Sayre2e ch30 integrated_lecture_pp_ts-150671-1

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Camille Pissarro. Avenue de l’Opéra, Sunlight, Winter Morning. ca. 1880.28-3/4" × 35-7/8”.


Map: The grands boulevards of Paris.

George Sand: Politics and the Female Voice

Who was George Sand?

• Over the course of her career, Sand wrote over 100 volumes of prose – fiction, travel books, essays, plays, and a 10-volume autobiography. Her chief subject was relations between the sexes. In her own time, Sand’s novels were classified as “idealist,” as opposed to the “realist” novels of others.

• Leila — Sand’s central character in this novel is a courtesan/prostitute. This novel can be read as a sort of moral allegory of the impossible position of women in mid-nineteenth-century French culture, and as a condemnation of French culture as a whole.


Gustave Caillebotte. Paris Street, Rainy Day. 1877.83-1/2" × 108-3/4”.


Thomas Couture. Portrait George Sand. 1859.24" × 15-3/4”.


Thomas Couture. Romans during the Decadence of the Empire. 1847.15’ 5-3/4" × 25’ 3-7/8”.

Charles Baudelaire and the Poetry of Modern Life

How did poet Charles Baudelaire initiate modernism? What made painter Edouard Manet so notorious?

• Baudelaire recognized the bourgeoisie as his audience, but their hypocrisy was his constant target. His poetry was attacked for its unconventional themes and subject matter, chosen to shock bourgeois minds. He was charged with violating good morals in his book Les Fleurs du mal; he was fined and forced to remove six poems concerning lesbianism and vampirism.

• Edouard Manet: The Painter of Modern Life — Manet most clearly embodies the new vision of the artist as a recorder of city life. His painting, Le Dejeuner sur l’herbe was rejected by the jury for the Salon of 1863. It was not designed to please them. Manet’s painting evokes the fetes galantes of Watteau.


Édouard Manet. Baudelaire’s Mistress Reclining (Study of Jeanne Duval). ca. 1862.

35-3/8" × 44-1/2”.


Édouard Manet. Le Déjeuner sur l’herbe (Luncheon on the Grass). 1863.

Closer Look: Édouard Manet, Le Déjeuner sur l’Herbe (Luncheon on the Grass)

MyArtsLabChapter 30 – In Pursuit of Modernity: Paris in the 1850s and 1860s

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Marcantonio Raimondi, after Raphael. The Judgment of Paris. After Raphael's lost painting. ca. 1520.

Emile Zola and the Naturalist Novel

How would you define Emile Zola’s naturalism? What new directions in opera developed in the mid-nineteenth century?

• Emile Zola — This author defends Manet’s Olympia in his book, Edouard Manet where he observes that Manet painted “in a way which is contrary to the sacred rules taught in schools.” He practiced a brand of literary realism called naturalism. Zola believed that all human beings are products of hereditary and environmental factors over which they have no control.

• Nationalism and the Politics of Opera — The confrontation between bourgeois taste and the avant-garde came at the opera. The new Paris Opera, designed by Charles Garnier, has a façade that marries the Neoclassical and the Baroque. The most creative composers of the period composed operas. Verdi believed that opera should be dramatically realistic. Wagner declared that his music was “the art of the future.” Comic opera was widely popular and the most admired of those writing in this style was Jacques Offenbach.

• Discussion Question: What is and was the appeal of opera as a genre?

Closer Look: Édouard Manet, Olympia


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Titian. Closer Look: Manet's Olympia: Reclining Nude (Venus of Urbino). ca. 1538.47" × 65”.


Édouard Manet. Closer Look: Manet's Olympia: Olympia. Salon of 1865. 1863.

51" × 74-3/4”.


Alexandre Cabanel. Closer Look: Manet's Olympia: The Birth of Venus. Salon of 1863. 1863.

52" × 90”.


Édouard Manet. Portrait of Émile Zola. 1868.56-5/8" × 44-7/8”.

Architectural Panorama: Palais Garnier, at the Place d’Opera (PARIS, FRANCE, 1861-74)


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Charles Garnier. The Opéra, Paris: Façade. 1860-75.


Édouard Detaille. Inauguration of the Paris Opera House, January 5, 1875: Arrival of Lord Maire (with entourage) from London, Greeted by Charles

Garnier. 1875.

Closer Look: Verdi’s World


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Verdi's Rigoletto: The Quartet from Act III. ca. 1851.

Active Listening Guide: Verdi: Quartet from Act III of Rigoletto






André Gill. Caricature of Richard Wagner in L’Éclipse, Paris, April 18, 1869. 1869.18" × 12”.

Active Listening Guide: Wagner: Prelude to Tristan und Isolde


Closer Look: Wagner’s World



Richard Wagner. Musical Notation: Tristan und Isolde: Prelude.


Richard Wagner. The Bayreuth Festspielhaus, Bavaria, Germany: Cross-section. From Frederic Spotts, Bayreuth: A History of the Wagner Festival

(New Haven: Yale University Press, 1994). © 2003 Yale University Press/Spotts, BAYREUTH: A History of the Wagner Festival (1994), image

p. 9. IS THIS OK???redundant. 1872-76.


Jules Chéret. Poster for Offenbach’s La Vie Parisienne. 1866.


Édouard Manet. Continuity & Change: The Gare Saint-Lazare. 1873.36-3/4" × 45-1/8”.

Travel

Sayre2e ch30 integrated_lecture_pp_ts-150671-1