1. 19th Century Art in Europe and the
United States (1800’s): PART II

2. Now we are going to look at art in
the SECOND half of the 19th century
•Called the “positivist age” – faith in the positive consequences
of close observation of the natural and human realms
•We’ll see a decline in Romanticism
•New emphasis on accurate, objective descriptions of the
ordinary, observable world (we’ll see this a lot in REALISM)
•We’ll see anof Japanese art on painting
•We’ll see “plein-air” painting (in IMPRESSIONISM)
•We’ll see SYMBOLIST painters try to portray mystical personal
visions in their art
•We’ll see sky scrapers and elevators!
•We’ll see ART NOUVEAU combine painting, architecture, and
sculpture in organic motifs

3. Movements we will look at:
• Realism
• Impressionism
• Post-Impressionism
• Symbolism
• Art Nouveau

4. • Exploration of theories about human evolution and
social equality
• New inventions:
telephone, movies, bicycles, automobile – all open
communications to a wider audience
• Artists respond to changes around them – traditional
beliefs replaced by “avant-garde” ones (term coined at
this time)
• Art academies abandoned
• Artists used past for inspiration, but rejected traditional
subject matter
• Goodbye religious subject matter, aristocratic
portraits, history paintings, and classical myths.
• Hello MODERNISM! Artists represent peasant
scenes, landscapes, and still life

5. What are artists up to?
• Artists rejected by the Salon of Paris set up their own
exhibitions – achieve fame by being anti-establishment
(They’re punks!) – Impressionist exhibit is one of these
exhibitions
• Art galleries begin to open – much more “friendly” than
the Salon (just the art lover w/ the dealer)
• Artists influenced by influx of Japanese art =
JAPONISME
• Artists paint PLEIN-AIR – paint outdoors to capture
effects of atmosphere and light on a subject
• LITHOGRAPHY introduced – new form of printmaking
• Artists can be categorized into movements…

6. REALSIM movement
•Inspired by positivism
•Artists believe in painting things that one could
experience with the five senses
•Painted the lower class in their environment
•Peasants depicted with dignity – living their daily
lives with basic honesty and sincerity (things seen
to be missing among middle and upper class
people)
•Shown as one with the earth
•Brown and ochre are dominant colors

7. Burial at Ornans
Gustave Courbet, 1849, oil on canvas

8. •Funeral in a drab country setting
•Massive painting, but it doesn’t glorify any aspect of life (10’x21’)
•Composition has s-curve, only the cross rises above the group
•Unflattering depictions of provincial officials
•Mood of funeral/death not like what we’ve seen before
•Even the dog looks distracted (as are many of the people!)

9. •Courbet was inspired to paint this by his grandfather’s funeral
•Not a record of any particular funeral
•Attacked by conservative critics – objected to its presentation of such a
mundane provincial funeral on the same scale (size-wise) as paintings of major
historical events – also didn’t like the composition (No pyramids?! No
hierarchy?!) – more democratic composition – everyone lined up
•Critics – No suggestion of an afterlife?! Death and burial presented as mere
facts, as a positivist might regard them

10. The Stone Breakers
Gustave Courbet, 1849, oil on canvas

11. •Two haggard men labor to produce gravel used for roadbeds – complete
expression of poverty
•“first” socialist piece ever painted – a satire of industrialized society –
industry creates wonderful machines, and yet men still have to do back-
breaking work like this!
•A depiction of injustice on a 5’x8’ canvas – How scandalous!

12. The Gleaners
Jean-Francois Millet, 1857, oil on canvas

13. •Gleaners were the poorest people – picking up scraps after the general
harvest – this work was therefore controversial and made people nervous
•Nobility of the poor, nobility of hard work
•Figures are horizontal- blend into the landscape, their backs like rolling
hills, don’t interfere with the horizon
•Haystacks in
background
mimic shapes of
gleaners
•Seen by the
public as a
socialist painting
– suspicious that
the lower class
might rise up
after the
revolutions of
1848 in France

14. Third Class Carriage
Honore Daumier, 1862, oil on canvas

15. •Poor people huddled in 3rd-class compartment of a horse-drawn
bus in Paris – separated from middle class passengers emotionally
and physically (their heads are turned behind them)
•Anonymous people going about their daily business
•Modern take on the Holy Family – Grandmother sits
peacefully, mother nurses, grandchild sleeps
•Lower class
portrayed as
hardworking and
earnest
•Humanizes lower
class similar to
novels of Charles
Dickens

16. Rue Transnonain
Honore Daumier, 1834, lithograph

17. •Workers rebel in Lyon, France, and government troops
suppressed them (aka: killed them)
•A soldier was shot from a workers’ apartment complex, so troops
came in and killed everyone in the building for revenge
•Disorderly room – symbol of the attack
•Three generations – middle-aged man on top of a child, elderly on
extreme right
•Meant to stir the emotions of the viewer – antiestablishment
•LITHOGRAPH prints
used to mass-
produce and
circulate as many
prints as possible
•French government
tried to suppress
distribution

18. Olympia
EdouardManet, 1863, oil on canvas

19. •Created SUCH a scandal at the Paris Salon of 1865!
•Inspired by Titian’s Venus of Urbino
•Figure is cold and uninviting, no mystery or joy
•Maid delivers flower from an admirer
•Olympia is a common name for prostitutes of the time
•Her frank, direct, uncaring, unnerving look startled viewers
•Simplified modeling, stark contrast of colors
•This piece was
rejected from every
Salon show, so
Manet rented a
nearby hall and
staged a solo
exhibition!

20. • Angular, flattened figure
• Cold, indifferent stare
• Cat arches its back at us
• Stares down at us, in the
position of power – we
are subordinate, like the
black servant
• Non-conservative nude
•Curvaceous, softly
rounded figure
•Looks lovingly at male
spectator
•Sleeping dog looks
peaceful
•Looking up at us
•Beautiful nude
MANET
TITIAN

21. Luncheon on the Grass
EdouardManet, 1863, oil on canvas

22. •Manet entered this one in the Salon too, but it was rejected – became a
“success de scandal” in the Salon des Refuses – established Manet as a
radical artist
•Figures obviously posing, no unity with landscape, awkward
•Surprising juxtaposition of nude woman with clothed men in
contemporary dress – immoral theme! – audience assumed the women
were prostitutes , men clients
•Presents nudity in the context of contemporary life. Nude or naked?
What’s the difference?
•Distortion of perspective
•Stark lighting on the female
figures, flat, cut-out quality – also
shocking
•Debate about the subject matter
here – theme of modern alienation?
Figures don’t connect
•Rejection of warm colors, near
absence of modeling, figures look flat
– stand out against their natural
environment

23. MANET GIORGIONE’S “Pastoral Concert”

24. Snap the Whip
Winslow Homer, 1872, oil on canvas

25. •Ideal vision of life in rural America
•Simple scene that evokes thought and concentration
•Monumentality of the forms
•Hints at the American Civil War (chain of boys is a broken
union)
•Reaction against industrialization of America
•Homer believed that
unadorned realism
was the most
appropriate style for
American-type
democratic values
•Born in
Boston, moved to a
tiny English fishing
village, saw common
people struggle against
common adversity

26. The Life Line
Winslow Homer, 1884, oil on canvas

27. •Homer moved on to more dramatic themes of human struggle against natural
adversity
•Impressed with modern breeches buoy –used to rescue people on sinking ships
•A coast guardsman using the breeches buoy to rescue an unconscious woman
•Shows human bravery and ingenuity

28. Plowing in the Nivernais
Rosa Bonheur, 1849, oil on canvas

29. •Bonheur concentrated on painting animals (usually
domesticated farm animals) in natural settings
•Read zoology books, made detailed studies in stockyards
and slaughterhouses (she had to get police permission to
enter this all-male industry)
•Influenced by modern ideals expressed in positivism
•Large canvas (nearly 6’x9’) – brings grandeur to animals

30. •Powerful beasts, anonymous workers, fertile soil – reassuring image of
agrarian life – simple country living
•Movement of people and animals echoes scenes of processions found
in classical art
•Compositional harmony – shape of hill continued by backs of animals –
sweeping panorama of figures left to right
•Broke conventions of female painters who dabbled in miniatures
•Bonheur dressed in men’s clothes, smoked cigars, and painted on a
large scale

31. The Horse Fair
Rosa Bonheur, 1853-1855, oil on canvas
•Smooth illusionism and conservative themes made her work very
appealing to the public and critics
•Received France’s highest award, membership in the Legion of
Honor – first woman awarded its Grand Cross

32. The Gross Clinic
Thomas Eakins
1875
oil on canvas
•Dr. Samuel Gross
lecturing while performing
an operation on a patient
with osteomyelitis
(bacterial infection of the
bones)
•Anesthesiologist applies
chloroform on gauze to
the patient’s unseen head

33. •Operation is in a glass-
domed amphitheater
• Students gathered around
taking notes on the
procedure/lecture
•No surgical garb? Gross is
in a business suit!
•Patient’s mother covers
her face
•Rembrandt-like use of light
on Gross’s face – heightens
intensity of gaze, focal point
is his brain
•Sharpest focus is on blood-
stained hands
•Celebrates advances in
medical science

34. •Took photos of
Gross, who was too busy
to pose live
•Eakins often criticized for
his controversial subjects
•This painting was highly
criticized (surgery isn’t a
fit subject matter for art!)
•Eakins saw Dr. Gross as a
hero and depicted him
memorably
•Painting hung in the
Jefferson Medical
College, not at a museum

35. The Banjo Lesson
Henry O. Tanner
1893
oil on canvas

36. •Tanner was a student of Eakins
•Painterly brushwork
•Monumentality of forms
•Values passed down from one
generation to another
•Poverty doesn’t prevent a life
with dignity
•Majesty of simple, everyday
events
•Deep emotional experience –
unsentimental yet
affectionate, intimate
•Tanner wanted to address the
stereotype of African-Americans
as people who boisterously
played on folk instruments – this
is instead a serious exchange

37. Horse Jumping
Eadweard Muybridge, 1878, photograph

38. •Photography is so advanced now that it can capture moments the human
eye cannot! - used a “zoopraxiscope”
•Cameras snap shots at evenly-spaced points in time – effect of things
happening in a sequence
•Motion studies like this one inspired the creation of moving pictures
(movies)
•Great influence on painters like Degas, Eakins, Duchamp, and Boccioni
(could photograph their subjects

39. IMPRESSIONISM
• A true modernist movement started by avant-garde artists
• Capture the dappled light across surfaces
• Realized shadows contain color
• Realized times of day and seasons of the year affect the
appearance of objects
• Often worked in plein-air
• Used a broad range of colors
• Concentrate on landscapes and still life, some paint figures
• Majorly influenced by Japanese art – liked how Japanese artists
showed figures from the back, used solid blocks of color without
gradations (flatness), and off-center compositions
• Prided themselves on being anti-academic

40. The Japanese influence - JAPONISME
• Non-western art was a constant influence on
Modern art (artists thought of their own tradition
as outdated or in need of reform) – look to other
cultures for inspiration
• Japanese influence began around 1850 – trade
agreements promote exchange of Japanese goods
• Became fashionable to collect Japanese objects
• Paris hosts first exhibit of Japanese prints in Europe
• French interest in Japanese art was at its peak in
1872 – art critics called it JAPONISME
• Japanese art greatly impacted Western art …

41. • Simplicity
• Flatness
• Decorative
elements
• Asymmetrical
compositions
• Smooth elegance
• Bold design
• Overwhelming
beauty of nature

42. Plum Orchard, Kameido
Hiroshige, 1857
Woodblock print from Japan
Japonaiserie: Flowering Plum Tree
Vincent van Gogh, 1887
Oil on canvas

43. The Princess from the
Land of Porcelain
James Whistler
1863-1865
Oil on canvas
Japanese stuff is
fashionable!

44. Haystack at the Sunset near Giverny
Claude Monet, 1891, oil on canvas

45. •Impressionists like Monet often did a series of paintings of the same subject done
at different times of day/year
•Subtle gradations of light on the surface
•Forms dissolve and dematerialize – color overwhelms the forms
•Meant to hang together for effect
•Haystacks were the first series to hang as a group (about 30 of them, 15 hung in
exhibition)

46. Same subject, different
times of day/seasons

47. Rouen Cathedral
Claude Monet, 1894
oil on canvas

48. Same subject, different times of day/seasons

49. The Water Lilies – Setting Sun
Claude Monet, 1914-1926, oil on canvas
I KNOW these are from the 1900’s, but I couldn’t
let you leave this class without seeing Monet’s
water lilies, and they’re not in the book!

50. Painted at his
home in Giverny

51. Monet’s house and gardens. He did all of his own landscaping!

52. Four Poplar
Trees
Claude Monet
1891
oil on canvas

54. Same subject
painted multiple
times (different
times of
day/seasons)

55. Le Moulin de la Galette
Pierre Auguste Renoir, 1876, oil on canvas

56. •Dappling effect of fleeting light on given subjects, light coming through the
moving trees
•People go about their business, not posed
•Outdoor leisure activities of the middle class
•Cropped figures on edges – suggest a photographic randomness (just point
and shoot!)
•Child in lower left- relaxed and innocent atmosphere
•A Sunday afternoon
dance hall in Paris
(short walk to Moulin
Rouge)
•Attractive people look
relaxed, happy, dancing,
chatting, flirting
•Overall mood of a
good time!

57. “For me a picture should be a pleasant thing, joyful and
pretty – yes pretty! There are quite enough unpleasant
things in life without the need for us to manufacture more.”
- Renoir

58. The Rehearsal On Stage
Edgar Degas, 1874, oil on canvas

59. •Degas worked
mostly indoors and
focused on subjects
that suggest
movement, such as
ballet dancers
•Asymmetrical
compositions
(Japonisme)
•Firmly drawn bodies
contrast with
feathery
brushstrokes of
costumes and setting
Figures often seen from the
back, cut off at the edges, or
marginalized

60. Degas had
a “thing”
for
ballerinas

61. Degas also had
a “thing” for
females
bathing

63. Bar at the FoliesBergere
EdouardManet, 1881-1882, oil on canvas

64. •Barmaid seems bored by her customer, faraway look in her eyes – one of the
many shallow interactions that urban life enables
•Disappointing reality of an ordinary existence – theme directly confronts viewer
•Mirror behind her reflects into the viewer’s world
•What is the mirror reflecting? Is that her back, or another barmaid and another
customer?
•Trapeze act in far upper left corner – no one is paying attention to it!
•Barmaid’s wide
hips, strong neck, and
smooth golden hair are
echoed in the
champagne bottles
•Goods are pushed
forward in the
composition – modern
sales technique of
putting products next
to pretty salesgirl

65. Paris Street, Rainy Day
GustaveCaillebotte, 1877, oil on canvas

66. •Caillebotte was
fascinated by the new
urban geometry of
Haussmann’s street grids
•Shows an
unconventional
composition (gaping hole
in center where the
street vanishes to infinity
•Somewhat exaggerated
perspective –emphasizes
Haussmann’s carving- up
of Paris streets
•Figures in right half
•Lamppost divides canvas
in two
•Subject and composition
completely modern

67. Villa at the Seaside
Berthe Morisot, 1874, oil on canvas

68. •Morisot was sister-in-law
of Manet and
granddaugter of Fragonard
•Figures informally placed
•Sketchy, painterly
brushstrokes
•Instantaneous moment
caught with spontaneity of
expression
•Shows habits of middle class women at the time –
carefully wrap themselves up before going in the sun
•Sharing a private, intimate moment, despite being in
the vast outdoors
•Asymmetrical composition

69. Summer’s Day
Berthe Morisot, 1879, oil on canvas

70. •Morisot usually painted the lives of bourgeois women
•Loose and painterly style – pushes the “sketch” of Impressionism to
the limits here
•Flurry of feathery brushstrokes
•Modern urban leisure in a large park on the fashionable west side of
Paris
•Viewer occupies seat opposite women in boat
•Enjoying pleasant surroundings and nice weather

71. Mother and Child
with a Rose Scarf
Mary Cassatt
1908
oil on canvas

72. •Mother-and-child theme is a
specialty of Cassatt’s, figures
from everyday life
•Tenderness like this not seen
in other Impressionist work
•Cassatt’s work usually depicts
women as independent and
not needing men to complete
themselves – women who
enjoy the company of other
women
•No posing or acting – figures
have natural charm
•Decorative charm influenced
by Japanese art

73. Maternal Caress
Mary Cassatt, 1891
•Japanese art
influence
•Solid forms, off-
balance composition
•Clashing
patterns, tipped
“horizon” from bed
seen at an angle – all
influenced by
Japanese art

75. Nocturne in Black
and Gold: The
Falling Rocket
James Whistler
1875, oil on wood

76. •Subtle harmonies in painting
like harmonies in music
•Japanese-style signature in
bottom right corner
•Atmospheric effects of
fireworks over a riverbank – not
realistic, but a study in the
harmonies of colors, shapes, and
light
•Looks at first like a completely
abstract painting
•Whistler sued an art critic over
this painting – claimed the
critic’s review ruined his
reputation
•Whistler won the trial, but was
forced into bankruptcy in paying
the court fees

77. The birth of modern art:
•Manet and the impressionists are the initiators of
MODERN ART (began around 1860 and lasted just
over 100 years)
•Broke with long-standing traditions – thought that
tradition had been “used up” and there was nothing
else to do with it, or that tradition was irrelevant in
the fast-changing world of urbanization and
industrialization
•Also rejected the structure of academic
training, Salon exhibitions, and the taste of the public
•Many artists were poor – could have made more
money if their art had “fit the mold” better

78. • Artists rejected four main part of artistic tradition:
CUSTOM: dictated how artists do things
TECHNIQUES: perspective, drawing nudes, etc.
CONVENTIONS: satisfying the viewer
RULES: obscenity laws, restrictions
Modernization of society also caused MODERN art –
urban middle class flock to see new, scandalous art
Artists are AVANT-GARDE – a term initially used in
military context (a unit of soldiers would scout territory
the rest of the troops would soon occupy) – Modern
artists were “working ahead” of the public’s ability to
comprehend
REJECTION OF TRADITION and AVANT-GARDE are the
TWO MOST IMPORTANT CONCEPTS for understanding
and explaining MODERN ART

79. POST-IMPRESSIONISM
•The next generation after Impressionism
•Combined the Impressionists’ goals
(light, shading, color) with an analysis of the structure
of a given subject
•Wanted to make Impressionism more “solid and
durable”
•Move toward abstraction, but retain solid
forms, explore underlying structure, preserve
perspective despite slight abstraction

80. In Post-Impressionism, Paul Cezanne is the MAN!
•Innovative qualities of his work brought him fame
later in life
•Dedicated himself to the objective transcription of
what he called “sensations” of nature
•Didn’t want to capture transitory effects of light like
the Impressionists
•Wanted to create a sense of order in nature through
a methodical application of color – blended drawing
and modeling into one process- wanted to make
Impressionism more solid and durable

81. Mount Saint-Victoire
Paul Cezanne, 1902-1904, oil on canvas

82. •Cezanne painted this view
11 times
•Wanted rounded and firm
objects, but ones that were
geometric and made from
splashes of undiluted color
•Created perspective and
depth through juxtaposing
warm (forward) and cool
(receding) colors
•His landscapes rarely contain
humans
•Not the countryside of
Impressionism – more
interested in geometric
forms than dappled sunlight
•NOT a momentary glimpse
•Solid and firmly constructed
mountain and foreground
•Landscape seen from an
elevation
•Invited to look at space, but not
enter

83. A Basket of Apples
Paul Cezanne, 1893, oil on canvas

84. •Depicts the solid
nature of the forms
•Contrasting nature of
round objects, flat
objects, and drapery
falling into viewer’s
space
•Strong painterly
brushstrokes
•Contrast between 2-D
nature of painting and
3-D nature of real
objects
•Objects tilt towards us
but remain fixed on
table top
•Objects seem incorrectly drawn- table higher on right
•Wine bottle is uneven, tilted and head-on objects
•Disregard of perspective – see objects from different
perspectives all at once – a “construction after nature”
•We’ll see how this translates into CUBISM not too far in
the future!

85. The Large Bathers
Paul Cezanne, 1906, oil on canvas

86. •Cezanne admired this
subject matter from
prior art periods
•Worked from earlier
drawings, photos, and
memory
•Bathers have been
simplified, schematic
forms
•Two pyramid groups
under a canopy of
trees, expanse of
water, landscape, and
sky
•Figures are motionless
and statue-like
•Cezanne made his own rules –
his legacy in Modern art

87. Sunday Afternoon on the Grand Jatte
Georges Seurat, 1884-1886, oil on canvas

88. •POINTILLIST technique
– small dots of pure
color applied to
canvas, the viewer’s
eye blends them from a
distance. For
example, red and
yellow dots
interspersed would
appear orange. It’s
science!•Analysis of color relationships
•Traditional perspective, alternating light and dark increase the sense of
depth
•Figures are like statues… uncommunicative, faceless, anonymous (even in
a park full of people, no one is really interacting (damn modern society)
•Seems frozen in time
•Afternoon activity of the middle class on a Sunday
•A fan of musicals? Check out Sondheim’s “Sunday in the Park with George”

89. •Stiff formality and
calculated geometry
seem totally different
from the casual
naturalism of earlier
Impressionism
•Depicts contemporary
subject in a highly
formal style, almost like
ancient Egypt!
•Seurat is showing how tranquil the park
SHOULD be (it was actually noisy and chaotic)
•Satirizing the Parisian middle class (Seurat also
made cartoons for anarchist magazines at this
time)

90. The Starry Night
Vincent van Gogh, 1889, oil on canvas

91. •Van Gogh’s style –
thick, short brushstrokes
•Mountains in the distance
that Van Gogh could see at
his hospital room in St.
Remy
•Exaggerated the
steepness of the landscape
•Composite landscape:
Dutch church (he was
Dutch), crescent
moon, Mediterranean
cypress trees
•At one with the forces of
nature
•Parts of the canvas can be seen through
the brushwork – didn’t fill every space
•Though stylistic, the arrangement of stars is
accurate to exactly when Van Gogh painted
this (astronomers have compared it to what
would have been visible during the exact
days during which he painted this!)

92. •Left to right wave-like composition
•Sky broken up by tree and church
steeple
•Tree looks like flames reaching into
sky
•Stars exploding over calm village
•Cypress tree a symbol of death and
eternal life (they are really really old)
Paint is heavily applied, texture
is visible – IMPASTO technique

93. These brushstrokes = Van Gogh

94. Café Terrace at Night
Vincent van
Gogh, 1888
(in Arles, France)

95. Vincent van Gogh self portraits
(he was Dutch but painted mostly in France)

96. Visions After the Sermon
Paul Gauguin, 1888, oil on canvas

97. •After a sermon about
Jacob wrestling an
angel, the worshippers
exit the church and
envision the scene
•Tree trunk separates
reality from the
miraculous vision
•Red heat of sermon –
red earth
•Tilted perspective
•Priest a lower right
looks like Gauguin
•Apple tree symbolizes tree of
knowledge (Gauguin’s idea, not in story)
•Cow symbolizes man’s redemption
(sacrifice)
•Broad areas of flat color (Japan?) –
subtle variations of hue within color
planes

98. Manhana No Atua (Day of the God)
Paul Gauguin, 1894, oil on canvas

99. •Gauguin called his anti-
Impressionist style
“Synthetism” because it
synthesized the subject
in nature with the
artist’s feeling about
the subject – expressed
this through abstracted
line, shape, space, and
color
•Tahitian subject, but painted in France after he returned from the
South Pacific
•Went to Tahiti to find paradise, live and work cheaply and naturally
•Discovered a culture disappearing under the pressures of
Westernization – oh no!
•Gauguin ignored this and depicted his ideal of Tahiti

100. •Upper is most
realistic, with statue of
a god
•Middle zone –three
figures on beach, non-
naturalistic colors
•Two figures are curled
up like fetuses
(symbols of
birth, life, death?)
•Central figure looks at
viewer
•Bottom zone- abstract
pool of puzzle-like
colors –mysterious
water
•Divided into three areas

101. SYMBOLISM
•Artists of this movement wanted to depict
the unseen forces of life – things that are
deeply felt more than seen
•Embraced a mystical philosophy – dreams
and inner experiences of an artists life are
the inspiration
•Variety of painting styles, more about the
inspiration behind the works than about
visual cohesiveness among them

102. The Scream
Edvard Munch
1893
tempera on
cardboard

103. •Human figure walking
along the wharf, boats at
sea in distance
•Long, thick brushstrokes
•Swirling composition
•Figure cries out in
horrifying scream!
•Landscape echoes figure’s
emotions
•Colors symbolize anguish
•Emaciated twisted stick
figure with scull-like head
•Hints of Expressionism
(theme) and Art Nouveau
(swirling patterns)
•Painted as part of a series
called “The Frieze of Life”

104. The Intrigue
James Ensor, 1890, oil on canvas

105. •Ensor was inspired by the grotesque papier-mache masks his family sold
during carnival
•Disturbing masks come to life and reveal the character of the people wearing
them – comical, stupid, hideous
•Acidic colors, crude handling of form, roughly applied paint
•Violent application of paint records Ensor’s feelings about the subject matter

106. The Sleeping Gypsy
Henri Rousseau, 1897, oil on canvas

107. •Rousseau had
no formal
training:
“Primitive” or
“Naive” artist
•Strange
ambiguities
and
juxtapositions
•Desert-like landscape, sterile looking
•Lion (a jungle animal) sniffing a gypsy like a curious cat
•Tilted perspective of gypsy pose
•Repeated stripes in composition (clothing AND in landscape)
•Is the lion a dream? Is the gypsy sleeping? How is she holding the walking stick then?
•Inscription (not shown): “The feline, though ferocious, is loathe to leap upon its
prey, who, overcome by fatigue, lies in a deep sleep.”

108. The Dream, Henri Rousseau

109. The Apparition
Gustave Moreau
1874-1876
watercolor on paper
•Seductive Salome confronts a
vision of John the Baptist’s
severed head (dripping
blood, holy light) – Salome
was responsible for his death
– Demanded his head in
return for doing an erotic
dance for King Herod, her
stepfather (I know, gross)

110. •Macabre subject shown in
exotic architectural setting
•Elaborate detail, jewel-
tone colors
•Voluptuous decadence –
exaggerates Salome’s role
as a femme fatale (fatal
woman) – temps and
destroys her male victim
•A fantasy that haunted
male Symbolists – maybe
in response to late 19th
century feminism?

111. Sculpture break!
Let’s look at some late 19th century sculpture..
•Auguste Rodin is the MAN! - most successful and
influential European sculptor of the late 1800’s
•Rodin’s work incorporates Symbolism and
Expressionist hints (Expressionism is coming!)
•Mature style, vigorously modeled
figures, unconventional poses
•His sculptures were hand-modeled in clay, then cast
in bronze or cut in marble, usually by a workshop
(then Rodin added finishing touches by hand)
•Imprint of the hand on the sculptures = visible
brushstroke in an Impressionist painting

112. Burghers of Calais
Auguste Rodin, 1884-1886, bronze

113. •Scene from the
Hundred Years’
War
•Six burghers offer
their lives to the
English king in
return for saving
their besieged city
•Burgher = a citizen
of a town
•English king insists
they wear sack
cloths and carry
the key to the city
Parallel: Paris besieged ruing
Franco-Prussian War of 1870 and
Calais besieged by English in 1347

114. •Figures sculpted
individually, then arranged by
Rodin as he thought best
•Figures suffer, week and
emaciated
•Each has a different emotion
(fearful, resigned, hopeless)
•Hand gestures emphasized
•Noose around neck
•Details slightly reduced
(especially lower half) to
emphasize overall
impression of the piece

116. The Thinker
Auguste Rodin
1904, bronze
•Nude male figure (over life-size) sitting
on a rock with his chin resting on one
hand as though deep in thought,
•Often used as an image to represent
philosophy
•About 28 full-size castings exist
•Originally part of a commission for a
sculptural interpretation of Dante’s “The
Gates of Hell”

117. SMO CAM

118. The Waltz
Camille Claudel
1892-1905
bronze
•Claudel was Rodin’s pupil
and worked in his studio
•Became his
mistress, stormy
relationship lasted 15 years
•Spent last 30 years of her
life in an asylum for
psychological problems
•Dancing couple, male
nude, female semi-nude
•Body in long flowing gown
(originally both nude, didn’t
pass censors)

119. •Conveys illusion of fluid
motion
•Dancing partners whirl
in space – rhythm and
music
•Spiraling motion
enhanced by gown
•Encourages viewer to
walk around it –
increases dynamic effect
•Facial expressions
reveal no passion or
sexual desire
•Shows love as more of a
spiritual union than a
physical one

120. Adams Memorial
Augustus Saint-Gaudens, 1891, bronze
•In Rock Creek
Cemetery, Washington D.C.
•Memorial not marked
•Dedicated to wife of Henry
Adams, who committed suicide
•No dates, no artist
signature, figure unnamed
•Eyes of figure hardly
open, hooded like an Eastern
mystical figure
•Serene, contemplating life
•Shrouded face
•Placed outdoors in
cemetery, surrounded by high
bushes, largely hidden, for
private contemplation

121. Shaw Memorial
Augustus Saint-Gaudens, 1897, bronze

122. •One of many U.S. Civil
War memorials
•Very high relief
sculpture
•Colonel Shaw leading
first regiment of
African-American
soldiers into battle
•Great range of
soldiers ages
•Military details emphasized: march in
unison, weapons parallel
•Realism of military march contrasts with
allegorical figure of Peace above

123. ART NOUVEAU
•Developed in Brussels, Barcelona, Paris, and Vienna
•1890-1914
•Combines painting, sculpture, and architecture into one
unified experience
•Art Nouveau buildings were designed, furnished, and
decorated by the same artist/team – integrated whole
•Natural, floral patterns, complex designs, undulating
surfaces (no hard edges or straight lines)
•Curvilinear designs in
ironwork, balconies, fences, railings, structural
elements, etc.
•Rejected modern industrial society – sought new aesthetic
forms with preindustrial beauty, but fresh and innovative

124. The Kiss
Gustav
Klimt, 1907-
1908, oil on
canvas
•We see little of
the human
form, just the
heads, hands, and
feet
•Bodies are
suggested under a
blanket of richly
designed

125. •Male figure has
large rectangular
patterns, female
has circular forms
•All-consuming
love, passion, erot
icism
•What sort of
space is this? Who
knows!? Location
is against a flat
background. Are
they
standing, kneeling
, or reclining???

126. •Abundance of
ornamentation
and decoration
– typical Art
Nouveau
•Klimt perfected
his “golden
style”- couple
embraces in a
golden aura
•Are they
kneeling close
to the edge of a
cliff?

127. And just because Klimt is awesome…

128. Stairway,
Tassel House
Brussels
Victor Horta 1892-
1893
•Horta was most responsible
for introducing the Art
Nouveau style in
architecture
•Private house for a
professor
•Wall decoration, iron
work, floor tile all designed
with intricate series of long
graceful curves

129. Casa Mila, Antonio Gaudi, 1907, Barcelona, Spain

130. •Apartment building (people still live in them!)
– garage for carriages below, elevators to take
people up to their apartments
•Undulating, twisting forms of hand-cut stone
•Embellishments
of wrought iron
(balconies) –
typical in
Barcelona’s Art
Nouveau
architecture
(most of which
was done by
Gaudi)
•Interior walls
are not straight
or flat –walls of
infinite shape

131. Balconies (exterior) and
atrium (interior)

132. Casa
Mila’s
roof and
chimneys
(SMO cam)

133. Serpentine
Bench, Guell
Park, Barcelona
Antonio Gaudi, 1900-
1914

134. •Architecture and
sculpture
combined in this
serpentine bench
(also serves as a
boundary wall)
•Surface is
glittering mosaic
of broken pottery
and tiles – hints at
long tradition of
pottery in Spain

136. Jane Avril
Henri de
Toulouse-Lautrec
1893, lithograph

137. LITHOGRAPH is a newly
introduced printmaking
technique – artist draws
on flat stone surface with a
special crayon that attracts
ink, paper absorbs the
ink, a print is made!
•Toulouse-Lautrec is the
most famous 19th century
poster designer
•Part of a community of
bohemian artists in Paris’s
Montmartre neighborhood
(where Moulin Rouge is)

138. •Depicted Paris’s social life in
cafes, theaters, dance
halls, and brothels (went to all
these places a lot)
•Portrays dancer Jane Avril
•Bold foreshortening of
stage, bass player in
foreground
•Instrument’s head merges into
frame around the scene-
connects Avril with the music
•Radical simplification of forms
•Flattened shapes, no modeling
•Blank paper part of color
scheme
•All influence of Japanese
woodblock prints
•Curving lines = Art Nouveau

139. LATE 19TH CENTURY ARCHITECTURE
•Movement toward skeletal architecture
•Architects and engineers work together
•Design “curtain wall” – the building is held up by an
interior framework called a SKELETON – exterior wall looks
like a curtain made of glass or steel that keeps out the
weather
•Emphasis on vertical – had to go vertical since land prices
soared in modern cities
•Emphasized height of buildings by adding pilasters and
setting back the windows behind them
•Architects consider their buildings works of art, covered
them in terra-cotta or ironwork

140. •Big advances made in architecture, especially in
Chicago (the Chicago School)
•1871 fire burned much of Chicago to the ground –
proved that iron and wood are not reliable in fire – only
ceramic and steel or iron wrapped in terra cotta
survived – hmmmm….
•Chicago began that trend
•Buildings have open and wide window spaces for light
and air – allows people to admire window displays
•“Chicago window” developed- one big central window
flanked by two smaller double-hung windows for
ventilation
•Elevator invented! Buildings can be much higher now!

141. The birth of window shopping

142. Marshall Field Warehouse (Wholesale Store)
Henry H. Richardson, 1885-1887, Chicago

143. Palazzo Medici-Riccardi
Michelozzo
1444
Florence, Italy
(Early Renaissance in
Italy, remember?)
•Heavy rounded arches
resemble Romanesque
architecture
•Self-bearing masonry exterior
walls with rusticated stone
•Masonry gets “lighter” and
less rusticated as it goes up –
heavy at bottom floor and flat
and light at top

144. •Iron columns used for
interior support
•Interior arranged around a
central court
•Few historical influences –
no
capitals, columns, pediment
s, undecorated entrance
•Subtle groupings of
windows as building rises
•Solid massive appearance
topped by flat cornice
•Masculine image of
warehouse vs. feminine
image of department store
•Closed in 1930 

145. Carson Pirie Scott
Building
Louis Sullivan, 1899-
1904, Chicago
•For retail purposes
•A Chicago landmark
•Horizontal emphasis symbolizes
continuous flow of floor space
•Maximum window areas to
admit light – also to display
merchandise
•Exterior is non-supportive
(curtain)
•Cast iron decorative elements –
a beautiful place to buy beautiful
things
•Art Nouveau decorative touches
•Sullivan’s motto: “form follows
function”

146. Decorated in 1909 to celebrate Abraham Lincoln’s 100th birthday

147. Northwest
entrance
(Art
Nouveau, anyon
e?)

148. The Guaranty
Building
Louis
Sullivan, 1894-
1896, Buffalo, NY
•Prototype of modern office
building
•Accent on vertical
thrust, windows placed
back in space so pilasters
stretch up entire building
uninterrupted

149. •Exterior coated in
decorative terra cotta tiles –
nice to look at AND
fireproof
•Interior ornament
elaborately arranged
around lobby
area, hallways, elevator, and
areas under staircases
•Historical touches – round
entrance arches, heavy
cornice at top, columns on
ground floor with fancy
capitals

151. The Eiffel Tower
Gustave Eiffel,
1887-1889, Paris

152. SMO CAM (I kid you not)

153. Do not waste your time
and money on the
elevator. Climb the stairs!

154. •Built as the centerpiece of the 1889 Paris
Universal Exposition (showcase of modern
advances in science and industry, fine and applied
arts too)
•Eiffel specialized in building metal structures like
railway bridges (bottom story looks like a railroad
bridge)
•Eiffel also helped in the construction of the Statue
of Liberty and the Panama Canal (not a bad
résumé!)
•Triumph of wrought-iron design
•Assembled from limited number of shapes –
symbolizes interlocking members of a democratic
society
•Symbol of technological innovation and human
aspiration
•Embodies 19th century belief in the progress and
ultimate perfection of civilization through science

155. •Made of iron
•984 feet
•Tallest structure
in the world at
that time (bigger
than pyramids and
Gothic
cathedrals!)

156. Vocabulary for ALL of the 19th Century:
•CAMERA OBSCURA: a box with a lens which captures
light and casts an image on the opposite side or wall
•DAGUERREOTYPE: a type of early
photography, developed by Louis Daguerre, that is
characterized by a shiny surface, meticulous
finish, and clarity of detail – unique photographs that
have no negative
•PHOTOGRAM: image made by placing objects on
photosensitive paper and exposing them to light to
capture their silhouette
•RUCKENFIGUR: in German Romantic painting, a
figure seen from the back, often in the contemplation

157. •SCHOOL: a group of artist who share the same
philosophy, work around the same time, but not necessarily
together
•THE SUBLIME: any cathartic experience from the
catastrophic to the intellectual that causes the viewer to
marvel in awe, wonder, and passion
•AVANT-GARDE: An innovative group of artists who
generally reject traditional approaches in favor of a more
experimental technique
•JAPONISME: an attraction for Japanese art and artifacts
that were imported into Europe in the late 19th century
•LITHOGRAPHY: a printmaking technique that uses a flat
stone surface as a base – Artist draws an image with a
special crayon that attracts ink – paper that absorbs ink is
applied to the surface, and a print is made

158. •MODERNISM: a late 19th century movement- artists
embraced the current at the expense of traditional subject
matter and media – seek to question the very nature of art
•PLEIN-AIR: painting in the outdoors to directly capture the
effects of light and atmosphere on a given object
•POINTELLISM: a painting technique that uses small dots of
color that are combined by the eye at a given distance
(“optical blending”)
•POSITIVISM: theory that expresses that all knowledge must
come from proven ideas based on science or scientific
theory
•PRIMITIVE or NAÏVE ARTIST: artist without formal training;
a folk artist (like Henri Rousseau)
•SKELETON: the supporting interior framework of a building

159. FIN