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Art History Green Hill Part 5 CC FinAL

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dan shread

on 11 April 2013

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Transcript of Art History Green Hill Part 5 CC FinAL

Saint-Lazare Station 1877 Paris Street
Rainy Day
Oil on canvas
Art Institute of Chicago. La Vie Parisienne French Academic Art English Academic Art Alexandre Cabanel
1823-1889 Phèdre
Oil on canvas The Birth of Venus
Oil on canvas
130x225 cm
Musee d'Orsay
Paris Sir Lawrence Alma-Tadema, OM, RA A Reading from Homer
Oil on canvas
91 x 183 cm
Philadelphia Museum of Art, Edouard Manet
1832-1883 Manet showed a different aspect of realism from that envisaged by Courbet, his intention being to translate an Old Master theme, the reclining nude of Giorgione and Titian, into contemporary terms. Olympia
Oil on canvas
130.5 x 190 cm (51 3/8 x 74 3/4 in)
Musee d'Orsay
Paris The Luncheon on the Grass
French: Le déjeuner sur l'herbe
Oil on canvas
208 cm × 265.5 cm (81.9 in × 104.5 in)
Musée d'Orsay
Paris "The life of our city is rich in poetic and marvelous subjects.
We are enveloped and steeped as though in an atmosphere
of the marvelous; but we do not notice it."
(Charles Baudelaire) "The pleasure we derive from the representation of the present is due, not only to the beauty it can be clothed in, but also to its essential quality of being the present."
(Charles Baudelaire) "Courbet is still tradition.
Manet is a new epoch in painting." Renoir "Manet is the first painter who made the
immediate translation of his sensations,
thus freeing his instinct."
Matisse Titian PastoralConcertThe Louvre,
Paris Titian's Reclining Venus Giorgione's Reclining Venus The Salon Salon des Refuses "He will be truly a painter, the painter, who will know how to draw out of our daily life its epic
aspects, and will make us see and understand
in colour and design, how we are great and poetic in our neckties and polished boots."
(Charles Baudelaire, Review of the Salon of 1845) The Salon des Refuses (Salon of the rejected) had been initiated by the decree of Emperor Napoleon III, after numerous complaints about the official biennial Salon's severe admissions policy were bought to attention; in 1863 alone more than four thousand paintings had been turned down by the ultra-conservative jury.
It It was here that Manet exhibited his revolutionary painting,
The Luncheon on the Grass. The Modern
Spirit "Modern times find themselves with an immense system of institutions , established facts, accredited dogmas, customs, rules, which have come to them from times not modern. In this system their life has to be carried forward; yet they have a sense that this system is not of their own creation, that it by no means corresponds exactly with the wants of their actual life, that for them, it is customary, not rational. The awakening of this sense is the awakening of the modern spirit. The modern spirit is now awake almost everywhere..."
Matthew Arnold, Essays in Criticism (1865) Impressionism Claude Monet ( Paris 1840 - 1926 Giverny) Pierre Renoir 1841-1919 The Umbrellas
Begun in 1881
painted in two phases in the 1880s. The principal female figure to the left of the frame, a milliner's assistant or modiste modelled by Renoir's lover and frequent subject Suzanne Valadon, holds up her skirt against the mud and water on the road as she carries a hatbox, but has no hat, raincoat or umbrella. A vigorous young bearded gentleman seems to be about to engage her, perhaps to offer her shelter under his umbrella. She, and one of the two girls to the right with a hoop and stick, look out at the viewer, while most of the other people go about their business. Le Moulin de la Galette
Oil on canvas
131 x 175 cm
Musée d'Orsay
Paris La Loge,
Oil on Canvas
The Courtauld Gallery, London Woman in Black at the Opera,
Oil on Canvas Mary Cassat 1844-1926 Born on May 22, 1844, in Allegheny City, Pennsylvania, Mary Cassatt was one of the leading artists in the Impressionist movement of the later part of the 1800s. Moving to Paris, her home for the rest of her life, she was befriended by Edgar Degas. After 1910, her increasingly poor eyesight virtually put an end to her serious painting, and she died in 1926. Post Impressionism Paul Gaugin 1848-1903
Synthetisme Tahitian Women On the Beach
Oil on Canvas Idol with a Pearl
Tamanu wood polychromed
and stained with gilding
Height 25cm,
diameter 12 cm (9 3/4 x 4 5/8 in)
Musee d'Orsay, Paris Gauguin Portrait of the
Artist with the Idol c. 1893

Oil on canvas
54 3/4 x 147 1/2 in. (139.1 x 374.6 cm)
© 2006 Museum of Fine Arts, Boston Where Do We Come From? What Are We? Where Are We Going? Post Impressionism
Van Gogh 1853-1890 Peasant and Peasant Woman Planting Potatoes
Oil on Canvas Self Portrait 1889 Flowering Plum Tree
Oil on Canvas
1887 Ando Hiroshige
Kameido Ume
(Japanese apricot) Garden
from the series
One Hundred Famous Views of Edo Vincent van Gogh
Bridge in the Rain
(after Hiroshige)
Oil on Canvas Ando Hiroshige
Thunderstorm at Ohashi
from the series
One Hundred Famous
Views of Edo Japanese Influence The Siesta (after Millet)
Oil on canvas Factories at Asnieres,
Seen from the Quai de Clichy
Oil on Canvas The Factory at Asnières
Oil on canvas
46.5 x 54.0 cm.
Oil on canvas
46.5 x 54.0 cm.
Paris: Summer, 1887 Field with Rising Sun
Chalk and reed pen,
Staatliche Graphische
Munich Paul Cezanne
1839–1906 Post Impressionism It is not possible to overstate the influence of Paul Cézanne on 20th-century art. He’s the modern Giotto, someone who shattered one kind of picture-making and invented a new one that the world followed. Matisse called Cézanne “a sort of God”; Picasso said he was “the father of us all.” Portrait of Ambroise Vollard
Oil on Canvas
Musée de la Ville de Paris, Musée Carnavalet, Paris, France Ambroise Vollard, the dealer who arranged Cézanne's first one-man show a century ago, posed 115 times for a single painting, sitting absolutely still "like an apple" and then Cézanne, dissatisfied, abandoned the picture with only two unpainted spots remaining. He told Vollard that with luck he would find the correct color and could finish the painting. "The prospect of this made me tremble," noted Vollard in his biography of the painter. In the artist's eye, there was no difference between a human sitter and a bowl of fruit, except that the reflection value and the palette were different. The Circus The Theatre, the Cafe Concert
the Ballet and the Opera Degas
Miss La La at the Cirque Fernando
Oil on canvas
National Gallery
London Toulouse Lautrec
Equestrienne (at the cirque fernando)
Oil on canvas
98 × 161 cm (38.6 × 63.4 in)

Art Institute of Chicago
Chicago Toulouse Lautrec
At the circus, horse and monkey dressage
pencil and chalk
Art Institute of Chicago Henri de Toulouse-Lautrec

Henri Marie Raymond de Toulouse-Lautrec-Monfa
1864 – 1901 At the Moulin Rouge
Oil on canvas
123 × 140,5 cm

Art Institute of Chicago At the Moulin Rouge:
Two Women Waltzing
1892 In Bed
1893 Au Salon de la rue des Moulins
Oil on canvas
111.5 × 132.5 cm (43.9 × 52.2 in)

Musée Toulouse-Lautrec Rue des moulins,
the medical inspection
Oil on cardboard on wood
83.5 × 61.4 cm (32.9 × 24.2 in)
National Gallery of Art
Washington DC Ambassadeurs:
Aristide Bruant dans son cabaret
Colour lithograph Maurice Guibert
1856 - 1913
Toulouse-Lautrec Mr. Toulouse paints Mr. Lautrec
c.1891 Concert
c1876-77 Café-Concert
pastel over monotype
on paper and board,
23.5 x 43.2 cm (9 1/4 x 17 in.)
Corcoran Gallery of Art,
Washington, D.C. Café-Concert (The Spectators).
pastels over a monotype
on buff wove paper,
laid down on a tan card.
201 x 415 mm
(which is about 8 in. x 16 in.)
Art Institute of Chicago

As described by Jeff Fleischer in Chicago Magazine; “Degas depicts the scene of a crowded concert in brightly colored pastels. The complicated tableau includes details like the man in the center about to spill his beer and a singer visibly warm from the stage lighting.” Cafe Concert Singer with a Glove
c. 1878
Pastel and liquid medium
on canvas
20 3/4 x 16 in. (52.8 x 41.1 cm)
Fogg Art Museum,
Harvard University,
Cambridge, MA Edgar Degas “Pierrot and Colombine,”
from around 1887-88.
conté crayon on paper, Georges Seurat
1859-1891 Circus Sideshow,
Oil on canvas
39 1/4 x 59 in.
(99.7 x 149.9 cm)
The Metropolitan Museum
New York The Cafe and Bar
Vincent van Gogh
Cafe Terrace at Night
Oil on canvas Edouard Manet
Bar at the Folies Bergere by Edouard 1882
Oil on canvas
The Courtald Institute
London Toulouse Lautrec
Monsieur Boileau
Oil on canvas
80x65 cm
Cleveland Museum
of Art Henri de Toulouse-Lautrec
Alfred la Guigne
Oil on cardboard
64.5 x 49.5 cm
Gallery: National Gallery of Art, Washingon, DC, U A Corner of 'The
Moulin de la Galette'
Oil on cardboard
100x89 cm
National Gallery of Art
Washington Picasso in a
Paris cafe,
circa 1950. Pablo Ruiz Y Picasso
Le Moulin de
la Galette (1900) According to Gertrude Stein, one of Picasso's early sources of inspiration was Henri de Toulouse-Lautrec. During his "Lautrec" period Picasso was motivated to create images that celebrated the life of nocturnal Paris. Cubism Impressionism Pablo Picasso (1881–1973), Sleeping Peasants, Paris or San Raphaël, August 1919. Gouache, watercolor, and pencil on paper, 12 1/4 x 19 1/4 inches. The Museum of Modern Art, New York, Vincent Van Gogh
The Siesta (after Millet)
Oil on canvas Pierre Auguste Renoir
Ambroise Vollard
Oil on canvas
65 x 79 cm Les demoiselles d'Avignon
Oil on canvas
243.9 cm × 233.7 cm
(96 in × 92 in)
New York Pierre-Auguste Renoir
The Harem
(Parisian Women Dressed as Algerians) 1872
Oil on canvas Kitagawa Utamaro 1753-1806 1891
Edmond de Goncourt wrote
Le Peintre Des Maisons Vertes » Jean-François Raffaelli 1850-1924 Quadrille naturaliste
aux Ambassadeurs Jean-François Raffaelli.
ArtsBohèmes au café
Pastel on fabric.
55 x 44 cm.
Musée des Beaux-Arts
Bordeaux Georges Seurat
The Models (large version)
Oil on canvas
78 3/4 x 98 3/8 in
The Barnes Foundation, Merion, PA Bathers (Les Grandes Baigneuses) 1894–1905.
127.2 × 196.1 cm.
National Gallery, London
First exhibited in 1906 Pablo Ruiz Picasso
Portrait of Ambroise Vollard
Oil on canvas Ambroise Vollard (1867-1939) was one of the great art dealers of the 20th century. He championed Cézanne, Van Gogh, Renoir, Gauguin and Rousseau.
He promoted Picasso's blue and rose periods, but he was careful about cubism. Family of Saltimbanques
Oil on canvas.
83 3/4 x 90 3/8 in. (212.8 x 229.6 Chester Dale Collection.
National Gallery of Art,
Washington, D.C. Picasso
Sleeping Drinker
Oil on canvas Portrait of
Jaime Sabartes
Oil on canvas
Pushkin State Museum, Moscow Seated Harlequin
Oil on canvas, lined
and mounted to a
sheet of pressed cork
32 3/4 x 24 1/8 in. (83.2 x 61.3 cm)
The Metropolitan Museum of Art
New York L'absinthe
Oil on canvas,
92 x 68 cm (36 1/4 x 26 3/4 in)
Musee d'Orsay, Paris Picasso.
L´Acrobate à la Boule,
Oil on canvas.
147 x 95 cm.
©The State Pushkin Museum of Fine Arts,
© Pablo Picasso Estate.
VEGAP. Madrid, 2011 Pablo Ruiz Y Picasso
A Spanish Couple in front of an Inn.
Georges Seurat
The Circus
Oil on Canvas
Museum of Modern Art
New York Jules Chéret showing
his circus poster
work to
Henri de Toulouse-Lautrec Pierre-Auguste Renoir
Clown in the Circus
Oil on canvas
76'/8 x 51% in. Pierre-Auguste Renoir
Jugglers at the Cirque Fernando
1879 Toulouse Lautrec
The Clown
1895 The Clown
1895 Lithographs The Englishman at the Moulin Rouge
1892 Paul Cézanne
Pierrot and Harlequin
Oil on canvas Bathers at Asnières
Oil on canvas
201 x 300 cm
The National Gallery
London A Sunday Afternoon on the
Isle of the Grande Jatte
1884 – 1886
Oil on canvas
6 ft 10 in x 10 ft 1 in
The Art Institute of Chicago African Carved Wood Masks Jules Cheret (French 1836-1932)
"The Father of the Poster" Gustave Caillebotte
1848–1894 Absinthe Cusenier
by Francisco Tamagno.

A young woman peering into a cafe window gets an invitation from the actor Albert Brasseur (1862-1932) who is going through the ritual of preparing his absinthe potion. Glass of absinthe
Oil on canvas
37.0 x 28.7cm stretcher;
54.0 x 45.7 x 4.9cm frame Georges Braque
1882–1963 The Absinthe Drinker
Oil on cardboard
Melville Hall Collection
New York Pablo Picasso
Two Acrobats with a Dog
Gouache on Board
41 1/2 x 29 1/2" (105.5 x 75 cm).
© 2012 Estate of Pablo Picasso / Artists Rights Society (ARS), New York Concert in the Tuileries
Oil on
(National Gallery, London)
Previous Pablo Ruiz Picasso
Portrait of Daniel
Henry Kahnweiler
Oil on canvas In the pioneering days of Cubism, Picasso and Braque were greatly amused by the ubiquitous and prominent outdoor advertising for “le Kub” and extended the joke in 1912 by including references to the product in their paintings. The best example is the “Paysage aux affiches” where a bouillon Kub is captured in a cubist townscape mesh along with a Pernod bottle. Pablo Picasso
Bread and Fruit Dish on a Table
Paris, winter 1908-1909.
Oil on canvas
64 5/8 x 52 1/4 in.
(164 x 132.5 cm.)
Kunstmuseum, Basel The Night Cafe
in the Place Lamartine
in Arles
Oil on canvas
72.4 cm × 92.1 cm
(28.5 in × 36.3 in)
Yale University
Art Gallery,
New Haven Impasto:

Applying paint thickly Pablo Picasso, portrait of Gertrude Stein, 1906

(Oil on canvas, 100 x 81 cm, Metropolitan Museum of Art, New York)

Gertrude Stein and Pablo Picasso lived in Paris in 1906. They liked each other and continued a friendship for many years. The avant-garde American authoress Gertrude Stein resided with her brother Leo in the Rue de Fleurus. Gertrude Stein conducted weekly salons in her Paris apartment and became the focus for European and American artists and writers. She was quick to embrace the artistic revolution in Europe and provided support to Matisse, Braque, Gris, Gauguin, Cézanne, and Picasso. Over time the Stein's apartment housed a substantial collection of modern art, which increased by regular purchases and their good judgment in such a way that at times four or five pictures hung one over the other on the walls. Already famous artists' works were mixed with the pictures of unknown artists. Henri Rousseau
Still Life with Coffee Pot Georges Braque
Still Life with Pitcher
Oil on canvas
The Barnes Foundation,
Lincoln University,
USA Picasso and Braque Pablo Picasso
Still Life with
bottle of Pernod
oil on canvas
St. Petersburg,
Russia Georges Braque 1882 – 1963 Pablo Ruiz Y Picasso
1881–1973 Pablo Picasso 1881–1973
Cubism Henri Rousseau
1844-1910 The Dream
Oil on Canvas 1910
MoMA New York Rousseau exhibited his final painting, The Dream, at the 1910 Salon des Independants a few months before his death on 2 September 1910 in the Hospital Necker in Paris.[13] At his funeral, seven friends stood at his grave in the Cimetière de Bagneux: the painters Paul Signac and Manuel Ortiz de Zárate, the artist couple Robert Delaunay and Sonia Terk, the sculptor Brâncuşi, Rousseau's landlord Armand Queval and Guillaume Apollinaire who wrote the epitaph Brâncuşi put on the tombstone:

We salute you Gentle Rousseau you can hear us.
Delaunay, his wife, Monsieur Queval and myself.
Let our luggage pass duty free through the gates of heaven.
We will bring you brushes paints and canvas.
That you may spend your sacred leisure in the
light and Truth of Painting.
As you once did my portrait facing the stars, lion and the gypsy.
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