sayre2e ch31 integrated_lecture_pp_ts-150672

Copyright ©2012 Pearson Inc.

Édouard Manet. The Barricade. ca. 1871.18-1/4" × 12-3/4”.


Édouard Manet. The Execution of Maximilian. 1868-69.99-1/4" × 120”.


Henri Fantin-Latour. A Studio in the Batignolles. Salon of 1870. 1870.6’ 8-1/4" × 8’ 11-3/4”.

What is Impressionism?

• Monet’s Escape to Giverny — Monet continually sought to escape the city for the pleasures of the countryside. In 1883 he moved to Giverny. Monet began painting the same subject at different times of day and in different atmospheric conditions. Each painting in the series became a fragment in the duration of the whole.

• Morisot and Pissarro: The Effects of Paint — Morisot painted figures in clothing that is often barely distinguishable from the background; her paintings seem to dissolve into a uniform white light. Pisarro’s landscapes give us the impression of a view never quite fully captured by the painter.

French Impressionism

• Leisure and Work: Renoir, Degas and Caillebotte — Renoir and Degas preferred to paint the crowd in the cafes and restaurants, at entertainments of all kinds, and in the countryside. Renoir’s work is tightly composed and show a geometric symmetry. Degas also cared carefully constructed his paintings. Work was the theme of the first painting Caillebotte exhibited with the Impressionists. His theme in The Floor-Scrapers is the monotony of repetition, the rhythm of parallel lines of flooring reinforcing the theme.

• Manet’s Impressionism — Manet increasingly adopted Impressionist techniques, particularly the loose application of paint and the emphasis on capturing the effects of light. Manet’s Impressionism incorporates the viewer into its “atmosphere,” which is actually impenetrable.

• Discussion Question: What are the prominent features of impressionism?


Claude Monet. The Regatta at Argenteuil. ca. 1872.19" × 29-1/2”.


Claude Monet. Impression: Sunrise. 1873.19-5/8" × 25-1/2”.


Claude Monet. Boulevard des Capucines. 1873.24" × 31-1/2”.


Claude Monet. Grainstack (Snow Effect). Also, Haystack. 1891.25-3/4" × 36-3/8”.


Berthe Morisot. Summer's Day. 1879.18" × 29-3/4”.


Camille Pissarro. Red Roofs, or The Orchard, Côtes Saint-Denis at Pontoise. 1877.

21-1/2" × 25-7/8”.


Auguste Renoir. Oarsmen at Chatou. 1879.31-15/16" × 39-7/16”.


Edgar Degas. Dance Class. ca. 1874.32-3/4" × 30-1/4”.


Auguste Renoir. Closer Look: Luncheon of the Boating Party. 1880-81.51-1/4" × 69-1/8”.


Gustave Caillebotte. The Floor-Scrapers. 1875.40-1/8" × 57-1/2”.


Edgar Degas. Aux Ambassadeurs. 1877.14-1/2" × 10-5/8”.


Édouard Manet. A Bar at the Folies-Bergère. 1881-82.37-3/4" × 51-1/8”.

Closer Look: A Bar at the Folies-Bergère

MyArtsLabChapter 31 – Hope and Possibility in Late Nineteenth-Century Europe


Jules Chéret. Aux Folies-Bergère. 1875.

Russian Realism and the Quest for the Russian Soul

How was Russian nationalism reflected in literature, art, and music?

• The Writer and Artist under the Tsars — Under the rule of Nicholas I, literary culture was severely stifled. Dostoyevsky considered the question, “Can we love the damned?”. The complexity of psychological guilt is the theme of Crime and Punishment where he asks, “Can immoral means justify worthy ends?” Tolstoy’s realism turned outward, to the epic stage of Russian history. War and Peace surveys Russian life in the early nineteenth century. The Travelers was a group of 13 visual artists dedicated to presenting art exhibitions throughout the country.

• Russian Nationalistic Music and Ballet — The quest to express the fundamental essence of Russia was reflected in music. Slavic pride was expressed through the incorporation of Russian folklore, folk songs, and instruments. Tchiakovsky’s nationalism is apparent in his 1812 Overture. His real fame came from his ballet music such as Swan Lake, Sleeping Beauty, and the Nutcracker.

• Discussion Question: What are the two factions within nineteenth-century Russian society?


Ilya Repin. Leo Tolstoy Ploughing. 1887.


Ivan Nikolaevich Kramskoy. Ivan I. Shishkin. 1880.46" × 33-1/2”.

Active Listening Guide: Tchaikovsky: 1812 Overture

MyArtsLabChapter 31 – Hope and Possibility in Late Nineteenth-Century Europe

Britain and the Design of Social ReformHow did the Crystal Palace and Pre-Raphaelite artists express the

spirit of social reform?

• Morris, the Guild Movement and the Pre-Raphaelites — Morris longed to return to a handmade craft tradition, in which workers, as with the medieval craft guilds, would no longer be alienated from their labor. In his designs, Morris constantly emphasized simplicity and utility. He hired many of his artist friends such as, Rossetti, and Burne-Jones. Rossetti was the leader of the Pre-Raphaelite Brotherhood, who denounced contemporary art. He championed the spiritual values of medieval and early Renaissance culture. Burne-Jones illustrated many of the books produced by Morris’s press. The influence of Morris’s design company fostered a guild movement throughout England intent on producing quality handcrafted goods.

• The Fight for Women’s Rights: Mill’s Subjection of Women — Many reformers felt that women were inherently conservative, unduly controlled by the clergy. Mill was an advocate of utilitarian theory, and on that basis felt that in assigning an inferior role to women, society was wasting an enormous resource. Mill wrote The Subjection of Women in collaboration with his wife.

• Discussion Question: What are some of the late-nineteenth-century’s attitudes towards women as expressed through philosophy and art?


Joseph Paxton. Crystal Palace, London (lithograph by Charles Burton). 1851.

Length: 1848' Width: 408’.


Joseph Paxton. Crystal Palace, London: Interior, showing glass vaulting. 1851.

Length: 1848' Width: 408’.


Morris and Company. The Woodpecker. Design of William Morris. 1885.


Dante Gabriel Rossetti. Mariana. 1870.43-1/4" × 35-5/8”.


Edward Burne-Jones. Laus Veneris (In Praise of Venus). 1873-78.48-3/4" × 74-1/4”.


May Morris. Bed Hangings (Two Curtains). 1917.Each panel: 76-3/4" × 27”.


Kitagawa Utamaro. Continuity & Change: Shaving a Boy’s Head. Signed Utamuro hitsu. 1801.14-15/16" × 9-13/16”.


Mary Stevenson Cassatt. Continuity & Change: The Bath. 1890-91.12-3/8" × 9-3/4”.

sayre2e ch31 integrated_lecture_pp_ts-150672

Documents