Edouard Manet, “Bar at the Folies-Bergere,” 1882

• Place to eat, drink, and hear music

• Background is a mirror, not an actual space

• Woman is made a commodity

• Women are viewers and the viewed, purchasers and the purchased

Edgar Degas, “The Tub,” 1886

• Sense of intrusion into an intimate scene

• Private work becomes a public statement

Mary Cassatt, “The Bath,” c. 1892

• Very tuned to the psychological charge of a mother and her child

• Like an asian woodblock print:

  • Flattening of the picture plane

  • Emphasis of line and contour

  • Use of floral motifs

  • Cropping of form

  • The theme (bathing a child)

Mary Cassatt, “Breakfast in Bed,” 1897

• Mother gazes at or across her child while her child looks elsewhere

• Vertical vs. Diagonal

James McNeill Whistler, “Nocturne in Black and Gold (The Falling Rocket),” c. 1875

• Post-impressionism, even more abstract than French impressionism

• Most abstract American painting painted up to this time

• Interested in visual pleasure

• Painted using the soup method

  • Cover the canvas with a gray or black primer

  • Add little details here and there

• Described as “throwing a pot of paint in the face of the public”

• Whistler sued Ruscan (critic) for his comment and won

• No longer making religious or inspiring art, it is now all experimentation

Henri de Toulouse-Lautrec, “At the Moulin Rouge,” 1892-95

• Form itself can carry meaning

• Lautrec was a dwarf and was, because of his abnormality, let in many circles that most artists were not able to access

Georges Seurat, “A Sunday on La Grande Jatte,” 1884-86

• not naturalistic at all

• Dis-topia: Play and relaxation have become a cruel opposite in modern Parisian life

• Pointillism

Vincent van Gogh, “Starry Night,” 1889

• First artist to set the trend for the typical artist being an outcast

• Beginning of painting “feeling”

Vincent van Gogh, “Night Cafe,” 1888

• Symbolism: Red and green shows the darkness of civilization, terrible passions of humanity

• Romanticism: expressing the cafe is a place where one can ruin oneself, go mad, or commit a crime

Paul Gauguin, “Vision after the Sermon,” or “Jacob Wrestling with the Angel,” 1888

• Interested in not external truths, but internal truths

• The women are having a vision

• Both real and imagined world, which are separated by the diagonal tree trunk

Paul Cezanne, “Mont Sainte-Victoire,” 1902-1904***

• When breaking down a Cezanne painting, you find the underlying geometric structure of nature

• Color is more important here than foreshortening

• Color takes the place of line

Paul Cezanne, “Basket of Apples,” c. 1895***

• Painting is a construction

• Each apple is its own painting, asymmetrical bottle, makes it look like an accidental grouping

Odilon Redon, “The Cyclops,” 1898

• Galiteo is having a dream about the cyclops

• Redon also goes to his dreams for his material

Edvard Munch, “The Scream,” 1893

• Modernity is a thing (bridge, new building), modernism is an expression of an experience among modernity

• Appeals to all senses: you hear it, visual, oral, tactile

Auguste Rodin, “Burghers of Calais,” 1884-89

• Life-size so at the viewer's level

• Episode from the 100 years war where six men sacrificed their lives so that the rest of the town may live

Augustus Saint-Gaudens, “Adams Memorial,” Rock Creek Cemetary, Washington, D.C., 1891

• Clover Adams was known as “Henry Adam's wife”

• In her search for autonomy, she became a photographer

• Committed suicide by drinking photo-developing chemicals because they considered her “hysterical” due to her depression

• This statue was made to represent “nirvana,” or being beyond joy or sorrow

Charles Rennie Mackintosh and Margaret Macdonald Macintosh, “Ladies Luncheon Room,” Ingram Street Tea Room, Glasgow, Scotland, 1900-12

• Arts and Crafts movement: observing how things are put together and constructed

• Belief that surrounding yourself with beautiful and lasting things will make you more beautiful and long-lasting

• A suffering atmosphere makes the person suffer

Louis Comfort Tiffany, “Lotus Table Lamp,” c. 1905

• People that worked inside would gravitate toward this lamp because its flora motif. It is even transparent and delicate looking like a flower and its leaves.

• Art nouveau glass that completed the whole effect in a home

• Stained by chemical fire

Henry Hobson Richardson, “Marshall Field warehouse store,” Chicago, 1885-87

• Modern because it's make for speed and safety, best durability in the 1800s

• Load-bearing walls made of rock and cast iron

• Roman arches show the influence from Neo-Romanesque architecture

Henri Matisse, “Woman with the Hat,” 1905

• More interested in color to have expressive possibilities

• Painting on the edge of abstraction

Henri Matisse, “Red Room (Harmony in Red),” 1908-09

• The idea that a painting and its patterns/colors/expressionism can stand for emotions and feelings came from this time

• Modernism = self-expression

Vassily Kandinsky, “Improvisation 28,” 1912***

• Feeling is the point of the work

• Abstraction, not figurative or representational

• Suggests spontaneity and action

Franz Marc, “Fate of the Animals,” 1913

• German expressionist

• Develops preoccupation with animals and their way of moving

Robert Delaunay, “Champs de Mars,” or “The Red Tower,” 1911

Pablo Picasso, “Gertrude Stein,” 1906-1907

Georges Braques, The Portuguese,” 1991

• Analytic cubism: breaking down of form

Pablo Picasso, “Still Life with Chair Caning,” 1912

• First form of collage

• Looking beneath the surface to break from tradition

• Synthetic cubism

Georges Braque, “Bottle, Newspaper, Pipe, and Glass,” 1913

• Aims to fool the mind, not the eye

Aleksandr Archipenko, “Woman Combing Her Hair,” 1915

• Experimental

Umberto Boccioni, “Unique Forms of Continuity in Space,” 1913

• Literally moves through space

• You can tell where he was a second ago, and also where he is going