What Was Popular in Art in the Ninteenth Centry

Movements in Late Nineteenth Century Art

Barbizon School

Proper name: Refers to the village of Barbizon on the edge of the Fountainebleau forest, 30 miles southeast of Paris.

Who: Camille Corot, Jean François Millet, and Théodore Rousseau.

When: 1830-1860.

Where: Barbizon village in France.

What: Group of French painters led by Théodore Rousseau. Barbizon Schoolhouse painters fled the hectic pace of Paris for the countryside.

Field of study Thing: Generally landscapes, some scenes of rural life with peasants; often shown in atmospheric, twilight scenes; commonly romantic in outlook.

Style: Usually naturalistic; authentic (although romanticized) views of nature. Studies done out-of-doors, just finished canvases created in studio.

Janson Example: COROT, Morning: Dance of the Nymphs, 1850.

Influenced by: English landscape painters like John Lawman, also as 17th century Dutch painters.

Will influence: German and American landscape painters, and Impressionists.

Realism

Proper noun: Term used to depict a certain type of art and literature in mid-19th century French republic.

Who: Gustave Courbet, Édouard Manet, Rosa Bonheur, Gustave Caillebotte, Honoré Daumier, Thomas Eakins, and Winslow Homer.

When: 1845-1880.

Where: Western Europe (primarily France) and the United States.

What: Motility in art and literature that rejected the subjective, emotional, exotic characteristics of Romanticism. Instead, artists and writers concentrated on observable, contemporary reality.

Subject Matter: Down-to-earth, everyday subjects: landscapes; peasants; ordinary, working-class people; observable, contemporary life. Only the visible earth is shown; scenes centering on mythology, history or religion were avoided.

Way: Emphasis on naturalism, that is, the accurate delineation of nature without it being overly romanticized or sentimentalized. Ordinary people shown with aforementioned dignity previously bestowed on images of kings, saints and aristocrats. In a sense, Realist painters tried to do away with a personal, artistic "style" in order to make their paintings more than "truthful."

Janson and Kissick Example: COURBET, The Stone Breakers, 1849.

Influenced by: Caravaggio, Rembrandt, Velázquez, Zurburan, Louis Le Nain, Charles Baudelaire (a 19th century writer who chosen for an art that would employ the "heroism of modernistic life" equally its bailiwick), European revolutions of 1848, Socialism, and early photography.

Will influence: Pre-Raphaelites, Impressionism, and American Scene Painting.

Arts and crafts Motility

Name: Name derives from the Craft Exhibition Club founded in 1888, although the movement has its roots in the earlier writings of John Ruskin.

Who: William Morris, Walter Crane, Norman Shaw, and Philip Webb.

When: 1861-1914.

Where: Great britain.

What: Move whose artists were in reaction against the sub-standard quality of mass-produced goods of the Industrial Historic period. Instead, they advocated a return to the excellent craftsmanship that was characteristic of medieval guilds. The author John Ruskin wrote about the detrimental effects (artful and social) of industrialization, but it took William Morris to interpret these ideas into practical activity. Items turned out were hand-printed, hand-woven, hand-dyed designs. The movement likewise included a very humane, inclusive view toward workers and labor. Morris' goal of art for the masses was unrealized due to the expensive nature of the procedure.

Subject Matter: Designs on textiles, books, wallpaper and stained-glass, too as furniture.

Way: Hand-made quality that may be reflected in a kind of medieval, crude-hewn oak furniture, or finely crafted textile or wallpaper designs. Stylistically like to medieval art: linear; opaque colors; angular, simplified quality; intricate, sometimes geometric, particular.

Janson Case: MORRIS, Green Dining Room, 1867.

Influenced by: Medieval art, and Pre-Raphaelites.

Volition influence: Art Nouveau, and Bauhaus.

Impressionism

Proper noun: The derogatory term was coined past critic Louis Leroy of the Parisian journal Le Charivari in response to the unfinished quality of Monet's Impression: Sunrise of 1872 (exhibited at the first Impressionist exhibition in 1874). For Leroy, the work appeared more than similar an "impression" rather than a finished, factual painting. The artists came to like this term and adopt it for themselves.

Who: Claude Monet, Auguste Renoir, Édouard Manet (who never exhibited with the Impressionists), Edgar Degas, Mary Cassatt, Berthe Morisot, Camille Pissarro, Auguste Rodin, and Alfred Sisley.

When: 1874-1886 (viii group exhibitions are held betwixt these dates).

Where: France.

What: The Impressionists, who initially exhibited as the "Society of Painters, Etchers and Engravers," formed in opposition to the regime-sponsored Salon. Artists were concerned with the transient effects of light and atmosphere on natural or human-made objects. The fragmented, painterly brushwork of Impressionism makes it a precursor of the modern notion that a painting is an fine art object not subject to the constraints of nature. The group's aims were best represented by painters, though some sculptors (Rodin, Degas, Renoir) did manage to use their concerns with light and reflection onto media other than paint and canvas. Toward the stop, many of the Impressionists pursued divide paths with respect to subject matter and style. Impressionism's "joy of life" mental attitude makes it i of the most loved and popular movements in modern art.

Discipline Thing: Contemporary life: sunny landscapes (painted out-of-doors rather than in a studio), cityscapes, portraits, and leisure scenes (trip the light fantastic toe halls, opera, ballet, confined, picnics, etc.).

Style: Bright colors (in dissimilarity to night, muted tones of Academic paintings) applied in visible, sketchy strokes. These strokes were meant to merge in the viewer's eyes, not the artist's palette. Shadows were painted with color, non blackness every bit before. Glazes and heavy varnishes were hardly ever used.

Janson Example: RENOIR, Le Moulin de la Galette, 1876.

Kissick Instance: MONET, Impression: Sunrise, 1872.

Influenced by: Delacroix, Barbizon School, Manet, Realism, photography, and Japanese prints.

Will influence: Post-Impressionists, Fauves, and to some extent well-nigh other late 19th century and early 20th century movements.

Pre-Raphaelite Alliance

Name: Proper noun came from the group'south want to emulate painting styles that came before the illusionistic method perfected by the 16th century Italian Renaissance painter Raphael.

Who: William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, James Collinson, William Michael Rossetti, Frederick G. Stephens, and Thomas Woolner.

When: 1848-1854.

Where: Swell Britain.

What: Group of seven painters who formed a secret society in London. They believed that gimmicky, bookish painting had go decadent and debased. They sought to recapture the sincerity and simplicity of belatedly medieval/early on Renaissance art by imitating, to a certain extent, fine art that came "before Raphael." They likewise believed they could reform society through their art. The society signed many of their paintings "PRB," for Pre-Raphaelite Brotherhood. They were defended by the critic John Ruskin.

Subject Matter: The Bible, everyday life, English and classical literature, allegories of romantic love and tragedy

Style: Naturalistic; meticulous detail; and sharp focus

Janson Example: Chase, The Enkindling Conscience, 1853.

Kissick Example: ROSSETTI, Ecce Ancilla Domini, 1850.

Influenced by: Nazarenes (early 19th cent. High german painters in Rome with like aims), Ford Madox Brown, poets John Keats and Alfred Lord Tennyson, and carefully observed nature.

Will influence: Edward Burne-Jones, Arts and crafts Movement, and Symbolism.

Post-Impressionism

Proper noun: Term, which refers to the menstruation after Impressionism, was coined by the British art critic Roger Fry for his 1910 London exhibition "Manet and the Post-Impressionists." The term was invented after nearly all its practitioners had died.

Who: Paul Cézanne, Georges Seurat, Henri de Toulouse-Lautrec, Vincent van Gogh, and Paul Gauguin.

When: 1880s through early 1890s.

Where: France.

What: Postal service-Impressionists weren't reacting against Impressionism, they were trying to have the ideas of Impressionism further. They also were non interested in the Impressionist'due south preoccupation with naturalism and momentary effects. Still, nearly all the Post-Impressionists passed through an Impressionist phase.

Subject Matter Landscapes, portraits, all the same lifes, exotic locations, interiors, etc.

Style: Since Mail-Impressionism refers to a time (the catamenia after Impressionism) and not a style, there are many styles occurring simultaneously. The styles of Post-Impressionists reflected the individual artists' personal emotions and world views, rather than a naturalistic approach to painting.

Janson Example: VAN GOGH, Wheat Field and Cypress Trees, 1889.

Kissick Example: GAUGUIN, The Vision After the Sermon, 1888.

Influenced by: Impressionism.

Will influence: Symbolism, Nabis, Art Nouveau, Fauvism, Cubism, and High german Expressionism.

Symbolism

Proper name: Term first used in reference to French literature and poetry around 1886. In April of 1892, the term was applied to the visual arts past the critic G. Albert Aurier.

Who: Paul Gauguin, Edvard Munch, Gustave Moreau, Pierre Puvis de Chavannes, Aubrey Beardsley, Odilon Redon, James Ensor, Ferdinand Hodler, and Albert Pinkham Ryder.

When: 1880s through 1890s.

Where: Europe and the United states of america.

What: In 1886, the writer Jean Moréas wrote a Symbolist manifesto regarding music and literature, in which he rejected the everyday, gimmicky world popular with Realists in favor of timeless myths. In 1892, the critic G. Albert Aurier applied the term to Paul Gauguin's work. The term has come to refer to subjective, anti-Realist tendencies in art and literature at the cease of the 19th century.

Subject field Matter: Symbolists were interested in exotic, erotic, spiritual, occult, and otherworldly subjects. Some Symbolist artists drew their field of study affair from Symbolist poetry; thus, the femme fatale became a common theme, equally did works dealing with death and sin.

Style: Non really a way as much as an approach, which was mostly manifested in a melancholy fin de siècle ("terminate of the century") attitude. Also, Symbolist poets believed in that location was a correspondence between the audio and rhythm of their words and the words' meaning. Symbolist painters picked up on this thought and believed that color and line could be expressive of ideas and emotions.

Janson Case: MUNCH, The Scream, 1893.

Influenced past: Pre-Raphaelite Alliance, and Post-Impressionists.

Will influence: Surrealism.

Nabis

Proper name: The term "Nabis," which is Hebrew for "prophet," was coined in 1888 by the poet Henri Cazalis.

Who: Édouard Vuillard, Maurice Denis, Pierre Bonnard, Aristide Maillol, and Paul Sérusier.

When: 1890s.

Where: France.

What: The Nabis were young Parisian artists who were attracted to Paul Gauguin's paintings from Brittany. They were too part of the larger Symbolist move. As their proper name suggests, they were interested in mysticism, Eastern faiths, and religion in general. Their group was actually a semi-surreptitious lodge. In addition to painting, they were likewise involved in theater, poster, and stained-glass design.

Subject Matter: Landscapes, interiors, etc.

Mode: The Nabis believed that, on a basic level, every painting is a collection of colors. They sought to organize those colors into beautiful, harmonious compositions which, frequently, have a decorative look through the apply of not-naturalistic colors and apartment shapes outlined in dark contours. They were confronting the naturalism of the Realists and, to a lesser extent, the Impressionists.

Janson Example: VUILLARD, Interior at l'Étang-la-Ville (The Suitor), 1893.

Influenced by: Gauguin, Symbolism, and Postal service-Impressionism.

Will influence: 20th century abstraction and expressionism.

Art Nouveau

Name: Proper noun derives from Siegfried Bing's shop L'Fine art Nouveau ("the New Art") which opened in Paris in 1895. This shop sold new and original designs, equally opposed to period pieces. The mode itself originated more than than a decade before. Art Nouveau had many other names in various countries: Jugendstil (Federal republic of germany), Stile Freedom (Italy), Modernista (Kingdom of spain), Modern Style (France) and Sezessionstil (Austria).

Who: Victor Horta, Hector Guimard, Antoní Gaudí, Charles Rennie Mackintosh, Henry van de Velde, Walter Crane, Louis Comfort Tiffany, Gustave KLIMT, Alphonse Mucha, and Aubrey Beardsley.

When: 1880-1914.

Where: Europe and the United States.

What: A self-consciously new and modern style, as the name suggests. Art Nouveau refers mainly to architectural and design concerns, although the piece of work of some visual artists, such as Gustave Klimt, Aubrey Beardsley, and Alphonse Mucha contain elements of Art Nouveau. The goal of Art Nouveau adherents was to enhance the level of the crafts (furniture, design, textiles, glasswork, jewelry, etc.) to that of "fine arts." Architects and designers used such varied materials equally stained-glass, mosaic, cast- and wrought-fe, wood, etc. Fine art Nouveau designers rejected the 19th century trend of drawing literally from classic, historical design sources ("revival styles" or "historicism").

Subject Affair: Ordinarily organic imagery (leaves, stems, flowers, etc., just also such things equally waves, fire, flowing hair of women) to not-objective design. Sometimes, peculiarly within the organic approach, in that location is an erotic undertone.

Style: Anything from sinuous, flowing, curvy, asymmetrical lines to the later on, more geometrically abstract designs of buildings and article of furniture.

Janson Example: HORTA, Interior Stairwell, Tassel Business firm, Brussels, 1892-93.

Influenced by: Craft Movement, Symbolism, Vienna Secession, Japanese design, ancient Egyptian art, and 18th century Rococo.

Will influence: 20th century abstraction.

Secession

Name: During the concluding decade of the 19th century, progressive artists in Germany and Republic of austria found themselves at odds with the official artists' organizations. They therefore "seceded," or "broke away," from the traditional groups. These pause abroad groups were given the title "Secession," or "Sezession." The most important Secession groups were in Munich, Vienna, and Berlin.

Who: Vienna Secession: Gustave Klimt. Berlin Secession: Max Liebermann and Edvard Munch.

When: 1890s.

Where: Republic of austria and Frg.

What: The first of the Secession organizations was founded in Munich in 1892. The Vienna Secession was founded side by side in 1897 past Gustave Klimt, whose Fine art Nouveau and Symbolist leanings determined the initial outlook of this group. Klimt was also the group's first president. Like Art Nouveau, members of the Vienna Secession wanted to raise the status of the arts and crafts to that of "fine art." In many means, the Vienna Secession was the chief conduit for the Art Nouveau style in Austria The Berlin Secession was officially formed in 1899, though one of the reasons for its founding dates dorsum to 1892. In that year, Edvard Munch exhibited well-nigh 50 paintings at the Guild of Berlin Artists. These paintings acquired a furor at the Society. The radical wing of the Club, led by Max Liebermann, resigned from the organization and later formed the Berlin Secession. The group separate in 1910 and the Neue Sezession was formed. Members of the Neue Sezession included Nolde, Pechstein, and other artists who would form Die Brücke, besides as Kandinsky and Jawlensky.

Field of study Matter: Varied greatly, but ever included recognizable bailiwick matter.

Manner: Besides varied, but savage between the decorative qualities of Art Nouveau and the more agitated way of later expressionistic movements.

Janson Example: KLIMT (Vienna Secession), The Buss, 1907-viii.

Influenced by: Art Nouveau.

Will influence: Subsequently forms of German Expressionism.

Pictorialism

Name: Derives from the English photographer Peter Henry Emerson'south 1886 article in the Apprentice Photographer entitled "Photography: A Pictorial Fine art."

Who: Edward Steichen, Henry Peach Robinson, Peter Henry Emerson, Oscar Rejlander, and Gertrude Käsebier.

When: 1886-1914.

Where: Europe and the United States.

What: During the 1850s photographers, especially in England, imitated subjects and compositions from paintings. In 1886, Peter Henry Emerson attacked the conventional division separating painting and photography ("art and science" respectively, to the 19th century critics). An international motion of art-minded photographers took the proper noun Pictorialism from Emerson's writings and lectures. The link among these artists was the desire to take photography best-selling as an art grade and not only a recording device. Pictorialism initiated several other photographic groups, including the Linked Ring (London, 1893) and the Photo-Secession (New York, 1902). The Photo-Secessionists were also for photography as art, but they were anti-narrative and against composite printing, preferring to experiment with chemicals during the press process for various furnishings. Pictorialism, with its desire to be equal to (and sometimes imitative of) painting, subsequently gave way to Straight Photography (c. 1900), which demanded that a photograph wait like camera work, not like painting.

Subject Matter: Varied profoundly, simply included nudes, clothed figures, portraits, landscapes, etc.

Fashion: Many of the photographers were later on blurry, artistic effects (similar to Impressionism), accomplished through the use of softening procedures including platinum and gum printing, as well as scratching and drawing directly on the negative.

Janson Case: KÄSEBIER, The Magic Crystal, c. 1904.

Influenced by: Impressionism, and other painting styles.

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Source: https://www2.palomar.edu/users/mhudelson/StudyGuides/19thCent_WA.html

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