ART 102 Gardners - Chapter 28Jean Thobaben

Instructor

The Rise of Modernism:The Later 19th Century

Impressionism

Postimpressionism

RISE OF THE AVANTE GARDE

Fin de

Siecle

ARTS AND CRAFTS MOVEMENT

Art Nouveau

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Impressionism

• Capturing the fragile and fugitive Images of modern life,

Impressionism focused on the representation of a single

moment.

• A hostile critic applied the term Impressionism in response to

the painting Impression Sunrise, by Claude Monet at the first

Impressionist show in 1874.

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Claude Monet (1840-1926)

• Claude Monet's painting Impression: Sunrise was the source

of the term Impressionism, which describes paintings that

incorporated the abbreviated, quick, and spontaneous qualities

of sketches in order to catch the sense or character of a

specific moment.

Monet, Impression Sunrise, 1872. Oil on canvas, 1' 17 1/2" x 2' 1 1/2". Musée Marmottan, Paris.

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• Impressionism conveys the elusiveness and impermanence of

images and conditions found in the rapid and chaotic changes

that were transforming France during the latter half of the

nineteenth century.

• Monet's Saint-Lazare Train Station reflects the impact on

Impressionism of contemporary industrialization and

urbanization.

Monet, Saint-Lazare Train Station, 1877. Oil on canvas, 75.5 cm x 104 cm. Musée d'Orsay, Paris.

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• As with many of his subjects, Manet painted the station

many times under different conditions of light and

atmosphere.

These are known as series paintings

Another subject Monet revisited many times were Views of the Rouen Cathedral. c. 1863-646

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Gustave Caillebotte (1849-1893)

• Facets of life in the city Paris are seen in Gustave Caillebotte's

informal Paris: A Rainy Day which is set at the junction of

spacious boulevards.

• The figures of well-dressed Parisians seem to be randomly

placed within a frame that crops the image arbitrarily.

Caillebotte,, Paris: A Rainy Day, 1877.

Oil on canvas, approx. 6' 9" x 9' 9". The Art Institute of Chicago.

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Edgar Degas (1834-1917)

• The unexpected angle of view and the divergent movements of the figures of Edgar Degas's portrait Viscount Lepic and His Daughters reflects the artist's interest in photography and Japanese prints.

• The painting is a vivid pictorial account of a moment in time at a particular position in space.

Degas, Viscount Lepic and His Daughters, 1873. Oil on canvas,

approx. 2' 8" x 3' 11". The Hermitage, Saint Petersburg.

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Camille Pissarro (1830-1903)

• Camille Pisarro sometimes used photography to supplement his

work from models.

• Pissarro's panoramic Place du Théâtre Français shows a

spacious boulevard painted with blurred dark accents against a

light ground to create a sense of a crowded Paris square viewed

from high above street level.

Pisarro, Place du Theatre Francais, Afternoon Sun in Winter 1895.

Oil on canvas, approx. 2' 4 1/2" x 3' 1/2". Los Angeles County Museum of Art, Los Angeles

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• Because of the familiarity of Pisaarro and other Impressionists had with photographs, scholars have been quick to point out the visual parallels between Impressionist paintings and photographs.

• These parallels include, the arbitrary cutting off of figures at the frame’s edge and the curious flattening effect of the high viewpoint.

• With a special twin-lens camera, Hippolyte Jouvin made this stereograph from a window in a scene similar to Pissarro’s.

Jouvin, The Pont Neuf, Paris, ca. 1860-1865. Albumen stereograph.

Museum of Modern Art Collection, New York.

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Pierre-Auguste Renoir (1841-1919)

• The Impressionists also depicted scenes of leisure activities

such as dining, dancing, the café-concerts, the opera, the

ballet, and other forms of recreation.

• Le Moulin de la Galette by Pierre-Auguste Renoir shows a

popular Parisian dance hall in which he focuses on incidental,

momentary, and passing aspects of the scene.

Auguste Renoir, Le Moulin de la Galette, 1876. Oil on canvas, approx. 4' 3" x 5' 8". Louvre, Paris.

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• Édouard Manet's A Bar at the Folies-Bergère shows a

barmaid in the popular Parisian café-concert.

• Manet calls attention to the pictorial structure of the painting

through various visual contradictions.

Manet, A Bar at the Folies-Bergère, 1882. Oil on canvas,

approx. 3' 1" x 4' 3". The Courtauld Institute Galleries, London.

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• Edgar Degas's Ballet Rehearsal (Adagio) shows the artist's

fascination with photography, Japanese prints, and patterns of

motion.

• He uses arbitrarily cutoff figures, patterns of light splotches, and

blurriness of the images to create the effect of a single moment.

Degas, Ballet Rehearsal, 1876. Oil on canvas, 1' 11" x 2' 9". Glasgow Museum, Glasgow.

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• Acknowledged as the master of drawing the human figure in

motion.

• Degas worked in many mediums, preferring pastel to all others.

• He is perhaps best known for his paintings, drawings, and

bronzes of ballerinas and of race horses.

Dance Class at the Opéra , 1872; Musée d'Orsay, Paris

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• In his pastel drawing of The Tub, Edgar Degas shows a

young woman crouching in a washing tub.

• A conflict is apparent between some forms that appear flat and

aligned with the picture's two-dimensional surface, while other

forms appear to have three-dimensional volume.

Degas, The Tub, 1886. Pastel, 1' 11 1/2" x 2' 8 3/8". Musée d'Orsay, Paris.

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• Claude Monet's Le Bassin d'Argenteuil shows sailboats on the

Seine River at Argenteuil.

• The shimmering reflections of the boats on the water enliven the

scene and impart a feeling of vibrancy and spontaneity, which

Monet enhanced with choppy brushstrokes.

Monet, Le Bassin d'Argenteuil, 1874. Oil on canvas, 55.2 cm. x 74.2 cm.

Museum of Art, Rhode Island School of Design, Providence.

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• Monet painted some forty views of Rouen Cathedral, each at a

different time of the day or under a different climatic condition.

• In each painting he captured an instantaneous representation of

atmosphere and climate at that moment and also created in the series

a record of the movement of light over the surfaces of the cathedral

over a period of time.

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Berthe Morisot (1841-1895)

• Berthe Morisot's Villa at the Seaside shows a woman sitting

with a child in the shaded veranda of a summer hotel at a

seashore resort.

• The swift, sketchy brushstrokes and the soft focus convey a

feeling of airiness.

Morisot, Villa at the Seaside, 1874. Oil on canvas, approx.

1' 8" x 2'. Norton Simon Art Foundation, Los Angeles.

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• Unlike most of the other impressionists, who were then intensely

engaged in optical experiments with color, Morisot and Manet

agreed on a more conservative approach, confining their use of

color to a naturalistic framework.

Marine (The Harbor at Lorient) 1869, Oil on canvas, 17 1/2 x 28 3/4";

National Gallery of Art, Washington

This painting was recently exhibited in the Manet and the Sea show at PMA.

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• Her own carefully

composed,brightly hued

canvases are often

studies of women, either

out-of-doors or in

domestic settings.

• Morisot and American

artist Mary Cassatt are

generally considered the

most important women

painters of the later 19th

century.

La lecture (Reading: The Mother and

Sister Edma of the Artist) ,

1869-70, Oil on canvas, , 39 3/4 x 32

1/4“, National Gallery of Art,

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Mary Cassatt (1845-1926)

• The daughter of an affluent

Pittsburgh businessman, whose

French ancestry had endowed

him with a passion for that

country;

• she studied art at the

Pennsylvania Academy of Fine

Arts in Philadelphia, and then

travelled extensively in Europe,

finally settling in Paris in 1874.

Little Girl in a Blue Armchair1878 ,Oils; National Gallery of Art

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• In that year Cassett had a work

accepted at the Salon and in

1877 made the acquaintance of

Degas, with whom she

was to be on close terms

throughout his life.

• Cassatt's The Bath contrasts

the visual solidity of the mother

and child with the flattened

patterning of the wallpaper and

rug.

Mary CassettLa Toilette, c. 1891

Oil on canvas, 39 1/2 x 26 inThe Art Institute of Chicago

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• Cassatt’s earlier works were marked by a certain lyrical effulgence and

gentle, golden lighting, but by the 1890s, largely as a consequence of

the exhibition of Japanese prints held in Paris at the beginning of that

decade, her draughtsmanship became more emphatic, her colors

clearer and more boldly defined.

The Boating Party , 1893-94 , Oils, 35 1/2 x 46 ¼”, National Gallery of Art

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Henri de Toulouse Lautrec (1864-1901)

• The oblique and asymmetrical composition, the spatial

diagonals, and the strong line patterns with added dissonant

colors in At the Moulin Rouge reveals the influence on Henri de

Toulouse Lautrec of Japanese prints and photography.

• But each element is also emphasized or exaggerated to produce

a distorted and simplified image that is expressive of Toulouse-

Lautrec's perception the scene.

Toulouse-Latrec, At the Moulin Rouge, 1892-1895. Oil on canvas,

approx. 4' x 4' 7". The Art Institute of Chicago, Chicago

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James Abbot

McNeill Whistler (1834-1903)

• An American based in

London, Whistler did several

paintings of fireworks over

the Thames.

• Whistler's Nocturne in Black and Gold (The Falling Rocket) is a harmonious arrangement of shapes and colors through which the artist wished to convey the atmospheric effects rather than the details of the actual scene.

• Whistler sued the British critic John Ruskin, who had accused the artist of "flinging a pot of paint in the public's face" with his style.

Nocturne in Black and Gold: The Falling

Rocket, 1875, Oil on panel

0.3 × 46.4 cm (23.7 × 18.3 in)

Detroit Institute of Arts

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• Whistler achieved international notoriety when Symphony No. 1, The White Girl was rejected at both the Royal Academy and the Salon, but was a major attraction at the famous Salon des Refusés in 1863.

• Thereafter Courbet's influence waned, and Orientalism--and to a lesser extent classicism--became increasingly pronounced elements in his work.

Symphony in White, No. 1: The White Girl

1862; Oil on canvas, 214.6 x 108 cm; National

Gallery of Art, Washington

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My favorite Whistler,

which you can visit at

PMA.

Purple and Rose: The Lange Leizen of

the Six Marks

1864; Oil on canvas,

92 x 61.5 cm

Philadelphia Museum of Art

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POST-IMPRESSIONISM

• By the 1880s, Impressionism came to be seen as too limited and

artists began to examine the properties and the expressive

qualities of line, pattern, form, and color.

• Vincent van Gogh and Paul Gauguin explored the expressive

capabilities of formal elements.

• Georges Seurat and Paul Cézanne were more analytical in

orientation.

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Vincent

Van Gogh (1853-1890)

• Although almost wholly unknown during his brief

lifetime, Van Gogh is today probably the most

widely known and appreciated representative

of post-impressionism.

The Vase with 12 Sunflowers

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Van Gogh's early period includes all his work from 1879

through 1885.

In Nuenen he painted The Potato Eaters, his first

important picture, which underscores his lifelong interest

in peasant subjects.

The Potato Eaters , 1885 , Oil on canvas, 81.5 x 114.5 cm; Rijksmuseum Vincent van Gogh, Amsterdam

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• The Paris period (1886-1888) is extremely important because

it enabled Vincent to see and to hear discussed the work of

virtually every major artist there.

• In The Night Café, Vincent van Gogh explored the

capabilities of colors and distorted forms to express his

emotions as he confronted nature

The Night Café 1888; Yale University Art Gallery

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• Van Gogh left Paris and moved to Arles in February 1888.

• His mature work and many of his most famous paintings date from the

ensuing year.

Van Gogh, La chambre de à Arles 1889 , Oil on canvas, 22 1/2 x 29 1/3 in; Musee d'Orsay, Paris

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• Vincent was hospitalized intermittently until the spring of 1890; he

was voluntarily confined in the Asylum of Saint-Paul in Saint-Remy

from May 1889 until May 1890.

• He continued to paint, however, and in June 1889 executed the

Starry Night.

• His "expressionist" method is seen in the choice of color and

turbulent brushstrokes of The Starry Night, in which he represents

the night sky filled with whirling and exploding stars and galaxies of

stars.

The Starry Night, June 1889 ,Oil on Canvas, 29 x 36 1/4 in,MoMA, New York

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Paul Gauguin (18481903)

• Gauguin obtained a position with

a stock brokerage firm in 1871

and married a Dane, Mette Gad,

in 1873,

with whom he had

five children.

• During this period he

was essentially a "Sunday"

painter, pursuing his art on

weekends and in the summer.

Nude Study, or Suzanne Sewing, 1880,

Oil on canvas, 43 1/2 x 31 in

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• The financial crash of 1882-83 left him without work and prompted

his decision to become a full-time artist.

Gauguin. Aube the Sculptor and His Son. 1882. Pastel. Musée du Petit Palais, Paris, France.

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• In The Vision after the Sermon, or Jacob Wrestling with the Angel,

Paul Gauguin wanted to show the ancient, unspoiled Celtic folkways

and Catholic piety of peasant men and women in Brittany.

• The elements in the picture are composed to focus viewers' attention on

the idea and intensify its message.

• The scene has been abstracted into a pattern in which perspective is

twisted and the colors are unnatural and unmodulated.

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• As its name suggests, Gauguin's work was concerned with inner

rather than external truth.

• He combined stylized images of Breton figures in a shallow pictorial

space with a 'vision' in the top right corner.

Vision after the Sermon; Jacob Wrestling with the Angel. 1888.

Oil on canvas. National Gallery of Scotland

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Caricature Self-Portrait. 1889. Oil

on wood. The National Gallery

of Art, Washington, DC, USA.

Self-Portrait with Yellow Christ. 1889.

Oil on canvas. Private collection.

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Gauguin left for Tahiti,

where he began a series

of paintings that depict

the physical beauty of

the people and the

myths underlying their

traditional religion.

La Orana Maria, 1891,

Oil on canvas, 44 x 34”,

Metropolityan Museum of Art, New York

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• In the South Pacific, Gauguin painted

Whence Do We Come? What Are We? Where Are We Going? with flat

shapes of unmodulated yet expressive color.

Gauguin, Where Do We Come From? What Are We? Where Are We Going?,

1897. Oil on canvas, 4' 6 3/4" x 12' 3 1/2". Museum of Fine Arts, Boston.

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Georges Seurat (1859-1891)

• Seurat contributed to French

painting by introducing a more

systematic and scientific

technique known as pointillism.

• It involves the practice of

applying small strokes or dots of

contrasting pigment to a surface

so that from a distance the dots

blend together into solid forms.

Detail from Entre du port de Honfleur

by Georges Seurat.

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• George Seurat's system of pointillism or divisionism, which involved

separating color into its component parts, is seen in his Sunday

Afternoon on the Island of La Grande Jatte.

Sunday Afternoon on the Island of La Grande Jette; 1884-86

Oil on canvas, 81 x 120 in; Art Institute of Chicago

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• This is a portrait of

Madeline Knoblock,

Seurat's mistress.

• Instead of the vase with

flowers seen between the

two panels of the folding

mirror on the wall, Seurat

had first painted his own

portrait.

• When a friend who saw it

told him it made him look

silly, Seurat covered his

face with the flower pot.

Young Woman Powdering Herself,

1890,

Oil on Canvas, , 37 1/2 x 31 1/4"

Courtauld Institute of Art, London

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Paul Cezanne (1839-1906)

• Cezanne is regarded today as one of the great forerunners of

modern painting, both for the way that he evolved of putting down on

canvas exactly what his eye saw in nature and for the qualities of

pictorial form that he achieved through a unique treatment of space,

mass, and color.

• Cézanne was a contemporary of the impressionists, but he went

beyond their interests in the individual brushstroke and the fall of light

onto objects, to create, in his words, "something more solid and

durable, like the art of the museums."

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• In the late 1870s Cézanne entered the phase known as "constructive," characterized by the grouping of parallel, hatched brushstrokes in formations that build up a sense of mass in themselves.

Cistern in the Park at Château

Noir , c. 1900 , Oils, 29 1/4 x 24

in; Estate of Henry Pearlman,

New York

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• He continued in this style until the early 1890s, when, in his

series of paintings titled Card Players, the upward curvature

of the players' backs creates a sense of architectural solidity

and thrust, and the intervals between figures and objects

have the appearance of live cells of space and atmosphere.

The Card Players, c. 1890-92, Oil on canvas, 17 3/4 x 22 1/2 in; Musée d'Orsay, Paris

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• Finally, living as a solitary in Aix rather than alternating

between the south and Paris, Cézanne moved into his late

phase.

• Now he concentrated on a few basic subjects:o still lifes of studio objects built around such recurring elements as

apples, statuary, and tablecloths;

o studies of bathers, based upon models and drawing upon a

combination of memory, earlier studies, and sources in the art of

the past; and

o successive views of the Mont Sainte-Victoire, a nearby

landmark, painted from his studio looking across the intervening

valley.

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• In Still Life with Basket of Apples, Cézanne focused on the

form of the objects, reducing the bottles and fruit to cylinders and

spheres.

• By juxtaposing color patches, he captured the solidity of each

object.

• Objects, however, do not appear optically realistic and,

moreover, seem to be depicted from different vantage points,

producing disjunctures and discontinuities in the picture.

CÉZANNE, Still Life with Basket of Apples, 1890–1894.

Oil on canvas, 2' 3/8" x 2' 7". The Art Institute of Chicago, Chicago

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• Bathers were another of Cézanne's themes.

• Women bathers are usually presented in large pyramidal

groups, overlapping, mostly with their backs to the viewer.

• Cézanne's only real passion was his art, but that passion was

never revealed on the canvas itself.

Large Bathers, 1899-1906 , Oils 81 7/8 x 98 in, Philadelphia Museum of Art

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• The Sainte-Victoire mountain near Cézanne's home in Aix-en-Provence was one of his favorite subjects and he is known to have painted it over 60 times.

• Cézanne's more analytical style is seen in Mont Sainte-Victoire, in which he attempted to order the lines, planes, and colors that comprised nature.

• He explored and carefully analysed the properties of line, plane, and color and their interrelationships.

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52

The Rise of the Avant Garde• The challenges to artistic conventions introduced successively

by Realism, Impressionism, and Post-Impressionism gave rise to the avant-garde.

• The term referred to artists who were ahead of their time and who transgressed the limits of established art forms.

• Avant-garde artists rejected the classical, academic, or traditional, adopted a critical stance toward their respective media, and produced art that was extremely transgressive or subversive.

• The avant-garde explored the premises and formal qualities of painting, sculpture, or other media.

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• By the end of the 19th century, a number of artists rejected the

visual world and worked from their imagination.

• Nature was freely interpreted and became completely

subjective..

• Color, line, and shape were no longer required to conform to

visual reality, and were used instead as symbols of personal

emotions in response to the world.

• Some artists used signs and symbols to express a reality in

accord with their spirit and intuition.

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• Symbolist artists transformed facts into symbols that represented the inner experience of that fact.

• Symbolists sought the inner significance and reality that lay beneath superficial appearance.

• Objects of the commonsense world were converted into symbols of a deeper reality.

• Puvis de Chavannes's ornamental and reflective The Sacred Grove shows statuesque figures in timeless poses moving in a tranquil, sacred landscape with a classical shrine. All movements and gestures appear to have a ritual significance.

Puvis De Chavannes, The Sacred Grove, 1884. Oil on canvas, 2' 11 1/2" x 6' 10".

The Art Institute of Chicago, Chicago

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Gustave Moreau (1826-1898)

• An influential teacher,

Moreau gravitated

towards subjects

inspired by dreams, as

remote as possible

from the everyday

world.

• Gustave Moreau's Jupiter

and Semele is sumptuously

painted in rich, exotic colors.

• The royal hall of Olympus is

shown as shimmering in

iridescent color.

Moreau, Jupiter and Semele, ca. 1875.

Oil on canvas, 7' x 3' 4".

Musée Gustave Moreau,

Paris.

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Odilon Redon (1840-1916)

• Haunted by imaginary

things like Moreau,

Odilon Redon was a

visionary.

• Redon painted

The Cyclops as a

visible projection

of his imagination.

Redon, The Cyclops, 1898. Oil on

canvas, 2' 1" x 1' 8". State Museum

Kröller-Müller, Otterlo.

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Henri Rousseau (1844-1910)

• Called a primitive, Henri Rousseau was largely self-taught.

• In The Sleeping Gypsy, Rousseau produced an image of

dream and fantasy in a naive style.

Rousseau, The Sleeping Gypsy, 1897. Oil on canvas, 4' 3" x 6' 7". Museum of Modern Art, N.Y.

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Edvard Munch (1863-1944)

• Norwegian artist Edvard Munchbelieved that humans were powerless before the natural forces of death and love and the emotions of jealousy, loneliness, fear, desire, and despair.

• His goal was to describe the conditions of "modern psychic life," for which he developed a style that distorted color, line, and figural forms for expressive ends.

The Cry departs

significantly from visual

reality and evokes

instead a visceral,

emotional response from

viewers through his

dramatic presentation

of the scene.

Munch, The Cry, 1893. Oil,

pastel, and casein on cardboard, 2'

11 3/4" x 2' 5". National Gallery,

Oslo.

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Sculpture in the later 19th Century

• Because of its tangible, solid nature, sculpture was ill suited to

conveying the transitory and served predominantly as an

expression of supposedly timeless ideals.

• The powerful, twisted, intertwined, and densely concentrated

forms of Jean-Baptiste Carpeaux's sculpture Ugolino and His

Children conveys the self-devouring torment, frustration, and

despair of Count Ugolino, who has been shut up in a tower with

his four sons to starve to death.

Carpeaux, Ugolino and His Children

1865–1867. Marble, 6' 5" high.

Metropolitan Museum of Art,

New York

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Augustus Saint-Gaudens (1848-1907)

• Throughout the United States there are thousands of parks in

which can be found bronze and marble statues of the major

historical figures of times past.

• Taken from a mostly European sensibility, these monuments are

testaments to their subjects and to the times in which they were

sculpted.

• Among the greatest American sculptors and monument builders

of the late nineteenth and early twentieth centuries was

Augustus Saint-Gaudens.

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• Saint-Gaudens's memorial

monument of Mrs. Henry Adams

shows a woman of majestic bearing

sitting in mourning with her face

partly shadowed by a drapery that

enfolds her body.

SAINT-GAUDENS, Adams Memorial, Rock

Creek Cemetery, Washington, D.C., 1891.

Bronze,

5' 10" high.

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• In 1884, he received a commission for the Memorial to

Colonel Shaw.

• Inaugurated in 1897 on the Common in Boston, the

Memorial pays homage to the colonel R. G. Shaw and to

his regiment, uniquely composed of black volunteers

who fell before Fort Wagner in 1863.

• The statue of the colonel, sculpted in very high relief,

frames the soldiers who advance while a winged Victory

dominates the work.

• Saint-Gaudens was meticulous in his attention to detail,

individualizing each soldier.

Augustust Saint-Gaudens' Memorial to Robert Gould Shaw

and the Massachusetts Fifty-fourth Regiment.

64Detail of the Shaw Memorial by Augustus St. Gaudens

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Auguste Rodin (1840-1917)

• In sculpture there is no equivalent of Impressionism, but Auguste Rodin was a contemporary of many of the artists .

• Likewise, Rodin’s work has a casual or “unfinished” quality about it which is similar to the work of the late 18th century painters.

The Kiss , 1886 , Bronze, 87 x 51 x 55 cm; Musee Rodin, Paris

66

• In his cast bronze Walking

Man,

Rodin captured the sense

of a body in motion.

RODIN, Walking Man, 1905. Bronze,

6' 11 3/4" high. Hirshhorn Museum and

Sculpture Garden, Smithsonian

Institution, Washington, D.C.

67

• In the life-size group Burghers of Calais, commissioned to

commemorate a heroic episode in the Hundred Years' War,

Rodin shows each of the figures in a state of despair,

resignation, or quiet defiance.

• He achieved these psychic effects through the placement

of the figures, the roughly textured surfaces, and the eye-

level view.

Rodin, The Burghers of Calais, conceived 1884-95; cast 1925. Medium Bronze Dimensions

209.6 x 238.8 x 190.5 c Rodin Museum, Philadelphia

68

• The most famous

Rodin sculpture is

The Thinker.

RodinThe Thinker1880Bronze

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The Arts and Crafts Movement

• The Arts and Crafts movement in England advocated the

production of functional, well-made, high-quality objects

produced for a wide public in a style based on natural

forms.

• In his decoration of the Green Dining Room,

William Morris created a unified, beautiful, and functional

environment.

WILLIAM MORRIS, Green Dining Room, 1867. Victoria & Albert Museum, London

70

• Morris and his followers

sought to produce

• High quality hand crafted

objects that harkened back to

the pre-industrial age.

• Objects included furniture:

Cherry Cabinet with hand painted tile inlays.

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• Carpet and fabric design:

“Vine & Pomegranate" ingrain carpet, designed by Kate Faulkner for

William Morris c. 1880, showing both faces of the fabric.

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• The Arts and Crafts Movement rejected much of the Industrial

Revolution's emphasis on machinery and factories.

• Craftsmen and artists created houses and furniture by hand or at

least custom made for clients.

The Gamble House, built for David and Mary Gamble,

of Proctor and Gamble, 1908, Pasedena, Ca.

73Gamble House, interior Views

74

The Glasgow School

• Charles Rennie Mackintosh's design for the

Ladies Luncheon Room in Glasgow shows a

decor consistent with William Morris's vision of a

functional, exquisitely designed art.

MacIntosh, reconstruction (1992–1995) of Ladies' Luncheon Room, Ingram Street tea rooms,

Glasgow, Scotland, 1900–1912. Glasgow Museum, Glasgow.

75

ART NOUVEAU

• The international style of Art Nouveau is seen in the

staircase in the Tassel House in Brussels designed

by Victor Horta.

• Every detail functions as part of a living whole.

Tassel House by Victor Horta, architect, at Brussels, Belgium, 1892 to 1893

76

• For Salomé, an illustration for a

book by Oscar Wilde, Aubrey

Beardsley drew The Peacock

Skirt.

• The decorative composition uses

lines and patterns of black and

white to create sweeping

curvilinear shapes that lie flat on

the surface.

BEARDSLEY, The Peacock Skirt, 1894. Pen-and-

ink illustration for Oscar Wilde's Salomé.

77

• In his design for the apartment

house Casa Milá in Barcelona,

Antonio Gaudi conceived the

building as a free-form mass with

swelling curves with an undulating

tiled roof.

ANTONIO GAUDI, Casa Milá, Barcelona, 1907

78

Fin-De-Siecle Culture

• The term fin-de-siècle refers to a certain unrestrained and

freewheeling sensibility that emerged in the context of the political

upheaval toward the end of the nineteenth century.

• Prosperity promoted a culture of decadence and indulgence.

• Joseph Maria Olbrich designed the Vienna Secession Building

with a lavish gilded laurel-leaf dome.

• The staid geometric design of the exterior is offset by sensual,

organic, decorative elements.

JOSEPH MARIA OLBRICH, Vienna Secession Building, Vienna, 1897–1899.

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Additional Views of the Vienna Secession Building, Vienna, Austria

80

• Another member of the Secessionist movement was the

painter Gustav Klimt (1863-1918).

• In The Kiss, Klimt shows a man sensuously kissing a woman

in an opulent composition of flat patterns of shimmering color.

81

Other Architecture in the Later 19th Century

• Iron and steel, which

permitted the construction of

larger, stronger, and more

fire-resistant structures, were

increasingly used in buildings

in the later nineteenth

century.

• The most distinctive

structure of the period that

captures the sense of

Romance is the

Eiffel Tower.

• It was built by Alexandre-

Gustave Eiffel (1832-1923)

as the central feature of the

Paris Exhibition of 1889.

82

• Henry Hobson Richardson's

design for the Marshall Field

wholesale store in Chicago

employs a tripartite elevation

with massive courses of

masonry that serve to stress the

long sweep of the building's

lines and emphasize its

ponderous weight.

• Large glazed

arcades

have the

effect of

opening up

the walls of

the building.

83

• Louis Henry

Sullivan's design for

the Guaranty Building

in Buffalo, New York,

expresses the interior's

subdivision on the

exterior, and the

skeletal nature of the

supporting structure.

• Windows occupy most

of the space between

the terracotta-clad

vertical members.

84

• Sullivan unified the exterior

and interior design of the

Carson, Pirie, Scott

Building in Chicago, and

made the structural skeleton

clearly visible on the exterior.

• The lowest two

levels of the

building are

ornamented in

cast iron.

85

• Richard Morris Hunt's design for Cornelius Vanderbilt II's

opulent palace The Breakers in Newport, Rhode Island,

resembles a sixteenth-century Italian palazzo.

• The large interior rooms are sumptuously decorated.

RICHARD MORRIS HUNT, The Breakers, Newport, Rhode Island, 1892.

86

Summary:

• Modernist artists seek to capture the images and sensibilities of

their age while also subjecting the premises of art itself to critical

examination.

• Realism developed in France around the mid-century. Its leading

figure was Gustave Courbet.

• Realism's interest in depicting the realities of modern life also

appealed to artists other countries. In the United States,

Thomas Eakins was a Realist portrait and genre painter.

87

• In England, John Everett Millais was a founder of the Pre-Raphaelite Brotherhood, a group of artists who used Realist techniques to represent fictional, historical, and fanciful subjects.

• At the same time The Arts and Crafts movement in advocated the production of functional, well-made, high-quality objects produced for a wide public in a style based on natural forms.

• When applied to decorative arts and graphic design we call this style Art Nouveau.

• Iron and steel, which permitted the construction of larger, stronger, and more fire-resistant structures, were increasingly used in buildings and changed the nature of both structure and design.

88

• Claude Monet's painting Impression: Sunrise was the source of the term Impressionism, which describes paintings that incorporated the abbreviated, quick, and spontaneous qualities of sketches in order to catch the sense or character of a specific moment.

• Artits such as Edgar Degas and his follower Mary Cassett were fascinated with the composition of Japanese prints.

• Because of its tangible, solid nature, 19th century sculpture was ill suited to conveying the transitory and served predominantly as an expression of supposedly timeless ideals.

89

• By the 1880s, Impressionism came to be seen as too limited and post-Impressionist artists began to examine the properties and the expressive qualities of line, pattern, form, and color.

• Vincent van Gogh and Paul Gauguin explored the expressive capabilities of formal elements;

• Georges Seurat and Paul Cézanne were more analytical in orientation.

• Avant-garde artists rejected the classical, academic, or traditional, adopted a critical stance toward their respective media, and produced art that sought new boundaries.

90

Links: • PMA – Manet and the Sea

• PMA - Degas and the Dance

• Great Buildings Online

• Impressionism: Web Museum

• Impressionism (Art Lessons)

• Gardens of Sunlight

• ArtLex on Post-impressionism

• Art Nouveau

• The Arts and Crafts Movement