1. Modernism Origin of the Avant-garde in Paris Gustave Courbet and Edouard Manet Fathers of the Avant-garde – the “Forty-eighters” Nadar, Portrait of Manet Early 1870’s Nadar, Portrait of Courbet Late 1860’s

2. Gustave Courbet (French Realism painter, 1819-1877) Burial at Ornans, 1849 Thomas Couture (French Academic Classicism 1815–79) Romans of the Decadence, 1847

3. (top) Oscar G. Rejlander (Swedish-British, Victorian Art photography) The Two Ways of Life, 1857, combination albumen print from 33 negatives (below) Thomas Couture (French Academic Classicism 1815–79), oil on canvas, Romans of the Decadence, 1847, 15 x 25 ft

4. Roger Fenton (British, 1819–1869) The Queen and the Prince, wet plate 1854 Victorian “Art” photographers took Academic paintings as their model of what art is. Edwin Landseer (British), Windsor Castle in Modern Times, 1841-5, oil on canvas 44 x 56” Victoria and Albert “at home”

5. Thomas Couture, A Realist, 1865

6. (left) Courbet (Avant-garde Realism) The Stonebreakers, 1849 (right) William Bouguereau (French Academic Classicism, 1825-1905), Home From the Harvest, 1878

7. (left) Honoré Daumier (Realism) Third Class Carriage, o/c, 1862 (right) William Bouguereau (Academic Classicism) Mother and Children, The Rest, 1879

8. Disdéri, Paris Commune Destruction, 1871 Disdéri, Bodies of Dead Communards, 1871 Disdéri, Napoleon III Empress Eugénie, and Prince Eugène, c.1860 Daumier, The Uprising, 1860

9. Avant-garde art and politics are inseparable for the generation of 1848 (the Forty-Eighters, Nadar’s “Republic of Mind”) Edouard Manet, The Commune, Lithograph, 1871 Political cartoon, Paris, c.1872, showing Courbet with his foot on the Vendome column toppled during the Commune of 1871

10. Edouard Manet (French Realist Painter, 1832-1883) Dejeuner Sur L’Herbe (Luncheon on the Grass) oil on canvas, 1862

11. (left) Titian, Concert Champêtre (Italian Renaissance) 1510 (right) Edouard Manet (French Realism), Déjeuner Sur L’Herbe, 1862

12. Marcantonio Raimondi, Judgment of Paris, (engraving after Raphael), 1520 compared with Manet, Déjeuner Sur L’Herbe

13. Manet, Olympia, 1863, Oil on canvas, 51 x 74 3/4 in, (130.5 x 190 cm) Musee d'Orsay, Paris

14. Titian or Giorgione, Venus of Urbino, 1510 (Louvre) compared to Olympia 1863

15. Alexandre Cabanel (French Academic Painter, 1823-1889) Birth of Venus, 1863

16. Jean-Léon Gérôme (French academic painter, 1824-1904), Phrynee Before the Judges, 1861 Daumier cartoon: “Venuses Again, Always Venuses” c. 1860

17. William Bouguereau, Birth of Venus, 1879 and Paul Baudry, Venus and Cupid, c. 1857

19. Critics joked about the confrontational “masculinity" of Olympia and what might be hidden beneath her hand.

20. Charles Baudelaire by Manet From reading, “The Modern Public and Photography,” what were Baudelaire’s Complaints against photography?

21. Honoré Daunier, Nadar Elevating Photography to the Level of Art, lithograph, 1862, appeared in Le Boulevard (Parisian newspaper). Edouard Manet, The 1867 World Exhibition, Nadar’s balloon, The Giant, is upper right Nadar created the first aerial views of cities but first photographs were lost.

22. Pictorialism and the Emergence of Avant-garde photography

23. Peter Henry Emerson (Cuban-born British photographer and writer, 1856-1936) Gathering Waterlilies, 1886, platinotype, from Life and Landscape on the Norfolk Broads Pictorialism Reading: “Hints on Art,” P.H. Emerson Emerson extended this Helmholtzian idea of "vision as impression" to photography

24. Peter Henry Emerson, The Haunt of the Pike, 1888, platinotype Emerson believed that true art was expressed only in "truth to Nature." As a means of artistic expression, the camera is second only to the brush -- how successful the artist is with either depends entirely upon himself. All we ask is that the results be fairly judged by the only true standard - Nature.

25. (left) Peter Henry Emerson, The Haunt of the Pike, 1888, platinotype (right top) John Constable (English Romanticism), The Haywain, 1821 (right below) Theodore Rousseau (French Barbison Landscape painter) Forest of Fontainebleau, Morning, 1850 Constable and Rousseau (right) are key sources for Impressionist painting, the first avant-garde modernist art movement to break from the academic practice that had held hegemony for centuries in Western art.

26. Theodore Rousseau (French, 1812 – 1867) Forest of Fontainebleau, Morning, oil on canvas, 1850 – “Barbison School” (Proto-Impressionism)

27. First Impressionist Exhibition 15 April 1874: “Exhibition of the Société Anonyme of Painters, Sculptors, and Printmakers” (left) Nadar (Gaspard-Felix Tournachon) (1820-1910) Nadar¹s Studio at 35 Boulevard des Capucines’ (right) Claude Monet, Boulevard des Capucines, 1873 (31 1/4 x 23 1/4")

28. Claude Monet, Impression, Sunrise, oil on canvas, 1873 Impressionism

29. Monet, Railroad Bridge at Argenteuil, 1874 (right) Anonymous photographer, The Argenteuil Railway Bridge, c.1895 Subjects of modern art - Modern Life new technologies and progress, capturing the moment and the transitory nature of modern experience The Impressionist Eye is, in short, the most advanced eye in human evolution Jules Laforgue

30. Peter Henry Emerson (Pictorialism) Poling the Marsh Hay, 1886, platinotype, from Life and Landscape on the Norfolk Broads. (right) Camille Pissarro, (French Neo-Impressionism), The Gleaners, 1889

31. (left) Mary Cassatt (1844-1926) In the Omnibus, drypoint and aquatint, 1890-91 (right) Suzuki Harunobu (1724-1770) Women and Child, woodblock print, c.1750 Ukiyo-e prints were a key source for modernist form and content.

32. Van Gogh, Plum tree in Bloom (after Hiroshige), oil on canvas 1887 (Paris) Hiroshige Ando, Plum Estate, Kameido, 1857, woodblock print The Montmartre gallery of Samuel Bing was next door to van Gogh’s Paris apartment. Bing kept thousands of Japanese prints in stock. Vincent became an avid collector. Avant-garde Japonisme

33. Paul Gauguin (Post Impressionism) Vision After the Sermon: Jacob Wrestling with the Angel, 1888 (Pont Aven) Paul Gauguin directly appropriates Japanese perspective and composition and the Modernist concept of a picture as an autonomous creation - not merely a representation of an objective subject. Hiroshige Ando, Plum Estate, Kameido, 1857, Japanese woodblock print

34. Paul Cézanne (French Post-Impressionist Painter, 1839-1906) The Basket of Apples, ca. 1895, oil on canvas. Cézanne is the “Father of Modern Painting” because he defied the very principles of optics that brought photography into being.

35. Peter Gelassi, Before Photography Photography relies on two scientific principles : 1) A principle of optics on which the Camera Obscura is based 2) Principle of chemistry, that certain combinations of elements, especially silver halides, turn dark when exposed to light (rather than heat or exposure to air) was demonstrated in 1717 by Johann Heinrich Schulze, professor of anatomy at the University of Altdorf

36. Would Leonardo’s draughtsman see what Cézanne pictured? Modern painting is a liberation from optical “truth.” Photography – the most modern art medium and the child of both science and art – was thus in a paradoxical position. The problem was to discover modern photographic form. Leonardo Da Vinci, Draughtsman Using a Transparent Plane to Draw an Armillary Sphere, 1510 Cézanne, Still Life with Plaster Putto, 1893, oil on canvas

37. (left) Pablo Picasso (Early Cubism) Reservoir at Horta, 1907 (right) Piero della Francesca (Italian Early Renaissance) An Ideal Townscape, 1470 Cubism was a reversal of Renaissance illusionism. Cubist form displays multiple perspectives, multiple and arbitrary lighting sources, forms that open onto each other and do not recede. This new Modernist vocabulary, the invention of painters, vastly expanded the possibilities for photography.

38. Avant-garde Modernist photography Alfred Stieglitz and the Photo-Secession “In an unprecedented show for the National Arts Club [New York] in 1902, Stieglitz brought together photographs by pictorialists…. He titled the exhibition “The Photo- Secession,” to indicate a revolt from hackneyed style and technique as well as from lax artistic standards.” Alan Trachtenberg, notes to “Pictorial Photography” by Alfred Stieglitz 1902 publication

39. Stieglitz, photograph of Fountain, by Marcel Duchamp,1917 Clarence White (American, 1871-1925) Portrait of Alfred Stieglitz, 1908 gum platinum print

40. (left) Alfred Stieglitz, 291--Picasso-Braque Exhibition, 1915, platinum print (right) Stieglitz at the Little Galleries of Photo-Secession ('291') 291 Fifth Avenue, New York, opened in 1905 Cubist collages exhibited with African sculpture 291 gallery was in the apartment vacated by Edward Steichen, who designed and decorated the exhibition space.

41. Alfred Stieglitz, Sun Rays - Paula, Berlin, 1889, Platinotype

42. Alfred Stieglitz (American, 1864-1946), Watching for the Return, 1894, photogravure for Camera Notes, quarterly publication of the New York Camera Club

43. Stieglitz, Fifth Avenue, Winter, 1892, gelatin dry plate “My picture, Fifth Avenue, Winter, is the result of a three hours stand during a fierce snow-storm on February 22 nd, 1893, awaiting the proper moment.… I remember how upon having developed the negative of the picture I showed it to some of my colleagues. They smiled and advised me to throw away such rot…. Such were the remarks made about what I knew was a piece of work quite out of the ordinary, in that it was the first attempt at picture making with the hand camera in such adverse and trying circumstances from a photographic point of view. Stieglitz, “The Hand Camera – Its Present Importance,” 1897

44. Alfred Stieglitz, A Bit of Venice, 1894, photogravure for Camera Notes, quarterly publication of the New York Camera Club

45. THE PHOTOGRAVURE PROCESS Invented by Karel Klí in 1879, photogravure is a photomechanical process (heliogravure in French) using an etching method to reproduce the appearance of a continuous range of tones in a photograph. Alvin Langdon Coburn (British working in the US and Britain,1882-1966) Self-Portrait, ca. 1908, photgravure

46. Stieglitz, Flatiron Building, 1902, photogravure. Hiroshige Ando, Plum Estate, Kameido, 1857, woodblock print

47. Alfred Stieglitz, The Hand of Man, photogravure From Camera Work No. 1. February 1903 (right) Claude Monet, Saint-Lazare Station, 1877 Pictorialism and Impressionism In 1903 Stieglitz launched, edited and published Camera Work - a magazine which became world famous and continued publication until 1917 (50 issues). Cover by Edward Steichen is in the Arts & Crafts aesthetic of William Morris.

48. Alfred Stieglitz, The Steerage, 1907, photogravure "There were men and women and children on the lower deck of the steerage.... I longed to escape from my surroundings and join them.... A round straw hat, the funnel leaning left, the stairway leaning right.... round shapes of iron machinery... I saw a picture of shapes and underlying that, the feeling I had about life..." Stieglitz

49. “As analytic cubism emerged, Alfred Stieglitz, who was still championing pre-modernist Pictorialism, underwent a transformation in his aesthetic thinking.” Hirsch Picasso, Ma Jolie, 1911 Analytic Cubism Alfred Stieglitz, The Steerage, 1907, photogravure

50. “There were two stages in his life: at first he produced somewhat romanticized pictures of an Impressionistic style, then later moving over to realism of a high order.” Robert Leggett A History of Photography

51. “The Pictorialists played on photography's ability to recall memories and associations, yet they also recognized that such memories are rarely sharply defined but more often dreamlike and indistinct, composed of nothing more than a small incident or passing glance.” Edward Steichen (Luxembourgeois-born American Photographer, 1879-1973), Flatiron Building, 1907, cyanotype - gum bichromate - platinum print Pictorialism / Photo-Secession

52. Reinforcing the idea of a singular masterpiece, the pictorialists manipulated their images so extensively in the darkroom that, often, the result was a unique image that could not be duplicated. Edward Steichen, Self-Portrait with Brush and Palette, 1902, gum bichromate

53. Steichen, The Pond, Moonrise, 1905, gum-bichromate – platinotype Pictorialism / Photo-Secession

54. Edward Steichen, Rodin - the Thinker, 1902, gum bichromate

55. “For practically the first time in photography, the specificity and individuality of the objects in front of the camera were of no importance, but were only a vehicle for the expression of an idea. By divorcing photography from its scientific heritage, pictorial photographers also divorced it from reality.” Edward Steichen, The Big White Cloud, Lake George, 1903. Carbon print Pictorialism / Photo-Secession

56. Gertrude Käsebier (American Photographer, 1852-1934) Blessed Art Thou among Women, 1899. Platinotype Pictorialism / Photo-Secession

57. Gertrude Käsebier, Widow, ca. 1905, platinotype.

58. “To name an object is to suppress three-quarters of the enjoyment to be found in the poem... suggestion, that is the dream.” Stéphane Mallarmé French Symbolist poet Gertrude Käsebier, Manger, ca. 1905, platinotype Pictorialism / Photo-Secession J.M. Cameron, 1865

59. Clarence H. White (American, 1871-1925), Untitled (Nude Study), 1906-09 platinotype Pictorialism / Photo-Secession

60. Clarence H. White, Raindrops, 1902, platinotype.

61. Alfred Stieglitz, Georgia O'Keeffe, 1918. Platinotype.

62. Alfred Stieglitz, Georgia O’Keeffe, 1920, Gelatin Silver Print Georgia O'Keeffe, (1887-1988) Large Dark Red Leaf on White, 1925

63. Alfred Stieglitz, Georgia O’Keeffe, 1919. Palladiotype.

64. Alfred Stieglitz, Clouds, Music No. 1, Lake George, palladium print. 1922.

65. In 1922, Stieglitz continued to explore this inner psychological theme, but he returned to nature and symbolist theory and isolated the sky as a surrogate heart..

66. Alfred Stieglitz, Songs of the Sky, 1924. GSP.

67. Alfred Stieglitz, Equivalent, 1929. GSP Abstract photography

68. Stieglitz believed that his Equivalents were the pure expression of his inner state of being. He rarely, if ever, explained in words what actual feelings or emotions were present when particular pictures were made, however. He expected that his audience would have an intuitive perception of their meaning that was parallel to the instinct that caused them to be created. - The Getty Museum Alfred Stieglitz, Equivalent, 1931. Gsp.

69. Video: American Masters Production Alfred Stieglitz The Eloquent Eye You are responsible for the information in the video, so it would be smart to take notes.