April 20
The Avant - Garde
Theodore Gericault. The Raft of the Medusa. 1818 - 1819.
http://looknorth.files.wordpress.com/2009/04/gericaultmedusaraft2.jpeg
study for Raft of the Medusa |
Study of Truncated Limbs. c. 1818 - 1819. |
Rosa Bonheur. The Horse Fair. 1853. |
Realism
= art style that sought to counter the idealized subject matter ofAcademic painting with direct and frank views of everyday life |
Based
on the idea that ordinary people and everyday activities are worthy
subjects for art |
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Strives
to depict ordinary existence without classic idealism, exoticism or nostalgia |
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Insisted
on precise imitation of visual perceptions without alteration |
Gustave Courbet. The Stone Breakers. 1849 (destroyed during World War II). 8 1/2' X 5' 3".
Stokstad,
Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice
Hall Inc., and Harry N. Abrams, 2005.
First viable, permanent method for capturing the effects of light on a surface were introduced to the public in 1839 |
Louis
Jacques Mande Daguerre. Le Boulevard Du Temple. 1839. |
today we call this technology "photography" |
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"Realism ws perceived as nothing less than the enemy of art, and many believed that photography was the source and sponsor of this disaster." |
Edouard Manet. Luncheon on the Grass (Le Dejeuner Sur L'Herbe). 1863.
"A
commonplace woman of the demimonde, as naked as can be, shamelessly
lolls between two dandies dressed to the teeth. These latter look like
schoolboys on a holiday, perpetrating an outrage to play the man…this
is a young man's practical joke- a shameful, open sore." - Gardner's Art Through the Ages |
"I
myself shouldn't like to meet this young man...I should be obliged to
tell him I don't understand anything about his paintings, and I don't
want to be disagreeable with him." - Gustave Courbet |
Manet breaks with convention by: |
Titian and Giorgione. The Pastoral Concert. c. 1508. |
No chiaroscuro |
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No linear perspective |
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Not a classic landscape |
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Figures do not seem to relate to one another |
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Thick and full brush strokes that call attention to the act of painting |
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Vast planes of color |
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Portion of the painting left unfinished |
Claude
Monet. Impression: Sunrise. 1872. |
Avant-garde = artists or art works that are novel or experimental |
Relates to the military term for soldiers who explore the battlefield ahead of the advancing army |
|
Suggests a small group of intellectuals who push the boundaries of what is accepted
as the norm |
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Impressionism
- A movement among late nineteenth-century French painters who sought
to present a true representation of light and color. Working primarily
outdoors, such artists applied small touches of paint to catch fleeting
impressions of the scenes before them. Many American artists adopted
the style. |
Berthe Morisot. In the Garden . c. 1884. |
The Impressionists were interested in: |
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Representing immediate visual sensations through color and light |
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Experimenting with short, choppy brushstrokes |
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Painting outdoors, away from the studio, and with pre-made paint |
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"En Plein Air" = in the open air |
|
Pierre-
Auguste Renoir. The Luncheon of the Boating Party. 1881.
Preble, Duane, Sarah Preble and Patrick Frank. Artforms. Seventh ed. Prentice Hall, Upper Saddle River, NJ, 2002.
Mary Cassat. Mother Washing Sleepy Child. 1880.
Bullard, E. John. Mary Cassatt: Oils and
Pastels. Watson-Guptill Publications: New York, 1998.
Edgar Degas. The
Rehearsal on Stage. c. 1874.
Stokstad,
Marilyn. Art History. Revised Second ed. Vol. 2. New York: Prentice
Hall Inc., and Harry N. Abrams, 2005.
Edouard Manet. A Bar at the Folies-Bergere. 1881-82.
