The document discusses the impact of photography and industrialization on artmaking in the 19th century. It notes that mass production through mechanical processes affected even the decorative arts and that photography depended on non-human chemical and mechanical processes, making the artist's hand less important. Key differences between painting and photography are outlined, such as the accumulation of technique over time in painting versus capturing a single moment in photography. The invention of photography by Joseph Nicephore Niepce is described. Early photographers like Talbot, Nadar, and Brady are mentioned, as are Civil War photographs by Gardner.

1. • Industrial Revolution impacts
decorative arts
– Mass-production of silverware
and drapery
• The chemical/mechanical
process affects even artmaking
– Photography is dependant on
these non-human process
– Unique in that the “making” does
not require the artist’s “hand”
• Therefore, what happens to
the idea of artmaking
philosophiclly?

2. • Key differences in process
between painting and
photography
– Accumulation of technique over
time vs. the capturing of a single
moment per the artist’s mind
– Ability to capture abstractions
and the supernatural vs. the
anchoring of thought to pure
physical reality
– Illusionism based on
mathematics vs. composition
based on a direct interaction of
nature.

3. • Joseph Nicephore Niepce
(1765-1833)
– Invented the photographic
image as a research chemist
– Attempt to improve
lithography for aiding artist
compositions for large
portraits
– Utilized light sensitive
chemicals (silver chloride
and bitumen) to react to
reverse camera obscrua
projection

4. View from the Window at Le Gras, the first successful permanent photograph
created byNicéphore Niépce in 1826 or 1827,

5. WILLIAM HENRY FOX TALBOT. Sailing Craft. ñ. 1845.
Calotype. Science Museum, London

6. NADAR. Sarab Bernhardt. 1859.
George Eastman House,
Rochester, New York

7. HONORE DAUMIER.
Nadar Elevating Photography to the
Height of Art.
1862. Lithograph. George Eastman
House, Rochester, New York

8. MATHEW BRADY. Civil War , 1865

9. Boulevard du Temple, Paris, 8 in the morning
Louis-Jacques-Mandé Daguerre

10. ALEXANDER GARDNER. Home of a Rebel
Sharpshooter, Gettysburg.
July 1863. Wet-plate photograph. Chicago
Historical Society

11. • Early Romantic Painter who
develops an intensity of
emotion through man’s
interaction with nature
– Often depicting military
portraits and themes in early
works
– Through action of horses in
Versailles, became interested in
emotion and anatomy
– Late work is enamored with
subjects including asylum
patients and history of suffering

12. Théodore Géricault, Raft of the Medusa, oil on canvas, 193 x
282 inches, 1818-19 (Musée du Louvre, Paris)

16. • Last of the neo-classical
painters
– but actually working in a
neo-baroque or “romantic
classical” style
• Poussinistes History
painter
– Actually works as a
rubenesque genre painter of
emotion
• Cognitive dissonance?
– The debate of color and
design may be just
hemispheric differences of
art. Remember…MIND
FLOWER

17. Jean-Auguste-Dominique Ingres, La Grande Odalisque, 1814,
Oil on canvas,
36" x 63" (91 x 162 cm), (Musée du Louvre, Paris)

19. • Romantic painter and
watercolourist
– Born to a Barber and wig
maker
– Early exercises in
architectural perspective
– Royal Academy of Art in
1789
• His distinctive style of
painting, in which he
used watercolour
technique with oil
paints, created lightness,
fluency, and ephemeral
atmospheric effec

20. Shipwreck of the Minotaur

21. The Fighting Temeraire tugged to her last Berth to be broken up

22. Wreckers, Coast of Northumberland," oil on
canvas, by the English artist J. M. W. Turner.
Courtesy of the Yale Center for British Art.

23. Snowstorm
1842; Oil on canvas, 91.5 x 122 cm

24. J.M.W. Turner’s “Slavers Throwing Overboard the
Dead & Dying – Typhon Coming on” (aka, “The Slave
Ship”) [Museum of Fine Arts, Boston]

25. The Third-Class Carraige
1863-65 (150 Kb); Oil on canvas, 65.4 x 90.2 cm
(25 3/4 x 35 1/2 in); The Metropolitan Museum
of Art, New York

26. 29

27. 30

28. • Born on French-Swiss
border
– Rural background influences
work
– Believed revolutionary
upheavals and “Romantic”
emphasis on feeling as
escapism (sound familiar?)
• Caravaggesque tradition
– Lack of spiritual content
– Truer forms of naturalism
• Radical ideology including
strong socialism 31

29. Gustave Courbet. The Stone Breakers. 1849.
Formerly Gemaldegaierie, Dresden
32

30. Courbet, 1849-50, Oil on
Canvas, Musee d’Orsay,
Paris, France 33

31. Gustave Courbet. Studio of a
Painter. 1854—55. Oil on canvas.
Musee d'Orsay, Paris 34

32. • Artistic successor of Courbet
– Believes in the manifesto of
“Art for Art’s Sake” as a
continuation of realism
– True liberation of the artist
from the confines of opinion,
mythos, or narrative force
– Believes the brushstroke and
color patch are the artist’s
reality
• Often creates flattened
images to emphasis his art
reality
35

33. EDOUARD MANET. The Fifer.
1866. Musee d'Orsav, Paris 36

34. Édouard Manet, Le déjeuner sur l'herbe
(Luncheon on the Grass), oil on canvas, 1863
(Musée d'Orsay, Paris)
37

35. 38

36. 39

37. 40

38. • How does Courbet
pave the way for
Manet?
• How does Manet pave
the way for Monet?
• Describe the artistic
and philosophical
relationship between
these three painters. 41

39. Edouard Manet. A Bar at the Folies-Bergère. 1882. Oil
on canvas. Courtauld Institute Galleries, London, UK.
42

40. • First official “Impressionist”
– Although the term is used
derogatory at first
• Applied the process of artwork
to outdoor painting
– Oil paint in tubes, portable easals
• Focus on the intensity of color
as it interacts with light and
memory to capture an
“impression” of a moment
– Opposite of the planning theatrics
of the Baroque
– Opposite of the mathematical and
supernatural constructions of the
Renaissance
43

41. Landscape is nothing but an impression, and an instantaneous one, hence
this label that was given us, by the way because of me. I had sent a thing
done in Le Havre, from my window, sun in the mist and a few masts of
boats sticking up in the foreground....They asked me for a title for the
catalogue, it couldn't really be taken for a view of Le Havre, and I said:
'Put Impression
Claude Monet, Impression, soleil
levant, 1872. Oil on canvas
44

42. 45

43. Palmer Collection
46

44. Claude Monet. Red Boats,
Argenteuil. 1875. Harvard University Art
Museums, Cambridge, Massachusetts.
47

45. 48

46. 49

47. 50

48. 51

49. 52

50. 53

51. 54

52. 55

53. 56

54. Monet, Rouen Cathedral, 1894.
57

55. 58

56. 59

57. • 19th century Parisian
movement (extending over the
pond starting with Whistler in
1855)
1. Small, thin, yet visible brush
strokes
2. Open composition
3. Emphasis on the changing of
light over time over ordinary
subjects
4. Diffuse reflection and shadows
• Light is the subject, not the
objects behind it. 60

58. • Leading Impressionist
painter
– What is the “heroism of
modern life”?
– Bourgeois in the carefree
style of Steen or Hogarth, yet
controlled compositions
(harmony of Poussin and
Ruben)
61

59. Pierre-Auguste Renoir. The Luncheon of the
Boating Party. 1881. Oil on canvas. Phillips
Collection, Washington, DC, USA.
62

60. Edouard Manet. A Bar at the Folies-Bergère. 1882. Oil
on canvas. Courtauld Institute Galleries, London, UK.
63

61. Warm-Up 02/26/12
• 2004 (10 minute question)
• The following statement, made by Mary
Cassatt in 1904, refers to her 1879
collaboration with the artistic group with
which she is most closely associated.
• “Our . . . exhibition . . . was a protest
against official exhibitions and not a
grouping of artists with the same
tendencies . . . . ”
• To which group of artists does Cassatt’s
remark pertain? Referring to the Cassatt
work shown and a work by one other
artist in this group, defend her claim that
these artists did not have the same stylistic
tendencies. (5 minutes) 64

62. • Wealthy Aristocrat who studied
photography, but works in
impressionistic pastel
– Advantages of Pastel as an
Impressionist?
– What types of scenes does Degas
draw?
– How does he interact with the
design/color debate?
• “Art is not what you see, but what
you make others see.”
65

63. Edgar Degas. The Absinthe Drinker.
1875-76. Oil on canvas. Musée d'Orsay,
Paris, France.
66

64. 67

65. The Star. 1876-77. Pastel on
monotype. Musée d'Orsay,
Paris,
68

66. Edgar Degas. Little Fourteen-
Year-Old Dancer. 1879/81.
Bronze, painted in part, tulle skirt,
satin bow, wooden stand. The
Metropolitan Museum of Art,
New York, USA.
69

67. Edgar Degas. Woman
Combing Her Hair. c.1885-
86. Pastel on cardboard. The
Hermitage, St. Petersburg,
Russia.
70

68. Edgar Degas. The Tub. 1886. Pastel on paper. Musée
d'Orsay, Paris, France. 71

69. Edgar Germain Hilaire Degas . 1895 Oil on
canvas. 25 5/8 x 31 7/8 in. 2001.20 72

70. • What are the differences
between impressionism and
post-impressionism according
to you readings last night?
• Make a prediction on the
focus of art in Ch. 23
• 768-775
• 776-781
• 782-789
• 790-796
• 797-801
73

71. • 1894 exhibition of three
notable Impressionist women
– Marie Bracquemond
– Mary Cassat
– Berthe Morisot
• Reveals the inclusive nature
of the Impressionist
movement, as well as the
diversity of thought, process
and form typical of growing
modernity
74

72. • Married to Manet’s brother.
• One of several talented
female artists during
Impressionism
• Exhibited in the Solon de
Paris in 1864
• 1874, joined “rejected”
impressionists Degas, Monet,
Pissarro, Renoir, and Cezanne
• Went to plein air painting
before Manet Édouard Manet, Berthe Morisot with a
Bouquet of Violets, 1872
75

73. Berthe Morisot, The
Cradle, 1872, Musée d'Orsay 76

74. On the Balcony, New
York. 1872 77

75. Lady at her Toilette, The Art
Institute of Chicago 187578

76. Eugene Manet on the Isle of
Wight, Private Collection 1875 79

77. • Upper-middle-class family in
Pennsylvania
– Father is a stockbroker and land
speculator
– Mother from banking family
– Spent 5 years in Europe as part of her
education
• First contact with French artists at
1855 world’s fair
• Studied at Pennsylvania Academy
of the Fine Arts at 15, and later
with private French tutors
• “O how wild I am to get to work, my
fingers farely itch & my eyes water to
see a fine picture again” 80

78. Cassatt, Little girl in a blue arm chair, c. 1878 81

79. The Child's Bath (The Bath) by Mary
Cassatt, 1893, oil on canvas, Art
Institute of Chicago 82

80. Summertime, c. 1894, oil
on canvas
83

81. Tea by Mary Cassatt, 1880, oil
canvas, 25½ × 36¼ in.,Museu
of Fine Arts, Boston
84

82. • Absence from art textbooks
due to her husband’s
campaign to thwart her
development
• Born in an uncultured
household atypical of other
female impressionists
• Exhibited in Impressionists
galleries in 79, 80, and 86
• Influence of Gauguin
85

83. Marie Bracuemond. Under the Lamp. 1887.
Oil on Canvas 86

84. • Barbizon, France arose in the context of
the Romantic Movement
– Focus on tonal qualities, color, loose
brushwork, and softness of form
– Focus on rural and simple landscapes
• Easily accepted as the dominant
American style of Impressionism
– Industrial growth and immigrant explosions,
American looks more Old World, and takes
on similar tastes
– Landscape painting gives way to “heroism of
daily life” 87

85. Winslow Homer. The Gulf
Stream.1899. Oil on Canvas 88

86. Henry Tanner. The Banjo Lesson. 1893
89

87. 90

88. Thomas Eakins. Willian Rush carving his allegorical
figure of Schylkill River. 1877
91

89. • Attribute the painting
to an artist you have
studied. Justify your
attribution by
identifying and
discussing specific
characteristics seen in
the painting. (10
minutes)
92

90. Auguste
Rodin
93

91. • Working class family in Paris
– Largely self-educated
– 14-17: Petite Ecole, which
developed his personality before
observing, drawing from
recollections
– Moved in with Rose Beuret (his
main mistress until the end of
their lives) in Paris in 1877
• Focused on the “growth” of
clay from unformed matter
• Removed sculpture from its
allegorical niche 94

92. The Age of Bronze, 1877Alte Nationalgalerie, Berlin. 95

93. 96

94. St. John the Baptist Preaching(1878)97

95. 98

96. • Round 1 (20 minutes): Fully analyze each theme with your
team. Answer the following questions when presenting and
listening:
– 1. What is each theme’s central thesis? How would you describe the
theme in relation to art?
– 2. Describe each arch-theme artwork you chose, including MARCS.
Is there overlap in any of the arch-themes? What are they?
– 3. Briefly explain each sub-theme and how you went about choosing
the artwork.
• Round 2 (10 minutes): Compare and contrast your poster with
a student from another team doing the same arch-themes as
you.
– Choose one person to present from the Round 2 team to explain the
comparison of themes to the class. 99

97. 100

98. 101

99. The Kiss
1886 (100 Kb); Bronze, 87 x 51 x
55 cm; Musee Rodin, Paris 102

100. The Gates of Hell
1880-1917 (260 Kb); Bronze, 18 x 12 ft; Rodin
Museum, Philadelphia
103

101. Iris, Messenger of the Gods
1890 (10 Kb); Bronze, 37 1/2 x 34 1/4 x 15 3/4
in; Los Angeles County Museum of Art
104

102. Rodin. Monument to Balzac.
1897-98. Bronze 105

103. Andromeda (26 x 30 x 21 cm, Musée Rodin S.
811, and Philadelphia Rodin Museum 106

104. 107

105. Camille Claudel. Ripe
Age. ñ. 1907. Bronze, 87.6 x 21.9 c
m. Musee d'Orsay, Paris
108