sayre2e ch28 integrated_lecture_pp_ts-150669

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Anonymous. Old Hetton Colliery, Newcastle. ca. 1840.


Gustave Doré. Orange Court, Drury Lane, from London, A Pilgrimage, 1872, by Gustave Doré and Blanchard Jerrold, 1872. 1869.

The Industrial City: Conditions in London

How did industrialization shape the nineteenth century?

• Water and Housing — Lethal bacteria such as cholera thrived in the Thames and its principle victims were the poor. London’s rapid growth contributed to the problem. The poor crowded into buildings already stressed by age and disrepair turning neighborhoods into slums.

• Labor and Family Life — As a result of industrialization, the British workforce became a class of workers who neither owned the means of production nor controlled their own work. Children of poor families worked as assistants in the factories. Wives were solely responsible for domestic life.


Map: London in 1898: Factories with over 100 workers.


Map: The growth of London, 1800-1880.

Reformists Respond: Utopian Socialism, Medievalism, and Christian Reform

How did reformers react to industrialization?

• Utopian Socialism — Among the critics of free enterprise were those who envisioned ideal communities, where production would be controlled by society as a whole rather than by individuals. Fourier was a utopian socialist.

• A.W.N. Pugin, Architecture, and the Medieval Model — Pugin published a book called Contrasts comparing medieval and modern buildings, aiming to show the decay of taste over time. He was commissioned by the architect Barry to design the interiors and ornamentation of London’s new Houses of Parliament.


A. W. N. Pugin. Contrasted Residences for the Poor, from Contrasts: or, a Parallel Between the Noble Edifices of the Fourteenth and Fifteenth

Centuries, and similar Buildings of the present Day; showing the Present Decay of Taste. 1836.

Literary Realism

What is literary realism?

• Dickens’s Hard Times — Nothing exasperated Dickens more than the promise of the Industrial Revolution to improve life and its ability to do just the opposite. He addresses this issue in Hard Times.

• French Literary Realism — French realists claimed to examine life scientifically, without bias. Balzac’s Human Comedy is populated by characters from all levels of society and drew them from direct observation. Flaubert’s Madame Bovary is a realist attack on Romantic sensibility.

• Literary Realism in the United States: The Issue of Slavery — American realist writers were haunted by the “terrible truth” of slavery and were inspired by the abolitionist movement. Narrative of the Life of Frederick Douglass: An American Slave was published in 1845, his account of life under slavery. Slave narratives, such as the Narrative of Sojourner Truth offers evidence of the rhetorical persuasiveness of Truth. Harriet Beecher Stowe’s Uncle Tom’s Cabin became the symbol of the abolitionist movement in America. Mark Twain’s Adventures of Huckleberry Finn is vigorously opposed to slavery, and portrays those who supported it in a uniformly unflattering light.


Charles Barry and A.W.N. Pugin. Houses of Parliament, London. 1836-60.Length: 940’.


J.M.W. Turner. Rain, Steam and Speed: the Great Western Railway. 1844.33-3/4" × 48”.


J. T. Zealy. Renty, Congo. Plantation of B. F. Taylor, Esq. Columbia, SC, March 1850. 1850.


Portrait of Frederick Douglas. 1847.


Portrait of Sojourner Truth seated with Knitting. 1864.


Robert S. Duncanson. Uncle Tom and Little Eva. 1853.27-1/4" × 38-1/4”.

French Painting: The dialogue Between Idealism and Realism

Who defined the direction of French painting during the nineteenth century?

• Theodore Gericault: Rejecting Classicism — Gericault’s The Raft of the “Medusa” is a rendering of true events and assumes a political dimension.

• The Aesthetic Expression of Politics: Delacroix versus Ingres — Delacroix exhibited Scenes from the Massacres at Chios at the Salon of 1824 and shows journalistic themes. His Liberty Leading the People, is an allegorical representation with realistic details. Ingres showed a deeply royalist work in The Vow of Louis XIII and never hesitated to adjust the proportions of the body to the overall composition as seen in his Grand Odalisque.

• Caricature and Illustration: Honore Daumier — Daumier was an artist known for his political satire who regularly submitted cartoon drawings to the newspapers. These were made possible by the new medium of lithography.

• Realist Painting: The Worker as Subject — Daumier openly lampooned the idealism of both Neoclassical and Romantic art. What mattered was the truth of everyday experience such as is depicted in The Third-Class Carriage. By focusing on laborers the painting is implicitly political.

• Gustave Courbet: Against Idealism — Courbet rejected the traditional political and moral dimensions of realism in favor of a more subjective and apolitical approach to art exemplified by The Stonebreakers and A Burial at Ornans.

How does Realism change the role and identity of the painter?


Théodore Géricault. The Raft of the "Medusa.” First oil sketch. 1818.16’ 1" × 23’ 6”.

Closer Look: Théodore Géricault, Raft of the “Medusa”

MyArtsLabChapter 28 – Industry and the Working Class: a New Realism


Eugène Delacroix. Scenes from the Massacres at Chios. 1824.165" × 139-1/4”.


Jean-Auguste-Dominique Ingres. The Vow of Louis XIII. 1824.165-3/4" × 103-1/8”.


Jean-Auguste-Dominique Ingres. La Grande Odalisque. 1814.35-7/8" × 63”.


Eugène Delacroix. Odalisque. 1845-50.14-7/8" × 18-1/4”.


Jean-Auguste-Dominique Ingres. Closer Look: Orientalism and Ingres's Turkish Bath: The Valpinçon Bather. 1808.

57-1/2" × 38-1/4”.


Jean-Auguste-Dominique Ingres. Closer Look: Orientalism and Ingres's Turkish Bath: The Turkish Bath. 1862.

Diameter: 42-1/2”.


Eugène Delacroix. Liberty Leading the People. 1830.8'6" × 10'7”.


Honoré Daumier. Gargantua. 1831.10-3/8" × 12”.


Honoré Daumier. Rue Transnonain, April 15, 1834. 1834.11-1/2" × 17-5/8”.


Materials & Techniques: Lithography (black and white diagram).

Studio Technique Video: Lithography



Honoré Daumier. The Third-Class Carriage. ca. 1862.25-3/4" × 35-1/2”.


Jean-François Millet. The Sower. 1850.40" × 32-1/2”.


Gustave Courbet. The Stonebreakers. Salon of 1850-51. Destroyed 1945. 1849.

5’ 3" × 8’ 6”.


Gustave Courbet. A Burial at Ornans. Salon of 1850-51. 1849-50.10’ 3-1/2" × 21’ 9”.

Closer Look: Courbet’s A Burial at Ornans


Photography: Realism’s Pencil of Light

What is photography’s role in the rise of a realist art?

• Some painters understood the potential of photography to seize painting’s historical role of representing the world. The new medium made personalized pictures available not only to the wealthy but to the middle- and working classes. The public’s taste for views of the world’s architectural and scenic wonders gave rise to the practice of commercial photography.


William Henry Fox Talbot. Wrack. 1839.8-11/16" × 8-7/8”.


Louis-Jacques-Mandé Daguerre. Le Boulevard du Temple. 1839.


Charles Richard Meade. Portrait of Louis-Jacques-Mandé Daguerre. 1848.6-3/16" × 4-1/2”.


William Henry Fox Talbot. The Open Door. 1843.5-5/8" × 7-5/8”.


Maxine Du Camp. Westernmost Colossus of the Temple of Re, Abu Simbel, from Du Camp's Egypte, Nubia, Palestine et Syrie (Paris, 1852),

plate 107. 1850.8-7/8" × 6-5/16”.

Charles Darwin: The Science of Objective Observation

What is The Origin of the Species?

• The emphasis on direct observation and the objective reporting of real conditions is reflected in the science of the nineteenth century. In Origin of Species, Darwin argued that through the process of natural selection, certain organisms are able to increase rapidly over time by retaining traits conducive to their survival and eliminating those that are less favorable to survival.

Given Darwin’s objective observations and conclusions, why were his conclusions so controversial?


Conrad Martens. The Beagle Laid Ashore for Repairs, from Charles Darwin, Journal of Researches into the Geology and Natural History of the

Various Countries Visited by H. M. S. Beagle (London, 1839). 1833-34.


Roger Fenton. The Valley of the Shadow of Death. 1855.10-7/8" × 13-3/4”.

sayre2e ch28 integrated_lecture_pp_ts-150669

Education

realist painting

portrait of sojourner

family life

account of life

domestic life

direction of french

idealism courbet

gustave courbet