{"id":386,"date":"2022-10-24T21:47:15","date_gmt":"2022-10-24T21:47:15","guid":{"rendered":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/chapter\/__unknown__-25\/"},"modified":"2023-03-20T21:18:00","modified_gmt":"2023-03-20T21:18:00","slug":"__unknown__-25","status":"publish","type":"chapter","link":"https:\/\/pressbooks.ccconline.org\/ppschum1023moderncivilizations\/chapter\/__unknown__-25\/","title":{"raw":"4.3 NEW IDEAS IN PAINTING","rendered":"4.3 NEW IDEAS IN PAINTING"},"content":{"raw":"
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The late 19th<\/sup> century could be called the time of the isms. There were so many different movements in the arts, that it became difficult to keep track of them and to qualify them. Much of the new type of art had its start in France, perhaps driven by the political changes surrounding the many different governments that came and went. Just as politicians, emperors, kings, and presidents came and went, so did new ideas in the arts.<\/p>\r\n\r\n

\u00c9douard Manet (1832-1883)<\/h2>\r\n

\u00c9douard Manet was born in Paris to an affluent and important family. His father wanted him to become a lawyer, but his uncle supported his desire to become an artist. For several years he took art classes, copied the old masters at the Louvre and studied art in the Netherlands, Italy and Spain. From the beginning of his career he did not faithfully follow what he saw in the paintings of the masters. One of his first, most important works is Luncheon on the Grass<\/em>, painted in 1863.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"543\"]\"Oil 4.19 \u00c9douard Manet, Luncheon on the Grass<\/em>, oil on canvas, 1863, 82x104\u201d, Mus\u00e9e d\u2019Orsay, Paris.1<\/a><\/sup>[\/caption]\r\n

There were five thousand works submitted to the Salon of 1863, and of those 2783 were rejected. This was one of the rejected works. The rejected of so many works prompted the creation of a new exhibition; the Salon des Refuses which was intended to give more artists the ability to show their work. Some art historians classify this work as Impressionism, while others see it as a precursor to the Impressionism that was soon to become popular.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"567\"]\"Oil 4.20 Titian and or Giorgione, Pastoral Concert<\/em>, 1510, oil on canvas, 43x54\u201d, Louvre Museum, Paris.2<\/a><\/sup>[\/caption]\r\n\r\nManet\u2019s work is a tribute to an earlier work by Titian, Pastoral Concert<\/em>, painted in 1510, which was owned by the Louvre and would have been known to Manet. \u00a0The depiction of a nude woman with fully clothed men was not the problem. Titian\u2019s women could have been interpreted as muses or goddesses. But Manet\u2019s woman looks out directly at the viewer. She is depicted not as a muse, but was more likely a prostitute whose identity was known. The nude woman looked suspiciously like a combination of his wife and Suzanne Leenhoff, a female model and likely a lady of the night. So in its time this work was considered pornographic. But in addition to that, Manet did not blend his brushstrokes or provide any shading or blending on the edges of the figures. It is not even possible to tell where the grass ends and the water begins. So his work was considered pornographic and unfinished. It caused a scandal.\r\n

Luncheon on the Grass by Manet<\/span><\/a> 6:14<\/strong><\/p>\r\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/becoming-modern\/avant-garde-france\/realism\/v\/manet-le-d-jeuner-sur-l-herbe-luncheon-on-the-grass-1863<\/a><\/p>\r\nOlympia, painted by Manet in 1863 was also based on a work by Titian, The Venus of Urbino. Titian\u2019s model is a goddess, who is nude, while Manet\u2019s Olympia is a modern woman, confronting the viewer with her direct stare, promiscuous, and unconforming.\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"534\"]\"Oil 4.21 \u00c9douard Manet, Olympia<\/em>, 1863, oil on canvas, 51x75\u201d, Mus\u00e9e d\u2019Orsay, Paris.3<\/a><\/sup>[\/caption]\r\n

Olympia, by Manet<\/span><\/a> 8:03<\/strong><\/p>\r\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/becoming-modern\/avant-garde-france\/realism\/v\/manet-olympia-1863-exhibited-1865<\/a><\/p>\r\n \r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"543\"]\"Oil 4.22 Titian, Venus of Urbino<\/em>, 1538, Uffizi Gallery, Florence, Italy, oil on canvas, 47x65\u201d.4<\/a><\/sup>[\/caption]\r\n

The dog at the foot of Venus is a symbol of marital fidelity while the cat at Olympia\u2019s feet is the symbol of promiscuity, perversity and eroticism. The rose symbolizes purity while the orchid is an aphrodisiac. One servant arranges clothing in the cassone, a marital hope chest commissioned for a wedding, while the other servant presents flowers which may have come from the stranger standing in our space, the person the Olympia is looking at so intently. Manet applies his colors freely and does not blend the brushstrokes.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"463\"]\"Oil 4.23 \u00c9douard Manet, Portrait of Emile Zola<\/em>, oil on canvas, 57x45\u201d, 1868, Mus\u00e9e d\u2019Orsay, Paris.5<\/a><\/sup>[\/caption]\r\n

Portrait of Emile Zola<\/span><\/a> 4:34<\/strong><\/p>\r\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/becoming-modern\/avant-garde-france\/realism\/v\/manet-mile-zola-1868<\/a><\/p>\r\n

Emile Zola was an art critic who lived and worked in Paris. He saw Manet\u2019s work and wrote positively about it in 1867. Manet was grateful, so he painted this portrait. Notice a print of Manet\u2019s Olympia on the back wall, as well as a Japanese block print, a Japanese screen and copies of some of Zola\u2019s pamphlets.<\/p>\r\n\r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"431\"]\"Oil 4.24 \u00c9douard Manet, The<\/em> Balcony, oil on canvas<\/em>, 67x49\u201d, 1868, Mus\u00e9e d\u2019Orsay, Paris.6<\/a><\/sup>[\/caption]\r\n

People depicted in Manet\u2019s The Balcony are his friends, Berthe Morisot, Manet\u2019s sister-in-law, the painter Antoine Guillemet, and Fanny Claus, a violinist. Although they were friends and were obviously sharing a social moment together, they seem to ignore each other and look out into the distance at something different. The painting was shown in the Paris Salon in 1869 but was not well received. The individuals in the painting do not seem alive and seem more to be pasty sculptures, stiff and like the objects in a still life.<\/p>\r\n

The Balcony by Manet<\/span><\/a> 4:02<\/strong><\/p>\r\n

If you receive an error with the link above, use the following link\u00a0https:\/\/www.khanacademy.org\/humanities\/becoming-modern\/avant-garde-france\/realism\/v\/manet-the-balcony-1868-69<\/a><\/p>\r\n \r\n\r\n[caption id=\"\" align=\"aligncenter\" width=\"527\"]\"Oil 4.25 \u00c9douard Manet, A Bar at the <\/em>Folies-Berg\u00e8re<\/em>, 1881, oil on canvas, 38x51\u201d, Courtauld Institute of Art, London.7<\/a><\/sup>[\/caption]\r\n

A bar at the Folies-Berg\u00e8re<\/span><\/a> 5:38<\/strong><\/p>\r\n

If you receive an error with the link above, use the following link https:\/\/www.khanacademy.org\/humanities\/becoming-modern\/avant-garde-france\/realism\/v\/manet-a-bar-at-the-folies-bergre<\/a><\/p>\r\n

By 1881 Manet\u2019s style became even more \u201cimpressionistic.\u201d The brushstrokes are loose and unblended. We see the woman who looks out as us, but we also see her back and the man she is talking to. He seems to be in our space. Behind us the huge room is a crowd of people celebrating and enjoying the follies, including an acrobat whose green shod feet we see hanging in the upper left corner. The artificial lights glare everywhere, enlightening the modernity of the events occurring.<\/p>\r\n\r\n

Camille Pissaro (1830-1903)<\/h2>\r\n

Camille Pissaro was spoken of as the father of the Impressionists. His paintings contained most of the ideas of the Impressionistic school, but with more structure and more solidity in his composition. He was friends with Monet, Sisley, Cezanne and was older than most of them. He was initially influenced by Corot and his style changed with the company he kept. He had six children and sometimes had to take odd jobs, such as fan painting, to support them. He never sold a single painting during his lifetime. He was solidly a socialist. He painted country landscapes and cityscapes which were simple and firmly constructed. All of the areas of his paintings are clearly defined, so a road is clearly a road receding into the distance, and a river or a valley is easy to understand. Pissaro did not live long enough to see his style of painting recognized and gain acclaim. He abandoned Impressionism in 1884.<\/p>\r\n\r\n

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These are his ideas about painting:<\/strong><\/p>\r\n\r\n