What Was the Break in the Art World in France in the 19th Century

Movements in Tardily Nineteenth Century Art

Barbizon Schoolhouse

Name: Refers to the village of Barbizon on the edge of the Fountainebleau wood, 30 miles southeast of Paris.

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

When: 1830-1860.

Where: Barbizon village in French republic.

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

Bailiwick Matter: By and large landscapes, some scenes of rural life with peasants; often shown in atmospheric, twilight scenes; usually romantic in outlook.

Mode: Usually naturalistic; accurate (although romanticized) views of nature. Studies done out-of-doors, only finished canvases created in studio.

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

Influenced by: English mural painters like John Constable, every bit well every bit 17th century Dutch painters.

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

Realism

Name: Term used to describe a sure type of art and literature in mid-19th century France.

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: Movement in art and literature that rejected the subjective, emotional, exotic characteristics of Romanticism. Instead, artists and writers full-bodied on observable, contemporary reality.

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

Style: Emphasis on naturalism, that is, the accurate depiction of nature without information technology being overly romanticized or sentimentalized. Ordinary people shown with same 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 called for an art that would employ the "heroism of modern life" as its subject), European revolutions of 1848, Socialism, and early on photography.

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

Arts and crafts Movement

Proper noun: Proper noun derives from the Arts and crafts Exhibition Society founded in 1888, although the motility 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 United kingdom.

What: Movement whose artists were in reaction against the sub-standard quality of mass-produced goods of the Industrial Age. Instead, they advocated a return to the first-class craftsmanship that was characteristic of medieval guilds. The author John Ruskin wrote about the detrimental furnishings (aesthetic and social) of industrialization, but it took William Morris to interpret these ideas into practical activity. Items turned out were mitt-printed, mitt-woven, manus-dyed designs. The motion also 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 process.

Subject Affair: Designs on textiles, books, wallpaper and stained-drinking glass, also as furniture.

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

Janson Instance: MORRIS, Dark-green Dining Room, 1867.

Influenced by: Medieval fine art, and Pre-Raphaelites.

Will influence: Art Nouveau, and Bauhaus.

Impressionism

Proper name: The derogatory term was coined by 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 commencement Impressionist exhibition in 1874). For Leroy, the work appeared more like 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 (8 group exhibitions are held betwixt these dates).

Where: France.

What: The Impressionists, who initially exhibited as the "Social club of Painters, Etchers and Engravers," formed in opposition to the government-sponsored Salon. Artists were concerned with the transient furnishings of light and atmosphere on natural or human-fabricated objects. The fragmented, painterly brushwork of Impressionism makes it a forerunner of the modern notion that a painting is an art object non subject area to the constraints of nature. The group'south aims were all-time represented by painters, though some sculptors (Rodin, Degas, Renoir) did manage to apply their concerns with low-cal and reflection onto media other than paint and sheet. Toward the terminate, many of the Impressionists pursued separate paths with respect to subject matter and style. Impressionism's "joy of life" mental attitude makes information technology ane of the most loved and pop movements in modern fine art.

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

Style: Brilliant colors (in dissimilarity to dark, muted tones of Bookish paintings) applied in visible, sketchy strokes. These strokes were meant to merge in the viewer'southward eyes, not the artist's palette. Shadows were painted with color, non black every bit before. Glazes and heavy varnishes were inappreciably e'er used.

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

Kissick Example: MONET, Impression: Sunrise, 1872.

Influenced past: Delacroix, Barbizon Schoolhouse, Manet, Realism, photography, and Japanese prints.

Will influence: Mail-Impressionists, Fauves, and to some extent most other belatedly 19th century and early 20th century movements.

Pre-Raphaelite Brotherhood

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

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

When: 1848-1854.

Where: Great Britain.

What: Group of seven painters who formed a secret gild in London. They believed that contemporary, academic painting had become corrupt and debased. They sought to recapture the sincerity and simplicity of late medieval/early Renaissance art past imitating, to a certain extent, art that came "earlier Raphael." They also believed they could reform guild 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

Way: Naturalistic; meticulous item; and sharp focus

Janson Instance: HUNT, The Awakening Conscience, 1853.

Kissick Case: ROSSETTI, Ecce Ancilla Domini, 1850.

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

Will influence: Edward Burne-Jones, Arts and Crafts Motility, and Symbolism.

Post-Impressionism

Name: Term, which refers to the flow after Impressionism, was coined by the British art critic Roger Fry for his 1910 London exhibition "Manet and the Mail-Impressionists." The term was invented after virtually 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: French republic.

What: Mail-Impressionists weren't reacting against Impressionism, they were trying to take the ideas of Impressionism further. They also were not interested in the Impressionist's preoccupation with naturalism and momentary furnishings. Still, nearly all the Postal service-Impressionists passed through an Impressionist phase.

Subject Matter Landscapes, portraits, still lifes, exotic locations, interiors, etc.

Style: Since Post-Impressionism refers to a time (the period 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.

Volition influence: Symbolism, Nabis, Art Nouveau, Fauvism, Cubism, and 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 by the critic One thousand. 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.

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

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

Style: Not really a mode as much as an arroyo, which was mostly manifested in a melancholy fin de siècle ("end of the century") attitude. Also, Symbolist poets believed there was a correspondence between the sound and rhythm of their words and the words' meaning. Symbolist painters picked upward on this idea and believed that color and line could be expressive of ideas and emotions.

Janson Example: MUNCH, The Scream, 1893.

Influenced by: Pre-Raphaelite Brotherhood, and Post-Impressionists.

Volition influence: Surrealism.

Nabis

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

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

When: 1890s.

Where: French republic.

What: The Nabis were young Parisian artists who were attracted to Paul Gauguin's paintings from Brittany. They were also part of the larger Symbolist movement. As their name suggests, they were interested in mysticism, Eastern faiths, and religion in general. Their group was actually a semi-secret society. In improver to painting, they were as well involved in theater, poster, and stained-glass design.

Subject Affair: Landscapes, interiors, etc.

Fashion: 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, often, have a decorative wait through the use of non-naturalistic colors and flat shapes outlined in dark contours. They were confronting the naturalism of the Realists and, to a bottom extent, the Impressionists.

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

Influenced by: Gauguin, Symbolism, and Post-Impressionism.

Volition influence: 20th century abstraction and expressionism.

Art Nouveau

Proper noun: Name derives from Siegfried Bing'due south store Fifty'Art Nouveau ("the New Art") which opened in Paris in 1895. This shop sold new and original designs, as opposed to period pieces. The manner itself originated more than a decade earlier. Art Nouveau had many other names in various countries: Jugendstil (Germany), Stile Liberty (Italy), Modernista (Spain), Mod Manner (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 U.s.a..

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

Subject area Affair: Usually organic imagery (leaves, stems, flowers, etc., merely likewise such things as waves, fire, flowing hair of women) to non-objective design. Sometimes, peculiarly within the organic approach, there is an erotic undertone.

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

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

Influenced by: Arts and crafts Move, Symbolism, Vienna Secession, Japanese design, ancient Egyptian art, and 18th century Rococo.

Will influence: 20th century abstraction.

Secession

Name: During the last decade of the 19th century, progressive artists in Federal republic of germany and Austria found themselves at odds with the official artists' organizations. They therefore "seceded," or "broke abroad," from the traditional groups. These break away groups were given the title "Secession," or "Sezession." The well-nigh 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 Germany.

What: The first of the Secession organizations was founded in Munich in 1892. The Vienna Secession was founded next in 1897 by Gustave Klimt, whose Art Nouveau and Symbolist leanings determined the initial outlook of this grouping. Klimt was also the group's outset president. Similar Art Nouveau, members of the Vienna Secession wanted to raise the condition of the arts and crafts to that of "fine art." In many ways, the Vienna Secession was the main conduit for the Art Nouveau way 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 about fifty paintings at the Order of Berlin Artists. These paintings caused a furor at the Society. The radical wing of the Order, led by Max Liebermann, resigned from the organization and afterward formed the Berlin Secession. The group split in 1910 and the Neue Sezession was formed. Members of the Neue Sezession included Nolde, Pechstein, and other artists who would form Die Brücke, as well as Kandinsky and Jawlensky.

Subject Matter: Varied profoundly, only always included recognizable subject matter.

Fashion: Also varied, but brutal between the decorative qualities of Fine art Nouveau and the more than agitated style of later expressionistic movements.

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

Influenced past: Art Nouveau.

Will influence: Later forms of German language Expressionism.

Pictorialism

Name: Derives from the English language photographer Peter Henry Emerson's 1886 article in the Amateur Photographer entitled "Photography: A Pictorial Art."

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

When: 1886-1914.

Where: Europe and the Usa.

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 fine art-minded photographers took the name Pictorialism from Emerson'south writings and lectures. The link amongst these artists was the desire to have photography best-selling equally an art form and not simply a recording device. Pictorialism initiated several other photographic groups, including the Linked Band (London, 1893) and the Photo-Secession (New York, 1902). The Photograph-Secessionists were likewise for photography every bit art, but they were anti-narrative and against composite printing, preferring to experiment with chemicals during the printing process for diverse effects. Pictorialism, with its desire to exist equal to (and sometimes imitative of) painting, afterwards gave fashion to Straight Photography (c. 1900), which demanded that a photo look like camera work, not similar painting.

Subject field Matter: Varied greatly, but included nudes, clothed figures, portraits, landscapes, etc.

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

Janson Instance: 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