1. The Industrial Era and the Urban Scene
•In the decades after 1850, the
industrial technologies of steam
power, coal, and iron brought the
west into a position of dominance
over the less industrialized parts
of the world.
•Two major art movements
realism and Impressionism.

2. Global Dominion of the West
Advancing Industrialism
Provided the economic and military basis for the
West’s rise to dominion over the rest of the
world.
Colonialism and the New Imperialism
The history of European expansion into Asia,
Africa, and other parts of the globe dates back at
least to the Renaissance.
Marx and Engels
In the Communist Manifesto, Marx and Engels
prophesized that a revolution would make the
proletariat the new ruling class.
Nietzsche’s New Morality
Nietzsche called for a new morality that
privileged the “superman.”

3. Beginning in 1848,
the lower classes
protested against
bad conditions with
sporadic urban
revolts.
This painting
presents a
somewhat
romanticized view
of the laboring
classes.
Jean-François Millet, Gleaners, 1857. Oil on canvas, approx. 2' 9" x 3' 8". Musée
d'Orsay, Paris. Réunion des Musées Nationaux/Art Resource, NY.
SOCIAL AND ECONOMIC REALITIES

4. Käthe Kollwitz (1867-–1945)She was a social realist and a feminist
whose early prints illustrate peasant
rebellions and mass protests.
Käthe Kollwitz (1867–1945), March of the Weavers, from "The Weavers Cycle,"
1897. Etching, 8 3/8 x 11 5/8 in. The University of Michigan Museum of Art,
1956/1.21.

5. Between 1855-1861,
there were almost
500 peasant
uprisings across
Europe.
Among these
movements for
economic and
social reform, one
of the most
idealistic was
socialism.
Käthe Kollwitz (1867–1945), Death and the
Mother, 1934. Lithograph, 20 1/8" x 14 5/8"

6. Late-Nineteenth-Century
Architecture
Cast-Iron
Structures
The Skyscraper
Joseph Paxton (1803–1865), Crystal Palace, Hyde Park,
London, 1851. Cast iron, wrought iron, and glass.
Destroyed by fire in 1936. Contemporary lithograph by
Joseph Nash,
Alexandre-Gustav Eiffel
(1832–1923), Eiffel Tower,
1889. Iron on a reinforced
concrete base, height
934'. Paris.

7. Eiffel Tower, 1887-
1889, Gustave Eiffel
•19th Century more skeletal
architecture.. Many buildings
(Crystal Palace) had skeleton
holding up a exterior curtain of
glass or steel.
•Land values soared, so buildings
went UP (skyscrapers, etc.)
•Eiffel specialized in railway bridges
•Centerpiece of 1889 Paris
Universal Exposition
•Innovative elevator swings up
diagonally
•Also helped with Statue of Liberty
and Panama Canal!

8. Marshall Field Wholesale Store, 1885,
Chicago, Henry Hobson Richardson
•Influence of Medici palaces from
Renaissance
•Heavy Romanesque arches
•Iron columns for interior supports
(Skeletal construction)
•Interior arranged around a central
court
•Feminine department store +
masculine warehouse look
•Few historical illusions
•Chicago School of architecture
formed after Great Fire

9. •Otis invented elevator, which
allowed high buildings
•Prototype of modern office building
•Accent on horizontal thrust
•Exterior: decorative terra cotta tiles
•“Form follows function” was his
motto, now very famous in
architecture
Wainwright Building, 1890
Louis Sullivan, Chicago School

10. Realism in the Visual Arts
The Birth of Photography
Mathew B. Brady,
(1861-1865)
eyewitness
photographs for the
American civil war.
His staff testify to
the importance of
the photographer
as a chronicler of
human life.
Mathew B. Brady or staff, Dead Confederate Soldier with Gun, Petersburg,
Virginia, 1865. Photograph. The Library of Congress, Washington, D.C.

11. French Realism - Gustave Courbet(1819-
1877)
Gustave Courbet. Burial at Ornans, 1849. Oil on canvas, 10' 4" x 21' 11". Musée
d'Orsay, Paris. Réunion des Musées Nationaux/Art Resource, NY.
Outspoken socialist, “A painter should paint only what
he can see.”
Minimizes any display of pomp and ceremony. He
banished from his view all sentimentality and artifice.

12. Gustave Courbet, The Meeting or Bonjour Monsieur Courbet, 1855. Oil on canvas,
50 3/4" x 58 5/8". Musee Fabre, Montpellier. © Reunion des Musees Nationaux /
Art Resource, NY.
Gustave Courbet (1819-1877)

13. Jean-francois Millet (1814-1875):
“Peasant Painter”Not a socialist, devoted his career to
painting the everyday lives of the rural
proletariat.
Jean-François Millet, Gleaners, 1857. Oil on canvas, approx. 2' 9" x 3' 8". Musée
d'Orsay, Paris. Réunion des Musées Nationaux/Art Resource, NY.

14. Daumier’s Social Realism
Honore Daumier (1808-1879)
Honoré Daumier, Nadar Elevating Photography to the Height of Art, 1862.
Lithograph, 10 3/4" x 8 3/4". Museum of Fine Arts, Boston. © akg-images.
The social realist who
was primarily associated
with the medium of
lithography .
Left the world a detailed
record of the social life of
his time.
The ancestors of modern-
day political cartoons

15. Honoré Daumier, Third-Class Carriage, c. 1862. Oil on canvas, 25 3/4" x 35 1/2".

16. Honoré Daumier (1808–1879), Louis Philippe as Gargantua, 1831. Lithograph, 8
3/8" x 12", Bibliotheque Nationale, Paris.
Honore Daumier

17. Honore Daumier
Honore Daumier, Freedom of the Press: Don't Meddle with It (Ne Vous y
Frottez Pas), 1834. Lithograph, 12" x 17". Private collection, France. © akg-
images.

18. Impressionism Forerunner…
Édouard Manet
Manet (1832-1883).
born into ranks of Parisian
bourgeoisie
credo: “Painter of modern
life”
believed that success as an artist
only obtained through
recognition at the Salon
After rejection by salon, set up
his own exhibitions
Early work was before
Impressionists
 fully supported their aims
 worked closely w/ Monet

19. The Scandalous Realism of Manet
Luncheon on the Grass, Edouard Manet
Napoleon III
authorized
Exhibition of refused
artists from the
Salon, such as Manet
and Monet
This painting was
found scandalous…
modern version of
the Pastoral Concert
by Titian(or
Giorgione?)
Figures are not
modeled.. Very flat,
not relating with
each other.
Édouard Manet (1832–1883). Le Déjeuner sur l'Herbe (Luncheon on the Grass), 1863.
Oil on canvas, 7' x 9'. Musée d'Orsay, Paris.

20. Pastoral Concert (Fête champêtre)
1508-09
Oil on canvas, 110 x 138 cm
Musée du Louvre, Paris
Édouard Manet (1832–1883). Le
Déjeuner sur l'Herbe (Luncheon on
the Grass), 1863. Oil on canvas, 7' x
9'. Musée d'Orsay, Paris.

21. Olympia, Manet, 1863
•courtesan stares out
at us, not modeled
figure.
•Play by Alexandre
Dumas about social
climbing prostitute
with same name.
•Olympia confronts
the viewer, she is
powerful, NOT an
accommodating
female nude.
• Manet began to
gather with other
rejects (refuses) in
Montmartre.
Édouard Manet. Olympia, 1863. Oil on canvas, 4' 3" x 6' 3". Musée d'Orsay, Paris.
Réunion des Musées Nationaux/Art Resource, NY.

22. Olympia, Manet, 1868 Venus of Urbino, Titian, 1538

23. Bar at the Folies-Bergere, Manet, oil on canvas,
1882 •Barmaid stares out at
us
•What is the mirror
reflecting?
•Trapeze in upper far
left corner
•Composition pushes
goods for sale up to the
counter
•Modern sales
technique of products
next to a pretty sales
girl
•More impressionistic
than Manet’s early
works

24. Mystery of the Mirror
in Manet’s painting

25. Realism in American Painting
Thomas Eakins (1844-1916) , The Agnew Clinic, 1889. Oil on canvas, 6 ft. 2 1/2 in.
x 10 ft. 10 1/2 in. University of Pennsylvania, School of Medicine.

26. Thomas Eakins (1844-1916) , The Biglin Brothers Racing, 1873. Oil on canvas,
24 1/4" x 36 1/8". National Gallery of Art
Thomas Eakins (1844-1916)

27. Winslow Homer (1836-1910)
Winslow Homer (1836-1910), The Gulf Stream, 1899. Oil on canvas, 28 1/8 in. x 4
ft. 1 1/8 in. The Metropolitan Museum of Art, New York.
While realistic
in execution
the painting
may be
interpreted as a
romantic
metaphor for
the isolation
and plight of
black American
in the decades
following the
Civil War.

28. Impressionism
The movement's name was derived from
Monet's early work, Impression: Sunrise,
which was singled out for criticism by
Louis Leroy upon its exhibition. The
hallmark of the style is the attempt to
capture the subjective impression of light
in a scene.
The Impressionist style was probably
the single most successful and
identifiable "movement" ever, and is
still widely practiced today.

29. Claude Monet Impressionism: Sunrise
1872
•Leader of the Impressionists
Aesthetic aim: fleeting
effects of light, shadow
and atmosphere.
Application of paint:
thick, heavy layers or
strokes (impasto).
Influenced by: Baroque “painterliness” (ex: Rubens)
Distinguished from
Renaissance ideal that
used flat, smooth paint
surface

30. Monet’s Rouen Cathedral in sun, 1894, oil on canvas,
40” x 26” (and in sunset…)

31. Monet’s Water Lilies (c. 1900) Monet did a series
of large canvases on
water lilies.
He frequently
painted his house at
Giverny with the
gardens and
Japanese bridge.

32. The Luncheon of the Boating Party
1881
Renoir
Narrative: photographic
effect and aura of
spontaneity.
Light and shadow: fleeting effects of sunlight falls in
patches, dappling the surface
Handling of paint: loose
and rapid thick “impasto”
Subjects: outdoor scenes leisure time & gaiety of
middle-class Parisians

33. Renoir’s Moulin de la Galette, oil on canvas, 4 ft x 6’
approximately
Dappling effect
of fleeting light
People not
posed,
enjoying meals
and dancing
Photographic
randomness of
clipped figures

34. The Dance Class 1881
Degas
Pastels and Oil
Paintings
Subjects:
ballet dancers,
the opera

35. Rehearsal on Stage,
Edgar Degas, Pastel
drawing
Worked mostly indoors
(not plein aire0
Asymmetrical
compositions
Feathery brushstrokes
showing the dancers’
costumes
Japanese print
influence in
composition
Rehearsal on Stage, Degas, 1874,
pastel drawing

36. Degas’ The Absinthe Drinkers (c. 1875)

37. Young Mother
1891
Mary Cassatt
•Friend of Degas & Renoir
•Naturalism,
innocence of children
•Influenced by Japanese
prints. Pastel & Oil.
•Subjects: Mothers and
children, her sister

38. Breakfast in Bed, Mary Cassatt
•Cassatt did a series
of paintings and
pastel drawings on
the theme of mother
and child.
•Tenderness foreign
to other
Impressionists
•Influential in
bringing
Impressionist
paintings to US
where they were a
huge hit

39. Maternal Caress, woodblock print,
Mary Cassatt was
influenced by Japanese
prints tilted style,
outlining, pattern, and
treatment of space.

40. Oil on canvas, 32” x 23”
Shows her sister at the
opera
Again, women going
about their daily
activities
Dazzling colors and
brushwork
Lydia in a Loge, Mary Cassatt, 1879

41. Summer’s Day, Berthe Morisot, oil on canvas,
1879
•Sister in law of
Manet and
grandaughter of
Fragonard
•Sketchy,
painterly
brushwork
•Middle class
women
•Asymmetrical
composition

42. James Whistler’s Nocturne in Black and Gold: The
Falling Rocket, 1875
•Subtle harmonies of painting
comparable to music
•Japanese influence-Japanese
signature
•Atmospheric effect of
fireworks, study in harmony of
color, shape, light
•Whistler successfully sued a
critic over negative comments

43. Post-Impressionism
Post-Impressionism artists were dissatisfied with
limitations of Impressionist style.
They were influenced by Impressionism but took
their art in other directions, it is less idyllic and
more emotionally charged than Impressionist
work.
Analyzed structure, and solidity of forms.
Still strong influence of Japanese prints.

44. Post-Impressionism
1885-1905
Characteristics: bright color and visible,
distinctive brushwork
Trends: more emphasis on composition
and form and greater psychological
depth.
Impact: set the stage for major directions
of early 20th century art

45. Very different from
Impressionism’s informal,
seemingly accidental quality
 intellectual & scientific
 methodical application of
uniformly sized dots
 strongly based on system of rules
 mathematical precision
 color theory
Sunday Afternoon at the Park
1885
Seurat
Style: Pointillism

46. The Bather,1885Cezanne
Figure: non-formula
Composition: tight,
construction of upright &
horizontal forms
Figure coincides with the lines
of landscape:
Upper body the sky
Lower body the earth.
Landscape: conceptual,
not ‘plein air.’

47. Mont Sainte-Victoire, Cezanne, 1887
•Part of a series from
mature period
•Wanted to make objects
geometric constructions
with splashes of pure
color
•Solid and firmly
constructed, not dappled
momentary glimpse like
the Impressionists did
(Post Impressionism)
•Used perspective by
juxtaposing warm colors
and receding cool colors

48. Tilted
perspective
Contrast of solid
forms with flat
surfaces
Painterly
brushstrokes

49. Van Gogh
•Color: vibrant
•Forms: simplified
and outlined in
black contours.
Self-Portrait with Bandaged Ear
1889
•Brushwork: impasto

50. Starry Night, Vincent Van Gogh, 28” x 36”, 1889
•Thick short
brushstrokes,
impasto paint
•View from
hospital room in
St-Remy
•At one with
forces of nature
•Left to right wave
impulse in his
work, tree looks
like green flames
reaching to the
sky exploding
with stars

51. Manaha No Atua, (Day of the God), Paul Gauguin, oil on canvas.
Symbolism (post impressionism), 1894. •Gauguin
traveled to
Tahiti in search
of paradise
•Painted native
peoples in
geometric bright
colors
•Exotic
primitivism
•Symbolic,
mysterious
•Color to express
emotion

52. •1893, Art Nouveau style
•Noted graphic designer (not called
that then.. Poster designer)
•Physically handicapped, short man
•Influence of Degas
•Influence of Japanese prints
•Emphasis on curving lines, text
integrated with the forms in the
picture.
•Toulouse-Lautrec frequented the
Moulin Rouge
Jane Avril, Henri de Toulouse-Lautrec, lithograph