Chapter Thirteen

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Chapter Thirteen
Gardner's Art through the Ages, Concise Edition
by Fred Kleiner

• Europe and America, 1870-1900

Prepared by Kelly Donahue-Wallace Randal
Wallace University of North Texas
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Impressionism

• Dates and Places
• 1870 to 1890
• France, England, US
• People
• Industrialization, urbanization
• Leisure
• Self-conscious modernity and modernism

JAMES ABBOTT MCNEILL WHISTLER, Nocturne in Black
and Gold (The Falling Rocket), ca. 1875. Fig.
13-1.
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Impressionism

• Themes
• Landscape, cityscape
• Urban life
• Leisure activities
• Forms
• Fleeting effects of light
• Unblended brushstrokes
• Plein air (outdoor) painting
• Influence of Japanese prints

MARY CASSATT, The Bath, ca. 1892. Fig. 13-6.
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Impressionism

• Example
• Impressionist Movements name derived from
  painting title
• First Impressionist show
• Honesty of materials
• Capture sensations of moment
• Painted outdoors

CLAUDE MONET, Impression Sunrise, 1872. Fig.
13-2.
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Impressionism

• Example
• Urban life
• Technology, travel, speed
• Fleeting effects of smoke
• Agitated brushwork

CLAUDE MONET, Saint-Lazare Train Station, 1877.
Fig. 13-3.
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Impressionism

• Example
• Leisure activities of city dwellers
• Dappled light through leaves
• Casual composition, forms cut off continuity of
  space
• Incidental, momentary

PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette,
1876. Fig. 13-4.
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Impressionism

• Example
• Leisure activities of city dwellers
• Influence of imported Japanese prints
• Japanese composition, viewpoint
• Photography for preliminary studies

EDGAR DEGAS, Ballet Rehearsal, 1874. Fig. 13-5.
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Post-Impressionism

• Dates and Places
• 1890 to 1905
• France
• People
• Urbanization
• Café society
• Colonization
• Individual exploration of feeling, mental state

PAUL GAUGUIN, Vision after the Sermon, or Jacob
Wrestling with the Angel, 1888. Fig. 13-11.
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Post-Impressionism

• Themes
• Urban life
• Landscape
• Exotic themes
• Forms
• No single approach
• Rejection of illusionism, window onto the world
• Expressive use of color, line, brush stroke

PAUL CÉZANNE, Mont Sainte-Victoire, 19021904.
Fig. 13-13.
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Post-Impressionism

• Example
• Café society
• Influence of Japanese prints
• Expressive exaggeration of forms, lines
• Expressive use of non-local color

HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge,
18921895. Fig. 13-7.
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Post-Impressionism

• Example
• Color theory
• Pointillism, divisionism
• Leisure activity of urban working class

GEORGES SEURAT, A Sunday on La Grande Jatte,
18841886. Fig. 13-8.
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Post-Impressionism
VINCENT VAN GOGH, Starry Night, 1889. Fig. 13-10.
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Post-Impressionism

• Example
• Formal properties to communicate his state of
  mind
• Feeling about landscape, not objective record
• Expressive distortion
• Expressive brush strokes

VINCENT VAN GOGH, Starry Night, 1889. Fig. 13-10.
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Post-Impressionism

• Example
• Expressive power of color
• Flat color, outlines
• Sought natural people
• French colonialism in Tahiti
• Paints as exotic, primitive people

PAUL GAUGUIN, Where Do We Come From? What Are We?
Where Are We Going? 1897. Fig. 13-12.
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Post-Impressionism

• Example
• Systematic representation of shapes and colors
• Properties of lines, planes, colors
• Solidity of forms
• Seen from different viewpoints

PAUL CÉZANNE, Basket of Apples, ca. 1895. Fig.
13-14.
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Post-Impressionism

• Example
• Expressive use of light and shadow
• Emphasis on human emotion to tragic event
• Treatment of surface emphasizes reality, not
  smoothness

AUGUSTE RODIN, Burghers of Calais, 18841889.
Fig. 13-18.
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Symbolist Painting

• Dates and Places
• End of 19th century
• Western Europe
• People
• Hedonism, pessimism, escapism at the end of
  century
• Influence of psychiatry and study of mind

HENRI ROUSSEAU, Sleeping Gypsy, 1897. Fig. 13-15.
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Symbolist Painting

• Themes
• Fantasy, dreamlike images
• Mysterious, exotic
• Nightmarish
• Forms
• Not a unified style
• Expressive use of form and color
• Rejected illusionism

EDVARD MUNCH, The Scream, 1893. Fig. 13-16.
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Symbolist Painting

• Example
• Untrained artist
• Dreamlike theme
• Threatening lion
• Uneasy reminder of vulnerability
• Unconscious mind

HENRI ROUSSEAU, Sleeping Gypsy, 1897. Fig. 13-15.
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Symbolist Painting

• Example
• Angst of modern, urban life
• State of mind, madness
• Expressive distortion of form
• Expressive non-local color

EDVARD MUNCH, The Scream, 1893. Fig. 13-16.
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Architecture 1870-1900

• Example
• Created for exhibition
• Honesty of structure and purpose
• Skeleton exposed
• Transparent

ALEXANDRE-GUSTAVE EIFFEL, Eiffel Tower, 1889.
Fig. 13-19.
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Architecture 1870-1900

• Example
• New material steel
• Skyscraper, open work spaces
• Rejects traditions
• Form follows function
• Limited ornament
• Honesty to interior organization

LOUIS HENRY SULLIVAN, Guaranty (Prudential)
Building, 18941896. Fig. 13-20.