art history final

77 pictures + quizzes

Paul Gauguin, Near the Sea, 1892. Oil on canvas

This is what gaugin was hoping to experience, topless woman swimming in landscape, women getting ready to swim, weird tree in the middle, earthly paradise, rish purple foreground is magical, tree separates, spiritual practices, two worlds visual and spiritual, not naturalistic, goal to be and live closer to nature

unnatural colors, imagination, purple → imaginary, tree and beyond is real, tree divides imagination and reality

Paul Gauguin, Tahitian Women: On the Beach, 1891. Oil on fine-weave canvas

Photograph on right, photography was director of the postal service and an ameature photographer, in “proper dress” and weaving, not all Tahitians converted and listened to French, in capitol there largesly converted, in Noa Noa he ventures away to find more authentic people,

​​Gets there by steam ship, painted this shortly after his arrival, desire to find authentic or untouched by western world, two women represent tradtional dress by French missionaries white shirt in skirt is traditional Tahitian dress (at ease), woman at right pink dress is what the missionaries approved of woman to wear, Tahiti converted to Christianity thru missionaries, old dress left them too “exposed”, girl is making textile out of strip of palm, Gauguin is complecated, racist bc women on left is that they are lazy, woman on right looks more productive, gaugin respects the Tahitians, wishes Europeans would relax and not be stuffy about sexuality, he portrays it and is against it

expectation vs reality of Tahiti, back turned to show it is the past and the faced front is the future

Cézanne, The Large Bathers, 1906

Painting representing paitning, Cezanne wanted to create timless images, use images from the past, (renesance triangle composition), cristicized bc it seemed unfinished, still see canvas in figures, still sketches, two almost identical women on middle right, fasr right woman is so disorted that u cannot tell if its legs or arms, painting is blocky, figures elongated, no models coming to model, totally turning human figure into architecture shape, taking 3D body and reconstructing it in 2D form, no with shading or overlapping but with geometric color, Cezanne is breaking things apart

Paul Cézanne The Large Bathers, c. 1894–1906. Oil on canvas. 52 3/16 × 86 1/4 in. (132.5 × 219 cm)

Bathing scenes, at the barn’s foundation that moved to philedelphia, made these at the end of his life, distorted figures, bathing scenes are usually ideal bodies, they look really strange in this image, clouds are heavy, smoke or storm, trees are bear, nature is not idealized, all positions are not natural, sitting in circle shape, tree incenter looks like It might fall over, menacing nature, bathings like this not taking place in summer, green is in background away from figures, postures are borrowed from classical sculptures, gender is difficult to determine, white sheet they are each holding connects them to smoke, not interested in standards of typical western beauty, skin has patches of different colors, red/green/beige, skin like playing cards, anatomy is disturbing, a lot of figures are missing fingers and toes, long neck and tiny head, no faces

Cézanne, Mount Sainte-Victoire, 1902-04

Landscape like playing cards, lots of rectangles, if no mountain peak would be hard to tell what is, bought acre of land in 1801 so he could see and paint mountain, he made everyone climb the mountain, he was obsessed with it, 1904- brush stroke and color change over time, 1902-thick brushstrokes, 1906-everything gets thinner and less defined bc limit color palate, divisions are back, forground/middle/and mountain and sky, cezanne wants to pare art down to its basics and still have some kind of subject/composition, if you take away all subject matter what is left?

Paul Cézanne Houses in Provence (The RiauxValley near L’Estaque), c. 1883. Oil on canvas

Cezanna is from the south of France, does his most famous art work there, he didn’t really like paris, ends up back where he is from, pale agular houses that cluster together, very rocky/hilly, cool blues/greens, see theres a lot of straight parallel lines-more in grass and hills, Cezanne is a really influential and important artist, subject matter is very traditional, water and still lifes, not his subject matter but his style is innovative,

Vincent van Gogh Portrait of Père Tanguy, 1887. Oil on canvas​

Ran an art supply shop, would trade supplies for their paintings if they were broke, sold japenese prints, collection of art in background, contrast and complementary brush stroke, formal pose, known to be a very kind and modest guy, not trying to show off, myth that Vincent van goh never sold a painting in his lifetime, he did exchange a lot of art for other art, so it is like a sale, people did see and known his work, not socialble guy in paris, at least one painting did sell before he died, Tanguy kept painting his whole life be he really liked it, posed between two Japanese prints, vinvent and theo coloected japanses prints, theres an emphases on linearity and line, use overlapping and cross hatching, really likes japanses prints beciase they are asymmetrical, like dynamic composistion, no shadows little perspective, monochrome background,

Van Gogh, The Yellow House (The Street), 1888

​​Paris is a little overwhelming for him, wants to get out of city, moves to south of France, moves to house called the yellow house, leaves paris in 1888, first year he is in France, rents four rooms, wanted to great an artist colony, wanted they to come down to live in this house to create hippy dippy support each other to have time and space to work, he wanted community, invites gaugin to come down and join him although they had never met, shows immediate surroundings, resutrant he frequenctly went to, behind the fence was hous eof a friend he made, contrast of blues and yellows, sense of brightness, quiet and humble, likes it here, house with green shutters is where he lived

Van Gogh, Self-Portrait with Bandaged Ear, 1889

Both abuse alchohol, artistic rivalry, fight loudly all the time, December 23, after the fight with gaugin, van gohg so upset he cuts off his ear and gives his ear to a prostitute, find him bleeding excessively, gets medical attention, new research that maybe gaugin cut off his ear in this fight, police records state that gaugin was an accomplished fencer, van gogh thru glass of wine of gaugin, then after gaugin cut off his ear, van goh told theo everything and never told theo about gaugin cutting off his ear, brings ear to Rachel “guard this object wih your whole life”, gaugin leaves the next day on trai back to paris, van goh goes back to yellow house, paints this week after gets out of hospiltall, show his doctors and other that he is doing much better, taking care of himself, signify he is well – ear bandaged, canvas in background shows that he is ready to go back to work, Japanese wood block print shows that he is still inspired, he is bundled up and staying warm, hat and jacket, window is open because he is getting fresh air, face has color to it, ruddyness to it, not pale, long flat brushstrokes in coat, curly brushstrokes in hat, prints were not cheap, can afford to buy art, neighbors are not cool with him being there, 30 beighbors signed petition to get him removed from his home, foreably removed and taken to mental hospital, goes to nicer place thru theo’s funding, cannot give van gogh diagnosis, abusive alchohol and mental illness, best theory – epolepsi, uncontrollable fits of movement, bipolar, he wasn’t insane, did a ton of work before he suffered from mental illness, had epoliptic fits but mental state got procgressivly worse, mental illness did not cause his art to be great, only one time after that he then created a lot of work right away after mental episode, flat large areas of flat color, innovative composition​

Van Gogh, Starry Night, 1889. Oil on canvas. Impasto

Painted while in hospital in France, this has heavy impasto, paint would be coming off canvas in 3D, large cyprus tree (in south of France), small quaint buildings, church from holland (his home), sky is swirling, bright orbs, cresent moon, long brush strokes, choppy gives sense of movement, painting both from memory and form observation, this was not his view from the window, but it does have detail of the village there, famous painting, venus bright star on left side, van gogh was a son of a pastor, he could go out a look around. Alittle bit, shot himself in stomch in July of 1890, speculation that children in the town shot him accedentablity, unusual to shoot themselves in the stomach, no gun powder found on his hands, children in town mocked him, angle of buttet that it couldn’t have been him, but he did tell someone that he shot himself

Vincent van Gogh, Sunflowers, 1888. Neue Pinakothek, München

He loved sunflowers, wanted to be known as the painter of sunflowers, some people found them course and unrefined, very textured paintings, impasto: thickly applied paint he ises a lot, seen in far left image, lots of textire and not a finished painting, texture is expressive for him, 5 paintings he did of sunflowers in pot, flower still lifes were popular at the time, made many of them In paris, hears that man liked his flowers, (author of noa noa book), aritis that van goh liked liked his work, Gauguin liked his work,

​​Vincent van Gogh, Potato Eaters, 1885. Oil on canvas.

​Early work of his, first painting, wanted to do multiple figures to show off his skills, in different angles, to show his ability, tires to be a teacher and a preacher, failed at all of them, turned to art, little color, narrow range, lots of browns/blue greens/whites, how is color working symbolically, eating dinner in tight house, eating potatoes, woman is pouring coffee, color is symbolic for van goh, made it brown to show mood, potato connects people to the land they farm and the poptaotes they farm, they eat so many potatoes that they begin to look like them, their whole life is this color bc they depend of them so heavily, peasants form his natuve region, look like potatoe skin, faces are distorted, depicted them authentically, hands are knarly, faces are weathered and tired, rough around the edges, didn’t want to hide it, convey poverty, he is angry that society accepts that there is going to be poverty, has socialist side to him, honeslty earned food, respects their work but belives they should not be because they are the ones sowing the land

The Seated Clowness by Henri de Toulouse Lautrec

• Singing dancing 

• Clown is offstage

• sympathetic , closer to the people, backstage image, relaxed, taking break, can see figures on side all dressed up

• Clown and dancer he knew, he got popular in making images that he made deluxe editions for clients, “Elles” those women, women in various stages of preparation for work in brothel 

In the Salon of the Brothel of the Rue des Moulins by Henri de Toulouse Lautrec

• On same road of the Moulin Rouge

• Depict brothel

• client , and then member of the family of the brothel, there for familial relations and not sexual

• They are relaxed and sitting comfortably, not “ready” for a client, the women are comfortable in front of Lautrec 

• The style is sketchy, looks like it was done quickly, in various stages of undress, while in between clients 

• He painted more that 50 brothel scenes, they were sympathetic, not flashy 

• Most expensive brothel in paris makes it looks seedy and fancy at the same time

• Greco roman columns reflected in mirror, bright red walls, nice brothel is an unusual idea 

• He would sketch his figures in different colors, paints in rapid loose strokes, mix paint with turpentine to make it look more like a pastel,

Toulouse-Lautrec, Moulin Rouge: La Goulue, 1891, Chromolithograph

• He was at the club a lot

• Advertising a dancer that would be playing there

• Unsure if people wanted him to be there

• Anonymous figure - if you come you can be anonymous, what happens here stays here, can sleep with prostitute, 

• Called the glutton bc she was knwon to drink a lot of alcohol, high kick

• Figure of man on right, speculation 

• Electric lights in background 

• Moulin Rouge opened in 1891, for women to make a living and men to be anonymous  

Henri Toulouse-Lautrec, At the Moulin Rouge, 1892, oil on canvas. Montmartre

• Moulin rouge is in paris, land mark in paris, known for red windmill

• In seedy part of town called Montmartre, climb tall hill, at the top, artists lived up there

• Theres are Lautrecs friends, Laurtrec was a very short man, makes fun of himself

• Lautrec part of aristocracy/born into money, rejected from world bc of his shortness 

• His best friend in the back is very very tall

• He goes to bars and prostitutes, brothels, likes to paint this, artists usally didn’t come from money, the man who painted male nudes was rich, can paint what he wants

• Space is funky, left side is counter at the bar, tilted up at you, ofreshorenting, woozy feeling, mimic effect of alcohol, 

• Green face - not naturalistic color, absence has green color has hilucinegenic effects “little green fairy” drug/alcohol reference

• Table made of upper class men to have sex with the women at the table that are hyper dolled up, a lot of jewelry and makeup

Alphonse Mucha, Job cigarettes poster, 1897

• Always paints them with spaghetti hair, poster doesn’t advertise

• Advertise brand of cigarettes, brand name is recognizable, winds behind her, if you buy this product you will look/feel like her

• Advertised to women and men, if you had a cigarette you can have her, objectifying process 

Jules Chéret, La Loïe Fuller, 1893. Poster. Color lithograph

• She is going to perform

• American dancer

• Popular for integrative natural and formal dance

• Senes of bright stage light 

• Popular theater, invoke movement and sound 

• She is known for her spinning motions 

• Color lithographs - special invention - exhibition of color lithographs, special enough to be displayed 

• Intaglio and relief printing

• Relief printing: chip away wood

• Intaglio: scrap metal and ink imbedded 

• Lithography: positive, sculptural, inverse of black and white shadow

Georges Seurat The Models, 1886–88.
Oil on canvas, 79 × 98 3⁄4"

• Interior of seurat’s studio, show passage of time

• The Grande Jetta is hanging in the studio

• His work is see to be too detached and too cold 

• Models to dismiss criticism, his approach was too methodical to the nude, he showed them it could be applied ot the nude 

• Technique can be applied to various figures, contrast to the one on the wall

• Response to make work look more approachable 

• Le grande Jetta is outside, the models are inside, clothes people are made with nude models bc they are getting dressed, model comes first and then gets it into clothed models 

• Compared to Renoir - fleshy and over the top, pastel colors, 

• Impressionists usually have purple shadows, the model has golden glow around her, highlights are cold 

Seurat, Bathing Place at Asnières, 1883-84. Oil on canvas

• Same place as the sunday at la grande jatta

• Echo boy on right

• Not using pointelism systematically

• Still not much line but not full dot, was him experimenting with what worked, 

• Other side of the river shows factory and pollution, 

• Bodies are more curved and relaxed

• Flat hats indicate workers 

• Taken off clothes - hot, inappropriate for them, actually getting in the water 

• Group of rowers in both the bathing place and sunday at la garde 

• Wanted it to be a grand statement, rejected from salon, also large painting, large paintings only acceptable if had religious or ladnscape concept 

• Each person still pretty isolated even tho standing togtehr

• Everyone looks frozen in time, look sculptural 

• Transform into something lasting, trying to make the moment timeless

Georges Seurat, A Sunday at La Grande Jatte, 1884, 1884-86. Oil on canvas. 6’7” x 9’ 10”.  Neo-Impressionism. Optical Mixture. Pointillism

• Very large

• Scene is a popular part where parisians would go on sunday

• Government made more rules around work

• People have 5-6 day work week

• Sunday people can go leisure no matter class

• Can see variety of social classes 

• Woman has pet monkey, big fancy dress, paracell (unbrella), standing next to man in top hat, working class man on the right side, wearing tank top, wearing shorter bowler hat, we can see a flenner: man just looking around and observing

• 3 people sitting close to one another but not interacting, loneliness in paris

• Pointillism: creation of painting of dots of pure color, not mixing colors, pigment applied directly, sometimes mixed with white, 

• Impressionists art was usually small, not this large

• Technique is what separates this, figures are stiff, lack of line with pure colors, 

• Neoimpressionsists are interested in color theory to make optical illusions with color

• Use primary, secondary, and tertiary colors, avoid muddy/earthy colors 

• Blend two pigments makes it duller 

• Eyes mix the colors together 

• Supposed to be a luminous paintings/glow 

• New chemical pigments made in 19th century, now synthetic or man made, not organic matter anymore, he used new synthetic colors, greater range of hues 

• He would have a base color, then the variety of green dots on top

• Took him 2 years, a critic called it neo impressionis, using systematic approach to paint what he sees 

Georges Seurat, The Echo, 1883–34. Conté crayon, 12 1⁄4 × 9 1⁄4" (31.1 × 23.4)

• Boy calling out with his hands out to someone

• The painting has no lines no contour, created thru shadow

• Line is the beginnings of art

Thomas Eakins The Swimming Hole, 1885.
Oil on canvas, 27 × 36”. Arcadia

​​This gets Eakins in trouble, Eakins in swimming in bottom right, weird about way people are posing, not normally how you would longue on a rock ones that are posed, ones in action are in own world, not interactions with one another, this is not a fake person and an unidentfyable place, real and contemporary, sequential movement, passage of time and how the body will move to stand up and dive, movement is shown in sequence of poses, people are going through motions, interested in how the body looks at different times, man half kneeling, hand is half raised, in studio arm in sling to put arm in to rest it, reference studio and students that we used as models, dog harry swimming alone, was fired for removing a male models loincloth in a class that included female artists, gender divide is intense, hard for women to do figure, serious, would have women only drawing classes, looking at the most beautiful of natures works,

Thomas Eakins: The Gross Clinic (Portrait of Professor Gross), 1875. Oil on canvas, 96 x 78 in.

(244 x 198 cm.) Jefferson Medical College of Thomas Jefferson University, Philadelphia, Pennsylvania

Dr gross, cares more about education than the grossness, dramatic covering of eyes, he is unphased by hand covered in blood, strange teacher, inlfuenctial, packed into room to see his work, people say that he looks dead, lighting makes him look that way, had sky lights in building, did not wear scrubs or gloves, Eakins was interested in anatomy and learned through dr gross, revolutionary technique in surgery, in ampitheater, demonstrated for students, how to remove dead bone splits, usually would just have to amputate leg or arm, revolutionary idea that you would keep your limb, foreshortened so body looks evident to us, body looks hidden, jut looking at leg, controversial because reducing the person down, show, the person just looks like a body part, barbaric, regressing, tools, closterhobic, female family member to represent the family, her reaction to include what our reaction would probably be, viewers are expected to have her reaction, some exceptions were allowed to see the bodies, color pallet makes red pop and mood be visible, some triangular ocmpositin, Dr gross is at top of pyramid, perspective is weird so we can see the surgery, women is calaimed to be out of proportion, is too small, to keep the focus on foreground whie including her, Eakins did submit this to be at a fair, submitted to art chateory and get put into science catgory, focus on internal body.

Thomas Eakins, Biglin Brothers Racing, 1872. Oil on canvas

Celebrate the win of the Biglin brothers, rowing was popular in US and France for women and men, 1872 – big race, can see crowd, we can tell they are going to win because you can see the edge of the boat competitor, they are brothers, depicts them insink, watching what brother is doing, look like strong team, imprssionists work outside and finish in studios, does sketches for accuracy, composed and not exactly accurate, wrong time of day, race was in afternoon, race was delayed bc of rain and it was raced later in the afternoon, still composed image at afternoon, care in the representation of the muscles, focus on getting them just right, connects them to white clouds that will be moving like the rowers

Caillebotte, Man at his bath, 1884

Domestic interior, he is standing up, muscular body, see evidence of labor, boots and mud tracked in, everyday tin tub, disreguarded robe, usually see female nude, more complicated than opporite of female nude, gender roles were tight at end of 19th century, France lost war to pressia, feel like men are not strong or active enough, men told to exercise and be hairy, fear around men being vulnerable, because of war and failed things in France, to become extra masculine to overcompensate, era when men are being hypermasculine, Caillebotte is doing this,

Caillebotte’s was deemed inappropriate for public view, 19th century seen as female portral of the man, male nudes usually only shown when they are strong and heroic, male nude associated with lofty asperations, ​

Gustave Caillebotte, Floor Scrapers, 1875. Oil on canvas

​​He is different because of his class, he was very wealthy, supports impressionists by buying their work, paints whatever he wants bc he doesn’t have to worry about making money, he is a bachelor, no familial obligations, frequent depiction of men, back are bent over, drinking on the job like the laundresses, no shirts on, arms are hyper extended, attention to detail, work they are doing is tedious, repition of lines to show the never endingness, upper middle class interior, gold guilding, rot iron gate, lower class working men in upper class apartment, rare to see men inside, they usually were outside fighting or in nature, men are also usually standing up,

Auguste Renoir Bal du Moulin de la Galette, 1876.
Oil on canvas, 51 1/2 × 68 7/8" (131 × 175)

People went out and have fun, women join men, proper woman, not out at night, see young people, drinking and coupling up, not supposed to look stuffy, wearing boaters hat, mix of clases here, renouir used daple light, to show moment in time, under trees and sun coming thru, spot shadows on whatever it hits, filtered light, daps of light, ​

Degas, Women Ironing, 1884. Oil and pastel on canvas

Hot when you iron, sweaty, difficult, does not sexualize them, depiction of people carrying the laundry,​​​Show awkward body poses,middle is the most undresses he depicts them​

Degas, Woman Drying Her Foot, 1885-86

Fibers in canvas split to make texture, bodies in awkward poses, everyday moments, getting in the tub, doing something with their foot, used this practice into the proformers ​

Degas, The Rehearsal of the Ballet Onstage, 1874,

Back stage image, men seeking out girls they want to engage with for prostitution, invited to sit in on rehersal, cut off stringed instrument, make it seem immediate, girls are not perfect, they are yawning and bent oer, not in sink​

Edgar Degas, Little Dancer of Fourteen Years Old, 1881. Bronze, partially colored, cotton skirt, satin ribbon, wooden base. Petits rats de l’opera

Did few sculpures, cast in bronze, multimedia, added cotton skirt and wodden base, makes it more real, she was described as dirty and ugly, she was called the “little rats of the opera house”, orphan or poor 13 yr old that worked at performace spaces, mothers that couldn’t raise daughters put them in the opera, poor desperate people to survive, engaged in prostitution, daughters of laundry woman,​

Claude Monet, Haystack, 1890-91. Oil on canvas.

House out in the country, series of paintings, paint same things but different times of day and year, compare types of light, series of church and wateriliy, 30 total paintings of haystacks, nature as it appeared to monet’s eyes and not how to appears to out minds, reverse nature perfected, Durand ruel is an art dealer of impressionist artists, was successful, not many impressionist dealers because impressionsis were not popular at first, optically accurate, start outside, use dabs of small stokes, use pure color, make brush strokes visible, for hundres of years people have been trying to hide brushstrokes!!! To make it seem more real ​

Claude Monet, Gare Saint-Lazare, Paris, 1877. Oil on canvas

Train station, same depictied in Manet’s Railroad, painted trainstation many times, moved to paris perminently, new sight of modern life, train station was new architequer, no one had built one before, interested in chaging effects of atmosphere, painted outside and finish in studio, look like they are done quickly, want it to feel like a singular moment ​

Claude Monet, Impression Sunrise, 1872. Oil on canvas

ON FINAL< sparks name of aimpressionists movement, fomr Impression Sunrise, looks just like an impression and not finished, modern life is fast and painting reflects that, light and color, refelction of sun is bright orange and blue and purple/gold/white to represent a moment in time that this will never look this way again, only look like this for one moment in time, calling it an impression was an insult, impressionsist set up own exhibition in 1874, interested in optical effects of light, water looked to him at that time, painting what he actually sees and not what he should see or is normally seen​

Edouard Manet, A Bar at the Folies Bergère, 1881-82. Oil on canvas

Popular night club, had some ceedy entertainment, sketchy, legs hanging down, known for having electric lights, bartender woman, she looks mad or bored, behind the woman is a mirror, he didn’t paint it quite right, it still doesn’t line up right, allows us to see both sides of interaction even tho they don’t naturally line up right, can see the scene behind the man, flowers in chest implies prostitute, oranges and alchohol show fertility, she is also alone and disconnected, has to interact with man, not positive interaction, ​

Manet, Plum Brandy, 1875

Shes alone and drinking by herself, urban woman seen as a fallen woman, bored, café culture, waiting for something to happen, How depressing modern life is, drinking plum brandy, looking liftful, tired, smoking cigarette, probably a prostitute ​

Manet, Masked Ball at the Opera, 1873, oil on canvas

Masked ball at opera, only women have masks on and dressed up, looser brush work – looks like a sketch and not finished work, captures moments in time, looks like memory bc slightly blurry, feels like a quick look over at crowd, photography has been around for a few decades, two legs at top, acrobat sitting on swing, looks like something you would catch in a photograph on accident, jester cut off, makes it seem immediate like photography ​

Edouard Manet Olympia, 1863. Oil on canvas, 51 3/8 × 74 7/8" (130.5 × 190)

Manet is not an impressionist, he is a realist, inspires the impressionists, critics thought she was ugly, compared her to The Venus of Urbino, false modesty, just a total insult to the tradition of art and reclining nude, gorilla like prostitute, she is still wearing the jewlry and heels from her night of presitiution, suiter sent her flowers from last night, her skin is not perfect, bed is messy, uncomfortable to be directly looking aware confident gaze, cat alludes to deviant female sexuality, her hand is flexed over her genetals, more aggressive, hands seen as dirty/feet wrinkled and body looks like a corpse, she is heavily outlined in black, she looks like a cut out bc outlined in black, liked at the time was idealistic version, people are worked out because you cannot tell whos a prostitute and who is now, people don’t like that prostitution is so visible in the world ​

Henry van de Velde, Continental Havana Company interior, Berlin, 1899 (demolished)

Total work of art, sell cigars, designed the chair/table/productdesign/lightling/arches/wall/flooring, pressed to find a straight line​

Henri van de Velde, Poster for a
food concentrate manufactured
by Tropon, 1899.

Used in advertisement, interior design, poster for a food concentrate, dehydrated food, eggs, trying to make it look exciting to eat, product design, uses whiplash and unjulating line in product, goes back to linear in name of company to keep it stable, eggs look plant like, highly stylized, companies know that the style is popular ​

Victor Horta, Staircase in the Tassel residence (now Mexican Embassy), 1892-93, Brussels.
Gesamtkunstwerk
whiplash

In mexacan embasy, was private home, gesamtkunstwerk – a total work of art, desiged staircase floor banister column lights, total work of art, arts and crafts movemn- everything we encounter should be beautfil, whiplash – describes this art movement really intense curveliniear line, quality that unites everything, unjulating lines – heavy curves,using cast iron, stronger and more flexible than wood or stone, ​

Aubrey Beardsley, illustrations for Salome by Oscar Wilde, published 1906. Aesthetic Movement

Small artist press, illustations for Oscar wild, picture of dhorine gray, aestetic movment representative, wore beautiful things, poetry and plays, these are his version of salame, salame dances for (from bible) the king, does such a good job that the king says she can have whatever she wants, salame’s mother says to ask for the head of john the babpist on the plate, fem fatal – trope when beautiful women who ends up being deadly, highly sexxualied, reference to japenise prince, mother with the head of john the baptize, blood and hair dripping down, decapitated john the maptist to form body of water, known for his hair line style, elongated figures, elongeated format, emphasis of beauty, work could be mass produced, images were widely circulated, artisits look in japaense prints,​

Gustave Eiffel, Eiffel Tower, Paris, 1889 before modification (especially of the lowest balcony) in 1837. Photo by Louis-Émile Durandelle, 1889. Albumen silver print

Park underneath, walk under tower to get to expositions, designes submitted, wanted something monumental, wanted something new, celebrating cnetenital of French revolution, has traditional aritechture elements, looks like spire on nortadame, made by rot iorn, strong and have open latis work, commercial americans would not want eiffle towner, think it is barbaric, like a giant chimney holding down industrialization over paris, disrespecting tower, reminds them of factory, consider that other famous churches/buildings, can see thru it to see other buildings, openeings allow us to admire the city, deos not take away from it, demonstates progress, using new matierals in innovative way, raw iron used, constructed off site, prefabritcate different parts to be assembled, coated irridesent paint, night lit rosy glow​

Hector Guimard, Porte Dauphine metro entrance and iron work detail, 1900, Paris.

On paris metro, have original entraces, type design is the same even in writing, cast iron gate, decorative, slim columns, looks like flower or leaf, some still in paris, cast iron is cheap and is good outside, painted green to make it look like rusted copper which is more expensive, materials are cheap so everhting could be individualized, ​

Morris, Marshall, Faulkner & Co., Daisy tile, 1862,

Morris and Philip Webb., The red house, 1859

Morris is most well known for interior design and wallpaper , made stained glass, tiles, furniture, started doing this to start decorating his own house ​

William Morris, Canterbury Tales, Kelmscott Press, 1896

Kelmskot press, heavy thick boarders, wood block prints, not many words in middle, 87 wood cuts made by Edward burn jones, Edwars burn jones designed them, hand stamp it, hand made paper, recreated dies from renessance recipies, morris had seen veniciens books and took photographs, coped the letter form the books, using leather and animal skin to bind paper, only sold 500 copies at 25 pounds each, ends up designing for the rich, st james’ palace wallpaper, unable to offer a solution​

Charles Marville, Passage Saint-Benoit, 1864-67. Haussmanization.

Haussmanization – haurssman is working for napoleon and is redesigning paris, wide boulevards, 7/8 story buildings with windows and white, revolutions are made easier by narrow streets to build barriers and hide, French love to document architecture, example of medieval paris, kept being built on top of eachother, raw sewage running thru the street, haussman is modernizing the sewer system, Marville hired to document the streets before and after paris had been known to be stinky and gross​

Charles Garnier, The Grand Staircase in the Opéra, Engraving from Charles Garnier, Le Nouvel Opéra de Paris, 1880.

Beaux art style named after beaux art school in paris, highly decorative, douvble columns, sculpture on top, repeating arches, very roman, dome, decorative wreaths scultpures at top, happening behind the dome is backstage system, see it in buldings that are very important opera house in paris, opera is a place to see and be seen, comes across in staircase, grand, there to be looked at, chandelier is desined to up up and down during and after the show​

Charles Garnier, Opéra, 1861-75. Place de l’Opéra, Paris. Beaux-Arts Style

Beaux art style named after beaux art school in paris, highly decorative, douvble columns, sculpture on top, repeating arches, very roman, dome, decorative wreaths scultpures at top, happening behind the dome is backstage system, see it in buldings that are very important opera house in paris, opera is a place to see and be seen, comes across in staircase, grand, there to be looked at, chandelier is desined to up up and down during and after the show​

Desire to go back to make really beautiful things, beaux arts – architecture, issue of the machine, should we embrace it?​

Edouard Manet Le Déjeuner ser l'herbe ("Luncheon on the Grass"), 1863. Oil on canvas, 82" × 8'8 1/4" (208 × 264.5). Salon des Refuses

the image is not realistic, the perspective is off GET HELP

Honore Daumier, The Heavy Burden, 1850-53. Oil on cardboard

City activity, women carry bag of laundry, laundry women seen in paris, working labor and had to bring child with her to work, unless you were really rich, you were doing laundry, childcare, unwedmothers were not wanted as childcare, could be dangerous to child structure, women go to clients house, go to facitility to wash it, carry wet clothes at owner’s homes, had bad repuation as loose women because they were going into clients homes to pick up and drop off laundry, some also worked as sex workers, empathertic portait, rushing to get work done, ​

Honoré Daumier The Third-Class Carriage, c. 1862–64.
Oil on canvas, 25 3⁄4 × 35 1⁄2”. Social Realism

does political cartons, show city life, third class carriage, new transportation, nursing mother, elderly women, sleeping child that is alone, dignified but not heroic, bathed in light, seen as respecting peple, Realist, dignity and respect to people, ​

Jules Breton, Recall of the Gleaners, 1859. Oil on canvas.

Both mostly women, can see wheat in both, are few people bending over, idealized view of gleaning, left has more abndance off wheat, makes people forget how hard it is, fun time for the kids to spend time with family, so easy kids can do it, young healthy looking women, can see their faces, Breton’s version was really well liked, everything can stay the same and nothing needs to change bc working class is fine​

Jean-François Millet The Gleaners, 1857.
Oil on canvas, 33 × 44" (83.8 × 111.8)

Painting freaked out the French government, they thought this was going to cause a revolution, older women leading wheat, colors of the French flag, picking up little things of whear, collected in heaps in the ground, poor women come to pick up left overs from ground to have food for the day, actually pictures what the working class looks like, another working class revolution, abundance of wheat in background, people and aniamls in background, contrasted by great poverty, revolutions usually start when there is too much wealth and poverty, poor people were allowed to come and take left overs for food, old women, we feel empathetic, backs will hurt later, bags are not that full, still will be starving after energy output, not enough food still, women are almost horizonatal, under horizon life, they are under everybody else, women in blue searches for wheat, red picks up wheat, lady in white ties it together, red blue and white caps – French flag, threatening to upper class, contrast with official realist painting, ​

Rosa Bonheur The Horse Fair, 1852–55.
Oil on canvas, 8’ x 16’ 7”

Shown in salon of 1853, biweekly event, horse market to buy and sell horses, showing off her talent, show is educated on the horse’s anatomy, showing them in all different views, in action and it different position, spent a lot of time at horse market to make sketches, she is not allowed to study human figure, she does animals because it is more accecible for her than nude models, pants episode here, it was illegal at time to wear pants, had to get special permission from police to wear pants when she went to the horsemarket, she was granted that allowance, women would suualy submit watercolors and flowers, this is a bold move from a woman bc no one else is doing this, painting went on tour, is bought and it is in the met in NY, sense of activity, horses are kicking up dust, active movement in clothes and mains, strong sends of directional force, lot of varietly ​

Rosa Bonheur Plowing in the Nivernais: The Dressing of the Vines, 1849. Oil on canvas, 52 7⁄8" × 8'6 3⁄8" (134 × 260)

Submits it to 1850 salon, was a success and started her professional carrier, tilling the field, cow is pitting, so much work is left, pretty isolated, house in back, difficult rural hard labor, more paliable that Courbet’s, less morbid, lead to food and sustenance, life giving, more positive, hard work but they are not breaking their backs over it, bright color pallet, so much sky, fresh day on farm, cows look healthy and strong, limeless, Bonheur was one of the few successful, was trained by her father, parents belived in total equality, untraditional schooling, were werid people, encouraged by parents to paint​

Gustave Courbet A Burial at Ornans, c. 1849–50.
Oil on canvas, 10'4" × 21'9" (315 × 663)

Burial scene from his home town, in a small town of no one important, dead is not named or depicted, people are not reverant, people are distracted, dog is looking away, left side alter boy is not paying attention, conversations are being had throughout the crowd, clergy meant to look ridiculous, mocking them, faces are bulgy, people think the women are crying, the women are really using their hanquerchief to cover the smell of the dead body, this is revolutionary because the funeral is not idealized, it is realism, no indication of heaven or afterlife, ​

Gustave Courbet The Stonebreakers, 1850.
Oil on canvas, 63" × 8'6" (160 × 259)

Most famous of Courbet’s, destroyed during WWII, only have photographs of it, large genre painting, monumentalizing everyday life, guys are not heros, not over idealizing hard work, showing that it is important, clothes are worn down the ripped, dreary colors, earth like, don’t see their faces, not portait, type of person, stone breaking, clearing out stones because a road is going to be built, break up stones to be used for other purposes, son’s life is going to be just like the father’s life, focused on labor they are doing, world is small, in bottom of valley, not getting out of it, dark around them, only small amount of sky to make it seem chlostraphobic, son is literally following in his father’s footsteps, using a palet knife to apply paint, not very smooth, using strong dark shadows, working outside, has new way of exhibiting work, oversized genre paintings are a new subject in the salon​

t o f, Courbet fought in military battles in his own time

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t o f, Courbet's Ornans trilogy shown in Paris at the Salon of 1850-51 was praised for its graceful form and subject matter.

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1848 France was full of:

revolution

t o f, In Paris, Courbet was part of a group of intellectual and artistic bohemians.

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Courbet's relationship with the official art institutions in France can be described as:

one sides respect

t o f, Courbet's paintings presented class ambiguously.

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Courbet opened his "Pavilion of Realism" in order to:

display his art rejected by the Exposition

t o f, Courbet embraced imagery and techniques from popular visual culture. 

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t o f, Overall, Delacroix liked Courbet's The Studio of the Painter: A Real Allegory Summing up Seven Years of my Artistic Life

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According the Eisenman, the textbook's author, modernism in art can be characterized by all of the following EXCEPT

an embrace of allegory

Paintings by "official" Realists were often:

conservative and sentimental

The biggest criticism of Courbet's art was its:

deliberate ugliness

A popular late 19th century building material was:

ALL, cast iron, wrought iron, glass

t o f, By the 1860s, the job of designing and manufacturing fine furniture was often extended over several studios, factories, or even continents. 

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t o f, Architect Louis Sullivan is best known for inventing the modern, steel-framed office building form. 

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t o f, Many adherents to the Arts and Crafts Movement had Socialist leanings. 

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Morris and Co. made what?

ALL, furniture, stained glass, patterns for textiles, books

Those opposed to mechanization in the art, craft, and design industries wanted to:

ALL, uphold the dignity of labor, protect craft skills, preserve creative independence

t o f, Edgar Degas was unusual among the Impressionists for preferring to work indoors.

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All of the following characterize the figure of the flaneur EXCEPT

a man of the countryside

The main innovations of the Impressionists are all of the following EXCEPT:

deeply expressed personal and emotional subject matter

What was the most shocking aspect to critics of Manet's Olympia?

how he painted her

Popular Impressionist subjects included all of the following EXCEPT:

industry

t o f, Cafe-concerts were popular hangouts for Impressionist painters. 

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t o f, There were no women Impressionists. 

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t o f, The painter Rosa Bonheur was not well-known during her own time.

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t o f, Submissions to and attendance of the French Salons declined drastically in the 1850s and 1860s

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What were the priorities of buildings in the late 19th century?

economy of construction, transparency, utility, speed of assembly

t o f, William Morris believed everyone had the right to enjoy beauty in their day-to-day lives and he ensured that working-class men and women could afford to buy his low-priced goods. 

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Under Baron Haussmann, Paris saw:

street lighting, new water and sewer systems, wider and straighter boulevards

What was the assumed class of the woman in Manet's Olympia?

working class

t o f, Although he influenced them, Manet would not exhibit with the Impressionists. 

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What types of artists submitted works to the French Salons of the 1850s and 1860s?

ALL, naturalists, classics, romantics

t o f, Both Thomas Eakins and Mary Cassatt believed that a portrait of a woman must be flattering in order to be successful.

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t o f, Mary Cassatt, in addition to painting, also produced a series of successful prints. 

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t o f, Mary Cassatt did not publicly exhibit her work with the Impressionists. 

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t o f, American painter John Singer Sargent made the female subjects of his upper-class commissions appear glamorous - whether or not they were. 

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t o f, Thomas Eakins frequently celebrated the heroic virtues of American men.

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t o f, Thomas Eakins is a more traditional painter than Mary Cassatt, treating the canvas like a window through which we see the world.

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Mary Cassatt most frequently depicted:

women and children

Mary Cassatt was greatly inspired by all of the following EXCEPT:

her fellow American realists