early modernism
TRANSCRIPT
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19 C. ART MOVEMENTS: Early Modernism, Symbolism, Art Nouveau, and Rodin
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Sculpture in the Later 19th Century
• Sculpture could not show many techniques or concepts of the Impressionists due to its nature
• Sculpture was lacking the avant-garde spirit and was used primarily for monuments
• 2 important sculptors during this period:--Carpeaux and Rodin
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JEAN-BAPTISTE CARPEAUX, Ugolino and His Children, 1865–1867*. Marble, 6’ 5” high. Metropolitan Museum of Art, New York
•Ugolino: convicted of treason and sent to die in a tower with sons in 1288 (Dante)
•Academic! Inspiration from Michelangelo and Dante
•Highly finished (polished)
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• Depicts 1st section from Dante’sInferno but also contains referencesFrom Ghiberti’s gates and Baudelaire (literary)
• 19.69'H × 13.12'W × 3.29'D
• contains 180 figures (Ugolino)
• Worked off and on for 37 years
• Not cast during his lifetime
Rodin, The Gates of Hell, 1880
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•Rodin DID NOT use subtractive method of sculpture!
•Used plaster or terra cotta to shape figures and then they were cast in bronze
•THIS GIVES IT ITS TEXTURE!
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AUGUSTE RODIN, Walking Man, 1905*. Bronze, 6’ 11 ¾” high. Musee d’Orsay, Paris.
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•Head and arms intentionally missing
•John the Baptist preaching
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RODIN, Burghers of Calais, 1884-1889*. Bronze, 6’ 10 ½” high, 7’ 11” long, 6’ 6” deep. Musee Rodin, Paris.
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Burghers of Calais
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• Commissioned by the city of Calais, France as a monument to the 100 Years War
• In 1347, six men of Calais surrendered to the English King, in exchange for sparing their city
• Rodin’s sculpture displeased them:
1. It’s too emotional (2 years on facial features!)
2. Didn’t use a tall base. Same level
as us.
3. It was hidden and placed on a taller
base
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• Assistant and lover of Rodin for fifteen years• HEAVILY influenced by each other• After Rodin, has professional success but begins to act
“deranged”• Committed into a mental asylum for 30 years and dies
there
Camille Claudel
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Camille Claudel, The Waltz, 1892-1905* Bronze, 9 7/8”
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Symbolism• The reaction against 19C. Belief in the advancement
of science and technology
• They concentrated on giving visual forms to states of mind (influences: Goya’s etchings and Gericault’s paintings of the insane) (Freud)
Symbolist themes and topics:• Fantasy• States of mind, emotions, ideas• Irrational states of mind (disturbing)
Artists associated: Gauguin, Redon, Moreau, Rousseau, Munch (this was also a literary movement)
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PIERRE PUVIS DE CHAVANNES, Sacred Grove, 1884*. Oil on canvas, 2’ 11 1/2” x 6’ 10”. The Art Institute of Chicago, Chicago
One of the 1st to abandon reality and a precursor to the Symbolists
-Both the Academics AND the avant-garde accepted it because it includes classical references (body types, arch., landscape) and deals with myth
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GUSTAVE MOREAU, The Apparition, ca. 1874-76*. Watercolor on paper, The Louvre, Paris
•An Academic artist the Symbolists saw as a precursor, too.
•Macabre
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GUSTAVE MOREAU, Jupiter and Semele, ca. 1875*. Oil on canvas, 7’ x 3’ 4”. Musée Gustave Moreau, Paris.
•Moreau, like Redon, alludes to mythology
•Influenced by Byzantine mosaics, Indian miniatures, cloisonne, and exotics.
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ODILON REDON, The Cyclops, 1898*. Oil on canvas, 2’ 1” x 1’ 8”. Kröller-Müller Museum, Otterlo.
•Famous French Symbolist
Galatea
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HENRI ROUSSEAU, Sleeping Gypsy, 1897*. Oil on canvas, 4’ 3” x 6’ 7”. Museum of Modern Art, New York
Naïve painter: not formally trained. Praised for unintentional abstraction
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EDVARD MUNCH, The Scream, 1893*. Tempura and pastels on cardboard, 2’ 11 3/4” x 2’ 5”. National Gallery, Oslo.
•Symbolist and frontrunner to Expressionism
•Death of mother and sister in childhood
•Alienation
•“primal scream”
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Decorative Art: Arts and Crafts Movement and Art Nouveau
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• Originates in the UK-most industrialized in Europe as a rejection to urbanization (America)
• Inspired by the Romantic writings of John Ruskin and William Morris
• Handcraftsmanship for usefulness and aesthetics
• Natural floral patterns—this will bring about next movement, Art Nouveau
ARTS AND CRAFTS MOVEMENT
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WILLIAM MORRIS, Green Dining Room, Victoria & Albert Museum, London, England, 1867*.
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CHARLES RENNIE MACKINTOSH Ladies’ Luncheon Room, Ingram Street Tea Room, Glasgow, Scotland, 1900–1912*.
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The Gamble House
Greene and Greene
1908
Pasadena, CA
“Craftsman”
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• Short-lived movement in the late 19th C., which focused on decorative arts and architecture
• France, Belgium, Holland, UK, America, Germany, and Austria
• ORGANIC designs: plants, leafy, vines, florals
ART NOUVEAU
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VICTOR HORTA, staircase in the Van Eetvelde House, Brussels, 1895*.
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LOUIS COMFORT TIFFANY, lotus table lamp, ca. 1905*. Leaded Favrile glass, mosaic, and bronze, 2’ 10 1/2” high.
-Cost almost $800 at the time!
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ANTONIO GAUDI, Casa Milá, Barcelona, 1907*.
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•Organic, undulating, curves
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GUSTAV KLIMT, The Kiss, 1907–1908*. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4”. Österreichische Galerie Belvedere,Vienna.
•Symbolism, Arts and
Crafts, and Art Nouveau
•Inspired by Byzantine mosaics
•Part of the Austrian Secession: Austrian Arts and Crafts movement
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Architecture in the Later 19th Century
•Skyscrapers—built upward for space and because of property values
•Cast iron and then encased cast-iron (more durable and fire resistant)
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The Architecture of Louis Sullivan
• Known as the “first modern architect”
• Vertical use of lines where the windows are the actual supports
• His motto: “form follows function”
• Teacher to Frank Lloyd Wright
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LOUIS HENRY SULLIVAN, Guaranty (Prudential) Building, Buffalo, 1894–1896*.
•Lots of window light for white collar workers
•Romanesque portal
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LOUIS HENRY SULLIVAN, Carson, Pirie, Scott Building, Chicago, 1899–1904*.
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Olmstead and Vaux, Plan for Central Park, 1858-1880*
READ about me on page 1059!!!
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Jacob Riis, Tenement Interior in Poverty Gap:An English Coal Heaver’s Home, 1889*
Photography as activism!
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GERTRUDE KASEBIER, Blessed Art Thou among Women, 1899*. Platinum print on Japanese tissue, 9 3/8” X 5 ½”. Museum of Modern Art, New York
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•Pictorial Style: more artistic
•Intentional blurry background
•Symbolic