s- realist- modeled , predecessor to impressionism, manet said light was the chief player. more emphasis on on other qualities of painting like flatness of painting surface instead of illusionism.
c- work very controversial. public saw only a crude sketch without customary finish
Edouard Manet. Olympia. 1863
s- Olympia meets the viewers eyes with a look of cool indifference
s- brush strokes are rougher and the shifts in tonality are more abrupt than those found in traditional academic painting
c- manet- played an important role in the development of impressionism, very scadalous to french public- percieved the painting as evoking moral depravity, inferiority, animalistic sexuality
Titian. Venus of Urbino. 1538
s- a random italian woman in her bed chamber is based on classical mythology
c- typical of female nudes- reclines on gentel slope linear of draperies contrast with he bodys sleek continues volume, dog is a balancing fugure
s- Venetian- color plays an important role red tone of the tapestries and skirt are a implied diagonal- used color to organize form
c- commision for Guidobaldos private enjoyment- the embodiemnt of womanly beauty/ qualities he sought in a bride
Edouard Manet. A Bar at the Foiles-Bergere. 1881-1882
s- Folies-Bergere- popular cafe with music that many impressionists frequented, barmaid is disinterested and lost in thought
c- visual discrepancies - impossible to reconcile spacial relationship of the barmaid, the mirror, the bar and the displaced reflection- modernist interest in examining the basic medium
s-blurred and roughly applied brush strokes, minimal use of perspective or modeling
c-manet- career bridged realism and impressionism
Paul Cezanne. The Large Bathers. 1906.
c- women command a great stage- trees are the proscenium, completely at ease- for all the motion and activity- there is a profound sense of eternal calm and resolution
c- on of three large canvasses of female nudes disporting in a landscape, derive in part from pastoral images of female bathers- like the goddess Diana and her maidens, picasso said this was the source of his interest in cezanne, result of spending countless hours studying at the Louvre
Paul Gauguin. Spirit of the Dead Watching. 1892
Pierre-Auguste Renoir. Luncheon of the Boating Party. 1881-1882
c- whole scene is dappled in sunlight and shade- artfully blurred to produce the effect of floating and fleeting light the impressionists so cultivated. casual, unposed placement of the figures to produce and continuity of space, spreading in all directions and present the viewer as the participant rather than an outsider
s- scenes of dining, dancing, the opera were mainstays of impressionism
c- set working hours- allowing forpastime
Claude Monet. Impression: Sunrise. 1872
s- incorporate the qualities of sketches- no attempt to blend the brush strokes or blend the pigment.the impression of the scene on the artist was a blend of their objective and subjective observations. focus on the color and light in capturing the instantaneousness representation of atmosphere and climate
c- hostile critic applied the term impressionism, pnly used primary hues- mixing them to create secondary hues, imcomprehensible at close range
Georges Seurat. A Sunday Afternoon on the Isle of La Grande Jatte. 1886.
s- consistent with imrpessionist recreational themes-
c- rigid and formal compared to other impres. works
s- interest in light and color like impressionists pointillism- involves dividing colors into their component parts and applying those colors to the canvas in tiny dots
c- 8th and final impressionist exhibition in 1886, shifting social class relationships
first embraced impressionism and then he thought impressionsim lacked form and structure. unique way of studying nature- aim was not truth in appearance but he rather sought a lasting structure behind the formless and fleeting visual infor the eye absorbs- more analytical style- used color patterns an optical analysis of nature provides
impressionist subjects. painting focused on color analyssi. pointillism.
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