FoliesBergere 1852 oil on canvas 3 1 x 4 3 Fig 2926 Edgar Degas Ballet Rehearsal 1874 oil on canvas 1 11 x 2 9 Fig 2927 Suzuki Harunobu Evening Bell at the Clock ID: 678440
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Slide1Slide2
Edouard
Manet, A Bar at the Folies-Bergere, 1852, oil on canvas, 3’ 1” x 4’ 3” Fig 29-26Slide3
Edgar Degas,
Ballet Rehearsal,
1874, oil on canvas, 1’ 11” x 2’ 9” Fig 29-27Slide4
Suzuki
Harunobu
, Evening Bell at the Clock, ca. 1765, woodblock print, Fig 27-11Slide5
Katsushika Hokusai,
The Great Wave of Kanagawa, from the Thirty-Six Views of Mount Fuji series,
Edo Period, 1826-1833, woodblock print, 9” x 1’ 2” Fig 27-12Slide6
Berthe
Morisot,
Villa at the Seaside, 1874, oil on canvas, 1’ 7” x 2’, Fig 29-28Slide7
Claude Monet, 1894, oil on
canvas
Rouen Cathedral: The Portal (in Sun) , 3’ 3” x 2’ 1” Fig 29-29Slide8
Rouen Cathedral images,
Claude MonetSlide9
Edgar Degas,
The Tub,
1886, pastel, 1’ 11” x 2’ 8” Fig 29-30Slide10
Mary Cassatt,
The Bath,
ca. 1892, oil on canvas, 3’ 3” x 2’ 2” Fig 29-31Slide11
Henri de Toulouse-Lautrec
, At the Moulin Rouge
, 1892-1895, oil on canvas, 4’x 4’ 7” Fig 29-32Slide12
Quite a character!
Self caricature, Degas,
Self-Portrait (two!) Slide13
James Abbott McNeill Whistler,
Nocturne in Black and Gold (The Falling Rocket),
ca. 1875, oil on panel, 1’ 11” x 1’ 6’
Fig 29-33Slide14
1886 Impressionists accepted by large segment of the population
A group of younger artists sought to return to more traditional elements of picture making
1880s: Vincent van Gogh, Paul Gauguin, Georges Seurat, Paul Cezanne Interest in: line, pattern, color, & formTheir work is based on Impressionist precepts and methods (hence the name!)
Post-Impressionism!Slide15
Vincent van Gogh,
The Night Café
, 1888, oil on canvas, 2’ 4” x 3’ Fig 29-34Slide16
Paul Gauguin,
The Vision After the Sermon, or Jacob Wrestling with the Angel,
1888, oil on canvas, 2’ 4” x 3’ Fig 29-36Slide17
Paul Gauguin,
Where do we come from? What are we? Where are we going?
1897, oil on canvas, 4’ 6” x 12’ 3” Fig 29-37Slide18
Georges Seurat,
A Sunday on the La Grande
Jatte, 1884-1886, 6’ 9” x 10’ Fig 29-39Slide19
Paul Cezanne,
Mount Sainte
Victoire, 1902-1904, oil on canvas, 2’ 3” x 2’ 11” Fig 29-40Slide20
Paul Cezanne,
The Basket of Apples,
ca. 1895, oil on canvas, 2’ x 2’ 7” Fig 29-41Slide21
Each new movement challenged the movement before it, & the artistic conventions
Avant-Garde: any new or cutting-edge cultural manifestation
Post-Impressionists were the first to be labeled Avant-garde Symbolism: artists who sought symbols to convey spiritual messages of a world beyond this world
Rise of the
Avant-GardeSlide22
Odilon
Redon,
The Cyclops, 1898, oil on canvas, 2’ 1” x 1’ 8” Fig 29-44Slide23
Henri Rousseau,
The Sleeping Gypsy,
1897, oil on canvas, 4’ 3” x 6’ 7” Fig 29-45Slide24
Edvard
Munch,
The Cry, 1893, oil, pastel, and casein on cardboard, 2’ 11” x 2’ 5” Fig 29-46Slide25
Auguste
Rodin,
Burghers of Calais, 1884-1889, bronze, 6’ 10”high 7’ 11” long 6’ 6” deep, Fig 29-50Slide26
Arts & Craft movement in England shaped by Art Critic John Ruskin and William Morris (artist)
Advocated for art “made by the people for the people as a joy for the maker and the user”
Artwork shows organic lines, natural designs, repeated floral, geometric
Many schools, guilds and workshops begun
Arts and Crafts Movement!Slide27
William Morris,
Green Dining Room,
1867, Fig 29-51Slide28
Victor
Horta
, staircase in the Van Eetvelde House, Brussels, Belgium, 1895, Fig 29-53Slide29
Antonio Gaudi,
Casa Mila,
Barcelona, 1907Slide30
Gustav Klimt,
The Kiss,
1907-1908, oil on canvas, 5’ 10” x 5’ 10” Fig 29-56Slide31
Steel available after 1860s allowed architects to enclose ever larger spaces
Eiffel tower contributes to the development of 20
th cent skyscrapersCreated for great exhibition in Paris 1889984 feet tall, the world’s highest structure at the time
Metal skeleton structure
New changes in architecture so that buildings could be larger, new styles, faster production for rapidly urbanized world
Architecture in the late 19
th
cent
Alexander-Gustave Eiffel, Eiffel Tower, Paris, France, 1889 FIG 29-57Slide32
Louis Henry Sullivan,
Guaranty (Prudential) Building,
Buffalo, NY, 1894-1896, Fig 29-59