Modern Art: Lecture 6 (1/26/2012) part oneMobile perspective/viewing point: flaneur, new anonymity70’s: decade of ImpressionismQuickTime™ and a decompressorare needed to see this picture.Degas The Absinthe Drinker, 1876Urban space/caféMomentary encounter, mobile encounter of flaneurModern experience lack of knowledge aside from visionDegas knew his two figures- actress and bohemianCentered female, the pair is off-centeredDon’t meet our gaze; looking downcast, all tables on obliques, zigzag to center bringing mobility/instability; disrupting otherwise centrality of his paintingWe’re severed from the space, connected to table space- image antiperspectival and flattened outDrinking absintheGaze- disassociation from all around herExpression of alienationQuickTime™ and a decompressorare needed to see this picture.Manet The Plum, 1878New urban life of Paris, café- flaneurExpression of alienationCenter site askew, not full body- more dynamic sense, mobilityPlays with strong angles/obliques, straight lines of table, seat- our vision of the sitter is stableFrame with in frame draws attention more to her She doesn’t meet our gazeViewer in the same space as the sitter, proximity; maybe her gaze is waiting, thinkingEating brandy plumQuickTime™ and a decompressorare needed to see this picture.Pierre Auguste Renoir Le Moulin de la Gallette, 1876A mill where French would gather- lower middle and lower class- drink, dance, meet people- mobile experiencePainted onsiteLoosed mode of paint applicationLightSketchiness: receiver has work to do in front of modernist workUnfinish causes us to resolve image differentlyHimself aligned with middle classNo conflict: all pleasure light, sociality Renoir The Swing, 1876Brought back same subjects as in Fragonard’s The Swing, 1765Formal shifts due to social realitiesMonet and Renoir painted side by sideMonet Le Grenouillére, 1869Frog pond just beyond Paris, people would come to swim; body on display, recreationFigure is residual- attention on water and light on water; nature is most importantAlmost quadrants- rather centered and structuredWants subject to be his medium- analogies for each otherCaillebotte Calf’s Head and Ox Tongue, 1882Paint as blood and fleshModernism= materialism and idealismSign of violence of modernism paintingQuickTime™ and a decompressorare needed to see this picture.Degas The Laundresses, 1884Broken color application and strokeNot covering whole canvasFigure: modern bodies, modern workplace in moment of laborAnonymous laborAlmost faceless, pressing downFrom exertion to exhaustionQuickTime™ and a decompressorare needed to see this picture.Manet In the Conservatory (or Winter Garden), 1879Middle/ uppermiddle classPortrait of husband/wifeManmade space of natureconnection and utter disconnectionBoth look toward nothingness- dissociation and alienationSo close; center hands so close, his finger points towards her hand but not touching; moment of approach- modern condition of isolationQuickTime™ and a decompressorare needed to see this picture.Monet Gare St. Lazarre, 1877New train station: speed/transport in both life and modernist paintingManmade clouds- modern, false, artificialNew industrial spaces painted like nature, taking space of nature