Outline of Last LectureI) ImpressionismA) Painting has undergone a shift: reordering of the genres and their heriarchies1) Important movesII) MonetA) Women in the Garden (1967)B) Terrace at Sainte-Andresse (1867)C) Compare to The Sazai Hall of the 500 Rakan Temple by the Japanese artist Hokusai (1760-1849)III) Impressionism ProperA) Bouldevard des Capucines (1872), Monet1) Compare to Childen’s Games, Breugel (1560)1) Compare of Regatta at Argenteuil, Monet (1872)Outline of Current LectureI) How is impressionist painting responding to the transformation that modernity is forcing on contemporary life?A) Modern painting is a formal reinvention of painting as well as a new subject matter (the realism)a) A scientific understanding of the way light interacts with the eyeB) Paris Street, Rainy Day Gustave Caillebotte (1877)1) Contradiction2) Compare to Annunciation Fra Angelico (1449- 1445)C) Le Pont de l’Europe Caillebotte (1876- 1877)1) Flâneur wandering the streets of Paris on one of the bridges2) Compare to Absinthe, Degas (1876) and The Plum, Manet (1878)D) Le Moulin de la Gallette Pierre- August Renoir (1876)E) The Swing, Renoir (1876)1) Compare to The Swing, Fragonard (1765)F) La Grenouillere, Monet (1869)G) Calf’s Head and Ox Tongue Caillebotte (1882)H) The Laundresses, Degas (1884)I) In the Conservatory, Manet (1879)J) Gare St. Lazarre, Monet (1877)K) Unloading Coal, Monet (1872)L) The Poplars, Monet (1891)M) Haystack at Sunstt, Monet (1891) & Haystack in Winter (1891)N) Rouen Cathedral at Dawn, Monet (1894) and other Cathedral paintingsO) Water Lilies, Monet (1903)Current LectureA) Baudelaire’s poem1) Love at last sight2) Fugitive love under the conditions of modern living and modern viewing (anonymity, the flâneur)B) Paintings about Housman’s Paris and the new modern streets1) For industrial life and military mobilityII) How is impressionist painting responding to the transformation that modernity is forcing on contemporary life?A) Modern painting is a formal reinvention of painting as well as a new subject matter (the realism)1) Attending to the materiality of painta) Take the material as an integral portion of the artwork itself2) Attending to daily life3) A product of vision, the eye, the experience of seeinga) Transcribe a moment of reflection and light and sensation above allb) A scientific understanding of the way light interacts with the eyeB) Paris Street, Rainy Day Gustave Caillebotte (1877)1) Contradictiona) Contenti) Panoramic urban scene of an urban collective social bodyii) Never has a collective social body been depicted as so isolated and aloneThe umbrellas serve as individual cones of isolationiii) Closeness as well as deep distanceThe boulevards appear to pierce the canvasiv) Impressionist ideals of spontaneity and moment, maybe.The painting is cut into four equalized quadrantsVery regular lines, deep order and structurationIsolation come out of being cogs in an urban machine2) Compare to Annunciation Fra Angelico (1449- 1445)C) Le Pont de l’Europe Caillebotte (1876- 1877)1) Flâneur wandering the streets of Paris on one of the bridges2) This painting aims to deprive you of almost everythinga) Figures facing away from the viewer, sliced by the edge of the canvasb) There is no distance that we can determine for the figures to be staring off into  stoppage, denial of the landscape3) Compare to Absinthe, Degas (1876) and The Plum, Manet (1878)a) Prioritization of portraitureb) Neither of these painters would ever exit their studio to make these paintingsi) Degas knew both of the figures in his painting, but he portrayed them as anonymous to the viewerDiagonal lines allow us to travel back into the space of the painting despite the definite flatness and lack of depthii) Manet painted a very central female figure just off from the exact midpointHeating vent to frame her face and highlight the instability of the situationVery strong horizontal linesTable which serves as a barrier to the figureThe lines balance and anchor the painting despite the off-kilter verticalsc) Portraits of seemingly isolated female figuresi) Alone, disconnected, smokingD) Le Moulin de la Gallette Pierre- August Renoir (1876)1) Naming a specific space in the Parisian life, a place up in the North-West of Parisa) Almost an agricultural area (un-urbanized), leisure places and cheaper housing for artists2) A scene of modern gathering, true togetherness rather than isolationa) The painter seems to e a kind of camera-man3) Endless plays of shadow and light4) Spontaneity, the speed of impressionist experienceE) The Swing, Renoir (1876)1) Compare to The Swing, Fragonard (1765)a) Take it back to the place of desire and pleasureF) La Grenouillere, Monet (1869)1) A place of swimming in the summer—align the form with the content of the paintinga) Liquidity of paint and liquidity of the lake2) Celebration of light and sensation3) Modern life dematerializes into purely visual spaceG) Calf’s Head and Ox Tongue Caillebotte (1882)1) Statement of association of paint with violence and silence rather than the pleasure liquidity of waterH) The Laundresses, Degas (1884)1) Turning attention to modern scenes of work2) New ways in which the body could be made central to paintingsa) Work was one solution to this problemI) In the Conservatory, Manet (1879)1) An internal space, a portrait mode of two figures—a couple?J) Gare St. Lazarre, Monet (1877)1) Attention directed toward the modern sites of urban Paris2) Clouds made by man and machine, not by naturea) This is a modern space giving itself over to a painting form that it attempting to privilege the natural form of light, light, and reflectionK) Unloading Coal, Monet (1872)1) Subject of the modern worker (which started with the Stonebreakers)2) Use of drawing and line, the black outline of forms, which was previously banished from his paintings3) Modality of labor and the drudgery of the manual work, feeling of the condition of the worker rather than the leisure of the upper class4) Displacement of freedom and spontaneity/ accident and chance in favor of repetition and industry and patternL) The Poplars, Monet (1891)1) Classic impressionist production ends in about 18842) The realist project (seems critical to French painting)3) We never see the figure after this painting, the drudgerya) The repetition of the labor is re-evoked in the painting of the Poplar treesb) This time it is all about nature forms and the color and lightnessc) If