Lecture 7Outline of Last 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)II) WOMENOutline of Current LectureI) Post-ImpressionismA) Thinking about Manet, considered the predecessor to impressionism, their teacher, but a refusal to show his work at their shows1) At the Bar at the Folies Bergeres (1882)B) The actual figures of Post-Impressionism1) Georges Seurata) Bathers, Asnieres (1883- 1884)b) Bec du Hoc at Grandcamp (1885)c) A Sunday Afternoon on the Island of La Grande Hatte (1884- 1886)Current LectureC) Counter-model that emerges in certain bodies of work  stands against the concerns of most other impressionist artists1) Caibatte and Degas2) Mary Cassat’s paintings of domesticity and maternal care—images of intimacy, physicality rather that purely visual scenesa) Even the flattest of the paintings are concerned with the body and intimacyII) Post-ImpressionismA) Doesn’t really specify anything except the reaction to the impressionist project itselfB) The impressionists continue to hold their exhibitions, but the movement is in crisisC) Thinking about Manet, considered the predecessor to impressionism, their teacher, but a refusal to show his work at their shows1) At the Bar at the Folies Bergeres (1882)a) Fixation on the female figureb) Aligned with the tropes of modernity and commodityc) At the margins we see the mirror reflection of the bar maid, contradictioni) The man she is talking to is us and is not us at the same timeii) The woman in the reflection is the barmaid, but literally isn’t at the same timeiii) Pleasure and alienation at the same timeiv) The bar maid is both looking at us and at the same time, not seeing us at allD) The actual figures of Post-Impressionism (almost all of these men will die young—this project is cut short)1) Georges Seurata) Bathers, Asnieres (1883- 1884)i) Monumental figure painting, submitted and rejected in the public salon in 1884  shown in “The Salon of the Independents” put on by Seurat in 1884 (one of their first exhibitions)6.5 feet tall x 10+ feet wideON THE SCALE OF HISTORY PAINTING, almost a muralReturn to the studio-based practiceii) Working their way back to the older ways of paintingiii) This is a scene of bodies in water, evoking the classicaliv) He wants his painting to be aligned with modern life (working class figures) at a very specific identifiable site of industrialized areasv) Sense of the past just below the surface, in his intentionalityvi) FORM (as contradictory to impressionist projects)All figures are balanced in a very composed structure  anchoring the painting somehowAgainst to impressionist spontaneity and improvisationSeeks the art of the past, small strokes of paint that make smoothness out of visible brush strokesFacture: having to do with the movement of the hand and the visible activity of the brush strokes themselvesThe figure is calling out to the right side of the canvas, to some unseen personCalling back to Raphael’s Galatea (1512)Left to right compositionAll figures are looking across the picture plane in that directionCalling back to Egyptian relief artAlso referring to/echoing chronophotography= SCIENCEPictorial analysisb) Bec du Hoc at Grandcamp (1885)i) Even landscape painting is centered and aligned with the other elements of the painting a painterly system—chromoluminerism/pointillismBreaking down of the brush strokes to just the point of the brush; impersonal, and without facture = LABORIOUS and scientificii) Engagement with the new ideas surrounding opticsiii) Unmixed colors, banishment of local colorc) A Sunday Afternoon on the Island of La Grande Hatte (1884- 1886)i) Leisure of modern lifeMostly bourgeoisie figures, but not allThere seems to be no pleasure, more like boredom and stillness  an example of dystopia, as opposed to the modernist Utopias (see below)Everyone appears posed, there is only one child and a few animals who are moving  all the humans are in a trance-like postureRecalling the past, Egyptian sculpture standing next to each otherIs it one body or two? They appear to be unified, a collective multipleWe are viewing the opposite of what we expectThe use of his pointilated brush “strokes” (anti-facture) equalizes every atom of the paintingAnarchism, a philosophy of harmony/egalitarian/radical democracyii) A very clear right-to-left-ness of the canvasThese two paintings are opposite banks of the same River which catered to very different socioeconomic classesWe can see the island in the Bathers compositionThey are almost the same sizeThe horizon lines are NOT lined up evenlyEvoking David’s ambition of grand binaries, VERY politicaliii) Is he reacting to Puvis?In the 1870s, Puvis returned to the classical and to history painting  the heritage of classicismPastoral= the body in natureSummer (1873)  a scene of utopiaField workers waving to the prominent figuresChildren playing with a cuddling animalsNude bodies bathing and rejoicingART HIS 54Lecture 7Outline of Last 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