1. BELL RINGER M.Socrative.com – Room # 38178 Question: 1. WHEN, roughly, is Realism/Impressionism? I will pass out your notes from yesterday as soon as the bell rings – the answer to this question is on those notes.

2. REALISM & IMPRESSIONISM Art Movements

3. REALISM

5. Ran through the 1840s, 1850s, and 1860s Central Figure: Gustave Courbet (1819-1877) Courbet was influenced by the innovations of Corot in terms of the play of light on shadows and peripheral vision His aim was to make an objective and unprejudiced record of the customs, ideas, and appearances of contemporary French society

6. COURBET’S “THE STONE BREAKERS” Courbet painted 2 men as he had seen them working beside the road.

7. COURBET’S “THE STONE BREAKERS” The work is LIFE SIZE – 5ft x 8ft Can tell the work is laborous

8. COURBET’S “A BURIAL AT ORNANS” Painted as he saw it – no one posed or arranged Obscure, unknown people

9. JEAN-FRANCOIS MILLET Millet (1814-1875) Belonged to the Barbizon School, which focused upon a realistic-Romantic vision of landscape Typically used peasants as his subject matter

10. JEAN-FRANCOIS MILLET He exalted the honest, simple life and work on the land Determined to show the harsh reality of life His worked was viewed as “anti-industrial”

11. MILLET’S “WOMAN BAKING BREAD” The peasant emerges as an heroic figure The peasant women has added height and dominance thanks to the painters point of view Ordinary woman doing an ordinary thing

12. OTHER MILLET WORKS The Gleaners The Sowers

13. HONORE DAUMIER Daumier (1808-1879) Depicted urban scenes

14. DAUMIER’S “THE THIRD CLASS CARRIAGE” Shows the interior of a large, horse-drawn bus in Paris

15. DAUMIER’S “THE THIRD CLASS CARRIAGE” The viewer is in the seat opposite a grandmother, her daughter, and two grandchildren

16. DAUMIER’S “THE THIRD CLASS CARRIAGE” They form a strong compositional triangle that contrasts with the people behind them, but they’re still not posed

17. EDOUARD MANET Manet (1832-1883) Strove to paint “only what the eye can see” His works go beyond a mere reflection of reality to a larger artistic reality One which suggests that a painting has an internal logic different from the logic of familiar reality Manet liberated the painter’s art from competition with the camera

18. MANET’S “LUNCHEON ON THE GRASS” Realism, but leading to Impressionism

19. MANET’S “LUNCHEON ON THE GRASS” Manet sought to “speak in a new voice”

20. MANET’S “LUNCHEON ON THE GRASS” Shocked the public (female nude while men dressed) – dream like

21. MANET’S “LUNCHEON ON THE GRASS” Ordinary people – Manet’s model, his brother, and the sculptor Leenhof

22. MANET’S “LUNCHEON ON THE GRASS” Took reality and put it in a mythical setting – with mythical touches (nudity)

23. IMPRESSIONISM Impressionism: a new way of seeing reality through color and motion, style based on an understanding of the interrelated mechanisms of the camera (new technology) and the eye These painters tried to outdo photography Impressionists emphasized the presence of color within shadows Vision consists of the result of light and color making an “impression” on the retina

24. IMPRESSIONISM Characteristics: Pleasant, comfortable scenes Painted outdoors Still ordinary people doing ordinary things, but PLEASANT things Brushstrokes equalized across the canvas Forms and objects best appear when the viewer is at a certain distance

25. IMPRESSIONISM The style lasted about 15 years in its purest form Profoundly influenced all painting that followed Working outside, the impressionists concentrated on the effects of natural light on objects and atmosphere Their experiments resulted in a profoundly different vision of the world around them

26. IMPRESSIONISM For them, the painted canvas was a material covered with pigments (small color patches) which together, create lively, vibrant images The subjects painted are impressions of landscapes, rivers, streets, cafes, theatres, and so on Claude Monet brought impressionism to its birth

27. CLAUDE MONET Not to be confused with Manet Monet (1840-1926) Monet tried to find an art in modern life by recording everyday themes with on-the- spot, objective observations Had two aims: (1) representation of contemporary subject matter and (2) optical truth (the way colors and textures really appear to the eye)

28. CLAUDE MONET Monet’s paintings reflect an innocent joy in the world around him and intensely positive view of life He sought to bring realism to his peak (still ordinary people doing ordinary things, just in a different direction) His work encompasses scientific observation, the study of optics, and other aspects of human perception

29. MONET’S “ON THE SEINE AT BENNECOURT” Conveys a pleasant picture of the times, an optimistic view rather than the often pessimistic outlook of the realists

30. MONET’S “ON THE SEINE AT BENNECOURT” Lack of atmospheric or linear perspective brings the entire painting to the foreground – no deep space

31. MONET’S “ON THE SEINE AT BENNECOURT” The scene is bright, alive, and pleasant – we’re comfortable

32. MONET’S “SERIES” Monet painted several “series” (groups of paintings that work together or have a common theme) Initially did them as a way of studying light and shadow Most famous: the Water Lilies

33. MONET’S “WATER LILLIES” A series of approximately 250 paintings The paintings depict Monet’s flower garden and were the main focus of his artist production the last 30 years of his life (Many were painted while he suffered from cataracts) http://www.youtube.com/watch?v=RnABizX0jIo

34. MARY CASSATT Cassatt (1845-1926) Came to Paris from Philadelphia It was her wealth in the US that helped the impressionists gain exposure and acceptance in this country

35. CASSATT’S “THE CHILD’S BATH” Depicts her favorite subjects – women and children Cassatt’s brushwork is far less obvious than that in other impressionist works Helped conventional viewers understand the work and relate closer to the scene Painted in clear, bright colors

36. CASSATT’S “THE CHILD’S BATH” The subjects do NOT make eye contact with the viewer The forms are purposeful, and they awaken interest, rather than emotion Less brushstrokes and clearly not painting outdoors – but still a very pleasant comfortable scene Realism is laborious!

37. CREATE YOUR OWN... Impressionist art classes

38. MY IMPRESSIONIST PAINTING There are places that teach you to paint quickly – it won’t be the most gorgeous thing from up close, but looks great far away “Uptown Art” is a very popular place in Louisville – off of Bardstown Road. Pinot’s Pallete is in St. Matthews and does the same thing. Can be expensive ($40 for a 2-hour class) but includes all materials – canvas, paint, etc.

39. MY IMPRESSIONIST PAINTING

42. This one is my MOMS! (the least artistic person on Earth!)

43. MY IMPRESSIONIST PAINTING

44. ANOTHER IMPRESSIONIST PAINTING