World off art 8th edtion by henry m sayre chapter 19

Photo © RMN-Grand Palais Château de Versailles/Daniel Arnaudet/Gérard Blot... Musée du Louvre, Paris.. Photo © RMN-Grand Palais musée du Louvre/Thierry Le Mage... Photo © RMN-Grand Palai

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The Eighteenth and Nineteenth Centuries

19

Learning Objectives

1 of 3

1 Describe the two styles of art that vied

for favor in the court of Louis XIV and the style that came to dominate the

court of Louis XV.

2 Explain how contact between China

and Europe influenced the art of both.

3 Define Neoclassicism and describe

how it reflected the political

aspirations of the age.

Learning Objectives

2 of 3

4 Outline the beliefs that unify

Romanticism as a movement.

5 Explain how Realism replaced the

idealizing tendencies of the Romantic movement.

6 Define Impressionism in terms of both

its stylistic techniques and its subject matter.

Learning Objectives

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7 Explain some of the ways that the

Post-Impressionists extended and redirected the Impressionist

enterprise.

• During his reign in France, Louis XIV

declared himself Le Roi Soleil, "the Sun

King."

• Hyacinthe Rigaud's official portrait of

the king shows off the heeled shoes he had designed.

• Louis's tastes were eclectic and

self-indulgent in both the artistic and

political spheres.

Hyacinthe Rigaud, Louis XIV, King of France.

1701 Oil on canvas, 9' 1" × 6' 4-3/8" Château de Versailles et du Trianon, Versailles, France.Inv MV2041 Photo © RMN-Grand Palais (Château de Versailles)/Daniel Arnaudet/Gérard Blot

[Fig 19-1]

The Early Eighteenth Century

• Royal courts in the eighteenth century

modeled themselves on the aesthetic standards placed by Louis XIV during his reign from 1643 until 1715.

Poussin versus Rubens

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• Nicolas Poussin believed the aim of

painting was representing noble human actions, and he repressed elements

such as color in Landscape with St John

on Patmos.

 Every detail is painted to Classicizing

order.

 His work was prized by Le Brun, the

head of the Royal Academy at the time.

Nicolas Poussin, Landscape with St John on Patmos.

1640 Oil on canvas, 40" × 4' 5-1/2" The Art Institute of Chicago

A A Munger Collection, 1930.500 Photo © 2015 Art Institute of Chicago [Fig 19-2]

Poussin versus Rubens

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• Flemish Baroque painter Peter Paul

Rubens painted The Disembarkation of Marie de' Medici with diagonals rather

than a Classical grid.

 His work is painterly; features a low,

angled point of view; and creates

competing areas of interest.

 In contrast, Poussin's style is defined by linear clarity.

Peter Paul Rubens, The Disembarkation of Marie de' Medici at the Port of Marseilles on

November 3, 1600.

1621–25 Oil on canvas, 13 × 10' Musée du Louvre, Paris

akg-image/Erich Lessing [Fig 19-3]

The Rococo

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aristocratic hostesses that reveled in social status.

 Art and music were prominent, as were gossip, wit, and sexual intrigue.

 Fragonard's Bathers was created to

appeal to the tastes of the French court.

decorative stones and shells.

Jean-Honoré Fragonard, Bathers.

ca 1765 Oil on wood, 25-1/4 × 31-1/2" Musée du Louvre, Paris

© 2015 Photo Scala, Florence [Fig 19-4]

portrait of The Duchess of Polignac

features Baroque sensibility.

Marie-Louise-Élisabeth Vigée-Lebrun, The Duchess of Polignac.

1783 Oil on canvas, 38-3/4 × 28"

Private Collection/Bridgeman Images [Fig 19-5]

Cross-Cultural Contact:

China and Europe

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• By 1715, major trading nations in

Europe had an office in Canton due to

European taste for chinoiserie.

• Ceramists in Germany learned to make

their own porcelain.

• Boucher imitated blue-on-white

patterns in oil paint in Le Chinois

galant, which included a depiction of a

statue of Buddha.

François Boucher, Le Chinois galant.

1742 Oil on canvas, 41" × 4' 9" The David Collection, Copenhagen, Denmark

Inv B 275 Photo: Pernille Klemp [Fig 19-6]

Cross-Cultural Contact:

China and Europe

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• Qing rulers in China summoned many

artists to the Beijing court, where some studied Western techniques.

• In port cities, Chinese artists created

images for export that would come to show an understanding of perspective.

 Objects that were decorated included

woodblock prints and ceramic bowls.

Punch bowl with view of Canton.

1783–86 Enameled ceramic, porcelain The British Museum, London

© The Trustees of the British Museum [Fig 19-7]

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• After the unearthing of Herculaneum

and Pompeii, Neoclassicism became a

replacement for self-indulgence found

in the Rococo style.

• Angelica Kauffmann's Egeria Handing

Numa Pompilius His Shield depicts a

myth wherein a water nymph advises

Numa in establishing Roman rules, but reminds him to remember the heavens.

Angelica Kauffmann, Egeria Handing Numa Pompilius His Shield.

1794 Oil on canvas, 17 × 18-3/4" Private collection

Photo: © Christie's Images/Bridgeman Images [Fig 19-8]

2 of 4

• Jacques-Louis David was a prolific

Neoclassical painter who participated in the French Revolution.

 Death of Marat poses the figure of Marat

in a manner similar to the poses of

Christ in Deposition scenes.

• Thomas Jefferson utilized themes of

order, harmony, and moral perfection in his home at Monticello.

Jacques-Louis David, The Death of Marat.

1793 Oil on canvas, 5' 5" × 4' 2-1/2" Musées Royaux des Beaux-Arts de Belgique,

Brussels

© Musées Royaux des Beaux-Arts de Belgique, Brussels Photo: J Geleyns/Ro scan

[Fig 19-9]

Thomas Jefferson, Monticello, Charlottesville, Virginia.

1770–84; 1796–1806

Courtesy of Library of Congress [Fig 19-10]

3 of 4

• Napoleon's invasions of Italy brought

back Classical sculpture as well as the model for the Arc de Triomphe and the church, La Madeleine

 Neoclassical art was used to legitimize the empire

• Jean-Auguste-Dominique Ingres painted

with a loose, more Mannerist style in

Grande Odalisque

Pierre-Alexandre Vignon, La Madeleine, Paris.

1806–42 Length 350', width 147', height of podium 23', height of columns 63'

© Lebrecht Music and Arts Photo Library/Alamy [Fig 19-11]

Jean-Auguste-Dominique Ingres, Grande Odalisque.

1814 Oil on canvas, 35-1/4" × 5' 3-3/4" Musée du Louvre, Paris

Inv RF1158 Photo © RMN-Grand Palais (musée du Louvre)/Thierry Le Mage

[Fig 19-12]

4 of 4

• Eugène Delacroix's Odalisque makes

the Classicism of Ingres's Odalisque

Eugène Delacroix, Odalisque.

1845–50 Oil on canvas, 14-7/8 × 18-1/4" Fitzwilliam Museum, University of Cambridge,

England

Bridgeman Images [Fig 19-13]

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function of an individual's point of view.

 The movement is unified by

philosophical affirmation rather than

formal principles.

• John Constable painted The Hay Wain

with an unpredictable sky contrasting the unchanging stability of a farmer's house.

John Constable, The Hay Wain.

1821 Oil on canvas, 4' 3-3/8" × 6' 1" The National Gallery, London

Presented by Henry Vaughan, 1886 Inv 5387 © 2015 Copyright National Gallery,

London/Scala, Florence [Fig 19-14]

2 of 4

• Joseph Mallord William Turner created

English landscapes on large scales with particular attention to light.

 The human figure in The Upper Falls of the Reichenbach is minuscule.

 His interest was in depicting the

sublime, a concept of awe-inspiring

sights that the human mind struggled to comprehend.

J M W Turner, The Upper Falls of the Reichenbach.

ca 1810–15 Watercolor, 10-7/8 × 15-7⁄16" Yale Center for British Art

Paul Mellon Collection, B1977.14.4702 [Fig 19-15]

3 of 4

• Caspar David Friedrich's Monk by the

Sea shows a vast and dark space, a

terrifying side of the sublime.

• Francisco Goya produced frightening

images with subjects such as inmates

at an asylum.

 Saturn Devouring One of His Sons shows

cannibalism in a world without moral

force.

Caspar David Friedrich, Monk by the Sea.

1809–10 Oil on canvas, 42-1/2" × 5' 7" Nationalgalerie, Staatliche Museen zu, Berlin Inv NG 9/85 Photo: Joerg P Anders © 2015 Scala, Florence/bpk, Bildagentur fuer Kunst,

Kultur und Geschichte, Berlin [Fig 19-16]

Francisco Goya, Saturn Devouring One of His Sons.

1820–22 Fresco, transferred to canvas, 4' 9-7/8" × 32-5/8" Museo Nacional del Prado,

Madrid

© 2015 Photo Scala, Florence [Fig 19-17]

4 of 4

• Théodore Géricault based The Raft of the

Medusa on a real-life event a shipwreck

that only had 15 survivors.

decadence, as the captain of the ship was appointed based on his connections with French monarchy.

model of the composition made in his

studio to better arrange the figures.

Théodore Géricault, The Raft of the Medusa.

1819 Oil on canvas, 16' 1-1/4" × 23' 6" Musée du Louvre, Paris

Inv RF2229 Photo © RMN-Grand Palais (musée du Louvre)/Martine Beck-Coppola

[Fig 19-18]

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• Delacroix's Liberty Leading the People

can be contrasted with Géricault's Raft

of the Medusa.

 Although Liberty is an idealized figure, the battle pictured is depicted in a

highly realistic manner, with dead

bodies amidst city landmarks.

• Ernest Meissoner's Memory of Civil War

depicts war with no nobility.

Eugène Delacroix, Liberty Leading the People.

1830 Oil on canvas, 8' 6-3/8" × 10' 8" Musée du Louvre, Paris

Louvre-Lens, France/Bridgeman Images [Fig 19-19]

Ernest Meissonier, Memory of Civil War (The Barricades).

1849 Oil on canvas, 11-1/2 × 8-3/4" Musée du Louvre, Paris

Inv RF1942-31 Photo © RMN-Grand Palais (musée du Louvre)/Droits réservés

[Fig 19-20]

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• Gustave Courbet was dedicated to

representing reality and confined his work

to subjects in daily life.

• Burial at Ornans was rejected from the

Universal Exposition of 1855, as its tone was monotonous and it showed ordinary people.

 Honoré Daumier responded with a cartoon

depicting the Fight between Schools,

Idealism and Realism.

Gustave Courbet, Burial at Ornans.

1849 Oil on canvas, 10' 3-1/2" × 21' 9" Musée d'Orsay, Paris

Inv RF325 Photo © RMN-Grand Palais (musée d'Orsay)/Gérard Blot/Hervé Lewandowski

[Fig 19-21]

Honoré Daumier, Fight between Schools, Idealism and Realism.

1855

Bridgeman Images [Fig 19-22]

3 of 6

• Rosa Bonheur painted Plowing in the

Nervernais as a response to the French

Revolution of 1848.

 Her realism in depicting animals and the life of the common peasant earned her fame.

• Édouard Manet took his work in the

direction of "being with the times" that was so valued in the modern world.

Rosa Bonheur, Plowing in the Nivernais.

1849 Oil on canvas, 5' 9" × 8' 8" Musée d'Orsay, Paris

Inv RF64 Photo © RMN-Grand Palais (musée d'Orsay)/Michel Urtado [Fig 19-23]

4 of 6

• Le Déjeuner sur l'herbe shocked

viewers by portraying the contempt Manet had for the bourgeoisie.

 It drew inspiration from a Renaissance

engraving, The Judgment of Paris

 However, viewers did not realize this parallel and focused on the brazen

nudity of the figure staring back at

them.

Édouard Manet, Le Déjeuner sur l'herbe (Luncheon on the Grass).

1863 Oil on canvas, 7' × 8' 10" Musée d'Orsay, Paris

Inv RF1668 Photo © RMN-Grand Palais (musée d'Orsay)/Hervé Lewandowski

[Fig 19-24]

Marcantonio Raimondi, The Judgment of Paris (detail).

ca 1510–20 Oil engraving, after Raphael Clipped impression,plate line 11-5/8 × 17-1/4" Metropolitan Museum of Art, New York

Rogers Fund, 1919.74.1 © 2015 Image copyright Metropolitan Museum of Art/Art

Resource/Scala, Florence [Fig 19-25]

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• Edgar Degas's The Glass of Absinthe

was directly influenced by the broad, visible paintbrush strokes of Manet's work.

 His depiction of the consequences of drinking absinthe reflected the

underbelly of café society in Paris;

eventually, absinthe was banned in France altogether.

Edgar Degas, The Glass of Absinthe.

1875–76 Oil on canvas, 36 × 27" Musée d'Orsay, Paris

© 2015 Photo Scala, Florence [Fig 19-26]

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• Manet painted Chez le Père Lathuille

based on a famous café in Paris.

 The scene shows a young man openly attempting to seduce a young woman who purses her lips; other tables in the restaurant are empty a waiter stands

by, watching.

Édouard Manet, Chez le Père Lathuille.

1879 Oil on canvas, 36-5/8 × 44" Musée des Beaux-Arts, Tournai, Belgium

© 2015 Photo Scala, Florence [Fig 19-27]

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• Painter Claude Monet painted wet

pigment onto an already-wet surface

with loose brushstrokes.

 His painting Impression—Sunrise

quipped the term Impressionist, which

named a movement of artists whose

goal was to communicate scenes with spontaneous feeling.

Claude Monet, Impression—Sunrise.

Oil on canvas, 19-1/2 × 25-1/2" Musée Marmottan, Paris

Bridgeman Images [Fig 19-28]

2 of 4

• Boulevard des Capucines was another

Monet painting depicting the exhibition space of the first Impressionist show.

 Critic Ernest Chesneau did not realize that what he called a "sketch" was in

fact a finished work

• Impressionists sought to capture the

pleasures of life rather than realistic

portrayals of everyday life.

Claude Monet, Carnival on the Boulevard des Capucines.

1873 Oil on canvas, 24 × 31-1/2" Pushkin Museum of Fine Arts, Moscow

© 2015 Photo Scala, Florence [Fig 19-29]

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• Renoir's Bal du Moulin de la Galette

shows typical subject matter: suburban dancers enjoying an afternoon of

dance.

• Berthe Morisot's Reading renders its

subjects with leisure.

 The cart on the road in the background would have been subject matter for a

Realist, but here it is rendered loosely.

Pierre-Auguste Renoir, Bal du Moulin de la Galette.

1876 Oil on canvas, 4' 3-1/2" × 5' 9" Musée d'Orsay, Paris

Bridgeman Images [Fig 19-30]

Berthe Morisot, Reading.

1873 Oil on canvas, 17-3/4 × 28-1/2" The Cleveland Museum of Art

Gift of the Hanna Fund, 1950.89 Photo © Cleveland Museum of Art [Fig 19-31]

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• In the 1870s, Monet began to paint the

same subjects over and over again,

such as his series of grainstacks and

Rouen Cathedral.

 Bridge over a Pool of Water Lilies

famously portrays his garden at Giverny.

Claude Monet, Bridge over a Pool of Water Lilies.

1899 Oil on canvas, 36-1/2 × 29" Metropolitan Museum of Art, New York

H O Havemeyer Collection Bequest of Mrs H O Havemeyer, 1929.100.113 © 2015 Image copyright Metropolitan Museum of Art/Art Resource/Scala, Florence [Fig 19-32]

• Paul Gauguin left Europe to create

paintings from his life in the South

Seas.

 Mahana no Atua captured a "primitive"

culture removed from "civilized" life with its unity, peace, and innocence.

Paul Gauguin, The Day of the Gods (Mahana no Atua).

1894 Oil on canvas, 26-7/8 × 36-1/8" The Art Institute of Chicago

Helen Birch Bartlett Memorial Collection, 1926.198 © 2015 Art Institute of Chicago

[Fig 19-33]

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• Georges Seurat used Impressionist

subject matter in The Bathers, but

architectural composition and a critique

of the middle-class life not open to the working-class citizens depicted.

 Through closer observation, green

material in the water near the bathers' perch is seen to represent sewage from the Paris sewers in the background.

Georges Seurat, The Bathers.

1883–84 Oil on canvas, 6' 7-1/2" × 9' 10-1/2" The National Gallery, London

National Gallery, London/akg [Fig 19-34]