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REALISM
A movement that emerged in mid-nineteenth-century
France. Realist artists represented the subject
matter of everyday life (especially that which up
until then had been considered inappropriate for
depiction) in a realistic mode.
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Courbet GUSTAVE COURBET The Stone
Breakers 1849 Oil on canvas 5' 3" x 8'
6 Formerly at Gemaldegalerie, Dresden (destroyed
in 1945).
The Lowest of the Low Courbet's The Stone
Breakers shows the drudgery of menial labor
directly and accurately.
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Courbet GUSTAVE COURBET Burial at
Ornans 1849. Oil on canvas approx. 10' x
22 Louvre, Paris.
The Anonymity of Peasant Life Gustave Courbet's
monumental Burial at Ornans depicts a funeral in
a provincial landscape attended by ordinary,
unposed people who cluster around the excavated
gravesite.
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Millet JEAN-FRANÇOIS MILLET The
Gleaners 1857 Oil on canvas approx. 2' 9" x 3'
8 Louvre, Paris.
Emphasizing the Painted Surface Through their
crude use of pigment, neglect of the conventions
of illusionism, and manipulation of the
composition, Realist painters called attention to
painting as a pictorial construction.
A Painter of Country Life In The Gleaners,
Jean-François Millet depicted impoverished
peasant women gleaning wheat left in the field
after the harvest.
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Daumier HONORÉ DAUMIER Rue Transnonain 1834 Li
thograph approx. 1' x 1' 5 ½ Philadelphia Museum
of Art, Philadelphia
Lampooning the Powers That Be In his lithograph,
Rue Transnonain, Honoré Daumier depicts in a
factual manner an atrocity that took place in a
workers' housing block on a street in Paris.
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Daumier HONORÉ DAUMIER The Third-Class
Carriage ca. 1862 Oil on canvas 2' 1 3/4" x 2' 11
1/2 Metropolitan Museum of Art, New York
The Plight of the Urban Poor Daumier's
unfinished The Third-Class Carriage shows the
working-class poor seated on wooden benches
inside a cramped and grimy railway carriage.
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Manet ÉDOUARD MANET Olympia 1863 Oil on
canvas 4' 3" x 6' 3 Musée d'Orsay, Paris
Scandalous Shamelessness and Audacity Manet's
broadly painted Olympia shows a shameless nude
woman reclining on a bed.
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PRE-RAPHAELITE BROTHERHOOD
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Embracing the Pre-Industrial Past In England,
John Everett Millais was a founder of the
Pre-Raphaelite Brotherhood, a group of artists
who used Realist techniques to represent
fictional, historical, and fanciful subjects.
PRE-RAPHAELITE BROTHERHOOD JOHN EVERETT
MILLAIS Ophelia 1852 Oil on canvas 2' 6" x 3'
8 Tate Gallery, London
A Shakespearean Heroine Drowned The subject of
Millais's Ophelia (from Shakespeare's Hamlet) is
the drowning of Ophelia, in which he attempted to
make the pathos of the scene visible through
faithful attention to every detail.
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Impressionism CLAUDE MONET Impression
Sunrise 1872 Oil on canvas Musée Marmottan, Paris
Impressionism and the Sketch Claude Monet's
painting Impression Sunrise was the source of
the term Impressionism, which describes paintings
that incorporated the abbreviated, quick, and
spontaneous qualities of sketches in order to
catch the sense or character of a specific
moment.
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Capturing a Fleeting Moment Impressionism
conveys the elusiveness and impermanence of
images and conditions found in the rapid and
chaotic changes that were transforming France
during the latter half of the nineteenth century.
Impressionism CLAUDE MONET Saint-Lazare
Train Station 1877 Oil on canvas Musée d'Orsay,
Paris
The Railroads and Parisian Life Monet's
Saint-Lazare Train Station reflects the impact on
Impressionism of contemporary industrialization
and urbanization.
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Impressionism EDGAR DEGAS Viscount Lepic and
His Daughters 1873 Oil on canvas approx. 2' 8" x
3' 11 The Hermitage, Saint Petersburg
A Glimpse of a Parisian Boulevard Scene The
unexpected angle of view and the divergent
movements of the figures of Edgar Degas' portrait
Viscount Lepic and His Daughters reflects the
artist's interest in photography and Japanese
prints. The painting is a vivid pictorial account
of a moment in time at a particular position in
space.
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Impressionism CAMILLE PISSARRO Place du
Théâtre Français 1895 Oil on canvas 2' 4 1/2" x
3' ½ Los Angeles County Museum of Art, Los
Angeles
A Panorama of Bustling Crowds Camille Pissarro's
panoramic Place du Théâtre Français shows a
spacious boulevard painted with blurred dark
accents against a light ground to create a sense
of a crowded Paris square viewed from high above
street level.
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Impressionism AUGUSTE RENOIR Le Moulin de la
Galette 1876 Oil on canvas approx. 4' 3" x 5'
8 Louvre, Paris.
Socializing at a Parisian Dance Hall Le Moulin
de la Galette by Pierre-Auguste Renoir shows a
popular Parisian dance hall in which he focuses
on incidental, momentary, and passing aspects of
the scene.
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Impressionism ÉDOUARD MANET A Bar at the
Folies-Bergère, 1882 Oil on canvas, approx. 3'
1" x 4' 3". The Courtauld Institute Galleries,
London.
A Perplexing Image of a Barmaid Édouard Manet's
A Bar at the Folies-Bergère shows a barmaid in
the popular Parisian café-concert. Manet calls
attention to the pictorial structure of the
painting through various visual contradictions.
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Impressionism EDGAR DEGA Ballet Rehearsal
(Adagio) 1876 Oil on canvas 1' 11" x 2'
9 Glasgow Museum, Glasgow
Of Music and Dance Ballet Images Edgar Degas's
Ballet Rehearsal (Adagio) shows the artist's
fascination with photography, Japanese prints,
and patterns of motion. He uses arbitrarily
cutoff figures, patterns of light splotches, and
blurriness of the images to create the effect of
a single moment.
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Impressionism CLAUDE MONET Le Bassin
d'Argenteuil 1874 Oil on canvas 55.2 cm. x 74.2
cm. Museum of Art, Rhode Island School of Design,
Providence
Sailing along the Seine Claude Monet's Le Bassin
d'Argenteuil shows sailboats on the Seine River
at Argenteuil. The shimmering reflections of the
boats on the water enliven the scene and impart a
feeling of vibrancy and spontaneity, which Monet
enhanced with choppy brushstrokes.
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Impressionism CLAUDE MONET Rouen Cathedral
The Portal (in Sun) 1894 Oil on canvas approx.
3' 3" x 2' 2 Metropolitan Museum of Art, New
York
Monet's Studies of Light and Color Monet painted
some forty views of Rouen Cathedral, each at a
different time of the day or under a different
climatic condition. In each painting he captured
an instantaneous representation of atmosphere and
climate at that moment and also created in the
series a record of the movement of light over the
surfaces of the cathedral over a period of time.
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Impressionism EDGAR DEGAS The Tub 1886.
Pastel 1' 11 1/2" x 2' 8 3/8 Musée d'Orsay,
Paris of Art, New York
Degas's Pastel and Line Drawing In his pastel
drawing of The Tub, Edgar Degas shows a young
woman crouching in a washing tub. A conflict is
apparent between some forms that appear flat and
aligned with the picture's two-dimensional
surface, while other forms appear to have
three-dimensional volume.
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Impressionism MARY CASSATT The Bath ca.
1892 Oil on canvas 3' 3" x 2' 2 The Art
Institute of Chicago, Chicago
The Tenderness of Mother and Child Mary
Cassatt's The Bath contrasts the visual solidity
of the mother and child with the flattened
patterning of the wallpaper and rug.
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Impressionism HENRI DE TOULOUSE-LAUTREC At
the Moulin Rouge, 1892-1895 Oil on canvas approx.
4' x 4' 7 The Art Institute of Chicago, Chicago
Exploring the Nightlife of Paris The oblique and
asymmetrical composition, the spatial diagonals,
and the strong line patterns with added dissonant
colors in At the Moulin Rouge reveals the
influence on Henri de Toulouse Lautrec of
Japanese prints and photography. But each element
is also emphasized or exaggerated to produce a
distorted and simplified image that is expressive
of Toulouse-Lautrec's perception the scene.
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Post-Impressionism
POST-IMPRESSIONISM EXPERIMENTING WITH FORM AND
COLORBy the 1880s, Impressionism came to be
seen as too limited and artists began to examine
the properties and the expressive qualities of
line, pattern, form, and color. Vincent van Gogh
and Paul Gauguin explored the expressive
capabilities of formal elements Georges Seurat
and Paul Cézanne were more analytical in
orientation.
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Post-Impressionism VINCENT VAN GOGH The
Night Café 1888 Oil on canvas approx. 2' 4 1/2" x
3 Yale University Art Gallery, New Haven
Expressive Colors and Distorted Forms In The
Night Café, Vincent van Gogh explored the
capabilities of colors and distorted forms to
express his emotions as he confronted nature.
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Post-Impressionism VINCENT VAN GOGH Starry
Night 1889 Oil on canvas approx. 2' 5" x 3' 1/4
Museum of Modern Art, New York
Glimmers of Hope? Vincent van Gogh's
"expressionist" method is seen in the choice of
color and turbulent brushstrokes of The Starry
Night, in which he represents the night sky
filled with whirling and exploding stars and
galaxies of stars.
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Post-Impressionism PAUL GAUGUIN The Vision
after the Sermon or Jacob Wrestling with the
Angel 1888 Oil on canvas 2' 4 3/4" x 3 1/2 The
National Galleries of Scotland, Edinburgh
From Impressionism to Flat Color In The Vision
after the Sermon, or Jacob Wrestling with the
Angel, Paul Gauguin wanted to show the ancient,
unspoiled Celtic folkways and Catholic piety of
peasant men and women in Brittany. The elements
in the picture are composed to focus viewers'
attention on the idea and intensify its message.
The scene has been abstracted into a pattern in
which perspective is twisted and the colors are
unnatural and unmodulated.
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Post-Impressionism GEORGES SEURAT Sunday on
the Island of La Grande Jatte 18841886 Oil on
canvas approx. 6' 9" x 10 The Art Institute of
Chicago, Chicago
The Science of Color George Seurat's system of
pointillism or divisionism, which involved
separating color into its component parts, is
seen in his Sunday Afternoon on the Island of La
Grande Jatte. Pure colors were added to the
canvas in tiny dots (points) or daubs of pigment,
which were blended into comprehensible colors by
the viewer's eyes when viewed from a distance.
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Post-Impressionism PAUL CÉZANNE Still Life
with Basket of Apples 18901894 Oil on canvas 2'
3/8" x 2' 7 The Art Institute of Chicago,
Chicago
Revealing the Underlying Structure In Still Life
with Basket of Apples, Cézanne focused on the
form of the objects, reducing the bottles and
fruit to cylinders and spheres. By juxtaposing
color patches, he captured the solidity of each
object. Objects, however, do not appear optically
realistic and, moreover, seem to be depicted from
different vantage points, producing disjuncture
and discontinuities in the picture.