ARTH 1001 1st Edition Lecture 19 Outline of Last 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 YorkOutline of Current LectureI. John Singleton CopleyII. Winslow HomerIII. EakinsCurrent LectureDate:April 9, 2015Title:North American ArtProfessor: Jennifer MarshallReadings:Art through the Ages, Book E, pp. 742-743, 782-785, 810Terms:- American Exceptionalism: the special character of the United States as a uniquely free nation based on democratic ideals and personal liberty- Realism: A movement that emerged in mid-19th-century France. Realist artists represented the subject matter of everyday life in a relatively naturalistic mode.- Calvinist Predestination: Before you’re born, you are predestined to go to heaven or hell. It suggested that you cannot do anything in your life to change your fate. Your job/family/clothing were signs of whether you were going to heaven or hell- Mercantile IdentityThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.- Provincial- Empiricism: The search for knowledge based on observation and direct experience (Book E, 775)- Cosmopolitanism: the ideology that all human beings belong to a single community, based on a shared morality- Aestheticism: the acceptance of artistic beauty and taste as a fundamental standard, ethical and other standards being secondary- American Civil War, 1861-1865- James Abbott McNeill Whistler vs. John Ruskin, 1878Works:- John Singleton Copley, Paul Revere, 1768, Museum of Fine Arts, Boston- John Singleton Copley, Mr. and Mrs. Isaac Winslow, 1773, Museum of Fine Arts, Boston- Winslow Homer, A Veteran in a New Field, 1865, Metropolitan Museum of Art, New York- Winslow Homer, Prisoners from the Front, 1867, Metropolitan Museum of Art, New York- Winslow Homer, The Gulf Stream, 1899, Metropolitan Museum of Art, New York- Winslow Homer, The Life Line, 1884, Philadelphia Museum of Art- Thomas Eakins, Max Schmitt in a Single Scull, 1871, Metropolitan Museum of Art, New York- Thomas Eakins, The Gross Clinic, 1875, Philadelphia Museum of Art- Thomas Eakins, Swimming, 1885, Amon Carter Museum of American Art, Fort Worth, Texas- Henry Ossawa Tanner, The Thankful Poor, 1894, Collection of William H. and Camille O. Cosby- John Singer Sargent, The Daughters of Edward Darley Boit, 1882, Museum of Fine Arts, Boston- John Singer Sargent, Fuméed’Ambre Gris, 1880, Sterling and Francine Clark Art Institute, Williamstown, MA- James Abbott McNeill Whistler, Nocturne in Black and Gold (The Falling Rocket), 1875, Detroit Institute of ArtsI. John Singleton Copley- Light reflected in surfaces/fabrics in his paintingso Fabrics represented wealth of the people being paintedo Showed that the American wealthy are equal to British- Naturalistic, relaxed poses- Portraits welcome people in to home, serve as stand-in hosts- Limner: Puritan period, line-based realismo Way to keep genealogical recordo Documentation Basis for American realism- Mr. and Mrs. Isaac Winslowo Loyalists, also fled America- Paul Revereo Silversmitho Egalitarian dress Work shirt/Vest Not showing aristocracyo Tools laid out in front of him Homey, More simple, plainII. Winslow Homer- Looser brushstrokes- Blended colors- Outside in natural worldo Realism in mode of natural world- Teaches himself how to paint with oils while in war- Paints Civil Waro Historical painting (highest in hierarchy)- Differential focuso Natural vision o Objects in foreground/focus are clearero Background has less detail, blurred/grayed coloro Union side winningo Young kid, old man (Confederate)o Clothes (missing buttons, tattered, etc.)- Olive Brancho No shackles/chainso Moving willinglyo In conversationo Camaraderie o Literal branch on ground- Union uniform- Harvesting cropso Heat of suno Half field plowed, half left standing- The Gulf Streamo Slaves freed but did not have rightso Sharks, blood, sailors in watero Isolationo Funnel cloud/tornadoo Ship in background (left hand side) Symbol of Hopeo Troubled audiences Figure looks bored in face of danger- Life Lineo Sexy paintingo Serious paintingo Red scarf Romantic color Scarf “erupting” from breast, coveringman’s faceo White “ejaculation” behind figureso See a lot of body Rare during time where exposedankles were considered promiscuousIII. Eakins- Scientific approach to observation- Clouds are wispyo Not exaggerated/decorative- Figures follow parallel lines- The Gross Clinico Good works of surgeryo Promotes surgery during a timewhere surgery was seen asbutcheryo Audience Very bored audience Surgeon is teaching the students how to do a surgeryo Mom recoiling away from son Wearing black funeral garb to son’s funeral Poorer people had surgeries in teaching settingo Submitted to 1876 Exhibition Not accepted- Swimming Holeo Naked figures/studentso Manifesto pieceo Loses jobdue to naked