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58 Cards in this Set
- Front
- Back
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Armand Cambon, The Republic, 1848 |
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Jean-Louis-Ernest Meissonier, Memory of Civil War (The Barricades),1849 -Compare to images of the American civil war |
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Jean-François Millet, The Winnower, 1848 -anonymous blue collar worker |
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Jean-François Millet, The Gleaners, 1857 -Saying that they need a better share of theprofits because it’s their efforts that collected the stuff-They aren’t land owners |
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Jules Breton, Blessing of the Wheat in the Artois, 1857 -church dominates the landscape-yes, it’s realism, but it doesn’t threaten thestatus quo like Courbet -represents a less radical, less socio-politicalrealism |
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Rosa Bonheur, Plowingin the Nivernais: The Dressing of Vines, 1849 -Truth to nature-Photographic accuracy -Looks a little more romantic because the animalsare doing all the work |
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Gustave Courbet, The Stonebreakers, 1849 -Lower class peasants. The lowest-Almost life size -Would’ve created shock -Either born rich or poor -Story of francis and what his future will bewithout change |
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Gustave Courbet, A Burial at Ornans, 1849 -Everyone is lined up at the same level-Burial of some guy you don’t know in a hick town -Not heroic, not romantic -People looking bored at a funeral -Looking at your own mortality -People look like portraits, no idealizationgoing on |
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Gustave Courbet, The Young Ladies of the Village, 1852 -Not of the city.-Nouvo-riche. New money -Dog is a mutt -No clear recession back into space. The cows aresmall but look like they’re on the same plane -Nothing remotely academic about this painting |
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Franz Xavier Winterhalter, Empress Eugénie Surrounded by Her Maids of Honor, 1855 -This is still the approved type of painting-Napoleon III recent wife -Pale skin and taffeta -Mainstream |
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Gustave Courbet, The Painter’s Studio, 1854-55 -Had his own show across from the salon to provea point-Only painted things that he could see -No one knows much about the piece or the peoplein it |
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Gustave Courbet, The Young Ladies of the Banks of the Seine (Summer), 1857 -Couple prostitutes down by the river |
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Jean-Pierre-Alexandre Antigna, The Fire, 1850-51 -The plight of the working class, turning it intoa drama-Looks like a massacre of the innocence feeling |
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William Adolphe Bouguereau, Indigent Family, 1865 -Paintings were considered fluff-The column puts them in ancient Rome -They look exotic, beautiful -Academically arranged, pyramidal |
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Honoré Daumier, The Third-Class Carriage, c. 1862 -Less idealization 3generations of family, quasi biblical |
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John Everett Millais, Christ in the House of His Parents, 1850 -Charles Dickens really hated this painting-John the Baptist carrying water -Making Jesus look too humanistic -Wound on Jesus’ hand --> crucifixion -Lack of idealization of these holy figures. Theyaren’t beautiful enough |
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Dante Gabriel Rossetti, Ecce Ancilla Domini! (The Annunciation), 1850 -Almost looks like a fresco-She looks frightened -It’s cramped |
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William Holman Hunt, The Awakening Conscience, 1853 |
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Ford Madox Brown, Work, 1852-65 -Not just supposed to be a slice of life-All different elements of labor -Center – laborers, digging a sewage whole -Outside – not manual laborers, thinking labor –intellectual -Flower and animal seller |
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William Frith, The Derby Day, 1858 -Moral messages |
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Jean-Léon Gérome, Death of Caesar, 1859 -Figures are dominative, and the room is huge |
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Frederic Edwin Church, Cotopaxi, 1862 -Almost prehistoric or biblical |
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George Inness, The Lackawanna Valley, 1855 -Tree stumps that have been cut by humans – clearcutting-More industrialized than something like theOxbow -The background is more blurred, can’t see detail -Only tracks that exist is the one that the trainis currently on |
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Camille Corot, Memory of Mortefontaine, 1864 -Addition of the word memory |
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Édouard Manet, Concert in the Tuileries, 1860-62 -Was considered avant garde -We don’t even see the concert -Lack of detail would’ve been alarming -No modeling on the umbrella – or no modeling atall -Impersonal -Flâneur – “roving eye” |
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Édouard Manet, Déjeuner sur l’Herbe, 1863 -Nude figure isn’t allegorical or exotic--First like, “everyday” kind of figure lookingback at us --No apparent shame of discomfort -Young men and prostitutes hanging out in theFrench suburb by the Seine -No message in the painting -People criticized the painting technique – no modeling,no linear perspective, very flat -Making suggestions of form instead of paintingdetails -Pyramidal composition |
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Édouard Manet, Olympia, 1863 -Exhibited in 1865, as an example of how badManet was-Even the name “Olympia” would’ve beenrecognizable as not a real name “porn star name” -We sent her flowers, but her gaze doesn’tsuggest that she’s particularly excited. She doesn’t really care about theflowers because she’s such a high class prostitute, this happens to her all thetime -Black cat represent prostitution and pussy -Modeled after Titian’s Venus -Very little modeling -Flaneur -Image of vice |
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Alexandre Cabanel, The Birth of Venus, 1863 |
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Édouard Manet, Portrait of Émile Zola, 1868 -Commitment to the figure-The pants are paint, you don’t need to see everyfiber -The black coat just looks like a black whole |
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James Abbott McNeill Whistler, Symphony in White No. 2: The Little White Girl,1864 -More explicitly shows Whistler’s understandingof Japanese art |
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Hilaire-Germain-Edgar Degas, The Orchestra of the Paris Opera, 1868-69 -Bassoon player is central, so the ballet dancersjust didn’t make it |
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Eugène Boudin, Beachat Trouville, 1863 -Small, low, horizontal scenes-Small number of figures |
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Claude Monet, Women in the Gardens, 1866-67 -Had to build this whole rig in order to do thispainting outside-Really wanted to capture the lighting quality –which he believed you could only capture by painting it in the moment -Diminish a lot of detail, because when your eyesare blinded by sunlight, you don’t see as much detail |
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Claude Monet, La Grenouillère, 1869 -Background doesn’t look that much farther away thanthe foreground-Blurry line between sketch and painting |
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Pierre-Auguste Renoir, La Grenouillère, 1869 -Mixes the paint right on the canvas-Morecolor, the trees are more defined than Monet |
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Jean-Baptiste Carpeaux, Count Ugolino and His Sons, 1861 -Ugolino is from the inferno…Dante encountershim. Ate his sons apparently-Study in Baroque excess |
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Jean-Baptiste Carpeaux, The Dance, 1867-68 -People hated this--Bacchanalian --Wasn’t in the salon, it was on the street, andpeople didn’t like that -Swallows its symbols and attributes, so all thestands out are the human figures -They look intoxicated |
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Joseph Nicéphore Niépce, Viewfrom the Window at Le Gras, 1827 -the first photograph-people use contrast to make it look brighterthan it is -exposure time was 8 hours -photo-light, graphy-drawing |
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Louis Jacques Mandé Daguerre, Boulevard du Temple, Paris, c. 1838 -One of his most famous photographs-Not entirely accurate -Anything that is moving is not captured. So thestreet looks empty -Can only make out the guy getting his shoe’sshined |
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William Henry Fox Talbot, The Open Door, 1843 |
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Mathew Brady, Portrait of Lincoln, 1860 -His official photographer-Books-smart |
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Maxime du Camp, Thebes:The Eastern Part of the Peristyle of the Temple of Ramses, 1849-51 |
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Nadar, Sarah Bernhardt,c. 1860 -Photographer to the celebrities-Manipulated the fabric to fall perfectly -The lighting |
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Timothy O’Sullivan, A Harvest of Death, Gettysburg, July 4, 1863, 1863 |
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Oscar Rejlander, The Two Ways of Life, 1857 -Trying to make it look like a grand historypainting |
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Henry Peach Robinson, Fading Away, 1858 |
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Peter Henry Emerson, Poling the Marsh Hay, 1886 |
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William Adolphe Bouguereau, Nymphs and Satyr, 1873 |
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William Holman Hunt, TheHireling Shepherd, 1851-52 -Some sheep are getting away-He is supposed to be focusing on his duties, butinstead he is being lured by this woman |
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Augustus Leopold Egg, Pastand Present, No. 1, 1857-58 -thought the family home was going to crumble,downfall of the English society-people were getting divorces -serpent bracelets -kids playing with the house of cards -portrait of her, above it the expulsion fromparadise |
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Jules Breton, TheWeeders, 1868 -Breton brings us down to their level-The beautiful sunset, not believable |
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Gustave Courbet, TheMeeting, or Bonjour Monsieur Courbet, 1854 -A meeting between Courbet and his patron-Courbet is significantly bigger -Level of appreciation between artist and patronhas switched. Courbet will create whatever he wants to |
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Hippolyte Bayard, Self-portraitas a Drowned Man, 1840 -Faked his own suicide-Back then, is there was a photograph ofsomething, it had to be true |
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Andre Disderi, Petipa,1862 -One of the earliest form of mass production inphotography-Oddly bare |
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Gustav Le Gray, BrigUpon the Water, 1856 -Studied under Delarouche – fan of detail andrealism-Not one single photograph because the exposuretime is different for the sky and the water |
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William Henry Jackson, The Grand Canyon of the Yellowstone, 1871 -Because of these photographs, it became thelandmark that it is |
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Roger Fenton, Valleyof the Shadow of Death, 1855 |
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Alexander Gardner, Homeof a Rebel Sharpshooter, 1863 -He manipulated the way the man looked to createsomething more romantic |
