The document summarizes key artistic movements from Romanticism through Post-Impressionism, including their defining characteristics and examples. Romanticism valued emotion, nature, and the irrational over reason. Realism depicted everyday contemporary life. Impressionism sought to capture transient effects of light using short brushstrokes. Post-Impressionism combined Impressionist techniques with more structure, moving closer to abstraction while retaining depth. The document provides examples of representative works from major artists of each movement.
3. THEME: Features of Romanticism
“Man is born free, but is everywhere in chains!” - Rousseau
P.I.N.E.
Past – Longing for the medieval past, pre-industrial Europe (Gothic architecture will be
revived)
Irrational/ Inner mind / Insanity – Romantic artists depict the human psyche and topics
that transcend the use of reason. One Romantic artist, Gericault, chose to do portraits of
people in insane asylums
Nature – longing for the purity of nature, which defies human rationality
Emotion/ Exotic – Romantics favored emotion and passion over reason. Exotic themes
and locales were also popular because they did not adhere to European emphasis on
rationality
Imagination, not reason, FEELING, not thinking = FREEDOM
11. John Constable, The Haywain
1821
oil on canvas
4 ft. 3 in. x 6 ft. 2 in.
Nature as allegory
12. Caspar David Friedrich
Abbey in the Oak Forest
1810
oil on canvas
3 ft. 7 1/2 in. x 5 ft. 7 1/4 in.
“The artist should not only paint what he sees before him,
but also what he sees within him. If he does not see anything
within him, he should give up painting what he sees before
him.” - Friedrich
13. Joseph Mallord William Turner
The Slave Ship
1840
oil on canvas
2 ft. 11 11/16 in. x 4 ft. 5/16 in.`
16. Romantic Architecture
• IRON
• Iron framework with Gothic or Romanesque skin
• Progressive artists exposed iron + glass
• REVIVAL of the past
• Middle ages – a time when religion was more devout and sincere
• Modern living corrupted Industrial Revolution
• Not just Medieval revival but also Egyptian, Islamic, Baroque… anything old!
17. Charles Barry & A.W.N. Pugin
Houses of Parlaiment
London, England
designed 1835
“All Grecian, Sir. Tudor details on
a classical body” - Pugin
“Neo-Gothic”
24. Ah, Romanticism…isn’t it romantic?
REALISM – no! get REAL!
• Started in mid 1800s France
• Influenced by Positivism, a philosophical model developed by Auguste Comte
• Knowledge must come from proven ideas based on science or scientific theory
• Darwin! Karl Marx!
• Artists depicted scenes of everyday contemporary life, disproved of historical or fictional
subjects, they weren’t REAL
• “*An artist must apply+ his personal faculties to the ideas and events of the times in which he lives…
Art in painting should consist only in the representation of things visible and tangible to the artist.
Every age should be respected only by its own artists, that is to say, by the artists who have lived in
it. I also maintain that painting is an essentially concrete art form and can consist only of the
representation of both real and existing things.” – Courbet, 1861
25. Gustave Courbet
The Stone Breakers
1849
oil on canvas
5 ft. 3 in. x 8 ft. 6 in.
“Show me an angel and I’ll paint one” –
Courbet’s famous words sum up Realism
34. John Singer Sargent
The Daughters of
Edward Darley Boit
1882
oil on canvas
7 ft. 3 3/8 in. x 7 ft. 3 5/8 in.
35. Pre-Raphaelites
Fictional, historical and fanciful subjects with a convincing degree of illusion
Refused to be limited to contemporary scenes of the REALIST movement
36. John Everett Millais
Ophelia
1852
oil on canvas
2 ft. 6 in. x 3 ft. 8 in.
Her clothes spread wide,
And mermaidlike awhile they bore her up-
Which time she chanted snatches of old tunes,
As one incapable of her own distress.
38. Impressionism (1874)
• Modernist movement – avant-garde artists
• Pioneered independent art exhibitions (1874) as the “Anonymous
Society of Painters, Sculptors, Printmakers,” adopted
“Impressionists” soon thereafter
• Rely on the transient, the quick and the fleeting
• Seek to capture the effects of light
• Knew shadows had color, seasons effect object
• Plein-air painting
• Landscape and still-life painting
• Impressionists prided themselves on being antiacademic and
antibourgeois
39. Claude Monet
Impression: Sunrise
1872
oil on canvas
1 ft. 7 1/2 in. x 2 ft. 1 1/2 in.
Intersection of what the artist SAW and what the
artist FELT
- Complementary color, choppy brushstrokes
41. Gustave Caillebotte
Paris: A Rainy Day
1877
oil on canvas
approximately 6 ft. 9 in. x 9 ft. 9 in.
URBANIZATION
Baron Georges Haussman – gave Paris a
makeover under Napoleon III’s orders
42. Pierre-Auguste Renoir
Le Moulin de la Galette
1876
oil on canvas
4 ft. 3 in. x 5 ft. 8 in.
Leisure activities of the Parisian middle class
43. Édouard Manet
A Bar at the Folies-Bergère
1882
oil on canvas
3 ft. 1 in. x 4 ft. 3 in.
44. Edgar Degas
Ballet Rehearsal
1874
oil on canvas
1 ft. 11 in. x 2 ft. 9 in.
Inspirations: Formal leisure activities, movement, photography
and Japanese woodblock prints
45. Edgar Degas
The Tub
1886
pastel
1 ft. 11 1/2 in. x 2 ft. 8 3/8 in.
JAPONISME
- With new open trade in Japan, woodblock prints had
great effect on French art and style—tea sets, folding
screens, fans, kimonos
- An admiration for the beauty and exoticism of the
Japanese aesthetic
- Valued for use of diverging lines and flat forms
- Familiar and intimate subjects
Torii Kiyonaga, detail of Two Women at the Bath
47. Mary Cassatt
The Bath
ca. 1892
oil on canvas
3 ft. 3 in. x 2 ft. 2 in.
Cassatt, Woman Bathing, etching
48. James Abbott McNeil Whistler
Nocturne in Black and Gold
(The Falling Rocket)
ca. 1875
oil on canvas
1 ft. 11 5/8 in. x 1 ft. 6 1/2 in.
John Ruskin accused Whistler of,
“flinging a pot of paint in the
public’s face”
49. POST-Impressionism (1880s-
1890s)Back to picture making rather than copying nature
• Just as the Impressionists were being taken seriously as artists, a new group
came along feeling that the Impressionists neglected too many traditional
elements in favor of capturing a fleeting moment
• Artists explore the properties and expressive qualities of formal elements
• Borrows from Impressionism in new and unique ways
• Combine Impressionist ideals (light, shading and color) with structure
• Nearing abstraction while retaining volume or depth
Cezanne, the quintessential Post-Impressionist wished to,
“make Impressionism something solid and durable, like the art
of the museums”
50. Henri de Toulouse-Lautrec
At the Moulin Rouge
1892-1895
oil in canvas
4 ft. x 4 ft. 7 in.
What influenced Lautrec?
51. Georges Seurat
A Sunday on La Grande Jatte
1884-1886
oil on canvas
6 ft. 9 in. x 10 ft. https://www.youtube.com/watch?v=vBBOMLURSGA
POINTILLISM
52. Vincent van Gogh
The Night Café
1888
oil on canvas
2 ft. 4 1/2 in. x 3 ft.
“a place where one can ruin oneself, go
mad, or commit a crime”