ARTH 3430 Final Paintings

Ford Madox Brown, Work, 1852-65

• navies are heroized

• hyper realism idealized

• different types of labor

• readings: eismen- realism

Jules Breton, The Reapers, 1854

• never have to do labor

• glorifies countryside life

Jules Breton, Depart for the Fields, 1854

Jules Breton, The Return of the Gleaners, 1859

• all look happy, conservative bourjous look/though

• work with police

Gustave Courbet, The Stone Breakers, 1849

• 1848 revolution in France: the working class rising up

• Courbet: labor is degrading to the class and the poor

• socialist: wants to represent truth; lack of system

• composition: flattened- figures pushed into your space, angular and unidentifiable figures

• painting for the common person

Gustave Courbet, Burial at Ornans, 1849-1850

• multiple classes

• bourjois thought countryside was great and easy (ideal place)

• middle class was angry at this painting bc ideal was ruined

Gustave Courbet, The Peasants of Flagey Returning from the Fair, 1855

Gustave Courbet, Young Ladies of the Village Giving Alms to a Girl Minding Cows, 1851-52

Jean-François Millet, The Gleaners, 1857

• similar idea to Courbet

• gleaners are referred to as the 3 graces & symbol of socialism

• man w/ hoe-tool does this too

ean-François Millet, The Sower, 1850 (40”x33”)

Jean François Millet, Man with a Hoe, 1860

John Constable, The Hay Wain, (51” x 73”), 1821

• cotton mill, huge factory for England

• sets stage for the industrial revolution

• enclosure act

• nostalgic style- new kind of painting

Nicolas Poussin, Landscape with Diogenes,1647

• classical/historical landscape tradition

Richard Wilson, Lake Avernus, 18x22”, 1765

• classical/historical landscape tradition

Richard Wilson, Italian Landscape, 1774

• classical/historical landscape tradition

John Constable, Dedham Vail, 1828

• 1828 recognizes gypsies, 1821 version doesn’t

John Constable, Boatbuilding near Faltford, 1815

• lots of people in og sketch, 1 in final

George Morland, The Benevolent Sportsman, 1792

• imagery of poverty (gypsies move from place to place)

Morland, Gypsies in Landscape, 1797

• imagery of poverty (gypsies move from place to place)

Morland, Gypsy Encampment, 1895

• imagery of poverty (gypsies move from place to place)

Constable The White Horse, 1819

View on Stratford Mill, 50x72in, 1822

View on the Stour near Dedham, 50x72in, 1822

Constable, The Leaping Horse, 1815

• river with boat shows canals that were built to transport goods

• leaping horse has nothing to do with farming