1. GAttA Chapter 29
Unit 18 -
Impressionism,
etc
The Later Nineteenth
Century

2. Industrialization of Europe and U.S.
about 1850

3. Realism: The Painting
of Modern Life

4. Time Periods
Realism 1848-1860s
Impressionism 1872-1880s
Post-Impressionism 1880s-1890s
Symbolism 1890s
Art Nouveau 1890s-1914

5. Key Ideas
1. The Realist art movement was philosophically based on
the theory of positivism
2. Japanese art had a profound impact on late 19th century
painting.
3. Plein-air painting dominates much of Impressionist art.
4. Post-Impressionists reacted against what they saw as the
ephemeral quality of Impressionist painting.
5. Symbolist painters seek to portray mystical personal
visions.
6. In the late 19th century, the skyscraper was born as a result
of new technological advances, the invention of the
elevator, and the rise of land values.
7. Art Nouveau seeks to create a unified artistic experience
combining painting, sculpture, and architecture ; relies on
organic forms and motifs.

6. Innovations of Realism
1. Japonisme – prints of genre or landscape scenes;
flat, odd angles or tilted objects
2. Artificial atmosphere of the studio gives way to
plein-air (outside) work
3. Trying to capture effects of atmosphere and light
outside
4. Would frequently do a series of same object at
different times of day or series of photos
5. Invention of lithography (printmaking) 1798 =
mass production of color prints = Delacroix,
Goya, Daumier, Toulouse-Lautrec

7. Characteristics of Realism
1. Paint things you could experience with the 5
senses.
2. Tended to be genre pieces showing lower
class, since they were perceived to be honest,
sincere, and at one with the earth.

8. Figure 29-1 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas,
5’ 3” x 8’ 6”. Formerly at Gemäldegalerie, Dresden (destroyed in 1945).

9. Figure 29-2 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, approx. 10’ x 22’.
Louvre, Paris.

10. GUSTAVE COURBET, The Interior of My Studio: A Real Allegory, 1849-50. Oil on
canvas, 11' 10 1/4" x 19' 7 1/2" (361 x 598 cm), Musee d'Orsay, Paris.

11. GUSTAVE COURBET, Portrait of Jo (La Belle Irlandaise) 1866. Oil on canvas. 22 x 26
in. (55.9 x 66 cm) © The Metropolitan Museum of Art, New York.

12. Figure 29-3 JEAN-FRANÇOIS MILLET, The Gleaners, 1857. Oil on canvas, approx. 2’ 9” x 3’
8”. Louvre, Paris.

13. Figure 29-4 [11th] JEAN-BAPTISTE-CAMILLE COROT, The Harbor of La Rochelle, 1851.
Oil on canvas, approx. 1’ 8” x 2’ 4”.

14. Figure 29-4 HONORÉ DAUMIER, Rue Transnonain, 1834. Lithograph, approx. 1’ x 1’ 5 1/2”.
Philadelphia Museum of Art, Philadelphia (bequest of Fiske and Marie Kimball).

15. Figure 29-6 HONORÉ DAUMIER, The Third-Class Carriage, ca. 1862. Oil on canvas, 2’ 1
3/4” x 2’ 11 1/2”. Metropolitan Museum of Art, New York.

16. Figure 29-5 HONORÉ
DAUMIER, Nadar Raising
Photography to the Height of Art,
1862. Lithograph, 10 3/4” x 8
3/4”. Museum of Fine Arts,
Boston.

17. ÉDOUARD MANET, The Old Musician, 1862. Oil on canvas 74” x 98”. National Gallery
of Art, Washington, DC.

18. Figure 29-7 ÉDOUARD MANET, Le Déjeuner sur l’herbe (Luncheon on the Grass), 1863. Oil
on canvas, approx. 7’ x 8’ 10”. Musée d’Orsay, Paris.

19. Figure 29-8 ÉDOUARD MANET, Olympia, 1863. Oil on canvas, 4’ 3” x 6’ 3”. Musée d’Orsay, Paris.

20. The French Academy and Other
Classical Models
• What was the importance & influence
of the French Royal Academy of Art,
the artists it trained, & the styles it
promoted?
• What explained the popularity of other
classical models in art?

21. Figure 29-9 ADOLPHE-WILLIAM
BOUGUEREAU, Nymphs and Satyr,
1873. Oil on canvas, approx. 8’ 6” high.
Sterling and Francine Clark Art Institute,
Williamstown, Massachusetts.

22. Rosa Bonheur was the most famous woman artist of the first three quarters of the
nineteenth century. Her family supported her in that endeavor. From age ten on,
Bonheur spent hours sketching animals in parks on the outskirts of Paris; by age
seventeen she was contributing to the family income by making copies of paintings
in the Louvre. Since it was not possible for a woman to attend the official schools
of art at this time, her father, Raymond Bonheur—a landscape artist and teacher—
served as her instructor.
Bonheur was politically and artistically conservative. She worked in a very
traditional way, making sketches and studies in preparation for larger, final
paintings. Bonheur believed in direct observation of nature and was determined to
be accurate in all details. To this end, she dissected animal parts, sketched from
life, and attended horse fairs. This was not the type of event normally attended by
women. To avoid the taunts and comments a woman could receive if she were seen
at a horse fair, Bonheur applied for permission from the prefecture of police to
dress in men’s clothing, and received authorization to do so in 1852.
Rosa Bonheur was the first woman to receive a cross of the Legion of Honor in
France, a reward for outstanding achievement in her field. The honor was bestowed
upon her personally by the Empress Eugenie, wife of emperor Napoleon III, in
June 1865. The empress wanted to show, as she said, that "genius has no sex."

23. MARIE-ROSALIE (ROSA) BONHEUR, The Horse Fair, ca. 1852. Oil on canvas, 10.5” x 25”,
Albright-Knox Gallery, Buffalo NY.

24. MARIE-ROSALIE (ROSA) BONHEUR, Plowing in the Nivernais, 1849. Oil, approx.
68” x 102”, Musee d'Orsay, Paris.

25. Figure 29-10 MARIE-ROSALIE (ROSA) BONHEUR, The Horse Fair, 1853–1855. Oil on
canvas, 8’ x 16’ 7.5”. Metropolitan Museum of Art, New York.

26. American and German Realism
• Who were the American artists, and
what are key works of Realist art?
• Why were the German artists’
interested in regional and national
characteristics, folk customs and
culture?

27. Figure 29-11 WINSLOW HOMER, The Veteran in a New Field, 1865. Oil on canvas, 2’ 1/8” x
3’ 2 1/8”. Metropolitan Museum of Art, New York.

28. WINSLOW HOMER, Snap the Whip, 1872. Oil on canvas, 12” x 20”, Metropolitan Museum of
Art, New York.

29. WINSLOW HOMER, The Gulf Stream, 1899. Oil on canvas, 28” x 49”, Metropolitan Museum
of Art, New York.

30. THOMAS EAKINS, Max Schmitt in a Single Scull, 1871. Oil on canvas, 32.5” x 46”.
Metropolitan Museum of Art, New York.

31. Figure 29-12 THOMAS
EAKINS, The Gross Clinic,
1875. Oil on canvas, 8’ x 6’ 6”.
Jefferson Medical College of
Thomas Jefferson University,
Philadelphia.

32. Figure 29-13 EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype print.
George Eastman House, Rochester, New York.

33. Figure 29-14 JOHN
SINGER SARGENT, The
Daughters of Edward
Darley Boit, 1882. Oil on
canvas, 7’ 3 3/8” x 3 5/8”.
Museum of Fine Arts,
Boston.

34. •Dominating piece
•
JOHN SINGER SARGENT,
Madame X (Madame Pierre
Gautreau), 1883. Oil on canvas,
82” by 43”, Metropolitan Museum
of Art, New York.

35. JOHN SINGER SARGENT,
Portrait of a Young Girl, 1880-
1884. Oil on canvas, 65cm x 46cm,
Baltimore Museum of Art,
Baltimore.

36. JOHN SINGER SARGENT, The Black Brook, 1908. Oil on canvas, 82” by 43”, Tate
Gallery, London.

37. Figure 29-15 HENRY OSSAWA TANNER, The Thankful Poor, 1894. Oil on canvas, 3’ 8
1/4” x 2’ 11 1/2”. Collection of William H. and Camille Cosby.

38. Figure 29-16 WILLIAM LEIBL, Three
Women in a Village Church, 1878-1881.
Oil on canvas, approx. 2’ 5” x 2’ 1”.
Kunsthalle, Hamburg.

39. Pre-Raphaelite Brotherhood
• How did the Pre-Raphaelites’ choice of
subject matter contrast to the Realists’
subject matter?
• What were the influences of the literary
world & of the critic John Ruskin on the art
of the Pre-Raphaelites?
• Who were the artists & what were the styles
of the Pre-Raphaelite movement?

40. Figure 29-17 JOHN EVERETT MILLAIS, Ophelia, 1852. Oil on canvas, 2’ 6” x 3’ 8”. Tate
Gallery, London.

41. JOHN EVERETT MILLAIS. A Huguenot, on
St. Bartholomew's Day Refusing to Shield
Himself from Danger by Wearing the Roman
Catholic Badge. 1852. Oil on canvas. Manson
and Woods Ltd., London.

42. JOHN EVERETT MILLAIS,
The Ransom, 1860-1862. Oil on
canvas, 51” x 45”. J Paul Getty
Museum.

43. JOHN EVERETT MILLAIS,
Cinderella, 1881. Oil on canvas,
51” x 45”. Kevin Alfred Strom
Gallery.

44. Figure 29-18 DANTE GABRIEL
ROSSETTI, Beata Beatrix, ca.
1863. Oil on canvas, 2’ 10” x 2’
2”. Tate Gallery, London.

45. DANTE GABRIEL
ROSSETTI, Lady Lilith,
1867. Oil on canvas, 38” x
33.5”, Delaware Art Museum,
Delaware.

46. Figure 29-19 GERTRUDE KÄSEBIER,
Blessed Art thou Among Women, 1899.
Platinum print on Japanese tissue, 9 3/8” x 5
1/2”. Museum of Modern Art, New York (gift
of Mrs. Hermine M. Turner).