Lecture 18Outline of Last Lecture I. Ingres, Grande OdalisqueII. Goya, The Third of May, 1808, 1814-15III. Géricault, The raft of the Medusa, 1818-19IV. Delacrois, Liberty Leading the People, 1830V. Turner, The Slave Ship, 1840VI. Gustave Courbet, The Stone Breakers, 1849, destroyed (formerly Dresden)VII. Éduoard Manet, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863, Musée d’Orsay, ParisVIII. Joseph Paxton, Crystal Palace, 1850-51, London, destroyedOutline of Current Lecture I. Development of ImpressionismII. Monet, Impression: Sunrise, 1872III. Georges SeuratIV. Post-ImpressionistsV. Vincent Van GoghVI. Paul GauguinVII. Paul CezzaneVIII. Munch, The Scream, 1893IX. Auguste Rodin, Walking Man, 1878 (cast 1905), bronze, Musée d’Orsay, ParisX. Auguste Rodin, Burghers of Calais, 1884-89, Calais, FranceXI. Louis Sullivan, Guaranty Building, 1894-96, Buffalo, New YorkCurrent LectureDate: April 7, 2015Title: 19th Century European Art (2)Professor: Gabriel WeisbergReadings: Art through the Ages, Book E, pp. 799-804, 811-818, 819-823, 824-826, 830- 832Terms:- Impressionism: A late-19th-century art movement that sought to capture a fleeting moment, thereby conveying the elusiveness and impermanence of images and conditions (Book E, 799) ArtH 1001 1st Edition- Post-Impressionism: The term used to describe the stylistically heterogeneous work of the group of late-19th-century painters in France, including van Gogh, Gauguin, Seurat, and Cézanne, who more systematically examined the properties and expressive qualities of line, pattern, form, and color than the Impressionists did. (Book E, 811)- Divisionism/pointillism: A system of painting devised by the 19th-century French painter Georges Seurat. The artist separates color into its component parts and then applies the component colors to the canvas in tiny dots (points). The image becomes comprehensible only from a distance, when the viewer’s eyes optically blend the pigment dots. (Book E, 812)- Chevreul: He formulated the law of simultaneous contrast: colors mutually influence one another when juxtaposed, each imposing its own complementary color on the other. His book, with its English and German translations, became the most widely used color manual of the 19th century. He was a major influence in the development of Impressionism and was regarded by many as the founder of French colorism. - Symbolism: A late-19th-century movement based on the idea that the artist was not an imitator of nature but a creator who transformed the facts of nature into a symbol of the inner experience of that fact (Book E, 819)- Skyscraper: a building of exceptional height completely surrounded by a framework, as of girders, from which the walls are suspended, as opposed to a building supported by load-bearing walls. - “Form follows function”: means the purpose of a building should be the starting point for its designWorks:- Claude Monet, Impression: Sunrise, 1872, Musée Marmottan, Paris- Georges Seurat, A Sunday on La Grande Jatte, 1884-86, Art Institute of Chicago- Vincent van Gogh, Night Café, 1888, Yale University Art Gallery, New Haven, Connecticut- Paul Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), 1888, National Gallery of Scotland, Edinburgh- Paul Cézanne, Mont Sainte-Victoire, 1902-04, Philadelphia Museum of Art- Edvard Munch, The Scream, 1893, National Gallery, Oslo- Auguste Rodin, Walking Man, 1878 (cast 1905), bronze, Musée d’Orsay, Paris- Auguste Rodin, Burghers of Calais, 1884-89, bronze, Calais- Louis Sullivan, Guaranty Building, 1894-96, Buffalo, New YorkI. Development of Impressionism- Manet was never an impressionist- Monet and his wife in a traveling boat- Impressionism is just happening- Importance of painting outdoors- Loosely painted (see water)- Key figure: Claude MonetII. Monet, Impression: Sunrise, 1872 - First Impressionist exhibition 1874o Heart of cityo Exhibited in gallery space Studio of Nadar- Louis Leroyo Critic of exhibitiono Called the paintings impressions, meant as an insulto Critics called Impression: Sunrise a sketch/unfinished- Monet Influenced by Turner’s works in London- Atmosphereo Hazy- Orange and blueo Contemporary theory of colorsIII. Georges Seurat - Realizing the impressionist paintings don’t have enoughform- Exhibited in white frame, sets off color- Establishes new way of painting- Neo-impressionism- Believed in colors- Chevreul color wheel- Representation of division of Parisian society- Woman in forefront is prostituteo Monkey represents decadence/perversity - Seurat using symbolism to represent wrongs of society- Paint looks like its applied like a mosaic- Stiffness of figuresIV. Post-Impressionists- Seurat- Van Gogh- Gauguin- CezanneV. Vincent Van Gogh- Died of suicide age 37 - Brother Theo supports Vincent financially- Cut off ear after confrontation with another artisto Most likely over girl- Inspires Expressionism- Night Café, 1888o Arles, Franceo Few inhabitantso Haunted (see lights)o Express powers of darkness through harsh red and green colorsVI. Paul Gauguin- Helps establish symbolist movement- Started as collectoro Impressionist - Begins to paint on his own- Becomes painter and artist- Leaves his job and family- Vision after the Sermon/Jacob Wrestling with the Angel, 1888o Red, flat environmento Possibly influenced by Japanese printo Based upon cloisons o Imaginary scene, unlike Van Gogh Tension between artistsVII. Paul Cezzane- Didn’t paint like impressionist- Influenced cubist movement- Known as “Dean of Creativity”- Mont Sainte-Victoire, 1902-04o Cubes, squares, rectangleso Limits color o Tonal paintingo Applies paint in faceted broken planes Two-dimensional design across surfaceVIII. Munch, The Scream, 1893- Emaciated figureo Death skullo Hands cupped over earso Screaming at viewer - Remnants of two viewers walking awayo Oblivious to figure- Work of anguisho Munch living aloneo Munch living with death of loved oneso Lonelinesso Symbolic atmosphereIX. Auguste Rodin, Walking Man, 1878 (cast 1905), bronze, Musée d’Orsay,Paris- Headless, armless figure in midstrideo Demonstrates Rodin’s mastery of anatomy and ability to capturetransitory motiono Meticulous rendition of muscle, bone, and tendon- Fragment - Parallels sketch-like approach- Cast bronze- Effects of light X. Auguste Rodin, Burghers of Calais, 1884-89, Calais, France- Approachable- Not loved by people of Calais- Hands, faces o Exaggerated for emotional impacto