Lecture 30Eugene Delacroix, Liberty Leading the People (July 28, 1830)Influence from baroque paintings (neo-baroque/romantic)Most style at this time was inherited from the past: focus on thematics rather than style.Not avant-garde. Follows expectations.Allegorizes the city of ParisTall hats: bourgeoisie: the middle class is fighting.Bear breasts: Both sexual and heroicMake associations with traditions that go back into antiquityJean-Auguste-Dominique, Large Odalisque (1814)Orientalism arises from Napoleon’s expeditions into Asia, and Islamic culture in North Africa.Fascination with the “mysterious east”- artistically, aesthetically, sensually.Hookah, peacock feathers, headscarves, hookah pipe.Though her nudeness faces away, she looks at the viewer, drawing him in.Portrays the male gaze: apprehension. Idea of presenting women as objects of desire, to both hold and own.Gustave Courbet, The Stone Breakers, (1849)Art by this time was becoming very political.Not only trying to attain art for arts sake, or an aesthetical goal. There is something transcendental about the work and the artist.This is the notion where modernism comes in.There workers are considered “the lowest of the low”Portrays a boy that is too young to be working, and a man too old to be working.Shows the inhumanity of man.Not heroic figures except in their ability to sustain and bear.Not heroic, not erotic, but social. It is a critique of a particular class.EdouardManet, Le Dejeuner surl’herbe (1863)This painting was made for an exhibition. The viewers would have seen the woman in the forefront as a prostitute.Has an impressionist feeling: flattening out of colors, lack of finish, and is seen better from a distance.The female breaks the 4th wall, dispelling of theatricality. Also breaks the male gaze.Surveillance is imposed by both the painting and the viewer. Creates tension.Woman in the back is mysterious, allegorical.EdouardManet, Olympia (1862-3)Another painting of a prostitute, famous in Paris.Nothing is held back, she is not a submissive figure. She is proud, and apologizes for nothing. The painting is tense, and confrontational.Enabling: she has much more power than even you, the figure.Black servant has brought flowers in, undoubtedly from a client.Also in a loose, impressionist style.Art for the sake of art; art that calls attention to itself.EdouardMent, A Bar at the Folies-Bergere (1881-2)Woman is a bartender.Lonely gaze/empty expression. Juxtaposes with the night life of Paris around her- it is supposed to be a jovial place.The man in the reflection in the back is a representation of the viewer.Mirrors are disjointed, reflects how disjointed she is from her environment.ARTH 112 1st Edition Lecture 30 Eugene Delacroix, Liberty Leading the People (July 28, 1830)- Influence from baroque paintings (neo-baroque/romantic)o Most style at this time was inherited from the past: focus on thematicsrather than style. o Not avant-garde.Follows expectations. - Allegorizes the city of Pariso Tall hats: bourgeoisie:the middle class isfighting. o Bear breasts: Bothsexual and heroic o Make associations withtraditions that go backinto antiquity Jean-Auguste-Dominique, Large Odalisque (1814)- Orientalism arises fromNapoleon’s expeditions intoAsia, and Islamic culture inNorth Africa. o Fascination with the“mysterious east”-artistically,aesthetically, sensually. o Hookah, peacockfeathers, headscarves,hookah pipe. o Though her nudeness faces away, she looks at the viewer, drawing him in.  Portrays the male gaze: apprehension. Idea of presenting women as objects of desire, to both hold and own.  Gustave Courbet, The Stone Breakers, (1849)- Art by this time was becoming very political. - Not only trying to attain art for arts sake, or an aesthetical goal. There is something transcendental about the work and the artist. o This is the notion where modernism comes in. - There workers are considered “the lowest of the low”o Portrays a boy that is too young to be working, and a man too old to be working. o Shows the inhumanity of man. o Not heroic figures except in their ability to sustain and bear. o Not heroic, not erotic, but social. It is a critique of a particular class.  EdouardManet, Le Dejeuner surl’herbe (1863)- This painting was made for anexhibition. The viewers would haveseen the woman in the forefront as aprostitute. - Has an impressionist feeling:flattening out of colors, lack of finish,and is seen better from a distance. - The female breaks the 4th wall,dispelling of theatricality. Also breaksthe male gaze.o Surveillance is imposed by boththe painting and the viewer.Creates tension.o Woman in the back is mysterious, allegorical.  EdouardManet, Olympia (1862-3)- Another painting of a prostitute,famous in Paris. - Nothing is held back, she is not asubmissive figure. She is proud, andapologizes for nothing. The painting istense, and confrontational. o Enabling: she has much morepower than even you, thefigure. - Black servant has brought flowers in,undoubtedly from a client. - Also in a loose, impressionist style. - Art for the sake of art; art that calls attention to itself.  EdouardMent, A Bar at the Folies-Bergere (1881-2)- Woman is a bartender.- Lonely gaze/empty expression.Juxtaposes with the night life ofParis around her- it is supposed tobe a jovial place.- The man in the reflection in theback is a representation of theviewer. - Mirrors are disjointed, reflects howdisjointed she is from