~ Emphasis on Class Distinctions ~ Physical labor glorified, laborers made heroic by their presence in a painting ~ Brightest color in their hats and garment – yet no faces to identify them as individuals Realism (L) Gustav Courbet, Interior of My Studio,1855, ( R) Jean-Francois Millet, The Gleaners, 1857 Oil on Canvas ~Courbet was outspoken advocate for the people and a critic of painting anything not from experience or observation

~ Daumier is a social and political satirist – known as a cartoonist – not recognized for painting until later in life ~ Unique style – limited color palette with splash of color, use of outline (like in his cartoons) ~Lithography (printing process requiring no carving or etching) uses a resist process of grease and water. Social Realism (L) Honore Daumier, Third Class Carraige, 1862 Oil on Canvas, ( R) Honore Daumier, First Class Carraige, 1864, watercolor and crayon

Photography ~Used initially only for photography and then scientific purposes ~Exposure time was lengthy at first (in excess of 15 minutes) and processing was difficult – image reversal was an issue at first ~Not accepted as “art” for a long time ~Used by artists as a tool to reduce sitting time and to capture transient conditions (L) Mathew Brady, Robert E. Lee, 1865 ( R) Nadar, Sarah Bernhardt, 1864 Photographs

~ Everyone since the Renaissance was creating an artificial beauty – they looked to an earlier time when beauty was not forced by the artist ~ Realism and Romanticism mingle ~ Small group – used all the same models – mostly redheads (?) ~John Ruskin was the main Art Critic (and social critic) of the time (L) Dante Gabriel Rossetti, Annunciation, 1850 ( R) John Everett Millais, John Ruskin, 1854 oil on canvas

(L) Edouard Manet, Le Dejouener sur L’herbe, 1863 ( R) Manet, Olympia, 1865Photographs ~ Another aspect of Realism was challenging the accepted mores and aesthetics of the day. ~ A nude woman eating lunch on the lawn with two men? ~ A Venus after Giorgione and Titian who is clearly a prostitute? ~ Edgy use of paint and lack of depth and fine detail, flat areas ~Salon des Refuses 1863 (included many of the impressionists and of course Manet

(L) Monet, Waterlily pond, 1904 ( R) Monet, Rouen Cathedral, 1894 Oil on Canvas ~ Painted outdoors – advocated for the looking painting as an abstract version of an object not a replica and not the meaning of the object ~ His “Impression: Sunrise was the painting that a critic used to coin the term “Impressionism” ~ Light and color are used in broken brushstrokes to create the feeling of moving water and air ~gradual move away from literal representation IMPRESSIONISM

(L) Degas, fourth Position Front, 1880, bronze ( R) Rodin, The Thinker, 1879 Bronze IMPRESSIONIST SCULPTURE ~ Degas’ Dancers were wax models used as studies for his painting (later cast in bronze) ~ The rough modeled surface is similar in nature to the broad brush strokes of Impressionist painting ~Rodin looked to classics but used texture and form in a more t Impressionist manner – not idealized

~ Breaching Gap between Realism and Impressionism American Art Late 19 th Century ~American artists don’t allow the picture to totally dissolve into light – many retain the meaning and representation of the subjects ~Whistler worked both ways: Light and Color studies and representational ~Whistler used names not referring to the subject, often music terms “Symphony” “Nocturne” etc Page 800 – perfect DBQ (L) Winslow Homer, A fair wind, 1873 ( Rjohn Singer Sargent, Daughters of Ed.Darley Boit, Sarah Bernhardt, 1882 Oil on Canvas

Paul Cezanne (24.5) The Great Bathers , Oil on Canvas ( 24.6) Still life with apples , Oil on canvas ~ No longer limiting themselves to studies of light and color – but dissolving the foreground, middle ground, background into one, ~ Brushstrokes become more important than the object or narrative

Vincent Van Gogh (24.15) Wheat field with Reaper 1889, Oil on canvas (24.17) Self- portrait 1889, Oil on canvas ~In Van Gogh color and brushwork and psychology merge to make objects more than they appear ~ Single figures = loneliness, isolation, desolation

Paul Gauguin (24.19) The Yellow Christ 1889, Oil on canvas (24.22) Nevermore 1897, Oil on canvas ~Gaugin’s style is smoother, brightly colored and outlined in black – flattening the shapes and mixed 3D with flat ~He uses elements of the Symbolists’ dream world

Symbolism (24.26) Gustav Moreau, Orpheus 1865, Oil on canvas (24.27) Edvard Munch, The Scream 1893, Oil, Pastel, Casein on cardboard ~ Symbolism rose with Freud and psychoanalysis, started as a literary movement ~Myth, folklore, allegory and dreams, perversity, insanity ~ Rejected impressionism and realism ~Moreau uses complex compositions and disturbing calm in scenes of unrequited love turned violent ~Munch uses more of a post-impressionist color and brushwork but outrageously depicted his moods and psych states