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71 Cards in this Set
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Monet Tuileries Gardens 1876 -remnants of Tuileries Palace, which sat there destroyed for 12 years after 1871 --- painting shows the crumbling side of the palace -it's like Monet is "suturing over," moving forward past the tragedy of the Paris Commune by showing us the beauty of the green gardens -Paris Commune ish --- Parisians civil war vs. new rulers/Versailles govt, 9 week siege, 30,000 Parisians killed |
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Monet Parc Monceau 1876 -many Communards are buried in mass graves here, but it looks beautiful in the painting -idea of time ~ plein air technique with quick brushstrokes -Paris Commune ish --- Parisians civil war vs. new rulers/Versailles govt, 9 week siege, 30,000 Parisians killed |
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Carolus-Duran The Merrymakers 1870 -politics of space - modernity -clear class structure, clear relationships, easy domesticity -all females, servant, well-dressed women + baby, elegant, upper class -not constrained, free -happy fam! |
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Caillebotte Luncheon 1876 -Caillebotte = men in interior spaces -weird dimensions, kind of just a weird space -family |
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Renoir Madame Charpentier and her Children 1878 -politics of space - modernity, women/family at home -no real narrative, disconnect because don't know their personal life/experiences, etc -can see parted curtain in mirror - threat of external world - how engaged are they with the outside world? -beautiful house, Japanese art/furnishings, -easy happy domesticity -2 kids, big dog -staged, not really intimate |
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Morisot Mother and Sister of the Artist 1869-70 -politics of space -weird empty glances, could almost be strangers but we know that they're related so |
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Degas Bellelli Family Portrait 1858-60 -his aunt -confinement - there are glimpses of the outside world, but they are not interacting with it -very much inside, sad/empty faces, suffering, hostility?, even the dog is leaving the frame -isolation even in this beautiful home ----compare to his happy pics of prostitutes |
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Morisot The Artist’s Sister at a Window 1869 -slice of life, close, intimate, she's unaware that we're watching her -not engaging with outside world, can see women in the background looking out over their own balconies |
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Caillebotte Nude on a Couch 1882 -compare to Birth of Venus -- her arm is in a similar position but she is sad/disappointed, her chest isn't raised, she doesn't look open -not so graceful, kind of naturally slouched into the couch -has pubic/armpit hair but her head hair is barely visible -can see clothes/shoes, know she got undressed -she's a real contemporary woman, bourgeois -hand on her breast/nipple |
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Caillebotte Man at his Bath 1884 -different from our normal male nudes, not a male nude in the studio -anonymous, feels like we're intruding on him -vulnerability of men from this vantage point -unassuming, not portraying his masculinity -not on display, intimate -indoors, pale, compare to Bazille's summer scene |
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Bazille Summer Scene 1869 -compare to Caillebotte's male nudes -tan, strong, obviously posed |
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Manet Olympia 1863 |
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Cabanel Birth of Venus 1863 -compare to Caillebotte's Nude on a Couch, Manet's Olympia, Degas' bathers -smooth finish |
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Renoir Diana 1867 -his first Salon entry -Diana = mythological goddess of the hunt, but this isn't a very convincing representation -she's posing w bow almost, but not in the act of killing the deer, just looking at it -body isn't idealized -reminiscent of "artists studio" posed studio model -weird mashup of academic nude, myth, reference to Courbet -Renoir studied a model for this, his mistress |
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Renoir Nude in Sunlight c. 1876 -women + nature, in the trees -weirdly posed, she has a bracelet and a ring -contemporary, but ~woman in nature~ = a timeless idea -Renoir's idea of women, his fantasy -she is an extension of the landscape, melts in -purple shadows on her skin |
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Renoir Young Boy with a Cat 1868-9 -feels staged, weird, like Manet -full length male youth -interesting that boy is with cat instead of a girl -Renoir's art = b/w old and new, b/w innovation and tradition |
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Renoir The Bathers 1887 -Renoir turning his attention to line -smooth, polished finish |
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Renoir studies for The Bathers 1887 -Morisot was impressed by these -Renoir turning his attention to line |
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Renoir Bathers 1918-9 -gendering of nature -idealized -focus on child bearing -compare to Cezanne's scary bathers |
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Morisot The Wet Nurse and Julie 1879 -compare w/ Renoir's maternity/nursing pics -very different form^ -- wide brushstrokes and plein air and not clear at all vs. staged, more precise -hers was literally painted in her garden - |
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Renoir Mme Renoir and Son Pierre (Maternity) 1886 (second version) -compare to Morisot's wet nurse and julie -his is more staged, more precise -linear, emphasizes the robustness of her body and breasts -seems permanent, timeless --- like women's role as a mother -madonna + child motif being purposely referenced -he is moving away from the Imps treatment of form -great draftsman, turning his attention to line, like Ingres |
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Cassatt Woman Bathing 1890-1 -theme of women at the sink -women bathing in etchings/prints -japanese print making, she is imitating their methods |
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Cassatt The Coiffure 1890-1 -theme of women at the sink -women bathing in etchings/prints -japanese print making, she is imitating their methods |
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Degas The Tub 1886 -Not in idyllic settings, they areinside rooms/homes/bathrooms -Domestic interiors – beds, curtains,well decorated -Completely unaware of the viewer,acting naturally, think they’re alone, not in flattering poses, they’re just inthe moment, no narrative, everyday scene -Not trying to be modest, but also notacting immodestly -Animal, “froglike” -Are they prostitutes?? Bc they legallyhad to bathe -Compare to other nude images of women –outdoors, mythological figures -Natural lighting, natural looking body(compare to classical figure lighting w/ people that look like sculptures) -Facture – we’re aware of its making(vs. Venus painting) |
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Degas Woman Bathing in a Shallow Tub 1885 -Not in idyllic settings, they are inside rooms/homes/bathrooms -Domestic interiors – beds, curtains, well decorated -Completely unaware of the viewer, acting naturally, think they’re alone, not in flattering poses, they’re just in the moment, no narrative, everyday scene -Not trying to be modest, but also not acting immodestly -Animal, “froglike” -Are they prostitutes?? Bc they legally had to bathe -Compare to other nude images of women – outdoors, mythological figures -Natural lighting, natural looking body (compare to classical figure lighting w/ people that look like sculptures) -Facture – we’re aware of its making (vs. Venus painting) |
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Degas Woman Standing in her Bath 1879-83 -Not in idyllic settings, they are inside rooms/homes/bathrooms -Domestic interiors – beds, curtains, well decorated -Completely unaware of the viewer, acting naturally, think they’re alone, not in flattering poses, they’re just in the moment, no narrative, everyday scene -Not trying to be modest, but also not acting immodestly -Animal, “froglike” -Are they prostitutes?? Bc they legally had to bathe -Compare to other nude images of women – outdoors, mythological figures -Natural lighting, natural looking body (compare to classical figure lighting w/ people that look like sculptures) -Facture – we’re aware of its making (vs. Venus painting) |
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Degas Steep Coast c. 1890 -looks like a female body with cascading hair |
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Degas The Bathers c. 1895-1905 -super animalistic, outdoors -middle figures looking like one of his past bather paintings -one woman is taking off black stockings |
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Monet Rouen Cathedral 1894 -tension b/w effect and meaning -recording the changing experience of looking at a solid, static object -impression of immobile monument -en plein air and reworked in studio over period of years -enveloppe - air itself, unifying atmosphere between Monet and the Cathedral -RC is an icon, cultural heritage -layered paint, not single strokes - |
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Monet Rouen Cathedral 1894 -tension b/w effect and meaning -recording the changing experience of looking at a solid, static object -impression of immobile monument -en plein air and reworked in studio over period of years -enveloppe - air itself, unifying atmosphere between Monet and the Cathedral -RC is an icon, cultural heritage -layered paint, not single strokes |
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Signac Gasholders at Clichy 1886 -not idyllic IRL, it's just a place for industry, but this picture is pretty -he chose not to make it look depressing even though it could have been -utopic monument to industrial workers (workers clothes on fence) |
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Cassatt Girl Arranging her Hair 1886 Shown in the eighth Impressionism Exhibition, 1886 -subjectifying the objective |
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Cezanne A Modern Olympia 1874 -ties to Imps -references Manet's Olympia, same pose, wall, maid -he added a watching flaneur figure -Imp palette, quick brushstrokes -tension between plein air aesthetic and our knowledge that it is not -Cezanne thinking about the construction -- flat Imp paintings but we think about their 3D realness -flaneur in foreground = Cezanne -female nude, but this is high end prostitution -in 1868 - first version of this --- self-consciousness of artistry |
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Cezanne Eternal Feminine c. 1877 -woman is creepy looking, white bed/canopy thing -surrounded by all sorts of men trying to get her attention, worshipping at the altar of the female nude -Cezanne in corner painting Mont SV + Cezanne in foreground looking at scene -critique on art's tendency to idealize women -woman as idol -irony -self-consciousness of modernity |
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Cezanne Bay at L’Estaque c. 1885 -sense of perspective, small dock on left, but weird organization of the sizes of houses/mountains, so stacked color is indicating perspective to us -reproduce nature w color, but not w atmosphere effects -compare to 'School of Athens' w/ its Renaissance perspective and linearity giving understanding of recession of space -Cezanne "reassembles" the scene, so we can't help but think of its making and the real perspective we would see IRL -color fields - contact of diff colors tell you about depth and space, deep space on flat surface -reproduce nature w color -we can see both the stacking and the full picture |
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Gauguin Still Life with Oysters 1876 -still life = show off your technical expertise -compare to Cezanne -verisimilitude --> looks very real - |
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Cezanne Still Life with Basket of Apples c. 1895 -we see an apple & know that's what it is, but Cezanne is referencing all of our ideas about what an apple is in order to make it more objective -edges of table don't match up -table cloth doesn't look natural, is angular/sculptural -everything is stacked bizarrely -weird because we still get a balanced feel of the painting even though all of objects individually are unbalanced -"simultaneous vision" - seeing from different perspectives -apples = layered paint - feel dense, voluminous, but some of them blend into each other -"construction after nature" - not just imitating nature |
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Cezanne Mont Sainte-Victoire 1902-6 -lack of movement, humans -timeless feeling - solid, immobile mountain - static, stable -like Monet & Rouen - monumental part of landscape -flattened out perspective, wide brushstrokes -starts to get more abstract in later versions -no "internal unity" like real nature, but we perceive unity -just like still life - all about perception (vs. abstraction) -stacking of colors to create perspective, hard to discern fore vs. middle ground |
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Seurat Sunday Afternoon on the Island of La Grande Jatte 1884-6 -contemporary urban life (so Imp subject matter) -dots of color, sharply defined areas of contrast -contrast w/ Renoir's "Dancing.." -sense of permanence, solidity -very interested in color theory --> complementary colors --> small dots of comp colors makes human eye see shapes -pink dot frame -laborious -scientific study - "halo effect" of comp colors/dots -monumentality - thinking specifically of past art, like Renaissance wall painting, School of Athens -large scale -every person is in flat profile or straight on, like Egyptian art -critique of modern life |
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Seurat Study for Sunday Afternoon on the Island of La Grande Jatte 1884-5 -study -dot frame -laborious -he made LOTS of studies, different types of oil, types of brushstrokes, a study w/out figures, practiced the trees -obviously worked hard on the structure of the painting |
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Seurat Parade de cirque [or Circus Sideshow] 1887-8 -took 6 months -inspired by Whistle's Nocturne -interested in night/light effects -very few Imp paintings at night -less emotional appearance at first -using scientific theories about how pictures can evoke emotion - psychological effects of color/line -rising lines, luminous tones, warm colors = happy -literally writes a letter in 1890 about how he applies these techniques^^ |
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Renoir Dancing at the Moulin de la Galette 1876 -brushstrokes, people don't completely differentiate from landscape -compare to Seurat ---- people are so much more fluid, moving, different angles -compare to Van Gogh thing |
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Cezanne Large Bathers 1899-1906 -Reduce signs of sexuality to almost nothing -Bodies without boundaries --- bleed intosurroundings/each other -surface, constructed nature of the paintings |
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Cezanne The Large Bathers ca. 1895-1906 Barnes Foundation -Reduce signs of sexuality to almost nothing -Bodies without boundaries --- bleed into surroundings -blurring boundaries, faceless one = breasts + penis?, other one barely has a head -surface, constructed nature of the paintings |
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Cezanne Bathers 1892-4 (Paris, Orsay) -male bathers -surface, constructed nature of the paintings -vertical/lateral vs. triangles of females |
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Seurat Tip of the Jetty of Honfleur 1886 -part of a series w/ other painting "The Hospice and Lighthouse of Honfleur" which shows the same jetty and lighthouse -different vantage points of same place -Hemholtz = painting overlapping views - H's theory on how we see the world ---- lighthouse |
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Seurat The Hospice and Lighthouse of Honfleur 1886 -part of a series w/ other painting "Tip of the Jetty of Honfleur" which shows the same jetty and lighthouse -different vantage points of same place -Hemholtz = painting overlapping views - H's theory on how we see the world ---- lighthouse |
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Seurat Models 1886-8 -can see part of "La Grande Jatte" -we're in his studio - tradition of nude in studio -large scale -clothes/accessories everywhere -standing nude female = staring out at us, not coy, still covering herself but she's confident/direct -natural-ness of the figures, just being, contemporary, unidealized, women -serial depiction of a woman, looks like same woman from 3 sides -"La grande jatte" in background is seen right at its vanishing point --- "partiality" of perception bc too close/too far from either wall ---- can't make out anything on other wall paintings |
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Puvis de Chavannes Pleasant Land 1882 -compare to Seurat Bathers at Asnieres -same stuff but no evidence of modernity -timeless, happy, mural -references to classical past -human interaction w environment, unproblematic |
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Seurat Bathers at Asnières 1883-4 -compare to Puvis -- same organization of forms/landscape, same large scale human figures in leisure time -but Seurat has the Clichy factory in the background, workers bathing in the foreground -same as Puvis --- aloof figures, but they are like weird static robots - "joyless leisure" |
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Puvis de Chavannes Sacred Grove c.1884 -peaceful, Arcadian landscape, elemental pleasures -timeless, happy -mural, giant in final version -allegorical - mythological forest, idealized partially draped figures, serene riverbank, classical architecture -figures = figures of the arts, muses -feels dreamy, even though it's filled w references, meaning -very unlike other art at the time (no modern life/scenery) |
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Toulouse-Lautrec Parody of Puvis de Chavannes’s Sacred Grove 1884 -made this response pic 2 days after he saw the real pic at Salon -same landscape composition, figures in same places except 2 are missing, a bunch of darkly dressed modern men added --- men represent people in T-L's group, T-L figure is peeing -muse of tragedy has an easel w/ a Puvis painting -music muse is now holding a giant paint tube instead of a lyre |
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Van Gogh Potato Eaters 1885 -dark palette, really blended colors -physiognomy, rough facial features -weird perspective -nighttime illumination, like Seurat's Parade -peasant painting, like Millet --- he admired Millet and his connection b/w subject matter and means of painting -in a study, the faces are less exaggerated -for VG, the faces are bc poverty and hard labor stunted the mind -----commentary on the society that could allow people to live this kind of life, plight of the lower class, but not negative commentary about the people -"digging of the earth" --> earth tones of painting -he identified w laborers -he wants us to understand the essence of these people |
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Van Gogh Interior of a Restaurant 1887 -pointillism, Seurat, experimentation -bright colors, whites, oranges -modern Paris |
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Van Gogh Courtesan,after woodblock print by Kesai Eisen, 1887 -traced the figure onto a grid to copy it, but his version has a warmer color palette and is framed by a lily pond scene -- border is its own contained space -cranes + frogs = Japanese motifs, but purposely chosen by VG bc names for prostitutes -kimono tying in the front = prostitute -effect of Japanese art = stylized portrayal of contemporary subject matter -Ukiyo-e = “the floating world” = prints thatshow modern lifestyle, fashion, activities, pleasures of the flesh~ -he collected Japanese art/prints |
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Van Gogh Night Café 1888 -"similar, yet different" to the Potato Eaters ----night scenes w artificial light, but different bc Potato = scene of togetherness, familial -people at a bar at midnight, no one really interacting, drinks everywhere, guy w/ prostitute -VG rented a room above this cafe irl -this = urban disillusion -the linear perspective is unsettling, side walls get way too wide, tilted objects -"arbitrary color" = expressive and emotional potential of color -using color to create emotions within the viewer, color can create an experience for the viewer ----unhealthy urban environment -color = its own entity |
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Van Gogh The Sower 1888 -"I am plowing my canvas as they do in their fields" -thinking about Millet's "The sower" -strain of labor, humble people -VG identifies with laborers -thick visible brushstrokes -contrasting colors, strategically used ty color theory -naturalist, but this doesn't look particularly real ------"expressive color" |
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Van Gogh Two Women Taking a Walk in a Park(Memory of the Garden at Etten) 1888 -naturalizing divinity -VG's attempt at memory > observation -Gauguin pushes VG to leave behind pics afternature -Memory/imagination > observation -“Externalization of the inner ideas/vision” -Dense, textured canvas |
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Paul Gauguin Les Arlésiennes (Old Women of Arles) 1888 -dematerializing nature -memory > observation -Gauguin pushes VG to leave behind pics after nature -Memory/imagination > observation -“Externalization of the inner ideas/vision” -G is all about finding spiritual reality thatlies behind physical world ---> Only way to do this = through art |
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Gauguin Vision after the Sermon 1888 -peasants' interior/mental vision of angel and Jacob wrestling, the women's imagination -red field - transition - tells us about the anti-naturalist part of it, this bright red is not and could not be real, it is their imagination -the perspective is weird, flat -Brittany = pre-industrial oasis for G, wildness, primitiveness -not descriptive, but ~expressive~ color -----compare to VG's Night Cafe -color = its own entity |
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Odilon Redon ToEdgar Poe: The eye,like a strange balloon,moves towardinfinity 1882 -symbolist art!! -dream > experience, idea > truth -noirs -little charcoal drawings turned into lithographs -fantasy, imagination -messenger of the unconscious -does just monochromatic drawings, then starts to use color -dream = escape from modernity -subjective vs. objective -----Redon insisted on his connection to reality, his process = copying stuff perfectly from nature ("in tiny detail") bc it makes him feel a stimulus to go create an imaginative scene |
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Van Gogh Portrait of the Artist Eugène Boch 1888 -trying to show us who Boch is as a person, his spirit -less focus on the specific physical characteristics -"arbitrary color" -the external --- creating a halo effect with the radiance of color/infinity surrounding his head |
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Van Gogh Self Portrait at the Easel 1889 -makes a ton of these -demonstration of his interest in expressiveness ------subjective nature -looking at us, the viewer -it's like we're getting a glimpse inside his head -painted in an asylum -baby i can see ur halo |
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Gauguin Self-Portrait with Halo 1889 -dematerializing nature -bright red, bisecting lines -symbolism of apples, snake = Satan -weird |
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Van Gogh Starry Night 1889 -halos!! -wide, radiating brushstrokes -the energy and dynamism of nature -VG thought of it as a study -homage to color -complementary colors -him recognizing the "divinity in everything" -gray church doesn't belong in this scene --> memory -painted after psychotic breakdown where he cut off part of ear and threatened Gauguin with a razor |
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Paul Sérusier The Talisman (Landscape at the Boisd’Amour at Pont-Aven) 1888 -G's pal -painted on a cigar box lid (8x10in) -compare to other landscapes -"synthetism" = synthesis of an idea/subject with form/color -color = arbitrary -emphasis on creative act of painting -intellect < imagination -G does this too |
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Gauguin Spirit of the Dead Watching (Manau Tupapau) 1892 -goes to Tahiti for 9 years total -obsessed w/ primitivism and escape from modern culture -pursuing ecstasy, calm, and art -innocence and sense of mystery in non-industrial areas -lush, exotic paintings -his mistress scared, thinking of ghosts = imagination -compare to past people's female nudes -thinking about new material (Tahiti) in context of past art -Tahiti = native women, natural landscape, free from modern society, pure, timeless ----but we don't see the tons of missionaries there, or all of the exports happening |
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Vuillard Mother and Child 1899 -Nabis = followers of G -Vuillard was one -set in his bff's apartment, typical late 19th century interior, bourgeois -tension b/w space and figures -he's more interested in the decorations -ppl merging with wallpaper -little brush strokes but not super small -making every day life scenes seem super bizarre -enclosure, claustrophobia of these beautiful interiors -walls closing in -women in interior setting |
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Vuillard Mother and Sister of the Artist 1892 -Nabis = followers of G -Vuillard was one -typical late 19th century interior, bourgeois -tension b/w space and figures -he's more interested in the decorations -ppl merging with wallpaper -little brush strokes but not super small -making every day life scenes seem super bizarre -enclosure, claustrophobia of these beautiful interiors -walls closing in -women in interior setting |
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Maurice Denis Homage to Cezanne 1900-1901, Exhibited at the Salon of 1901 -Nabis!!!!! -art should "give expression to feelings" -painting = an assembling of colors on canvas before it is some scene or story -Cezanne~~~ -this is the new squad, new group identity -Cezanne effect |
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Fantin-Latour Studio in the Batignolles 1870 -old squad~ |
