The document discusses the major art movements that emerged in Europe and America during the 19th century, including Neoclassicism, Romanticism, Realism, Impressionism, Post-Impressionism, Expressionism, and Art Nouveau. It describes characteristics of each style and highlights influential artists such as Delacroix, Courbet, Monet, Van Gogh, Rodin, and Gaudi. Key developments were the rejection of Academic art in favor of depicting reality and nature, and the use of light, color, and brushwork to express emotion and atmosphere.

1. Modern Art

2. Modern Art
• Neoclassicism • American
• Romanticism Expatriates
• Realism • Americans in
• Impressionism America
• Post-Impressionism • The Birth of Modern
Sculpture
• Expressionism
• Art Nouveau
• Photography

3. Most painting in the European
tradition was painting the mask.
Modern Art rejected all that. Our
subject matter was the person
behind the mask.
–Robert Motherwell

4. When Did
Modern Art Begin?
• 1776/1789 American and French
Revolutions
• 1814 Goya’s painting the
Third of May, 1808
• 1863 Landmark exhibition in Paris?

5. Just What was Modern
about Modern Art
of the 18th century in France?
Its concept of space.
Terms:
• Picture plane
• Planar recession
• Linear recession

6. Neoclassicism
• Neoclassicism was opposed to the Rococo
style of art.
- Characteristics of Neoclassical Art:
• Harsh sculptural lines
• Subdued palette
• Planar instead of linear recession in the space
• Inspired by the French Revolution
• Intended to heighten moral standards
• The Roman Empire was selected as the model
to emulate.
• This was fueled by the archaeological
discoveries of the time.

7. Neoclassicism Painting
• Art characterized by a restraint of emotion, purity of
form, and subjects that inspired morality.
The artists
• Jacques-Louis David
– The official painter of the French Revolution.
• Angelica Kaufmann
– Responsible for spreading the Neoclassical style to England.
– Know for her portraiture, history painting and narrative
works.
• Jean-Auguste-Dominique Ingres

8. JACQUES-LOUIS DAVID. The Oath of the Horatii (1784). Oil on canvas. 14’ x 11’.

9. Neoclassical Painting continued…
• Poussinistes - Linear artists who used
subdued palettes, and placed
importance on draftsmanship and
sculptural forms.
• Rubenistes - Painterly artists who
used a vibrant palette and aggressive
brush strokes.
– The foremost proponents of the painterly
style were Géricault and Delacroix.

10. Neoclassical Sculpture
• Neoclassical ideals were also applied
to sculpture.
• In fact it was the style of choice for
official portraits, relief sculpture and
monuments.
• Napoleon Bonaparte’s sister, Pauline
Borghese had herself sculpted as Venus
the goddess of love.

11. ANTONIO CANOVA. Pauline Borghese as Venus. Marble, life-size.

12. JEAN-AUGUSTE-DOMINIQUE INGRES. Grande Odalisque (1814). Oil on canvas. 35 1⁄4” x 63 3⁄4”.

13. ROMANTICISM
• Romanticism reflected the revolutionary
spirit of the times.
• Characteristics of 19th century Romanticism:
– Extremes of emotion
– Great brushwork
– A bright color palette
• A favorite theme was nature being depicted
as unpredictable and uncontrollable.
Artists:
– Théodore Géricaut
– Eugène Delacroix

14. EUGÈNE DELACROIX. The Death of Sardanapalus (1826). Oil on canvas. 12’11 1⁄2” x 16’3”.

15. Eugène Delacroix
• Most famous Rubeniste
• Liked to paint directly on the canvas without
doing sketches beforehand.
– Thought canvases should be constructed from
color.

16. Francisco Goya
• The man considered the greatest painter of
the Neoclassical and Romantic periods
belonged to neither artistic group.
• He was born in Spain.
• Goya is best known for his works of political
satire and condemnations of war.
• Goya heightens emotion with the use of
acerbic tones and strong chiaroscuro.

17. FRANCISCO GOYA. The Third of May, 1808 (1814–1815). Oil on canvas. 8’9” x 13’4”.

18. The Academy
• Although very popular during this time
Academic Painting had the least influence on
the development of modern art.
• The Academie Royale de Peinture et de
Sculpture (1648) in Paris set up rules of style
and subject matter that were considered
appropriate.
• Why did the majority of artists of the
Academy produce mediocre work?
The Artists:
– Adolphe William Bouguereau

19. ADOLPHE WILLIAM BOUGUEREAU. Nymphs and Satyr (1873). Oil on canvas. 102 3⁄8” x 70 7⁄8”.

20. REALISM
• Modern painters objected to Academic art on 2
levels:
– The subject matter didn't show life as it really
was.
– The way in which these things were rendered
didn’t resemble real life.
• The modern painters wanted to paint things how
they really were.
Optically - depicting something as you truly see it.
Conceptually - depicting something as you think it is or
based on how you think it should be.

21. Realism
• The Realist artists chose to represent subjects evident in everyday life
while emphasizing the two-dimensionality of the canvas and
highlighting the physical properties of the pigments.
The artists
• Honoré Daumier
– Most concerned with bringing the plight of the masses to light.
– Used caricature.
• Gustav Courbet
– Is considered the Father of Realism
– Is also said to have foreshadowed the Impressionist movement.
• Édouard Manet
– Some say Manet is the most responsible for changing the course of the
history of painting.
– He was the most important influence on the French Impressionists.
• Rosa Bonheur
– One of the most successful artist of the 19th C.
– Painted mainly animals

22. HONORÉ DAUMIER. The Third-Class Carriage (c. 1862). Oil on canvas. 25 3⁄4” x 35 1⁄2”.

23. GUSTAVE COURBET. The Stone-Breakers (1849). Oil on canvas. 63” x 102”.

24. ROSA BONHEUR. The Horse Fair (1853). Oil on canvas. 8’ 1⁄4” x 16’7 1⁄2”.

25. ÉDOUARD MANET. Le Déjeuner sur L’Herbe (Luncheon on the Grass) (1863). Oil on canvas. 7’ x 8’1”.

26. The Salon des Réfusés
• Manet submitted Le Déjeuner sur L’Herbe to the
Academy’s annual Salon, but it was refused
along with 2,800 other paintings.
• The artists rebelled so strongly that Napoleon III
stepped in and suggested an alternate exhibition
known as the Salon de Réfusés.
• The Salon des Réfusés was this century’s most
important gathering of avant-garde artists.

27. Manet’s Influences
• Culled from the tradition of Venetian
Renaissance pastoral scenes (such as
paintings created by Giorgione and Titian).
• The use of traditional pyramidal composition
(used by da Vinci).
• Group derived from Marcantonio
Raimondi’s engraving after a painting by
Raphael called The Judgment of Paris.

28. ÉDOUARD MANET. Olympia (1863–1865). Oil on canvas. 51 3⁄8” x 74 3⁄4”.

29. TITIAN. Venus of Urbino (1538). Oil on canvas. 47” x 65”.

30. PAUL GAUGUIN. Te Arii Vahine (The Noble Woman) (1896). Oil on canvas. 97 cm x 130 cm.

31. ROSA BONHEUR. The Horse Fair (1853). Oil on canvas. 8’ 1⁄4” x 16’7 1⁄2”.

32. Impressionism
• Impressionists rejected many styles of art that
preceded them.
• They had common ideas, but their styles differed.
Characteristics of Impressionism:
– Advocated painting outside.
– Chose subjects found in nature.
– Studied the effects of atmosphere and light on
people and objects.
• Through investigation, they arrived at an awareness
of certain visual phenomena, with light.
• Technical discoveries were made from these
revelations; they produced atmospheric paintings.

33. Impressionism, continued…
The artists
• Claude Monet
• Pierre-Auguste Renoir
– Most significant figure painter
– Most interested in how light played across the
surface of objects.
• Berthe Morisot
• Edgar Degas
– Exhibited at the Salon prior to becoming an
impressionist.
– Studied with Ingres.
– Was strongly influenced by photography.

34. CLAUDE MONET. Impression: Sunrise (1872). Oil on canvas. 19 ½” x 25 ½ ”.

35. CLAUDE MONET. Rouen Cathedral (1894). Oil on canvas. 39 1⁄4” x 25 7⁄8”.

36. PIERRE-AUGUSTE RENOIR. Le Moulin de la Galette (1876). Oil on canvas 51 1⁄2” x 69”.

37. BERTHE MORISOT. Young Girl by the Window (1878). Oil on canvas. 29 15⁄16” x 24”.

38. EDGAR DEGAS. The Rehearsal (Adagio) (1877). Oil on canvas. 26” x 39 3⁄8”.

39. POST-IMPRESIONISM
• Post-Impressionism rejected Impressionism
• The Post-Impressionists’ ideals were similar, but
their styles and techniques were very different.
Two groups of Post-Impressionism:
1. One group had a systematic approach to
composition, brushwork, and color.
Artists included Georges Seurat & Paul Cezanne
2. And, a second that had more texture in their
brushwork, and coordinated line and color with
symbolism and emotion.
Artists included Vincent van Gogh & Paul Gauguin

40. Post-Impressionism
The artists:
• Georges Seurat
– Started Pointillism
• Paul Cézanne
– Started Abstraction
– Most significant was his collapsing of space.
• Vincent van Gogh
– Started Expressionism
• Paul Gauguin
– Use of intensified color.
– Known for Symbolism
• Henri Toulouse-Lautrec

41. GEORGES SEURAT. A Sunday Afternoon on the Island of La Grande Jatte (1884–1886).
Oil on canvas. 81” x 120 3⁄8”.

42. PAUL CÉZANNE. Still Life with Basket of Apples (c. 1895). Oil on canvas. 65 cm x 80 cm.

43. VINCENT VAN GOGH. Starry Night (1889). Oil on canvas. 29” x 36 1⁄4”.

44. VINCENT VAN GOGH. Self-Portrait with Bandaged Ear (1889–1890). Oil on canvas. 23 5⁄8” x 19 1⁄4”.

45. PAUL GAUGUIN. Vision after the Sermon (Jacob Wrestling with the Angel) (1888). Oil on canvas. 28 ¾” x 36 ½”.

46. HENRI DE TOULOUSE-LAUTREC. At the Moulin Rouge (1892). Oil on canvas. 123 cm x 141 cm.

47. EXPRESSIONISM
• Expressionism sought to be more emotional,
expressive, and laden with symbolism.
• Color and line were used to express the
artists’ inner feelings.
• They employed vibrant palettes and bravura
brushwork.
• Followed van Gogh and Gauguin.

48. Expressionism:
Its Art and Artists
• The Expressionists used line and color
expressively and emotionally.
The artists:
– Edvard Munch
•Adapted Gaugin’s ideas.
•Best know work is The Scream.
– Käthe Kollwitz

49. EDVARD MUNCH. The Scream (1893). Casein on paper. 35 1/2” x 28 2/3”.

51. American Expatriates
• In the United States, art was still very provincial in the
19th century.
• During the 18th and 19th centuries, determined artists
went abroad on extended pilgrimages for training, to see
the masters, and to mingle with the avant- garde.
• Influenced by Japanese prints
• Some of these artists left the United States permanently,
they were called the American Expatriates.
• What unifies these artists is not their style of art nor their
choice of subject matter, but simply that they immigrated
to Europe permanently
The Artists
– Mary Cassatt
– James Abbott McNeill Whistler

52. MARY CASSATT. The Boating Party (1893–1894). Oil on canvas. 35 1⁄2” x 46 1⁄8”.

53. JAMES ABBOTT MCNEILL WHISTLER. Arrangement in Black and Gray: The Artist’s Mother (1871).
Oil on canvas. 57” x 64 1⁄2”.

54. Americans in America
• While many artists went abroad on pilgrimages or
permanently, there were a few who stayed and
painted in the realist tradition.
• This realism exhibits itself best in figure and
landscape painting.
• Their art had a Romantic touch and includes artists of
the Hudson River School, artists of the American
West, and Winslow Homer.

55. Americans in America
• These artists stayed in America and painted
the people and landscapes of their own
country.
The artists:
– Thomas Eakins
• The most important American portrait painter
of the 19th century.
– Thomas Cole
• Leader of the Hudson River School of
American art.

56. THOMAS EAKINS. The Gross Clinic (1875). Oil on canvas. 96” x 78”.

57. THOMAS COLE. The Oxbow (Connecticut River near Northampton) (1836). Oil on canvas. 51 ½” x 76”.

58. The Birth of Modern Sculpture
• During most of the 19th century, sculptors continued
with projects as they had in the past.
• Spontaneous techniques and fleeting impressions did
not meld with the sculptural permanence.
• One sculptor changed the face of the art forever by
examining advancements in his century’s art, Rodin.
• Rodin incorporated Realism, Symbolism and
Impressionism in his work.
• Is work is solely of the human figure.
• He preferred soft materials.
• As his career progressed his work became more
abstract.

61. ART NOUVEAU
• The influence of Art Nouveau extended from Eastern
and Western Europe to America.
• Originated in England
Characteristics of Art Nouveau:
– Lyrical linearity (poetic lines)
– Symbolism
– Rich orientations
– Overriding sense of the organic
The artists:
– Victor Horta
– Antonio Gaudí

62. VICTOR HORTA. Interior of the Tassel House, Brussels (1893).

64. Art Tour – Paris
• Paris, one of the most beautiful, exciting, and
delightful cities in the world! A work of art!
• Eiffel Tower, near the Trocadéro
• I.M. Pei glass pyramid in the plaza at the
Louvre (Mona Lisa!)
• Musée D’Orsay: Impressionist art

68. Discussion Questions
• Why is eclecticism so prevalent in the art of the
19th century?
• What underlies the artistic creativity of this
century?
• What effect do technology and the camera have
on 19th century art?
• What are these 19th century artists trying to
achieve?
• Why is this century so artistically different than
other centuries?