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Section 2Revision notesThe areas that you will need to revise are as follows:Poussin, “The Triumph of Pan”, Poussin’s impact on French ArtPolitics, Industry and Social classes in France Jacque-Louis David, “The Oath of the Horatii Ingres and Delacroix, Neoclassicism, RomanticismRealism & CourbetManet, the Saloon, & his influence IMPRESSIONISMMonet – ELBOW, optical mixing, Impressionist Sunrise, series paintings and Renoir DegasPoussin Nicolas Poussin's style is utterly distinct in Baroque art. Poussin's style is cool, cerebral, intellectual and detached. Perhaps more than any other artist of the Baroque, Poussin obsessively theorized about his art, painstakingly planning every detail of his composition in order to create maximum impact. The result may seem stiff and dry to the contemporary viewer, but the fact remains that Poussin's style was enormously influential for the future of Western art. In Poussin, nothing was left to chance: absolutely every aspect of his paintings was planned in advance with a particular emotional impact in mind. When once asked how he achieved such perfection in painting, Poussin replied,?"I have neglected nothing."To fully understand Impressionism and it’s impact as an art movement, we must begin in the 17th century with an artist called Nicolas Poussin,Poussin was a Baroque painter who changed the style of art in France from an ornate lavish style to more paired back and controlled one.This was the very beginning of the rigid, formula style of art that went on to become the style of art the Impressionists reacted against. Poussin was a French Baroque 17th century painter.Poussin spent most of his life in Rome where he was heavily influenced by the classical ideals inspired by Greek and Roman art and Renaissance art. His own paintings reflected all these influences.Up until now art in France was produced to suit the interests and personal style of the kingThe Neoclassical Movement in French PaintingNeoclassicism was a widespread and influential movement in painting that began in the late 18th century and reached its height in the work of the French painter Jacques-Louis David (1748-1825).? In France, the movement lasted into the late 19th century with the last major neoclassical painter being Jean-Auguste-Dominique Ingres (1780-1867). Neoclassical painting generally took the form of an emphasis on austere linear design in the depiction of classical themes and subject matter, using archaeologically correct settings and costumes.?Neoclassicism arose partly as a reaction against the sensuous and frivolous Rococo style that dominated European art during the early 18th century. However, a more scientific interest in classical antiquity was given great impetus by new archaeological discoveries in southern Italy and Greece.? Just before and during the French Revolution, under the leadership of Jacques-Louis David, a rigorous Neoclassical painting style arose.? David and other painters adopted stirring moral subject matter from Roman history that celebrated the values of simplicity, austerity, heroism, and stoic virtue that were traditionally associated with the Roman Republic, thus drawing parallels between that time and the contemporary struggle for liberty in France. David's history paintings displayed a gravity and decorum deriving from classical tragedy, a certain rhetorical quality of gesture, and patterns of drapery influenced by ancient sculpture.?Neoclassical painters attached great importance to depicting the costumes, settings, and details of their classical subject matter with as much historical accuracy as possible. Classical history and mythology provided a large part of the subject matter of Neoclassical works.?Jacque-Louis DavidNeoclassical PainterHe moved art away from the Rococo style.He was heavily influenced by Ancient Greek and Roman art and architecture, the work of Raphael and Poussin.This new imitation of Classicism and Roman art became popular during his time as a painter.He was court painter to King Louis XIV before the Revolution, Louis commissioned him to paint a morally uplifting painting. His monumental painting “The Oath of Horatii” was a great success at the Paris Salon in 1785. ( The salon was an annual exhibition, the only significant public exhibition for the work of living artists organised by the Royal Academy of Painting and Sculpture (later renamed ?cole des Beaux-Arts), which appointed the jury who judged the work ). Success at the Salon could establish a painter’s career. Up to 500,000 people attended the Salon exhibition every year.This Salon success established David’s reputation as a painter of excellence. Jean Auguste Dominique Ingres?(August 29, 1780 - January 14, 1867) was a French Neoclassical painter. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, by the end of his life it was Ingres' portraits, both painted and drawn, that were recognized as his greatest legacy.A man profoundly respectful of the past, he assumed the role of a guardian of academic orthodoxy against the ascendant Romantic style represented by his nemesis Eugene Delacroix. His exemplars, he once explained, were "the great masters which flourished in that century of glorious memory when Raphael set the eternal and incontestable bounds of the sublime in art ... I am thus a conservator of good doctrine, and not an innovator." Nevertheless, modern opinion has tended to regard Ingres and the other Neoclassicists of his era as embodying the Romantic spirit of his time, while his expressive distortions of form and space make him an important precursor of modern art.DelacroixRomantic Period: Overview Painters were concerned with: The Power of Nature?? The Nostalgic and Emotion of Man Looking Inward?Looking at Nature as it Really is Eugéne Delacroix (1798-1863) French Painter ?Influenced by Raphael, Rubens, Géricualt and Constable ?Painted in Neoclassical Style ?Painted Historic Events ? ?Bold Brush Strokes with Vivid Colours ?Avoided Black and Studied Colour Theory ? Eugéne Delacroix Title: Liberty Leading the people (1830) Delacroix’s painting, Liberty Leading the People, at first seems to be overpowered by chaos, but on closer inspection, it is a composition filled with subtle order. The first thing a viewer may notice is the monumental—and nude to the waist—female figure. Her yellow dress has fallen from her shoulders, as she holds a bayonetted musket in her left hand and raises the tricolor—the French national flag—with her right. The attire worn by the man looking up at her mimics this red, white, and blue arrangement of the flag. She powerfully strides forward and looks back over her right shoulder as if to ensure those who she leads are following. This factory worker provides a counterpoint to the younger man beside him who is clearly of a different economic status. He wears a black top hat, an open-collared white shirt and cravat, and an elegantly tailored black coat. Rather than hold a military weapon like his older brother-in-arms, he instead grasps a hunting shotgun. These two figures make clear that this revolution is not just for the economically downtrodden, but for those of affluence, too.Gustave Courbet Courbet was a farmer's son from Ornans in south-eastern France near the Swiss border ??He was a committed socialist ?He chose subjects to reflect this ?He avoided subjects previously thought suitable for fine art ??He had a reputation of being loud and arrogant but was in fact an intelligent and sensitive man ??Courbet and other painters met in a Paris Café which they renamed the ?Pavillion of Realism? ? ‘Truth not Prettiness’ Realist artists favoured ordinary scenes of modern life over historical or religious subjects The wanted ?Truth not Prettiness” and to shock society with realistic images of rural society working hard They painted farmers, gravediggers, woodsmen, poachers in paintings that glorified the hard work. They disliked smooth and slick or "false surface" and preferred rough, unfinished textures in their paintings Gustave Courbet 1819-77 ?All artists had to exhibit at the Paris Salon ?In the beginning Courbet found it hard to have his work accepted ?One painting was however purchased by the government and won a gold medal ?This meant he was exempt from the judging process and from now on he had the freedom to paint as he pleased ?He presented ?Realist? scenes from his beloved home town of Ornans at the Salon (image wikipedia) A Burial at Ornans 1849-50 Gustave Courbet Musee d'Orsay, Paris ?The huge painting created a storm of outrage at the 1850 Salon??The subject proclaimed the importance and dignity of an ordinary life and death ?It shocked 19th century French society??The critics said it was "too big and the figures were too ugly". Bonjour Monsieur Courbet, 1854 Artwork description & Analysis:?In this large work Courbet painted himself meeting Alfred Bruyas, a key patron and supporter. The painting expresses the collector's appreciation of the genius of Courbet. As an extension of Bruyas, the servant is caught in the greatest gesture of respect, but the key point is this moment of mutual appreciation between artist and patron. As expressions of great intellect and importance, Courbet's head is tilted back slightly and he is the one standing directly in unfiltered light.Gustave Courbet?Musée Fabre, Montpellier, France ?He represented himself as a simple artist walking across the country side to meet his patron ?This was offensive to people who expected a well dressed image of a ?respectable? artist standing in a ?graceful? pose ?He holds his head high to greet his patron as an equal ?The servant stands behind the ?fine gentleman? with head bowed Charles Marville,?Rue St. Nicolas du Chardonnet?ca. 1853–70, one of the narrow medieval streets near the PantheonParis: narrow streets and barricadesDuring each of the previous political revolts (1789, 1830, 1848, and again in 1871), sections of Paris had succumbed to the revolutionaries. These successes were due in part to the political sympathies of the citizens of Paris, but the crooked narrow lanes of the medieval city also played a role. During times of conflict, urban mobs would blockade the maze that was the streets of Paris. Such barricades (makeshift barriers erected across streets?to prevent the movement of opposing forces)?proved very effective and made Paris all but uncontrollable at times.?Think back to Eugène Delacroix's painting of the revolution of?1830,?Liberty Leading the People—?Marianne (Liberty) is shown rising over a barricade of just?this sort.Napoleon III and the Second EmpireDuring the period known as the Second Empire (1852-70),?Napoleon III, the great-nephew of Napoleon Bonaparte (emperor of France in the early nineteenth century),?ruled France. He asked an administrator, Baron Georges-Eugene Haussmann, to modernize Paris—to bring clean water and modern sewers to the fast growing city, to light the streets with gas lanterns, to construct a central market (Les Halles), and to build parks, schools, hospitals, asylums, prisons, and administrative buildings. But the most ambitious aspect of Haussmann's plan was to literally reshape the city. Haussmann's reconstruction of ParisFor his role in changing the Paris cityscape, Haussmann would acquire the nickname "the demolisher." He plowed over the ancient, winding streets of the city (the same narrow streets that had proved so useful to revolutionaries). In their place, he created broad straight boulevards that were impervious to the barricade—and, equally important, they could better accommodate the free movement of troops.The avenues also allowed for the easy flow of commerce and so were a boon for business. Napoleon III had dreamed of a new imperial city whose very streets spoke of the glory of the French empire. Haussmann delivered.Camille Pissarro,?The Boulevard Montmartre on a Winter Morning, 1897, oil on canvas,?64.8 x 81.3 cm (Metropolitam Museum of Art, New York)As with nearly every urban renovation, a percentage of the population was displaced. Haussmann forced citizens from their homes as these buildings were torn down to make way for the clean lines of the new city. The wealthy were quickly accommodated. The new boulevards were lined with fashionable apartment houses. It was, as usual, the poor that really suffered.?DOUARD MANET?douard Manet ( 1832 -1883)The son of a senior official in the Department of Justice, Manet was a well known figure in social circles in Paris. He trained with the artist Thomas Couture for six years during the 1850’s. As an apprentice painter, the young Manet spent much time in the Louvre copying the old masters, he was especially impressed by Spanish artist Velásquez.As a young painter during the 1860’s, Manets ambition was to exhibit in the Salon. ( This was the main outlet to exhibit paintings in Paris). The Academy who selected paintings for exhibition were not impressed by Manet’s work. In 1863 an opportunity came Manets way – A “Salon des Refuses” was established to exhibit work that was not selected by the Academy. Manet exhibited a large painting called ‘Le Dejeuner sur l’ Herb’ (Luncheon on the Grass) which shocked audiences and instantly caused Manet a lot of negative attention. Edouard Manet; Déjeuner sur l’Herb ( Luncheon on the Grass) 1863In ‘Dejeuner sur l’Herb’ a nude woman sits on the ground beside two fully clothed men. In the background another woman is dressed only in her undergarments; she is bathing herself in a river. Manet was criticised on both moral and artistic grounds for displaying a nude figure in such a setting and for his loose quick painting style.This short video discusses the use of light and brushwork in ‘Déjeuner sur l’Herb’.Olympia (1965); When this painting was exhibited it caused even more outrage than Déjeuner sur L’Herb. A nude woman looks directly out at us from her bed. “ Olympia” was known at that time in Paris as a name typical of a prostitute. Not only was the painting scorned on moral grounds but Manet’s painting technique was highly criticised. The brushwork was too loose, the nude figure was too pale and washed out looking, the painting style was too flat for the critics.Edouard Manet; Olympia 1865013462000?Titian; Venus of Urbino 1538Manet had based Olympia on a painting by the Renaissance artist Titian; “The Venus of Urbino”. Whereas the nude figure in Titians work was accepted as a beautiful godess, Olympia in contrast, caused consternation amongst the Paris audiences and was rejected as shocking and brazen.It is believed that Manet was greatly influenced by Photography and by Japanese prints when painting ‘Olympia’. The nude figure is very pale, there is hardly any shadows on her. This is similar in effect to a photograph with strong or over exposure to light. ‘Olympia’ is painted very flatly; there is hardly no modelling on her body and Manet paints with black outlines around the figure. This is similar in style to Japanese prints.Japanese Print and Olympia detail?Detail of Olympia ; Brushwork. Manet was heavily criticised for his loose gestural brushstrokes – here you can see how quick and freely he painted the pattern on the drapeIn 1882 Manet painted “ A Bar at the Folies- Bergére”. In contrast to “Dejeuner sur l’ Herb” and “Olympia” ; it was accepted by the Paris Salon and exhibited there to great acclaim from critics and audiences. It was Manet’s last great painting before his death in 1883. A young barmaid is standing behind the bar gazing out. Behind her is a large mirror that reflects the scene before the barmaid which she looks out upon.Edouard Manet, A Bar at the Folies-Bergère 1882This painting is an intricate web of viewpoints.The barmaid gazes out – not at us – but instead stares into space. It is impossible to tell what she is thinking. In the mirror behind her we can see her reflection and a man is standing directly infront of her yet Manet chooses only to paint this man in the reflection not in reality. He should be standing in the front of the painting with his back to us. Manet places the reflection of the barmaid off-centre, it should be directly behind her in the mirror. Manet plays tricks with our perceptions. Its really a painting about seeing and looking. The scene that the barmaid is gazing out upon is one of hundreds of people who are reflected in the mirror behind her. Manet paints this crowd very loosely, capturing just fleeting impressions of the people as they disappear in and out of smoke and lights. “A Bar at the Folies Bergére is considered to be one of the masterpieces of the 19th Century.Foreground detail ;A Bar at the Folies BergéreIt is a complex composition yet Manet still uses the traditional foreground, middle ground and background. In the foreground, along with the barmaid there is a still life of bottles, flowers and a bowl of oranges. This still life is painted in a more defined way than the rest of the painting. These objects appear in-focus with light glinting off the top of the shapes.In the middle ground of the painting Manet paints the refections of the barmaid and the male customer together with the refections of the bottles. This middle ground is painted far more loosely than the foreground, making it appear to receed from the foreground. Finally in the background Manet paints very loosely, describing people in just a few quick brushstokes. We can make out very little detail on these people. The crowd appear out of focus and receeds into the distance. Manet uses the traditional composition of fore, middle and back grounds to achieve perspective.Middle ground detail; A Bar at the Folies BergéreBackground detail; A bar at the Folies BergéreCLAUDE MONETClaude Monet ( 1840 – 1926)Monet is regarded as central to the Impressionist movement in that he followed the philosophy and principles of Impressionism all his career. Monet painted much of his works Plein Air ( outside looking directly at the subject) and was concerned with how the colour of things changed in different weather and atmosphere.?“ Color is my day-long obsession, joy and torment! ” .Claude Monet was born in Paris but grew up in Le Harvre where he was influenced by the artist Eugéne Boudin who encouraged him to take up Plein Air painting. In 1862, after a spell in the French Army, Monet began to study art under Charles Gleyre in Paris. It was in Paris that he met other artists such as Renoir and Pissaro who had similar interests in colour, light and brushstokes as him, it was these artists who would go on to form the ”Impressionists”.“Women in the Garden” 1866/67 was painted ourdoors by the young Monet. The painting was so large he had to dig a trench so that the painting could be lowered for him to reach it. Monet’s concern for the effects of light and shadow is quite visible in this early painting. The bold brushwork which is always a feature of his work is already there at this early stage in his career.0000Claude Monet, Women in the Garden 1866-7. The effect of light and shade can be seen particularly in pale areas such as the womens’ dresses, the umbrella and on the path.In 1874, Monet exhibited his painting “Impression; Sunrise” (1872) at the first ImpressionistExhibition. The art critics reacted strongly to this painting because it was an “ Impression’ rather than an exact painting of a harbour at sunrise. One critic – Louis Leroy wrote that all the paintings in the exhibition were ‘Impressions” and the name stuck. This is how Impressionism came to be. Claude Monet, Impression, Sunrise 1872The painting is of the harbour at Le Havre at dawn. It appears to be foggy. Monet uses mostly blues except for orange which he uses on the sun,an orange tint in the clouds and the orange reflections of the sun in the water. -114300-444500As the title suggests he captures an impression of the scene rather than painting in the exact details.Detail of Impression ;Sunrise. You can see how thickly Monet has applied the paint in the reflections of the sun on the water. Monet uses orange and white -side by side -and mixes them on the canvas.From the 1880’s onwards Monet began to paint in series – he took a subject matter and painted a series of it – over and over , in different lighting and weather conditions.The most famous of these series are his paintings of Rouen Cathedral ( below) and of haystacks ( further below).0000Claude Monet; Rouen Cathedral Series 1892-94Claude Monet; Haystack Series 1890-91In 1890 Claude Monet bought a house and land in Giverny. He built a magnificent garden there and spent the rest of his life living there until his death in 1926. He painted scenes from his garden – the pond and bridge, flowers, trees and his most famous series of waterlilies. At the end of his life Monet’s paintings became more and more abstract – he was always concerned with capturing an impression and as he aged his sight began to fail; Monet’s painting took on an abstract appearance where colourful marks and brushstrokes dominate the viewers senses. At times its difficult to make out what the painting is about – the viewer needs to step back and appreciate the impression and mood that Monet is creating.Water Lilies and Japanese-Bridge-(1897-1899)Monet?Monet; Waterlilies 1906Waterlilies 1915RENOIRPierre- Auguste Renoir (1841 -1919)Renoir was a leading artist in the development of the Impressionist Art movement. He is known as a painter of people and of social life.Pierre-Auguste Renoir was born in Limogues, France in 1841 into a working class background. When he was four his family moved to Paris where he grew up. At 13 he became an apprentice porcelain painter in a factory in Paris. During these early years he often visited the Louvre to study at first hand the works of the old masters. In particular his favourites were the French painters; Delacroix, Boucher and Fragonard.In 1862, Renoir joined the art school of Charles Gleyre where he met with fellow students Claude Monet, Alfred Sisley and Frederic Bazille. Through these new friendships he met with other artists Edgar Degas and Edouard Manet. This group of Artists spent much time together during the 1860’s discussing and sharing their ideas on Art. It was out of this group that Impressionism developed. The first paintings that are attributed to being “Impressionist” in their outlook were painted by Renoir and Monet during the summer of 1869.Like other Impressionists in the group, Renoir entered his paintings at the Salon for their exhibitions but failed to get selected. In 1874 he took part in and was one of the chief organizers of the first Impressionist Exhibition. Renoir continued to be involved in the second and third Impressionists exhibition but he was the first of the Impressionist group to break away from its style of painting and also the first to return to exhibiting his work at the Salon.La Loge 1874Two Sisters 1881Renoir’s work was at its most Impressionistic in style during the 1870’s and early 1880’s. He was very close to Monet both personally and artistically in style and painted with him on several occasions during this period. Monet and Renoir would go outside and paint “plein air” – observing direct from nature. Although Renoir shared Monet’s fascination for the effects of light on water or the landscape, it was people and human interactions that became his chief interest. Most of Renoir’s well regarded paintings were of people, often smiling and enjoying themselves. He loved also to paint children and pretty women and the happy mood of his pieces have often been criticized as being too pretty. To these critics Renoir replied?“To my mind, a picture should be something pleasant, cheerful, and pretty, yes pretty! There are too many unpleasant things in life as it is without creating still more of them.”Luncheon of the Boating Party (Le déjeuner des canotiers) 1881During the early years Renoir struggled for acceptance from the establishment and consequently times were difficult financially. He was the only painter of the Impressionists who came from a working class background. Gradually though, over the years, Renoir gained in reputation and his work began to be bought increasingly by collectors. By the end of his life in 1919, Renoir enjoyed a great deal of wealth and fame throughout France and internationally. In the year of his death in 1919, he was able to visit his own paintings hanging in the Louvre beside the old masters whom he so admired.?Bal du moulin de la Galette (Dance at the Moulin de la Galette) 1876This painting is typical of Renoir in that the subject is of people enjoying themselves. It is also a very typical Impressionist painting in that it is;1) a scene of everyday life,2) concerned with light falling on the figures and ground3) Its a snapshot – photographic like in that a fleeting moment is??? captured and figures are cut-off in the frame.La Bal du Moulin de la Galette ( Dance at the Moulin de la Galette) 1976CompositionBal du Moulin de la Galette is a very complex composition in that Renoir manages to arrange numerous people together in one scene. He does this by arranging the figures into three zones;a foreground containing a group of figures who are mostly seated and who are engaging with each other -to the left a child and her mother sit, the mother is cut-off by the edge of the paining.)In the middleground the figures appear to be either dancing or gazing out to the right of the pictures a a scene that is cut-off from our view.In the background, Renoir manages to fit in scores of people who appear very small in the distance but who are dancing or socializing. This composition has been clevely designed by Renoir to keep our eye moving from one scene or zone to another ranging from the fore to the background. Our eyes are unable to settle on one position of Bal du Moulin de la GaletteLightIn Bal du Mouln de la Galette Renoir gives us the impression that the scene before us is taking place on a sunny day beneath the dappled shade of trees. Renoir paints glimpses of sunlight as spots on the figures – as seen most clearly on the figure of the young man in the foreground with his back to us. Renoir also paints dappled shade on the ground appearing as dark spots.Treatment of paintRenoir uses very loose brushstrokes in Bal du Moulin de la Galette. This loose treatment gives the impression of movement. In the foreground he paints the details in a more defined and smoother way. As the painting recedes the brushstrokes become looser and the figures are less defined; details like features of the face and jewellery become lost at the back. Renoir paints the rough shapes of hats and dresses to indicate that the blobs of paint and colour are people.-3429003873500This is a scene from the foreground. You can see Renoir painted details such as eyelids and lashes as well as earrings and necklace detailsIn the middle-ground Renoir begins to paint in broader strokes where details become lost – the eyes are reduced to being slits, the hands of the woman are painted so loosely the individual fingers are obliterated. Compare this to the foreground details above.In the background Renoir works very loosely depicting individual figures with just a few brush stokes. We can make out the shapes of hats and dresses but very little else of details. There are barely faces to be seen and no features on the faces.?The Umbrellas (Les Parapluies) 1882-1886In The Umbrellas, Renoir show us once more how skillful he is at painting large groups of people. This painting depicts a busy street scene in Paris with most of the people using umbrellas. On the left a young woman holds up her skirt to avoid splatters of mud. Behind her a young man seems to want to engage her but she appears unaware of him. On the right a mother glances down at her two daughters, both of whom are fashionably dressed. Behind her is a woman caught in the act of either raising of lowering her umbrella.The Umbrellas (Les Parapluies) 1881- 1886This painting shows Renoir’s transition from one style into another. The two girls and their mother on the right are painted in a loose textured style while in contrast the woman on the left and indeed the rest of the piece is painted more smoothly, with modelling and with strong outlines in places – in particular the umbrellas. It is believed that this painting was started by Renoir in 1882 and that he ceased to complete the piece until a number of years had passed during which time he had changed his style from Impressionism to a much more solid manner.-11430017716500This painting was completed in 1886 and was owned by Sir Hugh Lane. It was bequeathed by him to the National Gallery in London but is regularly exhibited at the Hugh Lane Gallery in Dublin. ................
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