19 C. ART MOVEMENTS: Early Modernism, Symbolism, Art Nouveau, and Rodin

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Sculpture in the Later 19th Century

• Sculpture could not show many techniques or concepts of the Impressionists due to its nature

• Sculpture was lacking the avant-garde spirit and was used primarily for monuments

• 2 important sculptors during this period:--Carpeaux and Rodin

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JEAN-BAPTISTE CARPEAUX, Ugolino and His Children, 1865–1867*. Marble, 6’ 5” high. Metropolitan Museum of Art, New York

•Ugolino: convicted of treason and sent to die in a tower with sons in 1288 (Dante)

•Academic! Inspiration from Michelangelo and Dante

•Highly finished (polished)

• Depicts 1st section from Dante’sInferno but also contains referencesFrom Ghiberti’s gates and Baudelaire (literary)

• 19.69'H × 13.12'W × 3.29'D

• contains 180 figures (Ugolino)

• Worked off and on for 37 years

• Not cast during his lifetime

Rodin, The Gates of Hell, 1880

•Rodin DID NOT use subtractive method of sculpture!

•Used plaster or terra cotta to shape figures and then they were cast in bronze

•THIS GIVES IT ITS TEXTURE!

AUGUSTE RODIN, Walking Man, 1905*. Bronze, 6’ 11 ¾” high. Musee d’Orsay, Paris.

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•Head and arms intentionally missing

•John the Baptist preaching

RODIN, Burghers of Calais, 1884-1889*. Bronze, 6’ 10 ½” high, 7’ 11” long, 6’ 6” deep. Musee Rodin, Paris.

Burghers of Calais

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• Commissioned by the city of Calais, France as a monument to the 100 Years War

• In 1347, six men of Calais surrendered to the English King, in exchange for sparing their city

• Rodin’s sculpture displeased them:

1. It’s too emotional (2 years on facial features!)

2. Didn’t use a tall base. Same level

as us.

3. It was hidden and placed on a taller

base

• Assistant and lover of Rodin for fifteen years• HEAVILY influenced by each other• After Rodin, has professional success but begins to act

“deranged”• Committed into a mental asylum for 30 years and dies

there

Camille Claudel

Camille Claudel, The Waltz, 1892-1905* Bronze, 9 7/8”

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Symbolism• The reaction against 19C. Belief in the advancement

of science and technology

• They concentrated on giving visual forms to states of mind (influences: Goya’s etchings and Gericault’s paintings of the insane) (Freud)

Symbolist themes and topics:• Fantasy• States of mind, emotions, ideas• Irrational states of mind (disturbing)

Artists associated: Gauguin, Redon, Moreau, Rousseau, Munch (this was also a literary movement)

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PIERRE PUVIS DE CHAVANNES, Sacred Grove, 1884*. Oil on canvas, 2’ 11 1/2” x 6’ 10”. The Art Institute of Chicago, Chicago

One of the 1st to abandon reality and a precursor to the Symbolists

-Both the Academics AND the avant-garde accepted it because it includes classical references (body types, arch., landscape) and deals with myth

GUSTAVE MOREAU, The Apparition, ca. 1874-76*. Watercolor on paper, The Louvre, Paris

•An Academic artist the Symbolists saw as a precursor, too.

•Macabre

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GUSTAVE MOREAU, Jupiter and Semele, ca. 1875*. Oil on canvas, 7’ x 3’ 4”. Musée Gustave Moreau, Paris.

•Moreau, like Redon, alludes to mythology

•Influenced by Byzantine mosaics, Indian miniatures, cloisonne, and exotics.

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ODILON REDON, The Cyclops, 1898*. Oil on canvas, 2’ 1” x 1’ 8”. Kröller-Müller Museum, Otterlo.

•Famous French Symbolist

Galatea

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HENRI ROUSSEAU, Sleeping Gypsy, 1897*. Oil on canvas, 4’ 3” x 6’ 7”. Museum of Modern Art, New York

Naïve painter: not formally trained. Praised for unintentional abstraction

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EDVARD MUNCH, The Scream, 1893*. Tempura and pastels on cardboard, 2’ 11 3/4” x 2’ 5”. National Gallery, Oslo.

•Symbolist and frontrunner to Expressionism

•Death of mother and sister in childhood

•Alienation

•“primal scream”

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Decorative Art: Arts and Crafts Movement and Art Nouveau

• Originates in the UK-most industrialized in Europe as a rejection to urbanization (America)

• Inspired by the Romantic writings of John Ruskin and William Morris

• Handcraftsmanship for usefulness and aesthetics

• Natural floral patterns—this will bring about next movement, Art Nouveau

ARTS AND CRAFTS MOVEMENT

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WILLIAM MORRIS, Green Dining Room, Victoria & Albert Museum, London, England, 1867*.

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CHARLES RENNIE MACKINTOSH Ladies’ Luncheon Room, Ingram Street Tea Room, Glasgow, Scotland, 1900–1912*.

The Gamble House

Greene and Greene

1908

Pasadena, CA

“Craftsman”

• Short-lived movement in the late 19th C., which focused on decorative arts and architecture

• France, Belgium, Holland, UK, America, Germany, and Austria

• ORGANIC designs: plants, leafy, vines, florals

ART NOUVEAU

VICTOR HORTA, staircase in the Van Eetvelde House, Brussels, 1895*.

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LOUIS COMFORT TIFFANY, lotus table lamp, ca. 1905*. Leaded Favrile glass, mosaic, and bronze, 2’ 10 1/2” high.

-Cost almost $800 at the time!

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ANTONIO GAUDI, Casa Milá, Barcelona, 1907*.

•Organic, undulating, curves

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GUSTAV KLIMT, The Kiss, 1907–1908*. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4”. Österreichische Galerie Belvedere,Vienna.

•Symbolism, Arts and

Crafts, and Art Nouveau

•Inspired by Byzantine mosaics

•Part of the Austrian Secession: Austrian Arts and Crafts movement

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Architecture in the Later 19th Century

•Skyscrapers—built upward for space and because of property values

•Cast iron and then encased cast-iron (more durable and fire resistant)

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The Architecture of Louis Sullivan

• Known as the “first modern architect”

• Vertical use of lines where the windows are the actual supports

• His motto: “form follows function”

• Teacher to Frank Lloyd Wright

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LOUIS HENRY SULLIVAN, Guaranty (Prudential) Building, Buffalo, 1894–1896*.

•Lots of window light for white collar workers

•Romanesque portal

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LOUIS HENRY SULLIVAN, Carson, Pirie, Scott Building, Chicago, 1899–1904*.

Olmstead and Vaux, Plan for Central Park, 1858-1880*

READ about me on page 1059!!!

Jacob Riis, Tenement Interior in Poverty Gap:An English Coal Heaver’s Home, 1889*

Photography as activism!

GERTRUDE KASEBIER, Blessed Art Thou among Women, 1899*. Platinum print on Japanese tissue, 9 3/8” X 5 ½”. Museum of Modern Art, New York

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•Pictorial Style: more artistic

•Intentional blurry background

•Symbolic