Europe and America, 1800-1870, Modernism and Realism
• Examine the meanings of “Modernism” and “Realism” and
the rejection of Renaissance illusionistic space.
• Understand the changes in Realist art in form, style, and
content.
• Examine the use of art – especially photography and
printmaking -- to provide social commentary.
1
The Art of Realism
• Understand Realist art in its forms, styles, and content.
• Examine the social commentary, shocking subject matter,
formal elements, and public reaction to Realism.
2
Realist Influences: Pieter Breughel
Louis Le Nain, Family of Country People, ca. 1640
Le Nain Brothers, The Cart or Return from Haymaking, 1641
Realist Influences: Chardin,
Woman Cleaning Turnips,
1738
Figure 30-27 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on
canvas, 5’ 3” x 8’ 6”. Formerly at Gemäldegalerie, Dresden (destroyed in
1945). 7
Figure 30-28 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on
canvas, 10’ 3 1/2” x 22’ 9 1/2”. Musée d’Orsay, Paris.
8
GUSTAVE COURBET, The Painter’s Studio: A Real Allegory of a Seven Year
Phase in my Artistic and Moral Life, 1855. Oil on canvas, 11’ 10” x 19’ 9 ”.
Musée d’Orsay, Paris. 9
Figure 30-29 JEAN-FRANÇOIS MILLET, The Gleaners, 1857. Oil on canvas, 2’ 9” x 3’ 8”.
Musée d’Orsay, Paris. 10
Figure 30-32 ROSA BONHEUR, The Horse Fair, 1853–1855. Oil on canvas, 8’ 1/4” x 16’ 7 1/2”. Metropolitan Museum
of Art, New York (gift of Cornelius Vanderbilt, 1887).
11
ROSA BONHEUR, Plowing in the Nivervais, 1849. Oil
on canvas, 5’ 9” x 8’ 8”. Musee d’Orsay 12
Honore Daumier, Louis Philippe as Gargantua
Figure 30-30 HONORÉ DAUMIER, Rue Transnonain, 1834. Lithograph, 1’ x 1’ 5 1/2”. Philadelphia Museum of Art,
Philadelphia (bequest of Fiske and Marie Kimball).
17
Figure 30-31 HONORÉ DAUMIER, Third-Class Carriage, ca. 1862. Oil on canvas, 2’ 1 3/4” x 2’ 11 1/2”. Metropolitan
Museum of Art, New York (H. O. Havemeyer Collection, bequest of Mrs. H. O. Havemeyer, 1929).
18
Figure 30-33 ÉDOUARD MANET, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863. Oil on canvas, 7’ x 8’ 10”. Musée
d’Orsay, Paris. 19
Giorgione, Pastoral Symphony
30.4 The French Academy and Other Classical Models
• Examine the importance and influence of the French Royal
Academy of Art, the artists it trained and the styles it
promoted.
• Understand the popularity of other classical models in art.
21
Figure 30-34 ÉDOUARD MANET, Olympia, 1863. Oil on canvas, 4’ 3” x 6’ 2 1/4”. Musée d’Orsay, Paris.
22
Figure 30-35 ADOLPHE-WILLIAM
BOUGUEREAU, Nymphs and Satyr, 1873. Oil on
canvas, approx. 9’ 3/8” x 5’ 10 7/8” high. Sterling
and Francine Clark Art Institute, Williamstown,
Massachusetts.
23
German and American Realism
• Examine German artist’s interests in regional and national
characteristics, folk customs and culture.
• Identify the American artists and key works of Realist art.
24
Figure 30-36 WILLIAM LEIBL, Three Women in a
Village Church, 1878-1882. Oil on canvas, 2’ 5” x 2’ 1”.
Kunsthalle, Hamburg.
25
Figure 30-37 WINSLOW HOMER, Veteran in a New Field, 1865. Oil on canvas, 2’ 1/8” x 3’ 2 1/8”. Metropolitan
Museum of Art, New York (bequest of Miss Adelaide Milton de Groot, 1967).
26
Winslow Homer, The Gulf Stream
Key West, Hauling Anchor (watercolor)
Figure 30-38 THOMAS EAKINS, The
Gross Clinic, 1875. Oil on canvas, 8’ x 6’ 6”.
Philadelphia Museum of Art, Philadelphia.
30
Figure 30-39 JOHN SINGER SARGENT, The Daughters of Edward Darley Boit, 1882. Oil on canvas, 7’ 3 3/8” x 7’ 3 5/8”.
Museum of Fine Arts, Boston (gift of Mary Louisa Boit, Florence D. Boit, Jane Hubbard Boit, and Julia Overing Boit, in
memory of their father, Edward Darley Boit). 34
35
Figure 24-30 DIEGO VELÁZQUEZ,
Las Meninas (The Maids of Honor), 1656. Oil
on canvas, approx. 10’ 5” x 9’. Museo del
Prado, Madrid.
Figure 30-40 HENRY OSSAWA TANNER, The Thankful Poor, 1894. Oil on canvas, 2’ 11 1/2” x 3’ 8 1/4”. Collection of
William H. and Camille Cosby. 36
Henry Ossawa
Tanner
• Student of Thomas
Eakins
• 19th centuryAfrican
American life
Portrait of Henry Ossawa Tanner by
Eakins and Photograph
Figure 30-41 EDMONIA LEWIS, Forever Free, 1867.
Marble, 3’ 5 1/4” high. James A. Porter Gallery of Afro-
American Art, Howard University, Washington, D.C.
39
40
30.5 Pre-Raphaelites
• Examine the Pre-Raphaelites’ choice of subject matter in
contrast to the Realists.
• Understand the influences of the literary world and of the
critic John Ruskin in the art of the Pre-Raphaelites.
• Identify artists and styles of the Pre-Raphaelite movement.
41
Figure 30-42 JOHN EVERETT MILLAIS, Ophelia, 1852. Oil on canvas, 2’ 6” x 3’ 8”. Tate Gallery, London.
42
Figure 30-43 DANTE GABRIEL
ROSSETTI, Beata Beatrix, ca. 1863. Oil on
canvas, 2’ 10” x 2’ 2”. Tate Gallery, London.
43
30.6 19th Century Architecture
• Examine the variety of revivalist styles in architecture, the
origins of the designs and their impact.
• Discuss how the availability of new building materials will
affect the structure and appearance of architecture
44
Figure 30-44 CHARLES BARRY and A. W. N. PUGIN, Houses of Parliament, London, England, designed 1835.
45
Figure 30-45 JOHN NASH, Royal Pavilion, Brighton, England, 1815–1818.
Figure 30-46 CHARLES GARNIER, the Opera, Paris, France, 1861-1874
46
Figure 30-47 HENRI LABROUSTE, reading room of the Bibliotheque Sainte-Genevieve, Paris, France,
1843-1850.
47
Figure 30-48 JOSEPH PAXTON, Crystal Palace, London, England, 1850-1851; enlarged and relocated at Sydenham, England,
1852-1854. Detail of a color lithograph by ACHILLE-LOUIS MARTINET, ca. 1862. Private collection.
48
49
30.7 Photography
• Examine the origins of photography and its impact in visual
art.
• Discuss initial uses of the new art medium known as
photography.
• Recognize the artists and the works of early photography.
• Examine artist’s use and response to the technology of
photography.
50
Figure 30-49 HONORÉ DAUMIER,
Nadar Raising Photography to the Height of Art,
1862. Lithograph, 10 3/4” x 8 3/4”.
Museum of Fine Arts, Boston.
51
Figure 30-50 LOUIS-JACQUES-MANDÉ DAGUERRE, Still Life in Studio, 1837. 6 1/4” x 8 1/4”. Daguerreotype.
Collection Société Française de Photographie, Paris.
Harmen Steenwyck
The Vanities of Human Life
53
Figure 30-51 JOSIAH JOHNSON HAWES and ALBERT SANDS SOUTHWORTH, Early Operation under Ether,
Massachusetts General Hospital, ca. 1847. Daguerreotype. Massachusetts General Hospital Archives and Special Collections,
Boston.
Figure 30-38 THOMAS EAKINS, The
Gross Clinic, 1875. Oil on canvas, 8’ x 6’ 6”.
Philadelphia Museum of Art, Philadelphia.
54
55
Figure 25-12 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”.
Mauritshuis, The Hague.
56
Figure 30-1 NADAR, Eugène Delacroix, ca.
1855. Modern print, 8 1/2”x 6 2/3” from
original negative in the Bibliothèque Nationale,
Paris.
57
Figure 30-52 JULIA MARGARET
CAMERON, Ophelia, Study no. 2, 1867.
Albumen print, 1' 1" x 10 2/3". George
Eastman House, Rochester (gift of
Eastman Kodak Company; formerly
Gabriel Cromer Collection)
58
Figure 30-53 TIMOTHY O’SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania, July 1863. Negative by Timothy
O’Sullivan. Original print by ALEXANDER GARDNER, 6 3/4" x 8 3/4". New York Public Library (Astor, Lenox and
Tilden Foundations, Rare Books and Manuscript Division), New York.
59
Figure 30-54 EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print, 9” x 12”. George Eastman House,
Rochester, New York.
60
Discussion Questions
Identify the formal artistic differences between
Neoclassicism and Romanticism.
Describe the debate over 19th century aesthetic theory, as
characterized by the Poussinistes vs. the Rubenistes.
What is meant by French academic art? How did the works
of the Realists factor into French academic standards?
How would you describe the work of Eduoard Manet?
What were major developments in 19th century
architecture?
What was the impact of photography during the 19th
century?
