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31 Cards in this Set
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Oath of the Horatii David is one possible origin of modernism. He's still using academic style (history painting themes & motifs, including classical clothing and architecture, one-point perspective, attempt at photorealism). This painting can be read as pro-revolution since the brothers are pledging their lives to an idealized state, like the revolutionaries at the time were trying to create |
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Death of Marat- Still using academic style, photorealism, but instead of painting a historical figure he paints Marat, a radical journalist martyred in the French Revolution. Marat looks at peace, as if he just fell asleep in his bath. Christlike figure. |
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After Dinner at Ornans- Courbet is another possible origin of modernism. He called his style realism- he painted ordinary people in the real world, especially peasants and the urban poor. "Realist' means to be a sincere lover of the honest truth'- Courbet" Here, he brings a group of poor peasants into the art galleries of the bourgeios. Other people painting similar subject matter at the time painted idealized, nice versions of rural life but Courbet's peasants are real laborers tired after a day of harsh work. Even the dog has the same slumped attitude, and a massive collar that might represent the shackles of capitalism that these people are subjected to. Released after the revolution of 1848 along with A burial at Ornans and The stonebreakers slightly later. |
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A Burial at Ornans- Large painting with life-sized figures make you feel like part of the funeral gathering. Courbet captures the awkwardness of the moment (realism), not making it melodramatic. People are blurred together, all heads at the same level, everyone's looking away from each other. |
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The Studio of the Painter: A Real Allegory Summing up Seven Years of My Artistic Life- Courbet is painting a landscape, which the Academy saw as the lowest form of painting. It might symbolize purity in the background an industrial society. He's surrounded by lower-class people, intellectuals he liked, and unresolved space. When this painting was rejected from the Universal exhibition, Courbet pulled all his paintings from the exhibition and set up his own "Pavilion of Realism" next door. Although not many people came it was still important as a historical moment. Courbet paints himself in the center of the world, and everyone, rich or poor, comes to him to be painted, whether they're 'shareholders' like his patrons or real people. Surrounded by a cat (freedom), a learning child, and a nude woman who's observing Courbet paint rather than modeling (Courbet and his work are the absolute center of attention). The background is unresolved, we see lots of faint images but it's not clear what they are. Looks like smudges of paint.
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The Stonebreakers- Courbet's realism. Avant-Garde: Pulling members of the Bourgeios public sphere out of their comfortable 'viewer' status and turning them into actors, in this case against the suffering of the working class. The old man on the left is the future of the boy on the right. Faces hidden, shaded, we don't see their identity, only their demographics (social class, age). They're more symbols than people. Sharp contrast between light and dark- heat, intensity of labor. Old man's rigidity- human machine? |
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Music in the Tuileries
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Luncheon on the Grass |
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Olympia |
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A Bar at the Folies Bergere
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Impression: Sunrise |
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Boulevard Des Capucines |
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Place De La Concorde |
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L'absinthe |
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Paris Street; Rainy Day |
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Woman in Black at the Opera |
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The Poplars |
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Water Lilies |
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A Sunday Afternoon on the Island of the Grande Jatte |
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The Potato Eaters |
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The Artist's Bedroom in Arles |
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The Night Cafe |
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Vision after the Sermon: Jacob Wrestling with an Angel |
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The Specter Watches Her |
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Where do we come from? What are we? Where are we going?
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House of the Hanged Man |
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Basket of Apples |
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Mont Sant-Victoire seen from Bibemus |
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The Large Bathers |
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Beethoven Frieze: A Kiss to the Whole World |
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Portrait of Madame Matisse with a Green Stripe |
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