Modernity in 19th and 20th Century Boats Painting Post Impressionism Art

In the later decades of the xx ^thursday century, the European collection grew to include 19 ^th and 20 ^th century artists. Works past artists such as Marie Laurencin (1883- 1956), Edgar Degas (1834- 1917), Marc Chagall (1887-1985), Salvador Dalí (1904-1989), besides as an of import collection of Bloomsbury artists (one of our Featured Collections) joined the collection. Museum purchases in the 1990s and early 2000s – which added prints by Paul Cézanne (1839-1906), Pablo Picasso (1881-1973), Francis Bacon (1561-1626), Henri Moore (1898-1986), Max Beckmann(1884-1950), Käthe Kollwitz (1867-1945) and others – were made strategically, with the dual goals of strengthening our holdings and filling gaps in the art historical survey fundamental to a teaching museum'due south mission.

The Bloomsbury Group

Artists Featured in This Section

Very piffling is known about Tomàs Aceves, a Castilian artist working during the late nineteen^th century. Withal, looking at his extensive torso of work, it is clear that the artist had a favored subject field: the Alcázar in Seville. The intricate architectural forms of the royal palace's mudéjar style—a distinctive mélange of Islamic, Moorish, Gothic, Renaissance, and Romanesque elements—appears in countless of Aceves' paintings. Originally constructed in the eight^thursday century by the Umayyad Caliphate, the palace was later on reconstructed and added upon by the Catholic monarchs of Spain who reclaimed the region during the Reconquista of the 13^th – 16^thursday centuries.

This painting displays the Courtyard of the Dolls (Patio de las Muñecas), a small courtyard designed to organize the rooms of the Palace'south individual area. The name derives from the small doll heads that decorate the entryway arches. The columns and capitals of the structure date to artifact; however, much of the courtyard was remodeled by the Catholic Monarchs and later restored during the xix^th century. Aceves carefully renders the various textures and patterns of the courtyard's elaborate architecture to almost photorealistic particular. This purported documentarian quality of the work, forth with the unnaturally inserted props (the potted plant, rug, and pillow), situate that artist within the Orientalist genre. The verisimilitude of the painting sought to capture "realistic" images of the distant colonies while the unusual props, particularly the Oriental rug and pillow, further exotified the foreign lands and cultures. The reappearance of these items along with the prolific nature of Aceves' paintings peradventure indicates the creative person'south efforts to cater to the popular Orientalist genre of the fourth dimension.

Bouguereau, perchance better than any other artist, typifies the French Academic manner of painting in the late nineteenth and early on twentieth centuries. His paintings are characterized by superb technique, harmonious composition, and elegance. His starting time lessons were with Louis Sage, a pupil of Jean-Baronial-Dominique Ingres (1780-1867). Draughtsmanship and long, elegant lines are the qualities for which Ingres is renown, and these qualities are apparent in Bouguereau'south piece of work too. Bouguereau was the recipient of an outstanding educational activity, culminating at the École des Beaux-Arts in Paris. He was awarded the M Prix de Rome in 1850, and in 1888 he was appointed a professor at the École des Beaux-Arts, Paris. All the same, his reputation every bit an artist has waxed and waned several times from the belatedly nineteenth century to the present. Bouguereau's work tends to be sentimental and quasi-mythological in a neo-classical way. Because of this, his work was considered passé by the terminate of the nineteenth century when critics, following Charles Baudelaire'due south charge, called for works of art that reflected everyday life. In contrast to Bouguereau'southward neo-classical refinement, we may consider Pablo Picasso's blue period subjects (1901-1903) of beggars and absinthe drinkers. When information technology came into the Cornell'southward collection, Tendres propos was known equally "Innocence." Nevertheless, research undertaken in the tardily 1990s for the catalogue raisonnée of Bouguereau revealed that in a auction of 1901 this painting was known by its current, and less-generic, championship.

Brassaï, the pseudonym of Gyulas Halász, made his proper name in photography with the publication of Paris by Night 1933, an intimate and sympathetic documentation of night life in the humbler quarters of Paris. Brassaï was mesmerized by the urban center'south activity during the evening hours. Beau Hungarian and photographer André Kertész loaned him a photographic camera and suggested he certificate the nocturnal life of the confined, brothels, mirror-lined cafes and dance halls and on the streets.

As a one-time painting pupil transplanted to Paris in 1923, Brassaï became friends with many of the advanced painters in the city. In early June of 1939, on the eve of the Second World State of war, and at the request of Henri Matisse, Brassaï carried out a series of photographic "Nudes in the Studio" of the artist cartoon his model at Villa d' Alésia in Paris, at the studio lent to him past American sculptor Mary Callery. The staged photograph was one of several at this sitting used as illustrations for Brassaï'southward book The Artists in My Life. The model, nude except for bracelets and slippers, poses in various locations inside the studio as Matisse dressed in professional attire draws from life. Brassaï noted of these photographs, "Continuing in his bright, light flooded studio in his white smock, Matisse looked like the chief of staff in some infirmary. Oddly, enough, he had had the aforementioned appearance every bit a immature man…his fellow students at the Ecole des Beaux-Arts had nicknamed him "The Doctor."

Brassaï's associate with Harper'south Bazaar editor Carmel Snow and fine art director Alexey Brodovitch, and as a colleague in Parisian creative circles granted him opportunities to photograph many artists for the mag. For more than than thirty years, he documented among them, Bonnard, Giacometti, Braque, and Le Corbusier, in their homes in Paris, Normandy, and elsewhere during various periods of their lives.

This is an excellent example of French nineteenth-century Realism, a motility that rebelled against the idealized content of mythical and historical painting and turned, instead, to contemporary subjects. In 1851, Gustave Courbet (1819-1877) became the leading French Realist, creating a coherent and revolutionary movement through his massive compositions with dandy social consciousness. Wood Rafts on the Rhine River also shows a debt to Romanticism (the motion preceding Realism), peculiarly to an 1819 piece of work by the cracking Romantic painter Théodore Géricault (1791-1824), The Raft of the Medusa. The grim sky, muted colors, muscular figures, and triangular composition (formed past the barge, workmen, and poles) all call up The Raft of the Medusa, but with an added grittiness and naturalism. The artist Gustave Brion lived most of his life in Strasbourg on the Rhine. His Realistic works, of which this painting is very typical, exhibit a great sympathy for the workmen and farmers of Alsace-Lorraine. Brion exhibited this accolade-winning work, which helped to establish his reputation, in the Salon of 1855. It was engraved in 1856 by Jean-Pierre-Marie Jazet (1788-1871).

Paul Cezanne was a French Post-Impressionist painter, who profoundly inspired the art of Cubism, Fauvism, and other advanced styles. His expressive brushwork and utilise of color highlight the creative person's methodical arroyo to depicting landscapes and genre scenes. Throughout Cezanne's prolific career, the nude became an important recurring theme.. He often drew the bodies from retention or his imagination, rather than from a human model. The Big Bathers, based mostly on his 1876-1877 painting Bathers at Rest, is an example of Cezanne's work in lithography, rare in the artist'south oeuvre. In 1896-1897, Cezanne created this lithograph for art dealer Ambroise Vollard'due south album of prints. Although this piece of work is black and white, there are other hand-colored versions of this print.

Raised in France, Jean Charlot'south commitment to his Christian organized religion was a abiding in his life and artistic practice. But the decision to leave France—he moved to Mexico with his mother in 1920—forever changed his artistic path. Earlier the movement, he had developed a great interest in the history and visual culture of Mexico. From a young age he heard stories of Mexico and became familiar with its ancient civilizations. Upon his arrival in that location, Charlot lived in Mexico Metropolis, but traveled to other parts of the country.

The Great Builders II was inspired by his time in the Yucatán. In addition to his fascination with pre- Columbian ruins, Charlot engaged in deep learning about contemporary indigenous traditions, and became a particular proponent of Indigenismo, a social and political move that encouraged accent on Amerindian cultures that was embraced past artists working in Mexico in the start half of the twentieth century. He too wrote prolifically about Mexican art, from popular art to murals.

Honoré Daumier, a prolific draughtsman, printmaker and illustrator, is best known for his satirical caricatures and his critique of all segments of society from the urban center grade to the upper echelons.  Daumier's works are characterized by scenes of modern life.  In his Les Paysagistes, translated as The Landscapers, Daumier depicts two figures, an artist and a farmer, in the countryside.  The artist sits at an easel and sketches the farmer while she holds the tools of her merchandise.  The French description at the bottom of the sketch translates to "Practise not move! You are cute like this."  Hither, he produces his satirical commentary on the Barbizon painters, who found inspiration working en plen air, or outdoors. Barbizon painters rejected classical conventions and instead of the traditional practice of artists in a studio rendering academic subjects, they frequently depicted scenes of everyday life while working direct in nature. Daumier spent some time in Barbizon, most the Wood of Fontainebleau in the summertime of 1865.

Edgar Degas was a founding leader of the Impressionist movement, however he disliked the term and preferred to classify himself as a Realist.  Throughout his prolific career, the artist often experimented with new artistic materials and methods. His torso of piece of work is equanimous of numerous types of media such as pastel, sculpture, printmaking, and cartoon, which oftentimes depicted the homo figure and scenes of everyday life. Mary Cassatt in the Louvre shows Degas' technical innovation by combining etching, aquatint, and dry betoken to create a pastel issue. In this work, the artist pays unique attention to the Paintings Gallery in the Louvre, where several of his works were displayed forth those of Mary Cassat (1844-1926). Cassatt, an Impressionist Painter and American expatriate, was known for her representations of mothers and children. Her silhouette creates a strong diagonal in the piece of work and contrasts the seated position of her sis. Cassatt is the more engaged of the 2 every bit she interacts directly with the artworks, while her sis appears hidden behind a guidebook and turned abroad from the paintings.

Trained at the Florentine Accademia di Belle Arti, Emilio P. Fiaschi was a marble sculptor whose surviving works are mostly allegorical and mythological status, and busts of maidens. This work stands out in its remarkable liveliness and illusionism, the face all the same discernible underneath the clinging gossamer of a windblown (or moisture) veil. Her subtly modeled facial features, such as downcast optics and parted lips revealing her teeth, make strong contrasts to the jagged lines of her creased veil. Her bare-skinned shoulders and neck are pumiced to perfect smoothness in contrast to the wrinkled clothes.

Many other nineteenth-century artists, including Raffaelle Monti (1818-1881), Camilo Torreggiani (1820-1896), and Albert-Ernest Carrier-Belleuse (1824-1887), sculpted veiled figures in marble, a technically demanding subject. Unlike other examples, The Veiled Lady is neither static nor neoclassical. It captures the subject'southward vivacity and conveys a sense of the transient moment derived from a close observation of reality. Instead of a vestal virgin, Fiaschi represents a modern woman of means in the finery of that time. The unmarried rose stem below her breast may still be a traditional symbolic motif, whether referring to the transience of life or dear.

Though best known for his large-scale work, Gasq also created modestly sized statues in both marble and statuary, like this Hero and Leander, for the market. Characteristic of an artist trained at the École des Beaux-Arts and exhibiting at the Salon, Gasq favored classical and allegorical subjects. Hero and Leander are 2 mortal lovers in Greek mythology. Leander swam a dangerous strait in the dark for his nightly trysts with Hero, a priestess of Venus, until on one tempestuous night he was drowned. Gasq renders the moment when Hero mourns over Leander's dead body cast ashore. She kisses him, lifts up and embraces his head with one paw, and draws his lifeless hand close to her chest with the other. Her gestures and the expression on her face encapsulate deep sorrow and her beloved for Leander. The sculptor masterfully represents the wet mantle clinging to Hero's lower trunk, her wind-diddled hair, water churning over rocks, and Leander'southward inert still beautiful trunk.

Twentieth century creative person Käthe Kollwitz's emotional and powerful works became associated with the German Expressionism motility in which artists expressed and represented the social anxieties during the era leading up to WWI. Dedicated to social reform, virtually of Käthe Kollwitz's works symbolize the ache and burdens of the working class in Germany. During the turn of the century, Frg faced numerous economic crises in which much of the population was poor with very footling income. Her naturalistic style appeals to the viewer's emotions and captures the dour outlook thatmany individuals endured at thetime, specially those of working women. In this piece of work, the woman appears dejected, with her optics downcast and the dark shadows enveloping her confront. This piece of work reflects the artist's personal sympathies towards the working classes.

Marie Laurencin began her long and successful career as ane of the artists in the circle known as the Bateau-Lavoir, named afterwards the building in Paris' Montmartre district where Pablo Picasso (1881–1973) and Georges Braque (1882–1963) had their studio in the 1910s. Laurencin met Braque when she was studying fine art at the Académie Humbert. She became a regular participant in the artistic, intellectual, and social life of the Parisian avant-garde; amidst the visitors to the Bateau-Lavoir were the painters Henri Matisse (1869–1954) and André Derain (1880–1954) and the writers Guillaume Apollinaire (1880-1918) and Jean Cocteau (1889-1963).

She developed an private manner characterized by graceful images of female person figures rendered in fragile shades of blue, pink, and greenish, with dark eyes and pilus. Untitled: Ii Women is representative of this style: 2 dancers stand shut together, clothed in pale pink-biscuit outfits confronting a background of soft blue-greyness and a more brilliant periwinkle blueish on the left. The collage technique and unfinished quality of this piece propose that it may have been a sketch for a more than finished work. Like Picasso, Laurencin was commissioned past trip the light fantastic toe impresario Sergei Diaghilev to produce costumes and ready designs for ballets, and she produced several oil paintings of dancers, often in pairs or trios. Information technology is conceivable that this work was used equally a manner to experiment with colour combinations of costumes and sets for a ballet production.

Sir John Lavery was best known for his portraiture. In the 1870s, he attended classes at the Haldane Academy of Art while he worked for a Glasgow photographer, retouching photographs. In 1879 he moved to London and took painting classes at Hetherley'south Schoolhouse, where he painted costume models and learned the fine art of producing marketable backgrounds. Lavery traveled to Paris in 1888, studied at the Académie Julian, and worked alongside international artists. There, his work gained recognition, and by 1888 he was awarded the opportunity to pigment Queen Victoria's visit to the International Exhibition in Glasgow during the yr of her jubilee. This commission propelled his career and solidified his standing as a distinguished portrait painter.

In 1910, the editor of the Illustrated London News commissioned Lavery to paint a portrait of the Russian ballerina Anna Pavlova, to advertise her 2d season at the Palace Theatre. Lavery accepted the request with the stipulation that Pavlova would provide "a reasonable number of sittings and some kind of understanding that appointments would be kept." Pavlova modeled for Lavery regularly during her time in London. These appointments resulted in the portrait for Illustrated London News, in addition to ii full-length painted portraits of Pavlova in her role as Bacchante, including the one shown here (the 2nd is in the collection of the Kelvingrove Fine art Gallery and Museum, Glasgow).

Henri Matisse, an early twentieth century French designer, writer, and creative person worked in painting, sculpture, and print. After an exhibition at the Salon d'Automne in October 1905, Matisse among several of his contemporaries were identified equally fauves (wild beasts), for their brash, colorful, and avant-garde compositions. He used expressive brushwork and unnaturalistic, bright and brilliant colors in his works that challenged traditional modes of representation and moved away from the style of Impressionism.  In this work, created not long later that exhibition, Matisse depicts a female nude in an intimate setting. Though the composition is void of colour, the linework is signature of his technique. The busy, geometric lines of the background emphasize the delicate, curved lines and the lack of defined musculature of the figure in the foreground. While Matisse worked in a variety of printing techniques, this woodcut is a rare case from his oeuvre.

Marius-Jean-Antonin Mercié, who studied at the École des Beaux-Arts in Paris, was one of the most prominent French sculptors of his fourth dimension, and his monumental works were in great need. During the four decades of his prolific career beginning with his Salon debut in 1868, he received numerous major institutional awards, public popularity, and disquisitional acclamation.

The hollow-cast bronze Gloria Victis is a reduced serial bandage after his 3-meter-high original in plaster fabricated while in Rome. When Prussia invaded France in 1870, Mercié executed a winged female figure of Glory supporting a victorious soldier, only after learning of the French surrender in 1871 he replaced the latter with a dead soldier holding a broken sword. The work thus became a memorial for the fallen soldiers of the Franco-Prussian War, an apologue of "Celebrity to the Vanquished." This commemorative monument, showtime shown in Rome in 1873 and and then in Paris the next year, received a sensational public reception. The urban center of Paris caused the plaster sculpture and had information technology cast in bronze at total calibration (now in the Hôtel de Ville) in 1875. Other communities throughout France also commissioned full-calibration statuary casts of this celebrated work. In response to its enormous popularity, Barbedienne, a noted Parisian foundry, was authorized to brand Gloria Victis in reduced calibration. Inscribed on the front end rim of this sculpture's base is the work's title, "GLORIA VICTIS," and on its back, the foundry marking, "F. BARBEDIENNE, FONDEUR." Nigh the left human foot of the winged figure is the artist'southward signature, "A. MERCIÉ."

It is worth noting the grace of both figures' elongated bodies. The diagonal lines created by Glory's limbs and open up wings propose energetic movement. The bronze surface as well has sumptuous patinas: nighttime brown for the curtain, medium brown on the skin, and aureate tone on Glory's armor.

Alberto Pasini is all-time known for his Orientalist paintings that realistically depict Middle and Nigh Eastern subjects, based on kickoff-hand observations during his extensive travels to the region.  His first trip was to Persia via Arab republic of egypt in 1855–56.  During his second trip in 1859, he stopped at Cairo, crossed Arabia along the Lebanese coast, and concluded in Athens. A Mosque in Cairo is characteristic of Pasini'due south genre-like paintings with Orientalist themes that render city lives and highlight Islamic architecture and community. As typical is the atmosphere evoked through intense light and brilliant color. Hither, Pasini captures a slice of urban life taking place in the corner of a square, exterior a smithy and a small mosque. Two farriers hammer a horseshoe onto one of two horses, watched by two men dressed in caftans nearby. Though meticulously rendered and having the semblance of a careful recording of an observed reality, it is an imaginary scene concocted from earlier drawings.

Pablo Picasso was a Spanish painter whose prolific career totals more than than 20,000 artworks. His style encompasses that of Cubism, Neoclassicism, Surrealism, and Expressionism. In his final years, Picasso was highly influenced past historic paintings and how he would fit into the fine art historical canon. Les Femmes d'Alger is a series of around 14 paintings and 100 drawings inspired by Eugene Delacroix's 1834 painting The Women of Algiers in their Apartment. Picasso encountered this work at the Louvre in 1874 and visited many times to report the painting. While Delacroix'southward orientalist piece of work was rendered in a romanticized mode, Picasso dismantled Delacroix's themes, figures, and imagery and transformed them with a modern take. Hither, Picasso emphasized the two-dimensional quality of the picture plane and created abstracted, geometric figures inspired stylistically in role by his colleague, Henri Matisse.

Emile Louis Picault made numerous statuary statues of allegorical, mythological, and historical subject matter. Typical of his piece of work, La Source du Pactole (The Source of Pactolus/Great Wealth) is an apologue personified by an idealized young male nude. The figure that appears seated on a rock personifies the river Pactolus, where according to Greek mythology Rex Midas done his easily and thereby turned sand into gold; the word "pactole" in French is synonymous with "great wealth" and "gilt mine." His pose and aspect of a h2o jug, out of which gilt coins spill similar water, adhere to the traditional iconography of river gods. Still, this effigy appears to be modeled after a worker who holds a hammer and a caliper in each hand and wears a headscarf. In the last quarter of the nineteenth century, images of workers and transmission labor were indeed prevalent and tended to be idealized like heroes and gods.

Joseph Mallord William Turner was a nineteenth century English Romantic painter and printmaker, recognized for his sublime landscapes and seascapes.  In his Shipwreck, the artist demonstrates the sheer force of the elements; the body of water becomes the focus of the composition as the individuals on the boats fall victim to the ability and forcefulness of the water.  Turner incorporates chiaroscuro, the contrast between light and night, to create perspective, depth, and drama.  This intensely atmospheric and dynamic scene depicts the dangers of natural phenomena and emphasizes the sublime notion that humans are at the mercy of nature which was popular in the nineteenth century. This engraving, created after Turner'south 1805 painting, highlights the work of i of his most dedicated chief engravers, William Miller.

The nineteenth century saw the revival of gothic and medieval designs, and by the 1860s they had go a major influence in Europe, especially England due to its cultural past. Craftsmen explored the medieval flow further by reviving the stained-glass medium to adorn the interior of churches and individual residencies. These stained-glass windows were likely made by a commercial English language studio for the 1871 Hartford, Connecticut home of Lucy and James Goodwin.  Gear up at the end of the hallway of the master archway of the business firm, which overlooked the piazza, the windows immediately set the tone for visitors. The precious stone-toned windows recall medieval stained-glass blueprint, with roundels featuring oak, maple, and cherry branches, birds, and fruit.

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Source: https://www.rollins.edu/rma/collection/european-art/19th-and-20th-century-art.html

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