World off art 8th edtion by henry m sayre chapter 19

WORLD OF ART EIGHTH EDITION CHAPTER 19 The Eighteenth and Nineteenth Centuries World of Art, Eighth Edition Henry M Sayre Copyright © 2016, 2013, 2010 by Pearson Education, Inc or its affiliates All rights reserved Learning Objectives of Describe the two styles of art that vied for favor in the court of Louis XIV and the style that came to dominate the court of Louis XV Explain how contact between China and Europe influenced the art of both Define Neoclassicism and describe how it reflected the political aspirations of the age Learning Objectives of Outline the beliefs that unify Romanticism as a movement Explain how Realism replaced the idealizing tendencies of the Romantic movement Define Impressionism in terms of both its stylistic techniques and its subject matter Learning Objectives of Explain some of the ways that the Post-Impressionists extended and redirected the Impressionist enterprise Introduction • During his reign in France, Louis XIV declared himself Le Roi Soleil, "the Sun King." • Hyacinthe Rigaud's official portrait of the king shows off the heeled shoes he had designed • Louis's tastes were eclectic and selfindulgent in both the artistic and political spheres Hyacinthe Rigaud, Louis XIV, King of France 1701 Oil on canvas, 9' 1" × 6' 4-3/8" Château de Versailles et du Trianon, Versailles, France Inv MV2041 Photo © RMN-Grand Palais (Château de Versailles)/Daniel Arnaudet/Gérard Blot [Fig 19-1] The Early Eighteenth Century • Royal courts in the eighteenth century modeled themselves on the aesthetic standards placed by Louis XIV during his reign from 1643 until 1715 Poussin versus Rubens of • Nicolas Poussin believed the aim of painting was representing noble human actions, and he repressed elements such as color in Landscape with St John on Patmos  Every detail is painted to Classicizing order  His work was prized by Le Brun, the head of the Royal Academy at the time Nicolas Poussin, Landscape with St John on Patmos 1640 Oil on canvas, 40" × 4' 5-1/2" The Art Institute of Chicago A A Munger Collection, 1930.500 Photo © 2015 Art Institute of Chicago [Fig 19-2] Poussin versus Rubens of • Flemish Baroque painter Peter Paul Rubens painted The Disembarkation of Marie de' Medici with diagonals rather than a Classical grid  His work is painterly; features a low, angled point of view; and creates competing areas of interest  In contrast, Poussin's style is defined by linear clarity Berthe Morisot, Reading 1873 Oil on canvas, 17-3/4 × 28-1/2" The Cleveland Museum of Art Gift of the Hanna Fund, 1950.89 Photo © Cleveland Museum of Art [Fig 19-31] Impressionism of • In the 1870s, Monet began to paint the same subjects over and over again, such as his series of grainstacks and Rouen Cathedral  Bridge over a Pool of Water Lilies famously portrays his garden at Giverny Claude Monet, Bridge over a Pool of Water Lilies 1899 Oil on canvas, 36-1/2 × 29" Metropolitan Museum of Art, New York H O Havemeyer Collection Bequest of Mrs H O Havemeyer, 1929.100.113 © 2015 Image copyright Metropolitan Museum of Art/Art Resource/Scala, Florence [Fig 19-32] Post-Impressionism of • Post-Impressionism sought to redirect Impressionism to higher symbolic purpose • Paul Gauguin left Europe to create paintings from his life in the South Seas  Mahana no Atua captured a "primitive" culture removed from "civilized" life with its unity, peace, and innocence Paul Gauguin, The Day of the Gods (Mahana no Atua) 1894 Oil on canvas, 26-7/8 × 36-1/8" The Art Institute of Chicago Helen Birch Bartlett Memorial Collection, 1926.198 © 2015 Art Institute of Chicago [Fig 19-33] Post-Impressionism of • Georges Seurat used Impressionist subject matter in The Bathers, but architectural composition and a critique of the middle-class life not open to the working-class citizens depicted  Through closer observation, green material in the water near the bathers' perch is seen to represent sewage from the Paris sewers in the background Georges Seurat, The Bathers 1883–84 Oil on canvas, 6' 7-1/2" × 9' 10-1/2" The National Gallery, London National Gallery, London/akg [Fig 19-34] Post-Impressionism of • Paul Cézanne emphasized formal aspects of line, color, and plane at the expense of subject matter  Still Life with Cherries and Peaches seems to accommodate two separate views of the composition  Mont Saint-Victoire and the Viaduct of the Arc River Valley features repetition of shape Paul Cézanne, Still Life with Cherries and Peaches 1885–87 Oil on canvas, 19-3/4 × 24" Los Angeles County Museum of Art Photo © 2005 Museum Associates/LACMA [Fig 19-35] Paul Cézanne, Mont Sainte-Victoire and the Viaduct of the Arc River Valley 1882–85 Oil on canvas, 25-3/4 × 32-1/8" Metropolitan Museum of Art, New York H O Havemeyer Collection Bequest of Mrs H O Havemeyer, 1929 (29.100.64) Photo: Malcom Varon © 2015 Image copyright Metropolitan Museum of Art/Art Resource/Scala, Post-Impressionism of • Cézanne's The Large Bathers contains pyramidal structure that highlights individual brushstrokes laid down as horizontals, verticals, and diagonals Paul Cézanne, The Large Bathers 1906 Oil on canvas, 6' 10" × 8' 3" Philadelphia Museum of Art Purchased with the W P Wilstach Fund, W 1937-1-1 © 2015 Photo Philadelphia Museum of Art/Art Resource/Scala, Florence [Fig 19-37] Thinking Back of Describe the two styles of art that vied for favor at the court of Louis XIV and the style that came to dominate the court of Louis XV Explain how contact between China and Europe influenced the art of both Define Neoclassicism and describe how it reflected the political aspirations of the age Thinking Back of Outline the beliefs that unify Romanticism as a movement Explain how Realism replaced the idealizing tendencies of the Romantic movement Define Impressionism in terms of both its stylistic techniques and its subject matter Thinking Back of Explain some of the ways that the Post- Impressionists extended and redirected the Impressionist enterprise ... Enameled ceramic, porcelain The British Museum, London © The Trustees of the British Museum [Fig 19- 7] Neoclassicism of • After the unearthing of Herculaneum and Pompeii, Neoclassicism became... was much more dynamic Eugène Delacroix, Odalisque 1845–50 Oil on canvas, 14-7/8 × 18-1/4" Fitzwilliam Museum, University of Cambridge, England Bridgeman Images [Fig 19- 13] Romanticism of • Romanticism... reminds him to remember the heavens Angelica Kauffmann, Egeria Handing Numa Pompilius His Shield 1794 Oil on canvas, 17 × 18-3/4" Private collection Photo: © Christie's Images/Bridgeman Images