1. The Rise of Modernism The Late Nineteenth Century
Chapter 29
The Rise of Modernism The Late Nineteenth Century

2. Industrialization First industrial revolution c. 1750-1825
Mechanization of textiles with steam power
Production of iron and its use in new building technologies
Second industrial revolution c
Mechanization of other industries using electricity
Steel used in building created possibility of the high-rise structure.

3. Industrialization: Human Factors
Migration of population to urban centres.
Increase in size and number of cities.
Decrease in the number of farms.
Increase in size of remaining farms.
More work in cities, especially in factories
Urban working poor faced abysmal living and working conditions.
No health care, weekends, job security, retirement

4. The City
Increasing size of cities creates completely different landscape
Decreasing amounts of vegetation, greenspacewithin city changes health of individuals
Rise of air pollution
City becomes map for people’s lives
Working poor are born, live, and die within an area of a few city blocks
The city determines one’s loyalties, work, language, social network, etc.

5. The Communist Manifesto
Published by Marx and Engels in 1848.
Called for the urban working class to overthrow the capitalist system.
Stated that economic forces determine historical change.
Control of economy based on control of the means of production.
Bourgeoisie controlled the means of production—the rich get richer, the poor are exploited.
Creation of theory of class conflict.
The avante garde is a communist idea – the vanguard of the revolution.

6. Imperialism
Establishment of colonial empires all over the world by England, France, Spain, Holland, Germany.
Economic Imperialism includes United States in China and Japan.
Racial and National hierarchies determined the superiority of Europe and America over Africa and Asia.
France controlled North Africa and Indochina; British were in India, Australia, much of Africa; the Dutch control Indonesia; Portugese and Spanish in Africa and South America; the Germans and Italians have colonies in Africa.
Aboriginal art from these colonies is brought back to 19th century Europe and has a strong impact on artists there.

7. Modernity: The State of Being Modern
The transient state of world contributes to people’s unease with present conditions.
A sense of history becomes essential—a distinct “past” gives hope for a future.
Art embraces modernity by becoming self-critical.
Artists begin to embrace the idea of art as a process.
Illusionism is rejected for social realism.

8. Modernism
As an art movement, modernism seeks to capture the images and sensibility of the age.
Involves the artist with the production and process of art. The artist becomes more important than the patron.
It calls attention to the artwork as artwork—the fact that all painting is paint on a flat surface, before it is a person, bowl of fruit, etc.
“Modernism used art to call attention to art”— Clement Greenberg.

9. Artistic Style: Realism
An attempt by artists to present what is “real” in their art.
Overt rejection of all traditional subject matter.
No history painting, religious works, heroic battles, ancient subjects.
“Show me an angel and I’ll paint one”— Courbet.
No allegories, angels, gods, goddesses, Socrates, Homer, Caesar.
Attention given to non-classical, non-historic subjects.

10. Realism -How to use this word
When discussing a painting, NEVER use the word “realistic” to describe how closely it imitates the natural world.
Use illusionistic to describe a painting that seems to look much what one would see in real life or in a photograph.

11. 29-1 Courbet, The Stonebreakers, 1849

12. 29-2 Courbet, Burial at Ornans, 1849

13. 29-3 Millet The Gleaners,1857

14. 29-6 Daumier, Third Class Carriage,1862

15. The Salon An art exhibit held annually in Paris
Judged by members of the Academie Francaise
Source of lucrative commissions.
Paintings purchased by bougeois patrons.
Rejected paintings were marked refusé on back of canvas
Artists’ careers were made or broken by acceptance/rejection.
Manet did have his work accepted, may have reflected his social class.
Rules seemed arbitrary.

16. The Salon des Refusés
In 1863, works of artists not accepted by the Salon jury were given their own (separate) showing.
The Salon des Refusés included such works by Manet as the Déjeuner sur l’Herbe (Luncheon on the Grass) and Olympia.
People were so shocked by these works, and later by the Impressionists, that people were warned to stay away from the exhibit.

17. 29-7 Manet, Luncheon on the Grass, 1863

18. 29-7 Manet, Olympe, 1865 – Refusé!

19. 29-10 Rosa Bonheur The Horse Fair, 1853-55

20. 29-14 John Everett Millais, Ophelia,1852

21. Impressionism
In 1874 the Independent Society of Painters and Sculptors mounted their own exhibition in opposition to the Salon (165 works, 33 artists).
Eight Impressionist exhibits were held until 1886.
Berthe Morisot was the only artist to have work in every Impressionist exhibit.
“Impressionism” was a derogatory term applied to the work of these artists.

22. 29-17 Monet, Impression: Sunrise, 1872

23. 29-18 Monet Saint LazareTrain Station, 1877

24. 29-19 Caillebotte, Paris: A Rainy Day

25. 29-20 Edgar Degas Viscount Lepic and His Daughters, 1873

26. 29-25 Edgar Degas The Dance Class

27. 29-27 Berthe Morisot Villa at the Seaside, 1874

28. 29-28 Claude Monet Rouen Cathedral, 1892-1894z

29. 29-29 Edgar Degas, The Tub

30. 29-30 Mary Cassatt, The Bath, 1892

31. Two Bathers

32. 29-31 Henri de Toulouse Lautrec At the Moulin Rouge 1892-5

33. Post-Impressionism
Catch-all term for the art of Van Gogh, Gaugin, Seurat, Cézanne, etc.
Systematic study of line, colour, pattern, and form.
Initial acceptance of Impressionism by these artists.
Eventual rejection of Impressionism as too transitory, a “dead end”—no ability to draw.

34. 29-33 Van Gogh, The Night Café,1888

35. 29-34 Van Gogh, Starry Night,1889

36. 29-35 Gaugin The Vision after the Sermon, 1888

37. 29-37 Georges Seurat Sunday Afternoon on the Island of La Grande Jatte, 1897

38. 29-39 Cézanne Monte Sainte Victoire, 1902-1904

39. The Avant-Garde
Originally used to denote artistic works that were ahead of their time (borrowed from military, political usage).
Artistic conventions—the academic—consistently rejected in each successive art movement of the late 19th century.
Awareness of the medium
Self awareness of artist
Search for the next thing—the present is already past •Increasing disengagement from the public—thus rejecting the “modernist” as part of social world of the present.

40. The Symbolists
Interpretation of what the artist sees; not a “re-presentation” of what he/she sees.
The fact must be transformed into a symbol of the inner idea or experience of the fact.
To see beyond the real, to see the deeper significance of events, ideas, things.
Art as experience of the interior life, wholly alternate, wholly other than reality.
1899 Sigmund Freud publishes The Interpretation of Dreams.
"I believe only in what I do not see." Gustave Moreau.
Antithetical to Courbet and the Realists.

41. 29-45 Edvard Munch The Scream (The Cry), 1893

42. Georges Braque, Harbour, 1904

43. Georges Braque, Harbour in Normandy

44. Matisse, The Bathers

45. Matisse, The Dance

46. Kandinsky, Composition IV

47. Picasso, Les Demoiselles d’Avignon

48. Picasso, Ma Jolie