Realism, 19th c. Architecture, and Photography

Transcription

1 Dr. Schiller: AP History of Art Realism, 19th c. Architecture, and Photography This PowerPoint is a compilation of slides and information from PowerPoints created by Matt Curliss, Christy Tran, Pyung Choi, Jenessa Irvine, and Grace Phang, and and William V. Ganis, PhD, and from books by Marilyn Stokstad and Gardner

2 Industrialization, Urbanization, and Expanding Global Consciousness! The Industrial Revolution began in England in the early 1800s, because England had the resources and capital necessary to industrialize.! The initial results were industrialization, urbanization, changes in transportation, and economic and societal changes as well. and communication, chemical dyes, and increased economic and political interaction worldwide.

3 The Industrial Revolution spread and Western developments of the early 19 th -century matured quickly during the latter half of the century in other Western European countries as well as the United States.! Also included developments in: Plastics, machinery, building construction, automobile manufacturing, radio, electric light, telephone, and electric streetcar

4 ! Industrialization led to urbanization.! Western cities grew dramatically due to migration from rural regions.! Factors of migration: Expanded agricultural enterprises, available jobs in the factories, and improving health and living conditions. 3

5 Realism: The Painting of Modern Life! Realism was a movement that developed in France around midcentury.! Lots of confusion about what Realism is! Essentially, it provides viewers with a revaluation of reality! Realists artists argued that only the things of one s own time, what people can see for themselves, are real! So Realists focused their attention on the experiences and sights of everyday contemporary life

6 Realism: The Painting of Modern Life! Realism also involved a reconsideration of the painter s primary goals and departed from the established priority on illusionism! Instead, the Realists called attention to painting as a pictorial construction by their application of pigment and design of composition! Baudelaire called their subject matter the heroism of modern life! Viewed as the first modernist movement by many scholars and critics

7 FRENCH NATURALISM 9

8 French painter who led the Realist movement in the 19 th -century French painting. Best known as an innovator in Realism. He also used the term realism when exhibiting his own works. Painter of figurative compositions, landscapes, and seascapes. Often used the palette knife for quickly placing and Gustave Courbet ( ) unifying large daubs of paint, producing a roughly wrought surfaced--was accused of carelessness and brutalities but inspired later artists

9 1855! Paris International Exhibition in 1855 rejected two of Courbet s painting on the ground that his subjects and figures were too coarsely depicted (even socialistic ) and too large! In response, Courbet set up his own exhibition outside the grounds, calling it the Pavilion of Realism

10 GUSTAVE COURBET The Stone Breakers, 1849, Oil on canvas 5 3 x 8 6. Stokstad plate Gardner plate

11 ! Courbet presented viewers with a glimpse into the life of a rural toiler (toil = work)! A young boy and older man are breaking stones.! This is traditionally the lot of the lowest in society.! His palette s dirty browns and grays convey the dreary and dismal nature of the task, while the angular positioning of the older stone breaker s limbs suggests a mechanical monotony. 6

12 ! Revolution of 1848 raised the issue of labor as a national concern and placed workers on center stage, both literally and symbolically! So Courbet s depiction of stone breakers in 1849 was thus truly authentic and populist! Courbet said To be able to translate the customs ideas, and appearances of my time as I see them-- in a word, the crate a living art--this has been my aim 6

13 Édouard Manet ( )! French painter. One of the first 19 th -century artists to approach modern-life subjects.! He work was critical for the articulation of Realist principals, and he was also a pivotal figure in the transition from Realism to Impressionism.! Art historians often have looked to Manet s paintings as prime examples to explain the critique of the discipline central to modernism.

14 ÉDOUARD MANET,Olympia, Oil on canvas 4 3 x 6 3 Stokstad plate 27-58/Gardner plate 29-8

15 ! Depicts a young white woman reclining on a bed that extends across the foreground.! Entirely nude except for a thin black ribbon around her neck, a bracelet, an orchid in her hair, and fashionable mule slippers on her feet! She meets viewers eyes with a look of cool indifference! Behind her appears a black woman, who presents her with a bouquet of flowers

16 ! Viewing public perceived Manet s inclusion of both a black maid and a nude prostitute as evoking moral depravity, inferiority, and animalistic sexuality.! They were responding not just to the subject matter but to Manet s artistic style--brushstrokes are rougher and the shifts in tonality are more abrupt than those found in traditional academic painting.

17

18 ÉDOUARD MANET, Le Déjeuner sur l herbe, Oil on canvas Approximately 7 x 8 10 Stokstad plate Gardner plate 29-7

19 19th c. Architecture Modern nationalism prompted a new evaluation of the art in each country s past Each nation came ot value its past as evidence of the validity of its ambitions and claims to greatness Intellectuals appreciated the art of the remote past as a product of cultural and national genius

20 Charles Barry and A.W.N. Pugin, Houses of Parliament, London, England, designed 1835 G\Stokstad plate 27-31/Gardner plate 28-56/English

21 When the old Houses of Parliament burned in 1834, Parliament decided that the new building should be either Gothic or Elizabethan Barry and Pugin submitted the winning design Pugin was one of a group of English artists and critics who saw moral purity and spiritual authenticity in the religious architecture of the Middle Ages They wanted to restore the old artisanship in the face of mass produced Industrial Revolution product But the design of the Houses of Parliament is not genuinely Gothic, despite the picturesque tower groupings (Clock Tower, containing Big Ben, at one end and Victoria Tower at the other) The building has a formal axial plan and a kind of Palladian regularity beneath its Tudor detail Pugin described it as Sir Tudor details on a classical body

22 Central lobby, Houses of Parliament

23 Westminster Hall, Houses of Parliament

24 Joseph Paxton, Crystal Palace, London, England, , iron and glass Stokstad plate 27-38/Gardner plate English

25 19th c. architects scoffed at engineers architecture for many years and continued to clothe their steel-and-concrete structures in the Romantic drapery of a historical style Undraped construction first became popular in greenhouses (conservatories) Paxton designed several and experimented with a system of glass-and-metal roof construction He used that design to win the bid to design the hall for the Great Exhibition of 1851 The Crystal Palace was built with prefabricated parts, which let it be erected in the then-unheard-of time of 6 months and dismantled at the end of the exhibition The plan borrowed much from ancient Roman and Christian basilicas The public liked it so much it was reerected in a new location until a fire destroyed it in 1936

26 John Augustus Roebling and Washington Augustus Roebling, Brooklyn Bridge, New York City, Stokstad plate 27-39

27 Beginning of Photography The camera was invented shortly before the mid-19th century It was a technological device of enormous consequences! Photographs are evidence that what people think they see, is really there Frenchman Louis Daguerre and English Henry Fox announced the first practical photographic processes in 1839 Photography was perfectly suited to an age that saw artistic patronage continue to shift away from the elite few toward a broader base of support

28 How did photography affect artists? Some artists welcomed it as a helpful auxillary to painting, and they were intrigued by how photography translated 3-d objects onto a 2-d surface (some photographers also looked to paintings for ways to imbue the photographic image with qualities beyond simple reproduction But photography also challenged the place of traditional modes of pictorial representation originating in the Renaissance Artists themselves were instrumental in the development of this new technology Vermeer (17th c.) and artists after him had used an optical device called the camera obscura (literally, dark room ) to help him render the details of his subjects more accurately [a pinprick hole projected an upside-down image on the far wall of a darkened box] In 1807, the invention of camera lucida ( lighted room ) replaced the enclosed chamber of the camera obscura by using a small prism lens, hung on a stand, to project the image of the object it had been aimed downward at onto a sheet of paper Both methods were long and complicated The relative ease of photography seemed a dream come true for scientists and a dream come true for scientists and artists

29 1. Camera Obscura, 1671 (In use since the Renaissance)

30 2. Portable Camera Obscura, Late 18 th Century (Popular accessory to sketching)

31 Two very different inventions announced almost simultaneously in France and England in daguerrotype process 2. calotype process

32 1. daguerrotype process * named for Louis Daguerre * involves an 8-hour exposure through a camera obscura a mental plate covered with light-sensitive coating * Daguerre found a chemical way to shorten the process and a better way to fix the image by stopping the action of light on the photographic plate * camera obscura got shortened to camera *the process was almost immediately called photography * each daguerrotype is a unique work, possessing amazing detail and finely graduate tones from black to white

33 Louis-Jacques Daguerre, Self-Portrait, 1844.

34 Louis Daguerre, Still Life in Studio, 1837, Daguerrotype Stokstad plate 27-33/Gardner plate 28-62/French

35 One of the first successful plates Daguerre produced after perfecting his method It captures the subtle shapes, the varied textures, the diverse tones of light and shapes, the varied textures, the diverse tones of light and shadow The 3-d forms of the sculptures, the basket, and the bits of cloth spring into high relief Composition was clearly inspired by 17th c. still lifes But unlike a painter, Daguerre could not alter anything within his arrangement to effect a stronger image But he could suggest a symbolic meaning within his array of objects. For example, the framed print of an embrace and the sculptural and architectural fragments suggest that even art is vanitas and will not endure forever.

36 2. calotype process *William Henry Fox Talbert made negative images starting in 1835 by placing objects on sensitized paper and exposing the arrangement to light. This created a design of light-colored silhouettes recording the places where opaque or translucent objects had blocked light from darkening the paper s emulsion. *Next Talbert exposed sensitized papers inside simple cameras adn with a second sheet created positive images and improved the process with chemicals. This technique allowed multiple prints! *Talbert called it the calotype process, but it was limited by the fact that the images incorporated the texture of the paper, which produced a slightly blurred, grainy effect. *The process spread, Talbert patented the process in 1841, but daguerrotypes ruled untl the 1850s when photographic technology improved the calotype process *New wet-plate technology (because this plate was exposed, developed, and fixed while wet) almost at once replaced both the daguerrotype and the calotype and became the way of making neaives up to 1880.

37 Daumier, Nadar Raising Photography to the Height of Art, Lithograph.

38 The caption beneath this 1862 lithograph by French caricature artist Honoré Daumier reads Nadar elevating Photography to the height of Art. The print comically typecasts Gaspard-Félix Tournachon (known as Nadar) as a mad scientist or absent-minded professor figure who in his excitement to capture the perfect shot is unwittingly about to lose his top hat. Below him, inscribed on every building in Paris, is the word Photographie. In many ways, this satirical depiction of one of the most prominent photographers in Paris works to capture the essence of the 19th century debate over whether or not this new medium of photography could be considered art. At the time this print appeared in the journal Le Boulevard, Nadar was already well known for taking the first aerial photograph of Paris four years earlier in He likewise had a flair for showmanship, and was much in the public eye as a balloonist (Gernsheim 57). When Nadar later came out with a popular series of aerial photographs, Daumier seized the opportunity to mock at Nadar s claims of raising photography to the height of art

39 ! Eadweard Muybridge ( )! English photographer.! He is known primarily for his early use of multiple cameras to capture motion.! Also for his zoopraxiscope, a device for projecting motion pictures that pre-dated the celluloid film strip that is still used today.! Settled in San Francisco and in 1872, the governor of California, Leland Stanford, sought Muybridge s assistance. (next slide)! One of his works is Horse Galloping.

40 ! Muybridge proved that at any point in a stride, all four feet of a horse galloping at top speed are off the ground. EADWEARD MUYBRIDGE, Horse Galloping, Collotype print. George Eastman House, Rochester, New York.

41 ! The illusion of motion was created by a physical fact of human eyesight called persistence of vision.! Basically, it means the brain holds whatever the eye sees for a fraction of a second after the eye stops seeing it.

42 KEY TERMS: REALISM, 19th C. ARCHITECTURE, BEGINNING OF PHOTOGRAPHY, 19TH C. SCULPTURE, AND IMPRESSIONISM 1.avant-garde: literally, the advance guard in a platoon. Late 19th and 20th c. artists who emphasized innovation and challenged established convention in their work. Also used as an adjective. 2.Barbizon School: The Barbizon school of painters were part of an art movement towards realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through It takes its name from the village of Barbizon, France, where the artists gathered. Some of the most prominent features of this school are its tonal qualities, color, loose brushwork, and softness of form. 3.calotype: a type of early photographic process, developed by William H. F. Talbot, that is characterized by its grainy quality. A positive image is made by shining light through a negative image onto a sheet of sensitized paper. It is considered the forefather of all photography because it produces both a positive and negative image. 4.camera obscura:a box with a lens which captures light and casts an image on the opposite side. 5.chromolithography: a colored picture printed by lithography, esp. in the late 19th and early 20th centuries. 6.daguerreotype: a photograph made by an early method on a plate of chemically treated steel; developed by Louis Daguerre. Characterized by a shiny surface, meticulous finish, and clarity of detail. They are unique photographs--they have no negative. 7.demimonde: a group of people considered to be on the fringes of respectable society 8.divisionism: pointillism 9.fin-de-siècle: Literally, the end of the century. A period in western cultural history from the end of the 19th c. until just before WWI, when decadence and indulgence masked anxiety about an uncertain future. 10.painterly: (of a painting or its style) characterized by qualities of color, stroke, and texture rather than of line. 11.photogram: a picture produced with photographic materials, such as light-sensitive paper, but without a camera. An image if made by placing objects on the paper and exposing them to light to produce a silhouette. 12.photography: the art or practice of taking and processing photographs. 13.joie de vivre: exuberant enjoyment of life 14.lithography: the process of printing from a flat surface treated so as to repel the ink except where it is required for printing. 15.local color: the natural color of a thing in ordinary daylight, uninfluenced by the proximity of other colors. 16.painterly: (of a painting or its style) characterized by qualities of color, stroke, and texture rather than of line. 17.photogram: a picture produced with photographic materials, such as light-sensitive paper, but without a camera. An image if made by placing objects on the paper and exposing them to light to produce a silhouette. 18.photography: the art or practice of taking and processing photographs. 19.skeleton [the architectural meaning, please!]: the supporting framework, basic structure, or essential part of something,

43 KEY TERMS: REALISM, 19th C. ARCHITECTURE, BEGINNING OF PHOTOGRAPHY, 19TH C. SCULPTURE, AND IMPRESSIONISM 17. photography: the art or practice of taking and processing photographs. 19. Pointillism: A system of painting that focused on color analysis, devised by the 19th c. French painter Georges Seurat. The artist separates color into its component parts and then applies the component colors to the canvas in tiny dots (points). The image only becomes comprehensible from a distance, when the viewer s eyes blend the pigment dots. 1.primary colors: red, yellow, blue 2.secondary colors: green, violet, orange 3.skeleton [the architectural meaning, please!]: the supporting framework, basic structure, or essential part of something, such as a building 4.sublime: any cathartic experience from the catastrophic to the intellectual that causes the viewer to marvel in awe, wonder, and passion 5.ukiyo-e prints: A style of Japanese genre painting ( pictures of the floating world ) that influence 19th c. Western art. 6.zoopraxiscope: an early form of motion-picture projector. calotype: