Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.

1. 1
RomanticismART 102 Gardners - Chapter 28
Jean Thobaben
Instructor
Romanticism, Realism,Potography:
Europe and America 1800-1870
REALISM Revolutions
The Age of Industry
The Invention of Photography
The Hudson River School
Fantasies in Architecture

2. 2
From Neoclassicism to Romanticism
• Jacques-Louis David's stature and prominence as an artist and
his commitment to classicism attracted numerous students,
including Antoine-Jean Gros, Anne-Louis Girodet-Trioson,
and Jean-Auguste-Dominique Ingres.
• Although they were deeply influenced by David, these artists also
moved beyond the somewhat structured confines of
Neoclassicism in their exploration of the exotic and the erotic and
in the use of fictional narratives for the subjects of their paintings.

3. 3
Jean-Auguste-
Dominique Ingres
(1780-1867)
Ingres was David’s
best pupil and the
primary spokesman
for Neoclassicism.
His portraits are known
for their crisp polished
style which have an
almost photographic
quality.
Louis Bertan, 1832, oils, 46 x 37”,
The Louvre, Paris

4. 4
• Ingres's work had often been severely criticized in Paris
because of its `Gothic' distortions, and when he exhibited in
the Salon of 1824 he was surprised to find himself acclaimed
and set up as the leader of the academic opposition to the
new Romanticism.
The Apotheosis of Homer, 1837,
oils, 12 x 15’, The Louvre, Paris

5. 5
• However, Ingres also departed from Neoclassicism.
• A Romantic taste for the exotic and erotic is seen in his Grande
Odalisque, which shows a languidly reclining, nude odalisque.
Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814.
Oil on canvas, approx. 2' 11" x 5' 4". Louvre, Paris

6. 6

7. 7
Antoine-Jean Gros (1771-1835)
• Antoine-Jean Gros's painting of Napoleon at the
Pesthouse at Jaffa presents an exalted public image of
Napoleon as a compassionate and fearless leader by
showing him touching, as if capable of miraculously
healing, the sores of a plague victim.
• The mosque courtyard with its Moorish arcades in the
background reveals Gros's fascination with the
exoticism of the Near East.
Antoine-Jean Gros, Napoleon at the Pesthouse at Jaffa, 1804. Oil on canvas,
approx. 17' 5" x 23' 7". Louvre, Paris

8. 8
Anne-Louis Girodet-Trioson
(1767-1824)
• Based on Chateaubriand's novel, The Genius of
Christianity, Anne-Louis Girodet-Trioson's
The Burial of Atala concerns the tragic love story of
two Native Americans in the wilderness of Louisiana.
• The exotic locale and the erotic passion of the story
appealed to the public's fascination with what it
perceived as the primitivism of Native American tribal
life.
• The painting technique is highly Neoclassical but the
theme is Romantic.
Girodet-Trioson, The Burial of Atala, 1808. Oil on canvas, 6' 11" x 8' 9". Louvre, Paris.

9. 9
The Rise of Romanticism
• Romanticism was born as a reaction to the restrictions of
neoclassicism.
• Romanticism believed that the path to freedom was through
imagination and feeling rather than through reason and thinking.
• Romantic artists are interested in foreign lands and exotic themes
in art.
• They drew inspiration from history, music, literature and poetry.

10. 10
• Romantic artists explored the
outer edges of
consciousness and
developed a taste for the
"Gothick" (the Middle Ages),
the fantastic, the occult, and
the macabre, and for the
sublime, which inspires
feelings of awe mixed with
terror.
• Giovanni Battista
Piranesi's series of etched
prints of imaginary
dungeons, the Carceri
(prisons), shows grim,
infernal-looking
architectural fantasies of
massive arches, vaults,
piers, and stairways.
• Within the gloomy,
menacing spaces move
small, insect-like human
figures.

11. 11

12. 12
• Henry Fuseli 's (1741-1825) The Nightmare illustrates the
Romantic taste in night moods of horror, in Gothick fantasies,
in the demonic,in the macabre, and in the sadistic.
Henry Fuseli, The Nightmare, 1781. Oil on canvas, 3' 4" x 4' 2".
The Detroit Institute of the Arts

13. 13
William Blake (1757-1827)
• The visionary English artist
William Blake derived the
compositions of many of his
paintings and poems from spirits
who visited him in dreams.
• He came to believe that
rationalism's search for material
explanations of the world stifled
human nature's spiritual side.
• He also believed that orthodox
religions killed the individual
creative impulse.
• Blake's highly individual
vision of the Almighty in
Ancient of Days combines
the concept of the Creator
with that of wisdom as a part
of God.
• The figure's ideal classical
anatomy merges with the
inner dark dreams of
Gothick Romanticism.
William Blake, Ancient of Days, 1794.
Metal relief etching, hand-colored,
approx. 9 1/2" x 6 3/4".
Whitworth Art Gallery,
University of Manchester, England.

14. 14
Francisco Goya
(1746-1828)
• Goya was a Spanish artist whose
paintings, drawings, and
engravings reflected contemporary
historical upheavals and
influenced important
19th & 20th-century painters.
• Like Velázquez, Goya was a Spanish
court painter whose best work was done apart from his official duties.
Self-portrait at 69 years 1815

15. 15
The Countess of Carpio, Marquise de
la Solana (c.1798) Oils, 71 x 48“,
Musee du Louvre, Paris
The Parasol, 1777
Museo del Prado, Madrid, Spain
After he had settled in Madrid he began
to paint portraits, the oldest copy known
is dated 1774.

16. 16
• To their exploration of the exotic,
erotic, fictional, or fantastic,
Romantic artists such as Goya
also incorporated dramatic action
into their paintings.
• Goya's etching and aquatint The
Sleep of Reason Produces
Monsters, from a series Los
Caprichos (The Caprices), shows
the artist asleep while threatening
creatures symbolizing folly and
ignorance converge on him.
• The image may be interpreted
as showing what emerges
when reason is suppressed,
but it can also be interpreted as
Goya's commitment to the
creative process and the
Romantic spirit.
Francisco Goya,
The Sleep of Reason Produces Monsters,
from Los Caprichos, 1798.
Etching and aquatint, 8 1/2" x 6".
The Metropolitan Museum of Art, New York

17. 17
• In 1792 Goya was ill and went completely
deaf. This turned him in upon himself. The
gaiety slowly disappeared from his painting;
the colors darkened and the brushwork
became looser and more expressive.
• Meanwhile he continued with his services as
crown painter; and by 1800, he creates La
Familia de Carlos IV (The Family of Charles
IV).
Goya, Family of Carlos IV, 1800-01, Oil on canvas, 280 x 336 cm, Museo del Prado, Madrid

18. 18
This detail allows us to see
Goya’s “painterly”
brushwork.
The jewelry and rich fabrics
glisten.

19. 19
• In support of Ferdinand VII's claim to the throne,
Napoleon Bonaparte sent French troops to Spain, but
after ousting Charles IV and Maria Luisa, installed his
brother Joseph Bonaparte on the Spanish throne.
• The French invasion was met with Spanish resistance. In
retaliation for an attack on French troops by Spanish
patriots on 2 May 1808, the French spent the next day, 3
May 1808, executing Spanish citizens.
• Goya painted an emotional record of the ruthless event
in 1814.
The Shootings of May Third 1808, 1814 , Oil on canvas, 104 x 136”,
Museo del Prado, Madrid.

20. 20
Detail from
Goya's Third of May, 1808

21. 21
• During the latter part of his life,
before he moved to France,
where he died, Goya covered
the walls of his Deaf Man's
House with his famous "black
paintings" the last and most
weird and extrovert of his
strange and haunted genius.
• One, "Saturn Devouring one
of his Children", is one of the
most horrifying pictures ever
painted.
1821-23, Museo del Prado, Madrid, Spain

22. 22
Theodore Gericault
(1791-1842)
• Gericault's paintings began
to exhibit qualities that set
him apart from other
neoclassical French
painters as David.
• Géricault soon became the
acknowledged leader of
the French romantics.
• His Charging Chasseur
displays violent action,
dramatic color, and a bold
design that evoke powerful
emotion
1814. Oils, 349 x 266 cm, Musee du
Louvre, Paris

23. 23
• Théodore Géricault's ambitious painting of the Raft of the Medusa
shows the handful of survivors of the frigate Medusa, which, due to
the incompetence of the captain, a political appointee, had run
aground on a reef.
• This grandly conceived, large-scale painting combines a realistic
attempt to record the event accurately with a Romantic taste for the
drama and horror.
Théodore Géricault, Raft of the Medusa, 1818-1819. Oil on canvas,
approx. 16' x 23'. Louvre, Paris.

24. 24
• Géricault's portrait of an
Insane Woman (Envy) is an
examination of the influence
of mental states on the
human face, which, it was
believed, accurately revealed
character.
• It reflects the Romantic
interest in mental
aberration and the
irrational states of the
mind.
Théodore Géricault, Insane
Woman (Envy), 1822-1823.
Oil on canvas, approx. 2' 4" x
1' 9". Musée des Beaux-Arts,
Lyons.

25. 25
Eugene Delacroix
(1798-1863)
• In contrast to the
Neoclassical artist
Ingres, who claimed
drawing (line) to be the
probity of art, the
Romantic painter
Eugène Delacroix
promoted the value of
color.
Self-Portrait, 1837, oil on canvas,
Musée du Louvre, Paris.

26. 26
• Delacroix's painting of
Paganini attempts to
convey a sense of the
sound and feeling of
the great violinist's
inspired virtuoso
performances.
Eugène Delacroix, Paganini, ca.
1832. Oil on canvas, approx. 1' 5" x
111/2". The Phillips Collection,
Washington, D.C.

27. 27
• Delacroix's works were products of his view that the
artist's powers of imagination would in turn capture and
inflame viewers' imagination.
• Literature of imaginative power served Delacroix as a
useful source of subject matter.
• Delacroix's Death of Sardanapalus, inspired by Lord
Byron's 1821 narrative poem "Sardanapalus," is an
erotic and exotic orgy of death and destruction
conceived as grand drama.
Eugène Delacroix, Death of Sardanapalus, 1826. Oil on
canvas, approx. 12' 1" x 16' 3". Louvre, Paris.

28. 28
• Delacroix also painted current events, particularly
tragic or sensational ones.
• He captured the passion and energy of the Revolution
of 1830 in his painting Liberty Leading the People.
• He balances contemporary historical fact (the 1830
Revolution) with poetic allegory (the figure of Liberty)
and, through the title and his inclusion of the towers of
Notre-Dame in Paris, also locates the scene in a
specific time and place.
Delacroix, Liberty Leading the People, , 1830. Oil on canvas, 8' 6" x 10' 8". Louvre, Paris.

29. 29
• Delacroix's visit to North Africa in 1832 renewed his Romantic
conviction that beauty exists in the fierceness of nature, natural
processes, and natural beings, especially animals, which he
painted in scenes of violent and exotic tiger hunts.
Eugène Delacroix, Tiger Hunt, 1854. Oil on canvas, approx. 2' 5" x 3'. Louvre, Paris.

30. 30
• Delacroix's visit to North Africa also heightened his awareness of
the expressive power of color and light, and made him aware
that color appears in nature only in an infinitely varied scale of
different tones, shadings, and reflections.
• In this regard, Delacroix anticipated the later development of
Impressionist color science.
• Delacroix thoroughly and definitively explored the domain of
Romantic subject and mood.
• His technique was impetuous, improvisational, and instinctive, and
epitomized Romantic-colorist painting.

31. 31
The Dramatic
in Sculpture
• FranÁois Rude's colossal,
densely packed relief
sculpture of
La Marseillaise on the Arc
de Triomphe in Paris is an
allegory of the national
glories of revolutionary
France.
• It shows the stirring
departure of the
volunteers of 1792 led by
Bellona, the Roman
goddess of war and
personification of Liberty.
FranÁois Rude, La Marseillaise, Arc
de Triomphe, Paris,
42' x 26‘, 1833-1836.

32. 32
• Antoine-Louis Barye's bronze of a Panther
Attacking a Stag shows the bestial violence and
brute beauty of nature.
Detail

33. 33
Landscape Painting in Germany
• Landscape painting, which became popular in the nineteenth
century, often used nature as allegory in which artists commented on
spiritual, moral, historical, or philosophical issues.
• In Germany, especially, most landscape painting expressed to some
degree a Romantic, pantheistic view of nature.
• Artists participated in the spirit of nature, interpreted the signs,
symbols, and emblems of nature's universal spirit, and translated
nature's transcendent meanings.

34. 34
Caspar David Friedrich
(1774-1840)
• The German Romantic transcendental landscape painter Caspar
David Friedrich painted landscapes as sacred places filled with a
divine presence.
• His solemn and deeply reverent Cloister Graveyard in the
Snow is filled with emblems of death.
Caspar David Friedrich, Cloister Graveyard in the Snow, 1810. Oil on canvas, approx. 3' 11"
x 5' 10" (painting destroyed during World War II).

35. 35
• City at Moonrise

36. 36C.D.Friedrich, Abbey in the Oak Forest, 1810, oil on canvas, 4' x 5'8 1/2", Staaliche Museen, Berlin

37. 37
The Tree of Crows
1822

38. 38
C.D.Friedrich
Wanderer Above a Sea of Mist
1817
Oil on canvas
3'1 3/4" x 2' 5 3/8"
Hamburg Kunsthall

39. 39
Landscape Painting in England
• Because of its severe effects on the countryside, the Industrial
Revolution had an impact on the evolution of Romantic
landscape painting.
• Romanticism would blossom in England as well although most
English painters stayed closer to home.

40. 40
John Constable (1776-1837)
• During the 1820s John Constable began to win recognition:
• The Hay Wain won a gold medal at the Paris Salon of 1824 and
Constable was admired by Delacroix and Bonington among
others.
• The Haywain shows a placid, picturesque scene of the
countryside painted with attention to the texture that the
atmosphere and state of the weather gave to the landscape.
• The painting has a nostalgic, wistful air
The Haywain, 1821, oils, 50 x 72”, National Gallery, London.

41. 41
Constable developed his own original treatment from
the attempt to render scenery more directly and
realistically, carrying on but modifying in an individual
way the tradition inherited from Ruisdael and the
Dutch 17th-century landscape painters.
He never went abroad, and his finest works are of the
places he knew and loved best, particularly Suffolk
and Hampstead, where he lived from 1821.
John Constable. Wivenhoe Park. 1816. Oil on canvas. National Gallery of Art,
Washington, DC, USA

42. 42
Joseph Mallord William Turner (1775-1851)
• Turner was 15 years old when he received a rare honor--one
of his paintings was exhibited at the Royal Academy.
• By the time he was 18 he had his own studio. Before he was
20 print sellers were eagerly buying his drawings for
reproduction.
• Venice was the inspiration of some of Turner's finest work.
• Wherever he visited he studied the effects of sea and sky in
every kind of weather.
• He developed a painting technique all his own. Instead of
merely recording factually what he saw, Turner translated
scenes into a light-filled expression of his own romantic
feelings.
The Grand Canal, Venice , 1835; Oils, 91.4 x 122.2 cm;
The Metropolitan Museum of Art, New York

43. 43
• Turner's The Slave Ship uses the emotive power of
color to convey the tragedy and cruelty of an incident
that occurred in 1783, in which the captain of a slave
ship ordered the sick and dying slaves thrown
overboard.
• Turner's use of color had an incalculable effect on the
development of modern art.
Joseph Mallord William Turner, The Slave Ship, 1840. Oil on canvas, 2' 11 3/4" x 4'
1/4". Courtesy Museum of Fine Arts, Boston.

44. 44
• J.M.W. Turner set his scenes against backdrops of
brilliant color. His work became increasingly became
nonrepresentational although he usually had a
subject in mind.
The Burning of the Houses of Lords and Commons, 16th ,October, 1834
1835; Oils, 92 x 123 cm; Philadelphia Museum of Art

45. 45
Romantic Americans
• Thomas Cole was the leader of a group of painters in new
York and New England called the Hudson River School.
• They painted awesomely Romantic images of America's
wilderness, in the Hudson River Valley and also in the
newly opened West.
• The use of light effects, to dramatically portray such
elements as mist and sunsets, developed into a
subspecialty known as Luminism.
• In addition to Cole, the best-known practioners of this style
were Albert Bierstadt and Frederic Edwin Church.

46. 46
• Cole’s expansive, panoramic view of The Oxbow (the
Connecticut River near Northampton, Massachusetts)
with a dark stormy wilderness on the left and a sunlit
and more civilized landscape on the right.
Thomas Cole, The Oxbow (Connecticut River near Northampton), 1836.
Oil on canvas, 6' 4" x 4' 31/2". The Metropolitan Museum of Art, New York.

47. 47
Albert Bierstadt (1830-1902)
• Albert Bierstadt's large painting Among the Sierra
Nevada Mountains, California presents a panoramic
view of breathtaking scenery and natural beauty.
• Bierstadt's paintings, which called national attention to
the splendor and uniqueness of the regions beyond
the Rocky Mountains, reinforced the popular
nineteenth-century doctrine of Manifest Destiny.
Albert Bierstadt, Among the Sierra Nevada Mountains, California, 1868.
Oil on canvas, 5' 11" x 10'. Smithsonian Institution, Washington, D.C.

48. 48
Frederic Church (1826-1900)
• Was the best known pupil of Thomas Cole, who recognized
the singularity of American wilderness landscape and was
the first to invest it with heroic grandeur.
• Frederic Church also believed, like his contemporaries, that
close study of nature was essential to grasp unique
underlying truths which had moral implications.
• Thus, he was very impressed by the writings of the German
naturalist, Alexander von Humboldt.

49. 49
Von Humboldt specifically encouraged landscape
painters to travel to those parts of the world having
the greatest botanical and geological variety.
Church traveled through the northern Andes where
he made sketches of rivers, waterfalls, and
volcanoes
Frederic Edwin Church, The Heart of the Andes, 1859, oil on canvas,
167.9 × 302.9 cm (66.1 × 119.3 in), Metropolitan Museum of Art, N.Y.

50. 50
• Frederic Edwin Church's Twilight in the Wilderness,
which shows a panoramic view of the sun setting over a
precisely depicted majestic landscape, is firmly
entrenched in the idiom of the Romantic sublime.
• Church's idealistic and comforting view contributed to
the national mythology of righteousness and divine
providence.
Frederic Edwin Church, Twilight In the Wilderness, 1860. Oil on canvas,
101.6 cm. x 162.6 cm. The Cleveland Museum of Art, Cleveland, Ohio.

51. 51
George Caleb Bingham (1811-1879)
• While Cole stayed in New England, Bingham followed the
American dream west.
Fur Traders Descending the Missouri, 1845, oils, , 29 x 36”, The Metropolitan Museum of Art

52. 52
• George Caleb Bingham, was also an active participant
in Missouri politics throughout his life.
• Every aspect of Bingham's art was informed by politics--
his portraits, genre scenes, history paintings, and even
his landscapes.
• His paintings offer a tantalizing glimpse of life in mid-
nineteenth century Missouri.
Daniel Boone Escorting Settlers Through the Cumberland Gap 1851-52
Oils, 36 1/2 x 50 1/4 “, Washington University Gallery of Art, St. Louis,.

53. 53
George Catlin
(1796-1872)
• George Catlin was the first
artist to record the Plains
Indians in their own
territories.
• He admired them as the
embodiment of the
Enlightenment ideal of
"natural man," living in
harmony with nature.
• Catlin considered the
people of the northern
Plains the least corrupted
by white contact, and
helped establish their
image as nature's
sovereign nobility in
Europe as well as
America.
• This commanding portrait
was exhibited to favorable
notice in the Paris Salon
of 1846.
Buffalo Bull's Back Fat,
Head Chief, Blood Tribe,
1832, oil, 29 x 24 in.
Smithsonian American Art
Museum

54. 54
Winslow Homer (1836-1910)
• Winslow Homer's The Veteran in a New Field is a
simple and direct commentary on the effects and
aftermath of the American Civil War.
• The painting also comments symbolically about death,
both the deaths of the soldiers and of Abraham Lincoln.
• It also contributed to the continuing mythmaking about
national conditions.
Winslow Homer, The Veteran in a New Field, 1865. Oil on canvas, 2' 1/8" x 3' 2 1/8".
The Metropolitan Museum of Art , New York.

55. 55
• As a “special
artist” for
Harper’s Weekly
during the Civil
War, Homer leaves
us documentation
of this piece of
American history.
Home, Sweet Home 1863

56. 56
• Today, Homer is renowned for his innovative and expressive use
of watercolor which contributed to its becoming accepted as a
fine arts medium.
Winslow Homer, Key West: Hauling Anchor, 1908, watercolor and graphite on
paper

57. 57
• Near the end of the 19th century, the so-called Second Industrial
Revolution paved the way for the invention of the radio, electric
light, telephone, and electric streetcar. Industrialization and the
migration of rural dwellers to urban centers led to growth in the
number and size of cities.
• The logic of Social Darwinism served to justify Western racism,
imperialism, nationalism, and militarism.
• The constant opposition between those who controlled the means
of production and those whose labor was exploited to benefit the
wealthy and powerful created a dynamic that caused change.
• Societal changes prompted a greater consciousness of and interest
in modernity, which resulted in the development of modernism in
art.

58. 58
Realism
• Realism developed in France around the mid-century. Its leading
figure was Gustave Courbet (1819-1877).
• Realists focused attention on the experiences and sights of everyday
contemporary life.
• Courbet's The Stone Breakers shows the drudgery of menial labor
directly and accurately.
The Stone Breakers, 1849. Oil on canvas, 5' 3" x 8' 6".
Formerly at Gemaldegalerie, Dresden (destroyed in 1945).

59. 59
• Gustave Courbet's monumental Burial at Ornans depicts a
funeral in a provincial landscape attended by ordinary, unposed
people who cluster around the excavated gravesite.
Gustave Courbet, Burial at Ornans, 1849. Oil on canvas, approx. 10' x 22'. Louvre, Paris.

60. • Through their crude use of pigment, neglect of the conventions of
illusionism, and manipulation of the composition.
• Jean-François Millet was one of a group of French painters of
country life who settled near the village of Barbizon.
• In The Gleaners, Millet depicted impoverished peasant women
gleaning wheat left in the field after the harvest.
Jean-François Millet (1814-1878)
60
Jean-Francois Millet, The Gleaners, 1857. Oil on canvas, approx. 2' 9" x 3' 8". Louvre, Paris.

61. 61
Jean-Baptiste-Camille Corot (1796-1875)
• In Harbor of La Rochelle, Jean-Baptiste-Camille Corot shows
his commitment to the faithful rendering of scenes he
encountered.
COROT, Harbor of La Rochelle, 1851. Oil on canvas, approx. 1' 8" x 2' 4".
Yale University Art Gallery, New Haven

62. 62
Honoré Daumier (1808-1879)
• Honoré Daumier confronted authority with social criticism and
political protest.
• In his lithograph, Rue Transnonain, Daumier depicts in a factual
manner an atrocity that took place in a workers' housing block on
a street in Paris.
• During a workers demonstration an unknown sniper killed a civil
guard. The police retaliated by storming a building and killing all
the innocent residents.
Honore Daumier, Rue Transnonain, 1834. Lithograph, approx. 1' x 1' 5 1/2".
Philadelphia Museum of Art, Philadelphia.

63. 63
• Daumier brought the same convictions to his paintings.
• In his unfinished The Third-Class Carriage shows the
working-class poor seated on wooden benches inside a
cramped and grimy railway carriage.
DAUMIER, The Third-Class Carriage, ca. 1862. Oil on canvas, 2' 1 3/4" x 2' 11 1/2". Met, NY

64. 64
Édouard Manet (1832-1883)
• Manet was a pivotal 19th century painter.
• His work was critical to realism and played a role in the
development of Impressionism in the 1870s.
• Manet’s intetrest in realism and in modernist principles is
evident in Le Déjeuner sur l'herbe where he bluntly shows two
clothed men and an unidealized nude woman in a Parisian park.
Manet, Le Déjeuner sur l'herbe (Luncheon on the Grass), 1863. Oil on canvas,
approx. 7' x 8' 10". Musée d'Orsay, Paris.

65. 65
• Manet’s work would have been acceptable had he shown
men and women as nymphs and satyrs but he lifted the veil of
allusion and bluntly confronted the public with reality.
• Manet's broadly painted Olympia shows a shameless nude
woman reclining on a bed.
MANET, Olympia, 1863. Oil on canvas, 4' 3" x 6' 3". Musée d'Orsay, Paris.

66. 66
• To better explain the public’s
reaction, compare Olympia to a
work by the highly acclaimed
academic painter of the time
Adolphe-William Bouguereau.
• In his Nymphs and Satyr,
Bouguereau depicted
ideally beautiful nymphs and
a satyr in a naturalistic but
traditional academic
manner.
Bougereau, Nymphs and Satyr,
1873. Oil on canvas, approx. 8' 6"
high. Clark Institute, Williamstown,
Massachusetts.

67. 67
Marie-Rosalie (Rosa) Bonheur (1822-1899)
• Bonheur was the most celebrated woman artist of the 19th century.
• Not interested in the social complexities in the work of Courbet and
the other realists, she was known primarily as a painter of animals.
• Bonheur's dramatically lit and loose painted
The Horse Fair shows sturdy farm Percherons and their grooms on
parade at the annual Parisian horse sale.
Bonheur, The Horse Fair, 1853. Oil on canvas, 8' 1/4" x 16' 71/2".
Metropolitan Museum of Art, New York .

68. 68
Realism Outside France
• Although French artists took the lead in promoting realism, the
movement was not exclusively French.
• Realism's interest in depicting the realities of modern life also
appealed to artists in such countries as Germany, Russia,
England, and the United States.
• Realism emerged in a variety of forms and places and was well
established by the end of the century.

69. 69
American Realism
• The place of Realism in America is hard to define.
• On one hand, Americans, as a group, prefer a straightforward, practical
approach to art. Don’t give us grand allegories that require a lot of
analysis.
• On the other hand, we don’t like seeing anything ugly or politically
extreme. We like to be shown a pleasant reflection of ourselves and
our society.
• It would be well into the 20th century before Americans would really
begin to produce an art that was truly American.

70. 70
Thomas Eakins
(1844-1916)
• Thomas Eakins is regarded by
most critics as the outstanding
American painter of the 19th
century and by many as the
greatest his country has yet
produced.
• He began teaching at the
Pennsylvania Academy of Fine
Arts in 1876 and was attacked
for his radical ideas, particularly
his insistence on working from
nude models.
• In 1886 he was
forced to resign after
allowing a mixed
class to draw from a
completely nude
male model.
Miss Van Buren , c. 1886-90, Oil
44 1/2 x 32 “, The Phillips
Collection,
Washington, D.C.

71. 71
John and Barney Biglen, wearing blue scarves around their heads, white
shirts trimmed with blue, and black trunks, rowing towards the right, almost
in profile; they are bending forward, their oars almost at the end of the
backward stroke; John Biglen is the rear rower; Barney is looking down to
his left. The bow of another shell appears in the foreground. In the
distance, steamboats are following the race, and the banks are crowded
with spectators.
The Biglin Brothers Racing, 1876, oils, 24 x 38”,The National gallery of Art, Washington.

72. 72
The Biglin Brothers Racing, 1876, oils, 24 x 38”,The National Gallery of Art, Washington.

73. 73
• Using what he knew of the anatomy of a person, Eakins depicted
the human body in motion in paintings of sailing, rowing, and
hunting.
• In Eakins' time, rowing was a new and swiftly growing sport for the
middle class snd he got caught up in the excitement of rowing.
• When he received the opportunity, in April of 1871, of displaying
a work at the Union League of Philadelphia he chose to paint a
rowing scene rather than a domestic scene.
• That painting was The Champion Single Scull, later known as
Max Schmitt in a Single Scull.
• Max Schmitt, then a practicing lawyer, had been Eakins'
childhood friend and was a leading competitor in amateur
rowing. His decision to paint his friend in the activity of rowing
marks the artist's commitment to contemporary subjects. Eakins
was one of the first artists to portray rowers in action.

74. 74
• Eakins approached Dr
Samuel D Gross (1805-
84) with his idea for a
portrait in the operating
theatre at Jefferson
Medical College.
• Gross was an
innovative surgeon and
champion of surgical
intervention. This
operation - to save a
gangrenous leg by
removing pus - is one
he pioneered.
• The unsparing, brutal
Realism of Thomas
Eakins's The Gross
Clinic shows the
surgeon Dr. Samuel
Gross in the operating
amphitheatre of the
Jefferson Medical
College in Philadelphia.
Eakins, The Gross Clinic, 1875.
Oil on canvas, 8' x 6' 6".
Jefferson Medical College of
Thomas Jefferson
University,
Philadelphia.

75. 75
In Photography….Edward Muybridge
(1830-1904)
• Edward Muybridge invented a device called a zoopraxiscope.
• Link to this
website to
view his
experiments
in motion.
Muybridge,
Galloping Horse, 1878.
Albumen print. George
Eastman House, Rochester,
New York.

76. 76
John Singer Sargent
(1856-1925)
• John Singer Sargent's informal
family portrait The Daughters
of Edward Darley Boit shows
four girls in a hall and small
drawing room in their Paris
home.
• The casual
positioning of
the figures and
seemingly
random choice
of the setting
communicate a
sense of
spontaneity.
John Singer Sargent, The Daughters of Edward Darley Boit, 1882.
Oil on canvas, 7' 3" x 7' 3"Museum of Fine Arts, Boston

77. 77Details from John Singer Sargent's
Daughters of Edward Darley Boit

78. 78
Henry Ossawa Tanner
(1859-1937)
• Tanner studied art with Eakins in Philadelphia but spent most of
his adult life in Paris.
• In The Thankful Poor, this American Realist painter portrays with
dignity the life of the ordinary people.
Tanner, The Thankful Poor, 1894. Oil on canvas,
4' 1" x 2' 11 1/2". Private collection.
Henry O. Tanner. The Thankful Poor. 1894. Oil on canvas. Private collection.

79. 79
The Pre-Rapaelite Brotherhood
• 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.
• Embracing the pre-industrial past, they refused to be limited to the
contemporary scenes other Realists portrayed.
• The subject of Millais's Ophelia (from Shakespeare's Hamlet) is the
drowning of Ophelia, in which he attempted to make the pathos of the
scene visible through faithful attention to every detail.
John Everett Millais, Ophelia, 1852. Oil on canvas, 2' 6" x 3' 8". Tate Gallery, London.

80. 80
Gertrude Käsebier's
(1852-1934)
• Käsebier's Blessed Art Thou
among Women is a photograph
with a symbolic theme.
• Photographers began to
realize the potential of the
camera to produce both
romantic and narrative
effects.
• Kasebier was one of the first
to work in the pictorial style
of photography.
KÄSEBIER, Blessed Art Thou
among Women, ca. 1900. Platinum
print on Japanese paper, 9 3/8" x 5
1/2". Museum of Modern Art,
New York

81. 81
Various Revivalist
Styles in
Architecture
• The same taste for the
exotic that appealed to
painters, showed up in
architecture as well.
• Here at the Royal Pavilion
at Brighton, England, a
seaside get-away
become a fantasy Indian
Palace.

82. 82
• John Nash's (1752-1835)design for The Royal Pavilion
at Brighton exhibits a wide variety of non-Western artistic
styles.
• The exterior is a conglomeration of Islamic domes,
minarets, and screens ("Indian Gothic"), while the interior
decor ranges from Greece and Egypt to China.
John Nash, Royal Pavilion, Brighton, England, 1815-1818.

83. 83
• In the nineteenth century, nations came to value their past
as evidence of the validity of its ambitions and claims to
greatness.
• Art and architecture of the remote past came to be
regarded as a product of cultural and national genius.
• When the Houses of Parliament were rebuilt following the
fire in 1834, the architect A. W. N. Pugin designed a Neo-
Gothic building because of the moral purity and spiritual
authenticity he associated with religious architecture of the
Middle Ages.
Charles Barry and A. W. N. Pugin,
Houses of Parliament, London, designed 1835

84. 84
• J. L. Charles Garnier employs a festive and
spectacularly theatrical Neo-Baroque design for the
Paris Opéra.
Photo, exterior, main facade in historical context.
Contemporary photo, exterior, down street to main façade.

85. 85

86. 86
• Much of the city of Paris was
rebuilt under the direction of
Georges Eugene Baron
Haussman.
• Along the boulevards
radiating from the Arc de
Triumphe, Haussman made
all the buildings similar in
style.
• The most striking new
building was the opera house
designed by
Charles Garnier to be the
showcase of the new Paris.
The Grand Staircase of the Paris
Opera, 1861-74, Charle Garnier -

87. 87
• Henri Labrouste used a modified, revived Renaissance
style to accommodate the skeletal cast-iron elements in
his design for the Bibliothèque Sainte-Geneviève in
Paris.
Henri Labrouste, reading room of the Bibliothèque Saint-Geneviève, Paris, 1843-1850.

88. 88
• Along with the industrial
revolution came new
materials and uses.
• Cast iron was used to hold
up large expanses.
• Among the remaining
examples is the Galleria
Vittorio Emanuelle in Milan,
Italy.
• The gallery is shaped in
the form of a cross. The
glass ceiling and the dome
are made from iron and glass
and, at its highest point,
reaches 150 feet.

89. 89
• The Crystal Palace, built by Joseph Paxton to house
the Great Exhibition of 1851, is a vast glass-and-iron
building built with prefabricated parts.
Photo, elevation overview of original building.
Engraving, perspective overview, eye level.

90. 90

91. 91
PHOTOGRAPHY
• Knowledge of lens and photography dates back to the
Renaissance when artists played with lenses and developed
camera obscura.
• Photography as we know it today was not possible until we were
able to “capture” the image and “fix” it permanently.
• Photography and painting will experience parallel developments
and styles.
• Photography permits artists to freeze motion and study it in
detail.

92. 92
• The first person to do this was Joseph (Nicephore) Neipce. This view from
his window is believed to be the first photo. It was exposed for 8 hours.

93. 93
The next innovator was Louis Daguerre who produced this image which
we call a daguerreotype.

94. 94
• In the carefully constructed tableau Still Life in Studio,
Daguerre captured the details, the subtle shapes, the
varied textures, and the diverse tones of light and
shadow.
Louis-Jacques-Mandé Daguerre, Still Life in Studio, 1837. Daguerreotype.
Collection Société Française de Photographie, Paris.

95. 95
• In order to take the daguerreotype photograph
Early Operation under Ether, Massachusetts
General Hospital, Josiah Johnson Hawes and
Albert Sands Southworth took their equipment to
the gallery of the hospital's operating room.
Josiah Johnson Hawes and Albert Sands Southworth, Early Operation under Ether,
Massachusetts General Hospital, ca. 1847. Daguerreotype. Massachusetts General
Hospital, Boston.

96. 96
• Next, came the Englishman
Fox Talbot who managed to
permanently “fix” his
images on chemically treated
paper.
• The process involved
lavender oil and ammonia
fumes.
• This image is a photogram,
made by laying the leaf on
the sensitized paper and
exposing it to light. No
camera was involved.

97. • In 1839, William Henry Fox Talbot introduced the
calotype, which made "negative" images by placing
objects on chemically sensitized paper and exposing
the arrangement to light.
• With a second sheet, he created "positive" images.
• His technique allowed multiple prints.
97
William Henry Fox Talbot, Cloisters, Lacock Abbey, 1843

98. 98
• Photography provided
the growing and
increasingly powerful
middle class with an
inexpensive means of
recording
comprehensible
images.
Eugène Durieu and Eugène
Delacroix, Draped Model (back
view), ca. 1854. Albumen print,
75/16" x 51/8". The J. Paul Getty
Museum, Malibu,
California.

99. 99
• Gaspar-Félix
Tournachon (Nadar)
operated a popular
portrait studio. His
portrait of Sarah
Bernhardt gives the
actress a remarkable
presence.
Nadar, Sarah Bernhardt,
1865

100. 100
• Photography was unrivalled as a means for recording
historical events.
• Photographs of the American Civil War supply objective
records of combat deaths.
• Timothy O'Sullivan's A Harvest of Death shows the
bodies of Union soldiers killed at Gettysburg on July
1863.
O'Sullivan, A Harvest of Death, Gettysburg, Pennsylvania, July, 1863.

101. 101
• It was the American,
George Eastman,
who made
photography available
to everyone by
producing an
affordable box
camera.
• The consumer
purchased a fully
loaded camera which
was returned to the
factory where it was
reloaded with new film
and mailed back along
with prints.

102. 102
Summary:
• 18th century artists sought the “natural” landscape. Artists
like Greuz and Chardin found dignity in paintings of
“common” people.
• A defining characteristic of the late 18th century is a
renewed interest in classical antiquity, which is manifested
in painting, sculpture, and architecture, as well as in fashion
and home decor.
• Jacques-Louis David, Napoleon’s favorite painter used
classical themes,settings, and costumes to promote a
democratic ideal. Likewise the sculptor Antonio Canova
applied the same devices to sculpture.

103. 103
• In America, Thomas Jefferson and American architects
designed the new capitol in a neoclassic style.
• American artists went to London to study where they were
led by American born Benjamin West in the academic
style promoted at the Royal Academy.
• Classical antiquity was also felt in England, where it
emerges in a simple and commonsensical style of
architecture derived from the authority of Vitruvius through
the work of Andrea Palladio and Inigo Jones.
• Other artists moved beyond the somewhat structured
confines of Neoclassicism in their exploration of the exotic
and the erotic and in the use of fictional narratives for the
subjects of their paintings.

104. 104
• Landscape painting, which became popular in the
nineteenth century, often used nature as allegory in which
artists commented on spiritual, moral, historical, or
philosophical issues.
• John Constable's paintings were painted with attention to
the texture that the atmosphere and state of the weather
gave to the landscape.
• J.M.W.Turner's use of color had an incalculable effect on
the development of modern art.
• Thomas Cole led the Hudson River School and painted
his expansive, panoramic views of the American
Wilderness.

105. 105
• Romanticism believed in the value of sincere feeling and
honest emotion. It emphasized feeling, imagination, intuition,
and subjective emotion.
• To their exploration of the exotic, erotic, fictional, or fantastic,
Romantic artists such as Goya also incorporated dramatic
action into their paintings. Goya creates The 3rd of May as a
political protest.
• Géricault's ambitious painting of the Raft of the Medusa
combines a realistic attempt to record the event accurately
with a Romantic taste for the drama and horror.
• Delacroix visits North Africa in his Romantic conviction that
beauty exists in the fierceness of nature, natural processes,
and natural beings, especially animals, which he painted in
scenes of violent and exotic tiger hunts.

106. 106
LINKS:
• National Gallery London (Index)
• Metropolitan Museum of Art (N.Y.)
• WEB Museum (Paris)
• Carol Gerten’s Fine Arts - Artists Index
• Mark Harden’s Artchive
• The Louvre (Paris)