Realism some text added.prs REALISM AND THE RISE 1848: a ... · Jean-François Millet: The Gleaners, 1857 The Stone Breakers, 1849, 5'3 x 8'6 Gustave Funeral at Ornans, 18 49-1850,

Charles Baudelaire and the heroes of modern life

Meissonier: Memory of Civil War (The Barricades),

1849oil on canvas, 11 x 8 in

Rue Transnonian, April 15 (1834), lithograph, 12 x 17 1/2"

Honore Daumier: Gargantua1831, lithograph

1848: a new wave of revolutions spreads across Europe

Marx and Engels: The Communist Manifesto

Darwin: On the Origin of Species, 1859

photography, popular culture and mass media

Auguste Comte: positivism

REALISM AND THE RISE OF MODERNISM

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Realism some text added.prs

Manet: from realism to impressionism

Rosa Bonheur: The Horse Fair, 1853-55, 96-1/4 x 199-1/2 in.

Jean-François Millet: The Gleaners, 1857

The Stone Breakers, 1849, 5'3 x 8'6

Funeral at Ornans, 1849-1850, 10' x 22'Gustave Courbet

Desperate Man (Self Portrait)

1843



Wilhelm Leibl: Three Women in a

Church, 1878-82 2'5 x 2'1

Olympia, 1863, 4'3 x 6'2

Manet: Luncheon

on the Grass, 1863,

7' x 8' 10"

Éduard Manet: Execution of Emperor Maximilian of Mexico, June 19, 1867

1868-1869, o/c, 100 x 120"

(Goya: Executions on the Third of May)



Hawes and Southworth: Early Operation under Ether,

daguerreotype, 1847

Thomas Eakins:

The Gross Clinic, 1875,

96 x 78"

Timothy O'Sullivan: A Harvest of DeathJuly 1863, (neg. only) albumen print by Alexander Gardner

Winslow Homer: The Veteran in a New Field1865, 24 1/8 x 38 1/8 in.

Il'ya Repin: Religious Procession in the Province of Kursk, 1881-3, 50" x 112"



From Architectural Revivals to Architectural Modernism

Edmonia Lewis: Forever Free

1867, marble, 3'5" ht.

Tanner: The Thankful Poor, 1894, 5 x 44 in.

Henry Ossawa Tanner:

Banjo Lesson1893,

49 x 35 in

J. S. Sargent:

The Daughters of

Edward Darley Boit,

188287 3/8 x 87 5/8

in.



Charles Garnier, Paris Opera House, 1861-74

Clearly, Nash did not revive anything British. But this was a period of colonialization and imperialistic trends, and a taste for the exotic east was popular in countries that were building colonies in the east. Making buildings look Indian in England was probably benign; making India look like Britain may have been less benign.

John Nash: Royal Pavilion, Brighton, 1815-23

The British Houses of Parliament are an example of the revival of the English gothic style, popular at this time for its association with spiritual values, values of handcraft, and a seeming rejection of the age of industry and the machine. All the same, how could a building of this scale have been made without industry and machines?

Charles Barry and A.W.N. Pugin, Houses of Parliament, 1836-1860, London, England



Crystal Palace marked the beginning of industrial expositions. Architecturally, it was anearly example of a glass and cast-iron structuredesigned by a gardener (who had designed hothouses). It was made from prefabricated parts that were shipped to the site and then assembled in place and it was so large that entire trees remained on the inside. After the expo ended, it was reassembled on another site where it burned in a fire in 1936.

Joseph Paxton: Crystal Palace, London, 1850-1

Unlike Garnier, Labrouste did not hide the new structural materials, and in his daring decision to reveal the iron and glass structure, he was considerably more modern than Garnier. The exterior, in contrast, was an example of Renaissance revival not because he was timid but because he probably realized that new developments are more acceptable when they conform in some respect to the familiar past.

Henri Labrouste: Bibliotheque (Library) Sainte-Genevieve, Paris, 1843-50

An opera house should be theatrical and baroque, as this one was. Garnier applied true principles of classical beaux-arts design to this building. But what can't be seen is that the architecture is masking new cast-iron construction -- new principles and materials of construction but "old-fashioned" clothing.



the camera obscuraOptics and the Reproduction of Images

1. camera obscura2. camera lucida

The interest in a mechanical means of reproduction came long before the invention of photography. Artists themselves wanted to be able to draw without actually using their hand, and certainly those who couldn’t draw well wanted to be able to improve their work with an optical tool that would let them see better. But this reason alone would not have led to the invention of the camera. In some respects, the early 19th century development of photography should be seen as a response to the beginning of modern times: industrialization, new ideas about nature and man, the invention of electric lights, the goal of being of one’s time–rather than the result of a pure or simple desire to invent a camera and a photographic process.

Other factors leading to photography:the growing middle class consumer of art wanted portraits and wanted them to be affordablethere was an increased demand for naturalism in arta desire to eliminate human error in the process of reproduction

Photography

the continued neoclassical revival



positive image

one-of-a-kind

absolute immobility required for relatively long period of time

detailed

small, with reflective metallic surface: unity of reflection and materiality

Daguerre: Still Life in the Artist's Studio1837, Daguerreotype, 16.5x21.6cm.

daguerreotype: • uses a polished silver-plated sheet of copper

• placed in iodine particles• produces silver iodide which is light-sensitive

• this can be exposed to light in the camera• intense light reduces the silver iodide to silver

• the plate is then placed in a box containing heated mercury• then it is bathed in a salt solution and the unexposed areas of silver

iodide become somewhat resistant to light

a daguerreotype of Louis Jacques Mande

Daguerre

(Jean Baptiste Sabatier-Blot), 1844

the camera lucidasomewhat more portable



Cameron took up photography at the age of 48 - her daughter-in-law gave her a camera as a gift; from a hobby, it became a passionate pursuit. She wrote in her memoirs, that “I longed to arrest all beauty that came before me, and at length the longing has been satisfied. Its difficulty enhanced the value of the pursuit.”

In her book, she goes on to describe all her mistakes, how she learned from them, how she eventually turned her coal-house into a dark room and her glazed fowl-house into her glass house. Eventually she began photographing her friends, who included poets, painters, and “lovely maidens” -- the latter were often friends and relatives who dressed up for the photographs as women from legends and historical romances.

Ophelia Study No. 2

Julia Margaret Cameron

1867

albumen print

(1'1" x 11")

The next stage was the development of a calotype that used a process that involved coating paper with albumen and another emulsion, producing a glossy print rather than a grainy calotype. The use of collodion or the wet plate process was the next step; albumen prints became the most commonly practiced form of photography from the middle of the 19th century until the end, and it was especially popular with people who were amateurs, rather than people who used photography as a means of earning a living. Julia Margaret Cameron was one of these amateurs.

Unlike the daguerreotype, the calotype used a negative/positive process which used paper, making it more adaptable and

influential.

• it took longer to make than the daguerreotype• the paper which the image was made on might coarsen the image• because it involved making a print from a negative, it allowed the calotypist to exercise artistic liberty with decisions about tonality, texture of the paper, and later application of color - this made it more promising for the person who was interested in photography as a creative endeavor but at the same time, it made the calotype less popular than the daguerreotype.

William Talbot: Courtyard Scenec.1844, a calotype print,

5 7/8x7 3/4"



The painting, Beata Beatrix , was by Dante Gabriel Rossetti, a pre-Raphaelite artist. Cameron's photographs appear to have a lot in common with the goals of the pre-Raphaelites, with whom she was friendly.

The Pre-Raphaelite brotherhood was a group of artists who wanted to return art to the purity of the early Renaissance, the years before Raphael. They usually chose religious subject matter as an anti-Victorian, anti-materialist statement rather than as a pious one. As a result, their work might be mystical, but not religious. They shared in the British reclamation of medieval and mythological imagery and meaning. They anticipate the symbolist movement and its search for an art which will resonate with mystical spiritual systems. Also like many of the symbolists, they use naturalistic detail although their paintings are not realist.



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Realism some text added.prs REALISM AND THE RISE 1848: a ... · Jean-François Millet: The Gleaners, 1857 The Stone Breakers, 1849, 5'3 x 8'6 Gustave Funeral at Ornans, 18 49-1850,