -Getting dressed -Male in back -High class prostitute?
Manet, Nana
-Manet AKA "The Painter of Olympia" -Painted same year as Luncheon on the Grass -Controversial -Rebellious avant-garde artist -Stark and flat body -Flowers are vibrant, nude not so much -Contemporary woman, prostitute? -Made Manet a rebellious artist -Olympia was a common pseudonym for prostitutes -Shadows make the scene dirty -Olympia gazes as if everyone is a customer -Complaints about Manets unfinished manner -Manet put on private exhibition outside of Universal Exposition, public not amused -Flowers announce status as prostitute, events before or right after this moment -Hand is deliberate, sexual, frank, conscious -Stiff, purposeful, challenging, woman of the time -Titian, Venus of Urbino
Manet, Olympia
-Manet's 1st submission to the Salon, it was rejected -Somber, interest in unique figures -Similar to Velazquez, Aesop
Manet, The Absinthe Drinker
-One of his 1st attempts at a large scale painting with a group -Weird connections, people seem distant and unattached -Similar to Velazquez, The Drinkers -Absinthe drinker present
Manet, The Old Musician
-Modern Paris, focus on the city -No reference to Art History -Classes easily identified through clothing, except for the gardener -No central focus -Sketch-like, brushy -Like taking in this scene in a quick glance -Manet eventually stops quoting work of past and focuses on the present, major shift in 1860s -Manet insisted on showing at salon, never with Impressionists
Manet, View of the Universal Exposition
-Zola was an important novelist in Paris, started as journalist and art critic -Thought Manet was great -Wrote a long essay after his solo exposition outside of universal exposition -Essay not included in Manet's exhibition catalog, maybe Manet didn't agree with Zola's criticisms -After Manet's retrospective, he painted this -Zola's Manet paragraph is pictured -Photograph of Olympia in back, interest in technology -Goya print of Velazquez's drinkers=Interest in Spanish art -Manet contradicting Zola's claim that the didn't like Spanish art -Japanese print in back
Manet, Émile Zola
-Another Inspiration for Luncheon on the Grass -Updates as he references, criticizes artists who adhere to the art of the past -During this time, Manet was locating his artistic self between other sources
Marcantonio Raimondi, The Judgment of Paris, engraving after a lost drawing by Raphael (Bottom right, lounging man)
-City center=Concentration of wealth -Poor moved further from cities, outer slums
Marville, Rue Champlain (image on right)
-Didn't paint urban Paris until late in his career, opposite of Monet
Pissarro, Boulevard Montmartre (two views) (One dark, one light)
-Marville hired by government to photograph streets before renovation -Not nostalgic, celebration of the renovations to come -Napoleon III wanted to gain popularity through renovations and make Paris a modern capital of the world -Enhance popularity through public works -Not taken out of nostalgia -Marville's presence at streets was a sign of what was to come
Marville, Rue Glatigny (pictured) & Marville, Rue Fresnel de l'Impasse de Versailles
-Before and after pictures of same area -Haussmannization created alienation, disorientation -Buildings became uniform -Many felt like Paris was now unrecognizable, some felt character was lost -"Straight line has killed the picturesque" -Orderly nature replaced organic sense -Now 2 cities=One for the rich, one for the poor -1870: Haussmann fired, everyone tired of construction
Marville, Rue des Sept Voies & photo, Boulevard du Montparnasse
-Late 19th C France=One of the most popular images -Specific prayer -Idealization of French peasants of countryside -Religious unlike the Burial at Ornans
Millet, The Angelus
-Picking last of harvest/leftovers -Unites workers and land -Idealization of rural labor -Harmonious image
Millet, The Gleaners
-Concentration of rural landscape and peasants -Linked to Courbet by critics -Mixed reviews -Politically threatening to middle class -Thick paint like Courbet -Monumentalizing, making his subjects heroic -Lit from behind -Jesus like -Rural labor=Sacred -Millet heroizes labor, Courbet does not
Millet, The Sower
-Quiet scene -Boating, walking along river, taking in scenery
Monet, Argenteuil
-Paris suburbs were growing -Suburbs becoming leisure spots for Parisians -Modernity and leisure economy -Monet doesnt show working scenes
Monet, Basin of Argenteuil
-Monet loved painting modern Paris
Monet, Boulevard des Capucines
-Where 1st Impressionist exhibition took place -Hasty, looks like it was quickly painted -Lack of detail -Monet tried to capture modern experience -No sketching for this -Focus on indistinctness -Sketch v study v finished painting=Issue for critics, no distinction -Complaints of composition and style
Monet, Boulevard des Capucines
-Isolated location -Not a populated landscape -Intense, unlike leisure landscapes -Shifts in location, but main variable=Color -Changs in time, season, and Monet's perception all shown by changes in color
Monet, Cliffs at Etretat series
-Train station -Interest in smoke and light, steam -Fleeting and optical effects=Monet's interests -Different perspectives, lighting -Huge station -Smoke and light, gas, steam
Monet, Gare Saint-Lazare series
-Light, sun, weather at play -Color changes=External and Internal -Colors, positioning, colors=Changes within a series
Monet, Grainstack/Haystack series
-This painting is the reason the group came to be known as the Impressionists -Critic mockingly said "impressionist" and it got picked up -Industrial background -Monet loved optical phenomenons (reflections, light, water) -Transient, not permanent, fleeting -1877=Impressionist Exhibition, 1st time label was used -Affiliation for this group rooted in these exhibitions -Some didn't know if they wanted to be called Impressionists -Complex and diverse group -Defining impressionism is hard, variety in style and subject
Monet, Impression, Sunrise
-Monet liked his homes and gardens -Gardens were just brightly colored forms -Landscapes form sites of labor to leisure
Monet, Monet's Garden at Argenteuil
-Monet liked his homes and gardens -Gardens were just brightly colored forms -Landscapes form sites of labor to leisure
Monet, Monet's House at Argenteuil
-Suburban scene -Monet's wife -Reflections, optical -Female not privileged over landscape
Monet, On the Bank of the Seine, Bennecourt
-Curve of the Seine -Surface of water and reflections=Flattening, aligns landscape and water -Eyes drawn to changes -Monet needed private galleries to show a full series, Salon not accommodating
Monet, Poplars series
-Suburbs reached by train -Joining of city and nature -Extension of middle class Parisian life
Monet, Railroad Bridge at Argenteuil
-Vacation spot for middle class Parisians -3D world above water, flat array on water -Broken brushwork for reflection -Brushwork also shows how paintings were put together -Interest in water=Life long for Monet -Painting=Distinctly visual -Paint handling=Evident
Monet, Regatta at Argenteuil
-Is it supposed to be religious or about variables? -Major changes in colors -Cathedral=Man made, never changes -Very few changes in view, Monet's perception is changing
Monet, Rouen Cathedral series
-Very few self portraits -Painted during a period of self reflection? -Doesn't go into 5th Impressionist exhibition=Showed this in Salon, 1st time he submitted in 10 years -Exhibited at a private show instead of last Impressionist exhibition -Stopped painting Paris in the 80s -Stopped painting leisure sociability, sought out more dramatic sites -Changes in subject, exhibition practices, style -Reevaluating tactics, hasn't been super successful -Impressionist group begins to splinter, rise of neoimpressionists -Starts painting series
Monet, Self-Portrait
-Monet's portable studio -Wanted to be close to scenes, didn't want to have to retreat back to studio to paint
Monet, Studio Boat (similar)
-2 years after Manet's -Large -Never finished final -Play of light -Monet makes no reference to history, Manet did -Monet updated and modernized figures -Monet shows middle class sociability, modern and fashionable -Monet updated and tamed Luncheon on the Grass
Monet, Study for Luncheon on the Grass
-Leisure landscape -Painted from window at aunt's house -Father sitting, cousins depicted -We're surveying a leisurely survey scene
Monet, Terrace at Sainte-Adresse
-Monet and Renoir painted side by side for this, outdoors (en plein aire), pieces different -Floating restaurant -Monet=Structured, Renoir=Interest in fashion -Monet=Crisp paint handling, Renoir=Blurry -Leisure landscape, painting itself also seen as leisure activity
Monet, The Grenouillère
-Landscape -City garden, urban landscape
Monet, Tuileries
-Most extensive series
Monet, Water Lilies
-En plein aire -Truly modern scene, fashion of the moment -Rejected by Salon, never exhibited during lifetime, no public attention -Redone multiple times to get fashion just right
Monet, Women in the Garden
-35 boulevard des Capucines (Paris), site of the first Impressionist exhibition
Nadar's Studio
-Wanted boulevards to culminate at monuments -Arc de Triomphe became a major focal point -If there wasn't a monument, Haussmann would build one
Nadar, Arc de Triomphe, aerial view (similar, single pic) & Arc de Triomphe, aerial view
-Courbet was from Ornans -Family of middle class land owners -Moved to Paris -Work not well received at first -Jury rejected all but 3/18 pieces at the Salon -Lack of success prior to 1848, moved to Ornans -After the Revolution of 1848, Courbet began his realist works
Nadar, Portrait of Gustave Courbet (similar)
-No intense colors, almost monochromatic -Courbet as influence for Pissarro -Factories in view, not aestheticized=Very different from Monet
Pissarro, Corner of the Hermitage, Pontoise & Pissarro, Factory near Pontoise (Pictured)
-Napoleon III puts on Worlds Fair to show off achievements of the world -Competition between countries -France's superiority=Napoleon's good -Special fine arts exhibit, some of Courbet's works on display, some rejected -Courbet set up own exhibition outside, called "The Pavillion of Realism" -40 of his pieces on display at own exhibition, only 8 at fair -Side stepped jury, opposition to Napoleon
Palace of Industry, Universal Exposition of 1855, Paris (similar image)
-Haussmann built infrastructure for walking -New modes of leisure (opera), transportation, new buildings
Paris Opera House, principal façade (b&w photo)
-Grand visual effect of boulevards -Visual clarity and control -Height, roofs, balconies all standardized -Wanted visual cohesiveness -Poor couldn't afford to line in Paris anymore, even in their old apartments -Displacement of lower income housing, built some lower income housing -Wanted improved circulation, tourists, hygiene, modernity -Wanted greater military and police control of Paris -3 revolutions in 75 yrs=Not paranoid, lead to concerns about security -Cannon shot boulevards -Disrupted neighborhoods that were a threat during renovations
Photo, Avenue de l'Opera (picture b&w photo)
-Not an architect or engineer, city official -Haussmannization=Cannon shot boulevards, standardized apartments, pushed the poor out of the city
Portrait of Baron Haussmann & Caricature of Haussmann as Demolition Artist (caricature pictured)
-Private enterprise -Haussmann didn't build stores, but his boulevards helped since they brought high levels of traffic -High volume of sales from people coming off the boulevard -Thrived off of increased wealth bought in by Haussmannization -Uniquely Parisian -Epitome of modernity -Bright shop windows -"Cathedrals of Modern Paris"
Printemps department store, exterior (similar) & Interior
-Monet moved to Argenteuil, portrait of him by Renoir -People would visit Monet
Renoir, Monet Painting in His Garden at Argenteuil
-Monet grew up in Normandy -Lots of Landscapes -Started as figure painter
Renoir, Portrait of Claude Monet
-Renoir interested in figures -Interest in middle class sociability -Modern fashion, super modern, always changing -Light on scene
Renoir, The Ball at the Moulin de la Galette
-Monet and Renoir painted side by side for this, outdoors (en plein aire), pieces different -Floating restaurant -Monet=Structured, Renoir=Interest in fashion -Monet=Crisp paint handling, Renoir=Blurry -Leisure landscape, painting itself also seen as leisure activity
Renoir, The Grenouillère
-Parisian streets were narrow, dark, un-sanitary, crooked
Rue du Pacon, Paris & Rue Grenier sur l'Eau, paris (drawings of Paris streets)
-State run salon -Main venue for exhibiting work, finding buyers -Jury would select works to show -Prizes handed out for "best works" -Increasing resentment towards juried salon
The Salon of 1868
-Similar to Olympia -Same pose, maid -Dog=Fidelity vs black cat -Maid is helping vs servant with gifts -Soft and smooth -Modest
Titian, Venus of Urbino
-Similarities between this and Luncheon of the Grass -Bathing women, outdoors, mix of nude and clothed - Manet owned a copy of this painting -Updating the work of the past, making it current
Titian/Giorgione, The Pastoral Concert
-1855 and 1867=2 expositions, very successful -Napoleon wanted to imitate the crystal palace but he couldn't -French not on par with British architecture yet -More stone, less glass -Most important exhibition item=New Haussmannizafion of Paris
Universal Exposition of 1855, Paris, Palace of Industry & Universal Exposition of 1867, Hall of Expositions (See powerpoint for reference photos)
-Model for Manet -Manet updating
Velazquez, The Drinkers
