12 Realism to Impressionism

ART 102 Gardners - Chapter 28
Jean Thobaben
Instructor
The Rise of Modernism:
The Later 19th Century
Impressionism
Postimpressionism
RISE OF THE AVANTE GARDE
Fin de
Siecle
ARTS AND CRAFTS MOVEMENT
Art Nouveau

2
Impressionism
• Capturing the fragile and fugitive Images of modern life,
Impressionism focused on the representation of a single
moment.
• A hostile critic applied the term Impressionism in response to
the painting Impression Sunrise, by Claude Monet at the first
Impressionist show in 1874.

3
Claude Monet (1840-1926)
• Claude Monet's painting Impression: Sunrise was the source
of the term Impressionism, which describes paintings that
incorporated the abbreviated, quick, and spontaneous qualities
of sketches in order to catch the sense or character of a
specific moment.
Monet, Impression Sunrise, 1872. Oil on canvas, 1' 17 1/2" x 2' 1 1/2". Musée Marmottan, Paris.

4
• Impressionism conveys the elusiveness and impermanence of
images and conditions found in the rapid and chaotic changes
that were transforming France during the latter half of the
nineteenth century.
• Monet's Saint-Lazare Train Station reflects the impact on
Impressionism of contemporary industrialization and
urbanization.
Monet, Saint-Lazare Train Station, 1877. Oil on canvas, 75.5 cm x 104 cm. Musée d'Orsay, Paris.

5
• As with many of his subjects, Manet painted the station
many times under different conditions of light and
atmosphere.

These are known as series paintings
Another subject Monet revisited many times were Views of the Rouen Cathedral. c. 1863-64 6

7
Gustave Caillebotte (1849-1893)
• Facets of life in the city Paris are seen in Gustave Caillebotte's
informal Paris: A Rainy Day which is set at the junction of
spacious boulevards.
• The figures of well-dressed Parisians seem to be randomly
placed within a frame that crops the image arbitrarily.
Caillebotte,, Paris: A Rainy Day, 1877.
Oil on canvas, approx. 6' 9" x 9' 9". The Art Institute of Chicago.

8
Edgar Degas (1834-1917)
• The unexpected angle of view and the divergent movements of
the figures of Edgar Degas's portrait Viscount Lepic and His
Daughters reflects the artist's interest in photography and
Japanese prints.
• The painting is a vivid pictorial account of a moment in time at a
particular position in space.
Degas, Viscount Lepic and His Daughters, 1873. Oil on canvas,
approx. 2' 8" x 3' 11". The Hermitage, Saint Petersburg.

9
Camille Pissarro (1830-1903)
• Camille Pisarro sometimes used photography to supplement his
work from models.
• Pissarro's panoramic Place du Théâtre Français shows a
spacious boulevard painted with blurred dark accents against a
light ground to create a sense of a crowded Paris square viewed
from high above street level.
Pisarro, Place du Theatre Francais, Afternoon Sun in Winter 1895.
Oil on canvas, approx. 2' 4 1/2" x 3' 1/2". Los Angeles County Museum of Art, Los Angeles

10
• Because of the familiarity of Pisaarro and other Impressionists had
with photographs, scholars have been quick to point out the visual
parallels between Impressionist paintings and photographs.
• These parallels include, the arbitrary cutting off of figures at the
frame’s edge and the curious flattening effect of the high viewpoint.
• With a special twin-lens camera, Hippolyte Jouvin made this
stereograph from a window in a scene similar to Pissarro’s.
Jouvin, The Pont Neuf, Paris, ca. 1860-1865. Albumen stereograph.
Museum of Modern Art Collection, New York.

11
Pierre-Auguste Renoir (1841-1919)
• The Impressionists also depicted scenes of leisure activities
such as dining, dancing, the café-concerts, the opera, the
ballet, and other forms of recreation.
• Le Moulin de la Galette by Pierre-Auguste Renoir shows a
popular Parisian dance hall in which he focuses on incidental,
momentary, and passing aspects of the scene.
Auguste Renoir, Le Moulin de la Galette, 1876. Oil on canvas, approx. 4' 3" x 5' 8". Louvre, Paris.

12
• Édouard Manet's A Bar at the Folies-Bergère shows a
barmaid in the popular Parisian café-concert.
• Manet calls attention to the pictorial structure of the painting
through various visual contradictions.
Manet, A Bar at the Folies-Bergère, 1882. Oil on canvas,
approx. 3' 1" x 4' 3". The Courtauld Institute Galleries, London.

13
• Edgar Degas's Ballet Rehearsal (Adagio) shows the artist's
fascination with photography, Japanese prints, and patterns of
motion.
• He uses arbitrarily cutoff figures, patterns of light splotches, and
blurriness of the images to create the effect of a single moment.
Degas, Ballet Rehearsal, 1876. Oil on canvas, 1' 11" x 2' 9". Glasgow Museum, Glasgow.

14
• Acknowledged as the master of drawing the human figure in
motion.
• Degas worked in many mediums, preferring pastel to all others.
• He is perhaps best known for his paintings, drawings, and
bronzes of ballerinas and of race horses.
Dance Class at the Opéra , 1872; Musée d'Orsay, Paris

15
• In his pastel drawing of The Tub, Edgar Degas shows a
young woman crouching in a washing tub.
• A conflict is apparent between some forms that appear flat and
aligned with the picture's two-dimensional surface, while other
forms appear to have three-dimensional volume.
Degas, The Tub, 1886. Pastel, 1' 11 1/2" x 2' 8 3/8". Musée d'Orsay, Paris.

16
• Claude Monet's Le Bassin d'Argenteuil shows sailboats on the
Seine River at Argenteuil.
• The shimmering reflections of the boats on the water enliven the
scene and impart a feeling of vibrancy and spontaneity, which
Monet enhanced with choppy brushstrokes.
Monet, Le Bassin d'Argenteuil, 1874. Oil on canvas, 55.2 cm. x 74.2 cm.
Museum of Art, Rhode Island School of Design, Providence.

17
• Monet painted some forty views of Rouen Cathedral, each at a
different time of the day or under a different climatic condition.
• In each painting he captured an instantaneous representation of
atmosphere and climate at that moment and also created in the series
a record of the movement of light over the surfaces of the cathedral
over a period of time.

18
Berthe Morisot (1841-1895)
• Berthe Morisot's Villa at the Seaside shows a woman sitting
with a child in the shaded veranda of a summer hotel at a
seashore resort.
• The swift, sketchy brushstrokes and the soft focus convey a
feeling of airiness.
Morisot, Villa at the Seaside, 1874. Oil on canvas, approx.
1' 8" x 2'. Norton Simon Art Foundation, Los Angeles.

19
• Unlike most of the other impressionists, who were then intensely
engaged in optical experiments with color, Morisot and Manet
agreed on a more conservative approach, confining their use of
color to a naturalistic framework.
Marine (The Harbor at Lorient) 1869, Oil on canvas, 17 1/2 x 28 3/4";
National Gallery of Art, Washington
This painting was recently exhibited in the Manet and the Sea show at PMA.

20
• Her own carefully
composed,brightly hued
canvases are often
studies of women, either
out-of-doors or in
domestic settings.
• Morisot and American
artist Mary Cassatt are
generally considered the
most important women
painters of the later 19th
century.
La lecture (Reading: The Mother and
Sister Edma of the Artist) ,
1869-70, Oil on canvas, , 39 3/4 x 32
1/4“, National Gallery of Art,

21
Mary Cassatt
(1845-1926)
• The daughter of an affluent
Pittsburgh businessman, whose
French ancestry had endowed
him with a passion for that
country;
• she studied art at the
Pennsylvania Academy of Fine
Arts in Philadelphia, and then
travelled extensively in Europe,
finally settling in Paris in 1874.
Little Girl in a Blue Armchair
1878 ,Oils; National Gallery of Art

22
• In that year Cassett had a work
accepted at the Salon and in
1877 made the acquaintance of
Degas, with whom she
was to be on close terms
throughout his life.
• Cassatt's The Bath contrasts
the visual solidity of the mother
and child with the flattened
patterning of the wallpaper and
rug.
Mary Cassett
La Toilette, c. 1891
Oil on canvas, 39 1/2 x 26 in
The Art Institute of Chicago

23
• Cassatt’s earlier works were marked by a certain lyrical effulgence and
gentle, golden lighting, but by the 1890s, largely as a consequence of
the exhibition of Japanese prints held in Paris at the beginning of that
decade, her draughtsmanship became more emphatic, her colors
clearer and more boldly defined.
The Boating Party , 1893-94 , Oils, 35 1/2 x 46 ¼”, National Gallery of Art

24
Henri de Toulouse Lautrec (1864-1901)
• The oblique and asymmetrical composition, the spatial
diagonals, and the strong line patterns with added dissonant
colors in At the Moulin Rouge reveals the influence on Henri de
Toulouse Lautrec of Japanese prints and photography.
• But each element is also emphasized or exaggerated to produce
a distorted and simplified image that is expressive of Toulouse-
Lautrec's perception the scene.
Toulouse-Latrec, At the Moulin Rouge, 1892-1895. Oil on canvas,
approx. 4' x 4' 7". The Art Institute of Chicago, Chicago

25
James Abbot
McNeill Whistler
(1834-1903)
• An American based in
London, Whistler did several
paintings of fireworks over
the Thames.
• Whistler's Nocturne in
Black and Gold (The Falling
Rocket) is a harmonious
arrangement of shapes and
colors through which the artist
wished to convey the
atmospheric effects rather
than the details of the actual
scene.
• Whistler sued the British critic
John Ruskin, who had
accused the artist of "flinging a
pot of paint in the public's
face" with his style.
Nocturne in Black and Gold: The Falling
Rocket, 1875, Oil on panel
0.3 × 46.4 cm (23.7 × 18.3 in)
Detroit Institute of Arts

26
• Whistler achieved international
notoriety when Symphony No. 1, The
White Girl was rejected at both the
Royal Academy and the Salon, but
was a major attraction at the famous
Salon des Refusés in 1863.
• Thereafter Courbet's influence waned,
and Orientalism--and to a lesser extent
classicism--became increasingly
pronounced elements in his work.
Symphony in White, No. 1: The White Girl
1862; Oil on canvas, 214.6 x 108 cm; National
Gallery of Art, Washington

27
My favorite Whistler,
which you can visit at
PMA.
Purple and Rose: The Lange Leizen of
the Six Marks
1864; Oil on canvas,
92 x 61.5 cm
Philadelphia Museum of Art

28
POST-IMPRESSIONISM
• By the 1880s, Impressionism came to be seen as too limited and
artists began to examine the properties and the expressive
qualities of line, pattern, form, and color.
• Vincent van Gogh and Paul Gauguin explored the expressive
capabilities of formal elements.
• Georges Seurat and Paul Cézanne were more analytical in
orientation.

29
Vincent
Van Gogh
(1853-1890)
• Although almost wholly
unknown during his brief
lifetime, Van Gogh is
today probably the most
widely known and
appreciated representative
of post-impressionism.
The Vase with 12 Sunflowers

30
Van Gogh's early period includes all his work from 1879
through 1885.
In Nuenen he painted The Potato Eaters, his first
important picture, which underscores his lifelong interest
in peasant subjects.
The Potato Eaters , 1885 , Oil on canvas, 81.5 x 114.5 cm; Rijksmuseum Vincent van Gogh, Amsterdam

31
• The Paris period (1886-1888) is extremely important because
it enabled Vincent to see and to hear discussed the work of
virtually every major artist there.
• In The Night Café, Vincent van Gogh explored the
capabilities of colors and distorted forms to express his
emotions as he confronted nature
The Night Café 1888; Yale University Art Gallery

32
• Van Gogh left Paris and moved to Arles in February 1888.
• His mature work and many of his most famous paintings date from the
ensuing year.
Van Gogh, La chambre de à Arles 1889 , Oil on canvas, 22 1/2 x 29 1/3 in; Musee d'Orsay, Paris

33
• Vincent was hospitalized intermittently until the spring of 1890; he
was voluntarily confined in the Asylum of Saint-Paul in Saint-Remy
from May 1889 until May 1890.
• He continued to paint, however, and in June 1889 executed the
Starry Night.
• His "expressionist" method is seen in the choice of color and
turbulent brushstrokes of The Starry Night, in which he represents
the night sky filled with whirling and exploding stars and galaxies of
stars.
The Starry Night, June 1889 ,Oil on Canvas, 29 x 36 1/4 in,MoMA, New York

34
Paul Gauguin
(18481903)
• Gauguin obtained a position with
a stock brokerage firm in 1871
and married a Dane, Mette Gad,
in 1873,
with whom he had
five children.
• During this period he
was essentially a "Sunday"
painter, pursuing his art on
weekends and in the summer.
Nude Study, or Suzanne Sewing, 1880,
Oil on canvas, 43 1/2 x 31 in

35
• The financial crash of 1882-83 left him without work and prompted
his decision to become a full-time artist.
Gauguin. Aube the Sculptor and His Son. 1882. Pastel. Musée du Petit Palais, Paris, France.

36
• In The Vision after the Sermon, or Jacob Wrestling with the Angel,
Paul Gauguin wanted to show the ancient, unspoiled Celtic folkways
and Catholic piety of peasant men and women in Brittany.
• The elements in the picture are composed to focus viewers' attention on
the idea and intensify its message.
• The scene has been abstracted into a pattern in which perspective is
twisted and the colors are unnatural and unmodulated.

37
• As its name suggests, Gauguin's work was concerned with inner
rather than external truth.
• He combined stylized images of Breton figures in a shallow pictorial
space with a 'vision' in the top right corner.
Vision after the Sermon; Jacob Wrestling with the Angel. 1888.
Oil on canvas. National Gallery of Scotland

38
Caricature Self-Portrait. 1889. Oil
on wood. The National Gallery
of Art, Washington, DC, USA.
Self-Portrait with Yellow Christ. 1889.
Oil on canvas. Private collection.

39
Gauguin left for Tahiti,
where he began a series
of paintings that depict
the physical beauty of
the people and the
myths underlying their
traditional religion.
La Orana Maria, 1891,
Oil on canvas, 44 x 34”,
Metropolityan Museum of Art, New York

40
• In the South Pacific, Gauguin painted
Whence Do We Come? What Are We? Where Are We Going? with flat
shapes of unmodulated yet expressive color.
Gauguin, Where Do We Come From? What Are We? Where Are We Going?,
1897. Oil on canvas, 4' 6 3/4" x 12' 3 1/2". Museum of Fine Arts, Boston.

41
Georges Seurat
(1859-1891)
• Seurat contributed to French
painting by introducing a more
systematic and scientific
technique known as pointillism.
• It involves the practice of
applying small strokes or dots of
contrasting pigment to a surface
so that from a distance the dots
blend together into solid forms.
Detail from Entre du port de Honfleur
by Georges Seurat.

42
• George Seurat's system of pointillism or divisionism, which involved
separating color into its component parts, is seen in his Sunday
Afternoon on the Island of La Grande Jatte.
Sunday Afternoon on the Island of La Grande Jette; 1884-86
Oil on canvas, 81 x 120 in; Art Institute of Chicago

43
• This is a portrait of
Madeline Knoblock,
Seurat's mistress.
• Instead of the vase with
flowers seen between the
two panels of the folding
mirror on the wall, Seurat
had first painted his own
portrait.
• When a friend who saw it
told him it made him look
silly, Seurat covered his
face with the flower pot.
Young Woman Powdering Herself,
1890,
Oil on Canvas, , 37 1/2 x 31 1/4"
Courtauld Institute of Art, London

44
Paul Cezanne (1839-1906)
• Cezanne is regarded today as one of the great forerunners of
modern painting, both for the way that he evolved of putting down on
canvas exactly what his eye saw in nature and for the qualities of
pictorial form that he achieved through a unique treatment of space,
mass, and color.
• Cézanne was a contemporary of the impressionists, but he went
beyond their interests in the individual brushstroke and the fall of light
onto objects, to create, in his words, "something more solid and
durable, like the art of the museums."

45
• In the late 1870s
Cézanne entered the
phase known as
"constructive,"
characterized by the
grouping of parallel,
hatched brushstrokes
in formations that build
up a sense of mass in
themselves.
Cistern in the Park at Château
Noir , c. 1900 , Oils, 29 1/4 x 24
in; Estate of Henry Pearlman,
New York

46
• He continued in this style until the early 1890s, when, in his
series of paintings titled Card Players, the upward curvature
of the players' backs creates a sense of architectural solidity
and thrust, and the intervals between figures and objects
have the appearance of live cells of space and atmosphere.
The Card Players, c. 1890-92, Oil on canvas, 17 3/4 x 22 1/2 in; Musée d'Orsay, Paris

47
• Finally, living as a solitary in Aix rather than alternating
between the south and Paris, Cézanne moved into his late
phase.
• Now he concentrated on a few basic subjects:
o still lifes of studio objects built around such recurring elements as
apples, statuary, and tablecloths;
o studies of bathers, based upon models and drawing upon a
combination of memory, earlier studies, and sources in the art of
the past; and
o successive views of the Mont Sainte-Victoire, a nearby
landmark, painted from his studio looking across the intervening
valley.

48
• In Still Life with Basket of Apples, Cézanne focused on the
form of the objects, reducing the bottles and fruit to cylinders and
spheres.
• By juxtaposing color patches, he captured the solidity of each
object.
• Objects, however, do not appear optically realistic and,
moreover, seem to be depicted from different vantage points,
producing disjunctures and discontinuities in the picture.
CÉZANNE, Still Life with Basket of Apples, 1890–1894.
Oil on canvas, 2' 3/8" x 2' 7". The Art Institute of Chicago, Chicago

49
• Bathers were another of Cézanne's themes.
• Women bathers are usually presented in large pyramidal
groups, overlapping, mostly with their backs to the viewer.
• Cézanne's only real passion was his art, but that passion was
never revealed on the canvas itself.
Large Bathers, 1899-1906 , Oils 81 7/8 x 98 in, Philadelphia Museum of Art

50
• The Sainte-Victoire mountain near Cézanne's home in Aix-en-
Provence was one of his favorite subjects and he is known to
have painted it over 60 times.
• Cézanne's more analytical style is seen in
Mont Sainte-Victoire, in which he attempted to order the lines,
planes, and colors that comprised nature.
• He explored and carefully analysed the properties of line, plane,
and color and their interrelationships.

52
The Rise of the Avant Garde
• The challenges to artistic conventions introduced successively
by Realism, Impressionism, and Post-Impressionism gave rise
to the avant-garde.
• The term referred to artists who were ahead of their time and
who transgressed the limits of established art forms.
• Avant-garde artists rejected the classical, academic, or
traditional, adopted a critical stance toward their respective
media, and produced art that was extremely transgressive or
subversive.
• The avant-garde explored the premises and formal qualities of
painting, sculpture, or other media.

53
• By the end of the 19th century, a number of artists rejected the
visual world and worked from their imagination.
• Nature was freely interpreted and became completely
subjective..
• Color, line, and shape were no longer required to conform to
visual reality, and were used instead as symbols of personal
emotions in response to the world.
• Some artists used signs and symbols to express a reality in
accord with their spirit and intuition.

54
• Symbolist artists transformed facts into symbols that represented
the inner experience of that fact.
• Symbolists sought the inner significance and reality that lay beneath
superficial appearance.
• Objects of the commonsense world were converted into symbols of a
deeper reality.
• Puvis de Chavannes's ornamental and reflective The Sacred
Grove shows statuesque figures in timeless poses moving in a
tranquil, sacred landscape with a classical shrine. All movements and
gestures appear to have a ritual significance.
Puvis De Chavannes, The Sacred Grove, 1884. Oil on canvas, 2' 11 1/2" x 6' 10".
The Art Institute of Chicago, Chicago

55
Gustave Moreau
(1826-1898)
• An influential teacher,
Moreau gravitated
towards subjects
inspired by dreams, as
remote as possible
from the everyday
world.
• Gustave Moreau's Jupiter
and Semele is sumptuously
painted in rich, exotic colors.
• The royal hall of Olympus is
shown as shimmering in
iridescent color.
Moreau, Jupiter and Semele, ca. 1875.
Oil on canvas, 7' x 3' 4".
Musée Gustave Moreau,
Paris.

56
Odilon Redon
(1840-1916)
• Haunted by imaginary
things like Moreau,
Odilon Redon was a
visionary.
• Redon painted
The Cyclops as a
visible projection
of his imagination.
Redon, The Cyclops, 1898. Oil on
canvas, 2' 1" x 1' 8". State Museum
Kröller-Müller, Otterlo.

57
Henri Rousseau (1844-1910)
• Called a primitive, Henri Rousseau was largely self-taught.
• In The Sleeping Gypsy, Rousseau produced an image of
dream and fantasy in a naive style.
Rousseau, The Sleeping Gypsy, 1897. Oil on canvas, 4' 3" x 6' 7". Museum of Modern Art, N.Y.

58
Edvard Munch
(1863-1944)
• Norwegian artist Edvard Munch
believed that humans were
powerless before the natural
forces of death and love and the
emotions of jealousy, loneliness,
fear, desire, and despair.
• His goal was to describe the
conditions of "modern psychic
life," for which he developed a
style that distorted color, line, and
figural forms for expressive ends.
The Cry departs
significantly from visual
reality and evokes
instead a visceral,
emotional response from
viewers through his
dramatic presentation
of the scene.
Munch, The Cry, 1893. Oil,
pastel, and casein on cardboard, 2'
11 3/4" x 2' 5". National Gallery,
Oslo.

59
Sculpture in the later 19th Century
• Because of its tangible, solid nature, sculpture was ill suited to
conveying the transitory and served predominantly as an
expression of supposedly timeless ideals.
• The powerful, twisted, intertwined, and densely concentrated
forms of Jean-Baptiste Carpeaux's sculpture Ugolino and His
Children conveys the self-devouring torment, frustration, and
despair of Count Ugolino, who has been shut up in a tower with
his four sons to starve to death.
Carpeaux, Ugolino and His Children
1865–1867. Marble, 6' 5" high.
Metropolitan Museum of Art,
New York

61
Augustus Saint-Gaudens (1848-1907)
• Throughout the United States there are thousands of parks in
which can be found bronze and marble statues of the major
historical figures of times past.
• Taken from a mostly European sensibility, these monuments are
testaments to their subjects and to the times in which they were
sculpted.
• Among the greatest American sculptors and monument builders
of the late nineteenth and early twentieth centuries was
Augustus Saint-Gaudens.

62
• Saint-Gaudens's memorial
monument of Mrs. Henry Adams
shows a woman of majestic bearing
sitting in mourning with her face
partly shadowed by a drapery that
enfolds her body.
SAINT-GAUDENS, Adams Memorial, Rock
Creek Cemetery, Washington, D.C., 1891.
Bronze,
5' 10" high.

63
• In 1884, he received a commission for the Memorial to
Colonel Shaw.
• Inaugurated in 1897 on the Common in Boston, the
Memorial pays homage to the colonel R. G. Shaw and to
his regiment, uniquely composed of black volunteers
who fell before Fort Wagner in 1863.
• The statue of the colonel, sculpted in very high relief,
frames the soldiers who advance while a winged Victory
dominates the work.
• Saint-Gaudens was meticulous in his attention to detail,
individualizing each soldier.
Augustust Saint-Gaudens' Memorial to Robert Gould Shaw
and the Massachusetts Fifty-fourth Regiment.

64Detail of the Shaw Memorial by Augustus St. Gaudens

65
Auguste Rodin
(1840-1917)
• In sculpture there is no
equivalent of Impressionism,
but Auguste Rodin was a
contemporary of many of the
artists .
• Likewise, Rodin’s work has a
casual or “unfinished” quality
about it which is similar to the
work of the late 18th century
painters.
The Kiss , 1886 , Bronze, 87 x 51 x 55 cm;
Musee Rodin, Paris

66
• In his cast bronze Walking
Man,
Rodin captured the sense
of a body in motion.
RODIN, Walking Man, 1905. Bronze,
6' 11 3/4" high. Hirshhorn Museum and
Sculpture Garden, Smithsonian
Institution, Washington, D.C.

67
• In the life-size group Burghers of Calais, commissioned to
commemorate a heroic episode in the Hundred Years' War,
Rodin shows each of the figures in a state of despair,
resignation, or quiet defiance.
• He achieved these psychic effects through the placement
of the figures, the roughly textured surfaces, and the eye-
level view.
Rodin, The Burghers of Calais, conceived 1884-95; cast 1925. Medium Bronze Dimensions
209.6 x 238.8 x 190.5 c Rodin Museum, Philadelphia

68
• The most famous
Rodin sculpture is
The Thinker.
Rodin
The Thinker
1880
Bronze

69
The Arts and Crafts Movement
• The Arts and Crafts movement in England advocated the
production of functional, well-made, high-quality objects
produced for a wide public in a style based on natural
forms.
• In his decoration of the Green Dining Room,
William Morris created a unified, beautiful, and functional
environment.
WILLIAM MORRIS, Green Dining Room, 1867. Victoria & Albert Museum, London

70
• Morris and his followers
sought to produce
• High quality hand crafted
objects that harkened back to
the pre-industrial age.
• Objects included furniture:
Cherry Cabinet with hand painted tile inlays.

71
• Carpet and fabric design:
“Vine & Pomegranate" ingrain carpet, designed by Kate Faulkner for
William Morris c. 1880, showing both faces of the fabric.

72
• The Arts and Crafts Movement rejected much of the Industrial
Revolution's emphasis on machinery and factories.
• Craftsmen and artists created houses and furniture by hand or at
least custom made for clients.
The Gamble House, built for David and Mary Gamble,
of Proctor and Gamble, 1908, Pasedena, Ca.

73
Gamble House, interior Views

74
The Glasgow School
• Charles Rennie Mackintosh's design for the
Ladies Luncheon Room in Glasgow shows a
decor consistent with William Morris's vision of a
functional, exquisitely designed art.
MacIntosh, reconstruction (1992–1995) of Ladies' Luncheon Room, Ingram Street tea rooms,

75
ART NOUVEAU
• The international style of Art Nouveau is seen in the
staircase in the Tassel House in Brussels designed
by Victor Horta.
• Every detail functions as part of a living whole.
Tassel House by Victor Horta, architect, at Brussels, Belgium, 1892 to 1893

76
• For Salomé, an illustration for a
book by Oscar Wilde, Aubrey
Beardsley drew The Peacock
Skirt.
• The decorative composition uses
lines and patterns of black and
white to create sweeping
curvilinear shapes that lie flat on
the surface.
BEARDSLEY, The Peacock Skirt, 1894. Pen-and-
ink illustration for Oscar Wilde's Salomé.

77
• In his design for the apartment
house Casa Milá in Barcelona,
Antonio Gaudi conceived the
building as a free-form mass with
swelling curves with an undulating
tiled roof.
ANTONIO GAUDI, Casa Milá, Barcelona, 1907

78
Fin-De-Siecle Culture
• The term fin-de-siècle refers to a certain unrestrained and
freewheeling sensibility that emerged in the context of the political
upheaval toward the end of the nineteenth century.
• Prosperity promoted a culture of decadence and indulgence.
• Joseph Maria Olbrich designed the Vienna Secession Building
with a lavish gilded laurel-leaf dome.
• The staid geometric design of the exterior is offset by sensual,
organic, decorative elements.
JOSEPH MARIA OLBRICH, Vienna Secession Building, Vienna, 1897–1899.

79
Additional Views of the Vienna Secession Building, Vienna, Austria

80
• Another member of the Secessionist movement was the
painter Gustav Klimt (1863-1918).
• In The Kiss, Klimt shows a man sensuously kissing a woman
in an opulent composition of flat patterns of shimmering color.

81
Other Architecture in the Later 19th Century
• Iron and steel, which
permitted the construction of
larger, stronger, and more
fire-resistant structures, were
increasingly used in buildings
in the later nineteenth
century.
• The most distinctive
structure of the period that
captures the sense of
Romance is the
Eiffel Tower.
• It was built by Alexandre-
Gustave Eiffel (1832-1923)
as the central feature of the
Paris Exhibition of 1889.

82
• Henry Hobson Richardson's
design for the Marshall Field
wholesale store in Chicago
employs a tripartite elevation
with massive courses of
masonry that serve to stress the
long sweep of the building's
lines and emphasize its
ponderous weight.
• Large glazed
arcades
have the
effect of
opening up
the walls of
the building.

83
• Louis Henry
Sullivan's design for
the Guaranty Building
in Buffalo, New York,
expresses the interior's
subdivision on the
exterior, and the
skeletal nature of the
supporting structure.
• Windows occupy most
of the space between
the terracotta-clad
vertical members.

84
• Sullivan unified the exterior
and interior design of the
Carson, Pirie, Scott
Building in Chicago, and
made the structural skeleton
clearly visible on the exterior.
• The lowest two
levels of the
building are
ornamented in
cast iron.

85
• Richard Morris Hunt's design for Cornelius Vanderbilt II's
opulent palace The Breakers in Newport, Rhode Island,
resembles a sixteenth-century Italian palazzo.
• The large interior rooms are sumptuously decorated.
RICHARD MORRIS HUNT, The Breakers, Newport, Rhode Island, 1892.

86
Summary:
• Modernist artists seek to capture the images and sensibilities of
their age while also subjecting the premises of art itself to critical
examination.
• Realism developed in France around the mid-century. Its leading
figure was Gustave Courbet.
• Realism's interest in depicting the realities of modern life also
appealed to artists other countries. In the United States,
Thomas Eakins was a Realist portrait and genre painter.

87
• In England, John Everett Millais was a founder of the Pre-
Raphaelite Brotherhood, a group of artists who used Realist
techniques to represent fictional, historical, and fanciful subjects.
• At the same time The Arts and Crafts movement in advocated the
production of functional, well-made, high-quality objects produced
for a wide public in a style based on natural forms.
• When applied to decorative arts and graphic design we call this
style Art Nouveau.
• Iron and steel, which permitted the construction of larger, stronger,
and more fire-resistant structures, were increasingly used in
buildings and changed the nature of both structure and design.

88
• Claude Monet's painting Impression: Sunrise was the source
of the term Impressionism, which describes paintings that
incorporated the abbreviated, quick, and spontaneous qualities
of sketches in order to catch the sense or character of a specific
moment.
• Artits such as Edgar Degas and his follower Mary Cassett were
fascinated with the composition of Japanese prints.
• Because of its tangible, solid nature, 19th century sculpture was
ill suited to conveying the transitory and served predominantly as
an expression of supposedly timeless ideals.

89
• By the 1880s, Impressionism came to be seen as too limited and
post-Impressionist artists began to examine the properties and
the expressive qualities of line, pattern, form, and color.
• Vincent van Gogh and Paul Gauguin explored the expressive
capabilities of formal elements;
• Georges Seurat and Paul Cézanne were more analytical in
orientation.
• Avant-garde artists rejected the classical, academic, or
traditional, adopted a critical stance toward their respective
media, and produced art that sought new boundaries.

90
Links: • PMA – Manet and the Sea
• PMA - Degas and the Dance
• Great Buildings Online
• Impressionism: Web Museum
• Impressionism (Art Lessons)
• Gardens of Sunlight
• ArtLex on Post-impressionism
• Art Nouveau
• The Arts and Crafts Movement

12 Realism to Impressionism

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