• Boulevard du Temple
• Dagurro-type
• Busy Paris street, but you cant see any people except for the men in the corner becasue they are standing still long enough to be registered
• Draw back: can't capture action scenes, busy city scenes are eerily vacant
• This picture was taken out of Daguerre's room window
• There can be far more detail and more accurate than paintings
• "photographic truth"- problematic idea
• difficult to alter, hand tinting only
• taken without a camera
• cuts off things from the edges
• photography

• Third Class Carriage
• Honore Daumier
• c.1862
• oil on canvas
• 26" x 35.5"
• Metropolitan Museum of Art, NYC
• Shows the upper middle class and the higher classes how everyone else lived.
• Realism

• Olympia
• Edouard Manet
• 1863
• oil on canvas
• 51.4" x 74.8"
• Musee d'Orsay, Paris
• Grandfather of Impressionism
• Impressionism

• Impression: Sunrise
• Claude Monet
• 1863
• oil on canvas
• 19 5/8 x 25 1/2"
• Marmottan Museum, Paris
• Impressionism

• Le Moulin de la Galette
• Pierre Auguste Renoir
• oil on canvas
• 51.6" x 68.9"
• Musee d'Orsay, Paris
• Focuses more on social scenes instead of nature scenes
• he is the only one who uses black straight from the tube
• he adds light coming through the trees which would probably look a lot different if it wasn't there
• Impressionism

• Sunday Afternoon
• Georges Seurat
• 1884-1885
• oil on canvas 
• 81 x 120cm
• Art Institute of Chicago
• always wore perfectly pressed clothing
• used pointilism from for this painting, dots are more regular in shape and all the same or close to the same size.
• Impressionist subjects
• Made drawings and sketched before he painted his images
• Post-Impressionism

• Mont Sainte-Victoire
• Paul Cezanne
• 1902-1906
• oil on canvas
• 25 1/2" x 32"
• Collection Mrs. Louis C. Madeira Gladwyne, PA
• Post-Impressionism

• The Vision After the Sermon
• Gauguin
• 1888
• oil on canvas
• 28 3/4" x 36 1/4"
• National Gallery of Scotland, Edinburgh
• Abandoned his family so he could paint, he walked around with a monkey on his shoulder and found a liking to the most outlandish company he could find.
• Post-Impressionism

• Night Cafe
• Vincent van Gogh
• 1888
• oil on canvas
• 27 1/2" x 35"
• Yale University Art Gallery
• Changes his color palette once he goes to France
• Gives kind of an eerie feeling as he tilts everything toward the audience
• Colors clash, he uses contrasting colors (can give either an energetic feeling or a feeling of anxiety)
• Art became therapeutic, a way to go into a different mind
• If Van Gogh was alive today he probably would have been diagnosed as bipolar
• Had addiction issues and drinking something that may have caused some additional issues
• Post-Impressionism

• Salome with the head of John the Baptist
• Aubrey Beardsley
• 1893
• India ink and watercolor
• Use very curvy lines
• Art Nouveau

• Tropon
• Henry van de Velde
• c. 1888
• Advertising Poster
• 47 5/8" x 29 1/8"
• stylized plant designs
• Art Nouveau

• Tassel House (interior stairwell)
• Victor Horta
• Brussels, Germany
• 1892-93
• Stairwell of Interior (Tassel House)
• Art Nouveau

• Portrait of Madame Matisse
• Henri Matisse
• 1905
• oil on tempura on canvas
• 15.875" x 12.875"
• Royal Museum, Copenhagen
• Fauvism

• The Joy of Life
• Henri Matisse
• 1905-06
• oil on canvas
• 69.125" x 94.875"
• Barnes Foundation, PA
• Fauvism

• Turning Road L'Estaque
• Derain
• L'Estaque
• 1906
• oil on canvas
• 4'3" x 6' 4 3/4"
• Fauvism

• Street, Dresden
• Ernst Ludwig Kircher
• 1907
• oil on canvas
• 4'11 3/4" x 6'6 7/8"
• Museum of Modern Art, NYC
• Look depressed, alienated from one another even though they are right next to each other
• Reflective of people during the beginning of the Industrial Revolution when they moved more towards the city for jobs and away from their family
• German Expressionism

• The Last Supper
• Nolde
• 1909
• oil on canvas
• uses a lot of religious imagery, chooses familiar religious themes and applies them to contemporary themes.
• Crowded, compact in comparison to Da Vinci's Last Supper
• German Expressionism

• Standing Child
• Heckel
• 1910
• color woodcut
• German Expressionism

• Death seizing a woman
• Kollwitz
• 1934-36
• Lithograph
• Printmaker
• One of the few women artists during this time period
• German Expressionism

• Composition VII
• Kandinsky
• 1913
• oil on canvas
• approx. 6'6" x 9' 11"
• "first" non-representional artists
• Kandinsky's painting of "Music"
• German Expressionism

• The Large blue Horses
• Franz Marc
• 1911
• oil on canvas
• 3'5 5/8"x 5'11 5/16"
• Walker Art Center, Minneapolis
• German Expressionism

• Houses at L'Estaque
• Braque
• August 1908
• oil on canvas
• appro. 29"x24"
• no horizon line
• Cubism

• Woman's head
• Pablo Picasso
• Sculpture
• Iron
• Cubism

• Portrait of Daniel-Henry Kahnweiler
• Picasso
• 1910
• oil on canvas
• approx. 39"x29"
• analytical cubsim

• Still Life with Chair Caning
• Picasso
• 1912
• shaped canvas with rope frame
• oil on canvas with printed chair cadent
• Cubism

Early Photography

Type 1

• Henry Fox Talbit made the negative process which presided

Early Photography

Type 2:

• Niepece and Daguerre made a metal plate that worked with light sensitive paper
•  still used SOME of the old styles
•  they thought what they depicted were disappearing
• Precursor to Modernist movement

• non-traditional and they had more wiggle room
• depicted everyday people
• still used SOME of the old styles
• they thought what they had depicted were disappearing
• precursor to Modernist movement

• fleeting moment
• painted what they saw
• used paint out of the tube
• visible brush strokes
• no more under drawings
• color is effected by the light
• going spontaneously
• broke away from the salon and established traditions

• influenced by impressionismbut had their own twist
• umbrella term
• symbolists

• "new art"
• no central location but focused on interiors, clothing, art, jewelry
• sinewy/curvy lines
• stylized

• COLOR and abstraction
• distorted forms
• neutral forms and subjects

• First conceptual movement
• used fracturing and blending of the subject and background
• analytical (views of one subject from all over) and synthetic (first mixed media and mass produced materials)

• emotional and not a lot of drastic color sometimes
• emotion based on fear from the coming war
• de bruca who had fearsome subject matter
• Blaue Reiters who had no commonality but liked spiritual and emotional representation
• capture something intangible