Sayre2e ch29 integrated_lecture_pp_ts-150670-1

Copyright ©2012 Pearson Inc.
Ernest Meissonier. Memory of Civil War (The Barricades). Salon of 1850-
51. 1849.
11-1/2" × 8-1/4”.

Map: Revolutionary Activity in Europe in 1848.

The Revolutions of 1848: From the Streets of Paris to
Vienna and Beyond
What events did Karl Marx and Friedrich Engels foresee in their
Communist Manifesto?
• Marxism — the view that the conditions in which one earns a living
determines all other aspects of life. Capitalism must be eliminated
because of its inherent unfairness. In the Communist Manifesto,
Marx and Engels call for “the forcible overthrow of all existing social
conditions.”
• The Streets of Paris — In 1848 rioters overthrew Louis-Philippe.
• The June Days in Paris: Worker Defeat and Rise of Louis-
Napoleon — the rioting mob demanded the “right to work.” The
army overcame the street fighters many of whom were deported to
Algiers. An almost paranoid distrust of the working class gripped
France. Louis-Napoleon was elected leading the capitalists to
power. He later was proclaimed Emperor Napoleon III.

• The Haussmannization of Paris — Baron Haussmann was chosen
to plan and supervise the modernization of Paris by destroying the
old city and rebuilding it anew. Napoleon III and Haussman shared
the desire to transform Paris into the most beautiful city in the world.
Reforms included improved housing, sanitation, and increased
traffic flow. Streets were widened, great public parks were
developed. But these reforms also involved the wholesale
destruction of working-class neighborhoods throughout Paris.
• Revolution across Europe: The Rise of Nationalism — The
Paris uprising of 1848 triggered a string of successive revolts in
Austria, many of the lesser German states, and throughout Italy.
One of the most important factors contributing to revolution was
nationalism, the exaltation of one’s home territory. The Slavic
people, for example, attempted to throw off the rule of the Austrian
Habsburgs.
Discussion Question: Was Marxism a cause or an effect of the
revolutionary fervor in Europe in the 1830s and 1840s?

Thibault. The Barricades on the rue Saint-Maur-Popincourt before the
Attack by General Lamoricière’s Troops on Sunday, 25 June 1848. 1848.
4-5/8" × 5-7/8”.

Alfred Stevens. What Is Called Vagrancy. Exposition Universal, 1855.
1855.
52" x 63-3/4”.

Felix Thorigny. Demolition of the rue de la Barillerie to allow for
construction of the Boulevard de Sébastopol, Paris, 1st arrondissement.
1859.

Map: Paris ca. 1870.

The American Civil War
How did the American Civil War affect popular attitudes toward
warfare?
• Romanticizing Slavery in Antebellum American Art and Music — Many
in Europe and across the globe had a romanticized view of slavery due in no
small part to the depiction of slavery in art and music. Johnsons Negro Life
in the South is a prime example though its meaning is ambiguous. The
minstrel show is a theatrical event that presented black American melodies,
jokes, and impersonations, usually performed by white performers in
blackface. These shows were a popular representation of African
Americans before the Civil War. Stephen Foster wrote a new kind of music
in an attempt to humanize the characters.
• Representing the War — After the beginning of the war the images of
contented slaves disappeared. Johnson’s A Ride for Liberty: The Fugitive
Slaves is entirely different in mood from his earlier painting. “Special artists”
were sent to battlegrounds to picture events. Winslow Homer created war
illustrations for Harper’s Weekly. Matthew Brady captured the mechanistic
nature of modern warfare with a camera on the battlefield of Antietam and
the Battle of Gettysburg.
Discussion Question: Is “propaganda” an appropriate term to apply to
Homer’s illustrations and Gardner’s and O’Sullivan’s photographs of war?

Eastman Johnson. Negro Life in the South (Kentucky Home). 1859.
36" × 45”.

Eastman Johnson. A Ride for Liberty: The Fugitive Slaves. ca. 1862-63.
22" × 26-1/4”.

Winslow Homer, After. The Army of the Potomac—A Sharpshooter on
Picket Duty. After Homer's painting. Published in Harper's Weekly. 1862.
9-1/8" × 13-13/16”.

Timothy O’Sullivan (negative) and Alexander Gardner (print). A Harvest of
Death, Gettysburg, Pennsylvania, July 1863, from Alexander Gardner’s
Gardner’s Photographic Sketchbook of the War, 1866 (also available as a
stereocard). 1863-66.
6-1/4" × 7-13/16”.

Winslow Homer. The Veteran in a New Field. 1865.
24-1/8" × 38-1/8”.

Winslow Homer. Closer Look: Prisoners from the Front. 1866.

Winslow Homer. Closer Look: A Visit from the Old Mistress. 1876.

Tingqua, Attributed to. Shop of Tingqua, the Painter. ca. 1855.
10-1/2" × 13-3/4”.

The British in China and India
What is imperialism?
• China and the Opium War — China had long held strict controls on
shipping. The East India Company began to selling large quantities
of opium from India to the Chinese. Opium addiction grew rapidly
and the Chinese moved to ban the drug. “Might makes right” can
summarize the ensuing British course of action. They declared war
and subsequently crushed China.
• Indentured Labor and Mass Migration — Many Chinese were
driven to emigrate due to the worsening economic conditions. Many
went to California after gold was discovered and they were an
important source of labor for the railroad. They were technically
indentured workers—laborers working under contract to pay off the
price of their passage. East Indian indentured workers faced
similarly harsh conditions.
• Company School Painting in India —The British East India
Company employed Indian artists as draftspersons, instructing them
in European techniques. In art schools, Indians began to study and
copy European prints.

Edward Duncan. The Iron Steam Ship HMS Nemesis, Commanded by
Lieutenant W. H. Hall, with Boats from the Sulphur, Calliope, Larne and
Starling, Destroying the Chinese War Junks in Anson’s Bay, on 8 January
1841. 1843.

Map: The movement of indentured labor in the late nineteenth century.

Sheikh Muhammad Amir. A Horse and Groom. Calcutta, India. 1830-50.
11" × 17-1/2”.

The Rise and Fall of Egypt
How did imperialism affect Egypt?
• Mehmet Ali, an Ottoman Turk, consolidated Ottoman authority and
established himself as the country’s titular viceroy, though he
effectively ruled the country on his own. Cotton became Egypt’s
chief cash crop. The Suez Canal was opened in 1869 and Ali’s
grandson built an opera house and commissioned an opera, Aida.
He proclaimed that Egypt was now part of Europe. He accrued
huge debts, was forced to abdicate, and the British purchased the
Egyptian share in the canal.

Edouard Riou. Turkish Paddle Steamer going up the Suez Canal. For a
souvenir album to commemorate the Voyage of Empress Eugenie to the
inauguration of the canal in 1869. 1869.

The Opening of Japan
What is Japonisme?
• Industrialization: The Shifting Climate of Society — Japan
initially focused on closing the technology gap between its army and
navy and Western military powers. New rulers were determined to
decrease the influence of the previous shogun’s clan, the regional
provincial leaders and warlords, and the samurai class. Exports of
traditional Japanese products financed the industrialization process.
Railway lines were developed. Eiichi Shibusawa was the founder
of the National Bank of Japan and in charge of national
industrialization until 1873.
• Japanese Printmaking — By the late nineteenth century, the
Japanese economy was booming, as was the art of woodblock
printing, a tradition that had developed steadily since 1603. The
export trade in prints was a vital part of the economy. The first and
most prominent of the artists was Suzuki Harunobu. His prints
depicted daily life and the life of the most beautiful poet of the Heian
court. Woodblock prints were mass-produced and thus affordable
to artisans, merchants, and other city dwellers. Another leading
artist was Kitagawa Utamaro and Katsushika Hokusai produced
probably the most famous series of Japanese prints in Thirty-Six
Views of Mount Fuji.

Shimbashi Station, Tokyo, from Famous Places on the Tokaido: A Record
of the Process of Reform. 1875.

Suzuki Harunobu. Two Courtesans, Inside and Outside the Display
Window. Edo period. ca. 1768-69.
26-3/8" × 5-1/16”.

Suzuki Harunobu. Visiting (Kayoi), from the series Seven Komachi in
Fashionable Disguise. Edo period. ca. 1766-67.
12-1/16" × 5-5/16”.

Kitigawa Utamaro. How the Famous Brocade Prints of Edo are Produced
(Edo Meibutsu Nishiki-e Kosaku). ca. 1790.
38.3 × 74.3 cm.

Kitigawa Utamaro. The Fickle Type, from the series Ten Physiognomies of
Women. ca. 1793.
14-13/16” × 9-3/4”.

Katsushika Hokusai. The Great Wave, from the series Thirty-Six Views of
Mount Fuji. ca. 1823-39.
10-1/8" × 14-1/4”.

 Closer Look: Katsushika Hokusai,
The Great Wave
 Studio Technique Video: The Printmaking Process of Woodcut
MyArtsLabChapter 29 – Global Confrontation and Civil War

Vincent van Gogh. Japonaiserie: The Courtesan (after Kesai Eisen). 1887.
41-3/8" × 24”.

Kesai Eisen. "Le Japon,” Cover of special issue of Paris Illustré, May 1886.
1886.

Édouard Manet. The Battle of the "Kearsage" and the "Alabama.” 1864.
54-1/4" x 50-3/4”.

Sayre2e ch29 integrated_lecture_pp_ts-150670-1

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