Sculpture

Sculpture in the Later 19th Century

• issues of realism and expression related to sculpture in the later 19th century.

• selection of contemporary subject matter by sculptors.

• Identify representative sculptors and works of the later 19th century.

Sculpture: Realist and Expressive

• Examine issues of realism, expression and subject matter in sculpture of the later 19th century.

Figure 29-47 JEAN-BAPTISTE CARPEAUX, Ugolino and His

Children, 1865–1867. Marble, 6’ 5” high. Metropolitan Museum of Art, New York (Josephine Bay Paul and

C. Michael Paul Foundation, Inc. and the Charles Ulrich and Josephine Bay

Foundation, Inc., gifts, 1967).

Figure 29-48 AUGUSTUS SAINT-GAUDENS, Adams Memorial, Rock Creek

Cemetery, Washington, 1891. Bronze, 5’ 10” high.

Fig. 29-48

Figure 29-49 AUGUSTE RODIN, Walking Man, 1905, cast 1962.

Bronze, 6’ 11 3/4” high. Hirshhorn Museum and Sculpture Garden,

Smithsonian Institution, Washington (gift of Joseph H. Hirshhorn, 1966).

Fig. 29-49

Figure 29-50 AUGUSTE RODIN, Burghers of Calais, 1884–1889, cast ca. 1953–1959. Bronze, 6’ 10 1/2” high, 7’ 11” long, 6’ 6” deep. Hirshhorn Museum and

Sculpture Garden, Smithsonian Institution, Washington

The Arts & Crafts Movement

• ideas of Ruskin and Morris in shaping the Arts and Crafts Movement.

• interest in aesthetic functional objects in the Arts and Crafts Movement.

• preference for high-quality artisanship and honest labor.

Figure 29-51 WILLIAM MORRIS, Green Dining Room, 1867. Victoria & Albert Museum, London.

Figure 29-52 CHARLES RENNIE MACKINTOSH, reconstruction (1992–1995) of Ladies’ Luncheon Room, Ingram Street Tea Room, Glasgow, Scotland, 1900–1912.

Glasgow Museum, Glasgow.

Nature in Art Nouveau Architecture

• organic nature forms in Art Nouveau architecture.

Figure 29-53 VICTOR HORTA, staircase in the Van

Eetvelde House, Brussels, 1895.

Figure 29-54 AUBREY BEARDSLEY, The Peacock Skirt, 1894. Pen-and-ink illustration for

Oscar Wilde’s Salomé.

Figure 29-55 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.

Figure 29-56 GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4”. Austrian Gallery, Vienna.

Figure 29-62 LOUIS COMFORT TIFFANY, Lotus table lamp, ca. 1905. Leaded

Favrile glass, mosaic, and bronze, 2’ 10 1/2” high.

Private collection.

Architecture in the Later 19th Century• new technology and changing needs of urban

society and their effects on architecture.

• new materials use in architecture and the forms made possible as a result.

• how architects were able to think differently about space as a result of new technology and materials.

• the remarkable work and theories of Louis Sullivan.

Figure 29-57 ALEXANDRE-GUSTAVE EIFFEL, Eiffel Tower,

Paris, 1889 (photo: 1889–1890). Wrought iron, 984’ high.

Figure 29-58 HENRY HOBSON

RICHARDSON, Marshall Field wholesale store (demolished),

Chicago, 1885–1887.

The Architecture of Louis Sullivan

Figure 29-59 LOUIS SULLIVAN, Guaranty

(Prudential) Building, Buffalo, 1894–1896.

Figure 29-60 LOUIS SULLIVAN, Carson, Pirie, Scott Building, Chicago, 1899–1904.

Figure 29-61 RICHARD MORRIS HUNT, The Breakers, Newport, Rhode Island, 1892.

Discussion Questions In what ways did the Modernist art of the

later 19th century break from the past? How did Modernist artists call attention

to the ‘facts’ of art making? Why did the public find the subjects,

forms, and techniques of the Impressionists shocking?

What would you consider the most important breakthrough in architecture?