EXAM II Flashcards by Eliza Samuelson

Cassatt, The Child’s Bath 1893

Cassatt is famous for the mother and child imagery
Connection to Japanese prints (ukiyo - floating world)
Everyday life, appeal, and formal qualities, asymmetrical, flat composition, cropper, strong respect for formal surface & vantage points
Not necessarily the child’s mother - both are absorbed in their tasks
Depicted from above, angular and complicated moves eye across the canvas
Patterns are formally inventive - stripes dresses all exploration
The link between mother and daughter hair color and eyes
Space defies illusion
Keeps sentimental reading at a distance

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Cassatt, Child’s Bath, 1890

Series of 10 color prints
Never done before, printing color/printing directly on the plate
Inventive
Letter to Morisot about the excitement of the prints
Babies body is bare naked paper, figuring out how to cut out on the plate
Wanted a democratic distribution of them - consistent with impressionist desires
Subject = everyday life, the rituals, non-events, what’s available to her
Emphasis on line and pattern
Absorption in everyday acts in a complex composition
Aquatint - a resin that blocks the acid, like fine spraypaint to give tone to a piece using a number of prints to get the effect by layering them

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Cassatt, The Letter, 1890

Act of writing letters was a big part of women’s lives, especially for Cassatt as an EX-PAT writing home to US
Playing with pattern - empty paper of women’s dress picks up with the pattern of the wall
Thoughtful
Subversive, licking the envelope
The foreshortening of the desk, empty space - using the positive and negative space
Very complex composition

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Monet, Le Déjeuner sur l’herbe, 1865

Monet born in Paris but raised in Normandy, father expected him to join the family business but defied him by becoming an artist and lived in poverty without his allowance
Large work - expensive to produce, interesting given social status
Chailly, edge of forest = started and finished never in Paris
Wanted this to be 5x the size of Manets, huge work, 25 ft
Cut picture up and only have these remaining fragments
Solidly middle-class figures, not prostitution reading, contemporary figures
Models = Fredrick, a friend and Camille Doncieux, friend mistress and wife
Looking to fashion like they’re mannequins
Fashion ever-changing so significant he wants his figures fashionable, wishes to sell the piece
Attention to light and shadow, eventually with impressionists
Light is filtered through the trees, sense of volume with the figures
lightly confusing space, interest in defying illusionism, forgoing modernism

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Monet, Women in the Garden, 1866

So poor desperate for recognition, submitted to salon and rejected
Sells to Bazille, couldn’t pay quickly enough creating tension, large scale painting $$$ to produce
Created in Plein air at a house he rented
Strong sunlight & how it interacts, sharp contrast, new french painting
Optical immediacy; bright sunlight making it uniformly bright and shadowed
Not interested in blending the light and shadow, strong contrast
Ability to create an image
Camille Doncieux = model for all 4 women because he couldn’t afford multiple women
Obscures cami’s face
Looking to fashion plates
Sharing studio w/ Bazille w/ studio dresses as props
Representing her as upper-class women but she was his mistress
About a year before she got pregnant
Connection to the Franco-Prussian War

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Monet, Quai du Louvre, 1867

Not only interested in the suburbs, but also the city
Had to request & get permission from super attendant from the louvre to set up out the window facing east
Views of Paris like this not done before
Inventive & takes guts - literally turning his back on tradition and paintings of the masters - not painting them
Hustle and bustle of the area between siene and the louvre
In distance = Saint Etienne Du Mont, Pantheon & Hausmann buildings
Combining old and new deliberately
Statue of Henry IV framed between 2 tress - Haussmann placed to beautify the city - formal center of composition
Henry IV was king when bridge was built - statue was later taken down by Louis 16th during the 1792 revolution but rebuilt in 1818
Highlights this and old buildings - interest in history and the modern movement of the city
Aumnibus = sign of modernity
morns column & advertisements = sign of modernity
Newspaper kiosk
Juxtaposing the old and new
Horizontal format repeated through formal elements
French flags root us even further in where we are

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Monet, Saint-Germain l’Auxerrois 1867

The gothic church underwent renovation in second half the 19th century
Trees imported $$$
The central part of church remains the same
Horizontal format to include Hausmann buildings
Juxtaposing the olf and new & religious and daily life
Debates of religion had been catholic but challenging - not critiquing just observing it
Wanted to paint this specific church in part of his proposal to the Louvre - not really turning his back here
But still depicts movement and light and shadow
Sense of the crowd & ephemerality of the people becomes central to the painting
Manipulating space to get his representation
Modern movement of life - showing his hand in the rendering of people

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Monet, Bathing at La Grenouillère, 1869

20 minutes by train w/ mile walk to get to croissy island
Suburban leisure became popular with Parisians; had restaurants, rowboats, bathing costumes.
Two women & instructor in the bathing costume; getting lessons
Minimally & schematically represents swimmers
Can only understand by context not representation; same with the water
Bold exploration
Also had other versions of this & so did Renoir
La Chambert - walkway
The la greunelliere - translates to frogs but also slang for prostitutes and they would have hung out here
Differences with Renoirs and Monets
Both Renoir and money interested in boats
Renoirs paint = more dabbled, free, not as solid as Monets
Monets trees become abstracted; look like trees because of context, Renoir more colorful
Both interested in light and air
Monet reduces palette and color
Both trying to figure out styles - haven’t gotten into impressionism yet
Societe Anonyme - the name they gave themselves at first exhibition
Impressionist exhibitions (1874-1886) 8 exhibitions
Impressionists = name given to them
Alternative viewing space for unacademic paintings
Not veristic, mythical, biblical, historical - everyday life - revolutionary movement
Each artist has his or her own approach - IMPRESSIONISMS
everything hung democratically
Proceeds split
Equality
Political events in 1870 - the siege of Paris w/ Prussians many people leave, eat animals in the zoo.
Serious trauma and Impressionism is optimistic, beautification in modern life

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Renoir, Bathing at La Grenouillere, 1869

Connection to Monets Bathing at La Grenouillere

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Monet, Impression, Sunrise, 1872

Old English port in Normandy
Early morning misty view, steam, mist, haze what’s happening on the French shoreline - commerce and trade
Representing this harbor at sunrise
Bold blob sun - clashing strokes of red and white, no blending, break up form in reflection
Eyes of viewer mix paints, parts not described but invoked
Artists’ hand is all over the canvas
All things reduced in favor of representing an overall impression
In relation to this impression got its name, wasn’t the original title
When Louis (critic) saw it he ended up calling the exhibition of the impression even though it was deprecating it caught on
The root where we get impressionism and they took it and ran with it and turned it into a positive meaning

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Renoir, Luncheon of the Boating Party, 1880

Complicated composition
Socialization = main theme
Know the models
Ellen Andre - Connection to Manet, the Beer drinker
Gustave Caillebot
Eileen - Mistress and wife of Renoir, son Pierre, lower class
Figure on the railing - the owner of the restaurant
Maison Fornaise = restaurant name
Siene in the distance
Restaurant and boating house
Rue de la galette = complicated piece but figures are individualized and different classes are represented
Caillebot rowing uniform is working class but he’s upper class and same with the restaurant owner - everything is a construction
Convivial mingling, not threatening like Manet social mixing, positive representation of modern socialization
Luminous work, light and shadow w/ water, objects on table and figures
Brushwork for landscape is even more flickering - intimately relates paint and figures give a sense of idyllic and carefree enjoyment which is typically for Renoir

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Renoir Study (Torso of a Woman in Sunlight) 1876

Shown in the 1876 impressionist exhibit
Where bather series and interest in female nudes start
passive female form unlike Degas
The more traditional representation of female nudes, but not an academic formal depiction
Not complex, idealized, timeless, natural, artificial

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Renoir Blonde Bather 1881

In conjunction with Study (Torse of a Woman in Sunlight)
Passive, not complex, idealized form, artificial light, represented so male gaze isn’t compromised
Interest in light effect, not veristic skins
Undoing tradition people are threatened subverted reference to Venus in their painted and modern body
Moving away from nudes but he becomes a specialist of bathing women

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Renoir Great Bathers 1887

Old fashioned take on bathers
Didn’t have a positive view of Hausmannization and modernity
Forward-thinking with paint but traditional in subject
Huge scale, 3 years to complete
Not in the moment trend of impressionists
Anything but natural, polished, idealized forms
Stability in figures through triangles repeated
Not academic but not not academic
Permanence of the figures
Impossible pose on the left
Monumental scriptural forms
Removed from modern life - no particular place, timeless, placeless, idealized view of nature and women
Exhibited in the salon in 1887 and not well received
Sense of freedom when women had no freedom at all - irony

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Sisley, The road from Versailles to Saint-German, 1875

Often gets cast out but core member fo the group
British; parents = expats in Paris
Mostly interested in the countryside
Easy to access from Paris, the popular w/ group
Impressionists were using new dyes for pigments, vivid color spectrum playful
View of the vineyard & hanging loose clouds
Animated surface similar to other artists
Soft play of golden light not in the figures

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Monet, Poplars, 1890

By 1886 last exhibition & the group splits
All artists always doing their own things and selling in galleries
Monet becomes more sales-oriented & forgoes human form
Poplars along the river - 2 miles from his house, studio in a boat
Trees were going to be sold for timber but cut a deal so he could paint them beforehand
Moves with them as light and boat moves
Finishes in his studio with one another
Break from the sense of moment and impressionistic moment ideal but sustains the analysis overtime
not about spontaneity or modern life, but his life is still modern
Greater engagement with time and atmosphere
Effects of aesthetic, popular like stripes, flatness, the natural world is abstracted, linearity, square composition, simplified aesthetical value

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Monet, Haystacks (Grainstack) 1891

Even nature manipulated by man
Formal experimentation
30 in total in series
Light changes, time changes, season changes, shadow changes
Focus on grain stacks and atmosphere around too
Deeply individualized even though in a series

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Monet, Rouen Cathedral, 1893

Another subject; west facade of church
Faithful and not faithful at the same time
Goes back and retouches
Atmospheric and also highly contrived
Makeshift apartment studio, looking out of the window, many canvas during one day
Changing light and perspective
composites
Representing solid mass how looks - vibrating
Explores formal which downplays the religiousness
Republic government was anti-clergical
Connection to his first church painting
Essential to composition but backdrop to urban life
Always interested in light and shadow but treated differently through series

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Caillebotte, Man at Window, 1876

Urban, domestic, and gender = themes
Model = brother right before death in family’s mansion
Exhibited in 1876
Liminal space but interior
Looking at the street which is pretty muted, a woman in street cause of his gaze; the privilege of male gaze vs. female subject
Psychological complexity and formality - buildings leave woman trapped - zig-zag of Hausmann’s Paris is gridlike
Bourgeois interior and privileged position he’s us but also bocks our view
plunging views = hallmark of Caillebotte (very urban)
Makes woman smaller than she is, interested in geometric, interested in analytical images of urban scenes

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Caillebotte Interior, Woman at Window 1880

Bought an apartment on Haussmann blvd
Exhibited and liked it, bourgeois couple but the woman is starkly silhouetted
Relationship - close physically but disconnect psychologically
Interest in the psychological representation of bourgeois gender relations
Celebrates Haussmann but understands the tension it causes
Not an open window, looking through closed window, curtain frames her and domesticates her overtly behind and looking out - blocked access to the city
Woman has some access but is limited
Someone looking at her in hotel Cantaberry window
Freedom to look is turned on its ear by this subtle fact shes looked back at not complete freedom like the man simply looking in the window
Relationships of people among the city
Man absorbed in public
Oblivious to one another thematizes anxieties in modern life

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Monet Boulevard des Capucines 1874

exhibited in the 1874 [Impressionist] exhibition
does not simply offer a passive viewing experience
Low down around the tree trunks appear numerous horizontal marks of silvery gray pigment. These marks at once indicate the roofs of carriages seen through the leafless branches and trunks, and appear to hover suspended on this side of the trees, owing to the way in which they frequently run across the trunks.
Such ambiguities, rather than being failures in the image, are in fact the very entry points for the perception of the beholder, the teasing limnal regions that call upon the beholder to take up the transcribed perception and to explore its ambiguities, just as if they were encountered in real perception, like squinting to make out the lineaments of a fog-enshrouded boulevard or pausing to gain one’s bearings in a steam- and smoke-filled train station.
hausmannization

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Renoir Les Grands Boulevards 1875

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Study These Flashcards

Pissarro Red Roofs, Corner of a Village 1877

Study These Flashcards

Monet Gare Saint-Lazare 1877

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Monet Gare Saint-Lazare 1877 (Cambridge, MA)

Renoir, The Swing 1876

Renoir Dance at the Moulin de la Galette 1876

Caillebotte, Floor Scrappers, 1875 ## Footnote - Known for representing male figures - Rejected from salon, shown in the impressionist exhibit of 1876 - New subject for art at the time - working class males - Plaining floors in family mansion for his studio but looks like could be any Haussmann building - Was considered vulgar, leftist political statement - Identification with these figures - plunging perspective - Lines creating vistas - strong diagonals with curls - Hard labor of working-class, homoerotic gaze thought to show serious anxieties that maybe there but not intentionally homoerotic - Formally complex played against guided molding with diagonal and vertical - worms eye view and birds eye view - very confusing and complex and deliberate - Not gestural in brushstrokes

Caillebotte, Male Bather, 1884 ## Footnote - Representing unheroic contemporary male figure, moment and setting - Defying any ideas of idealized mythological nudity - Contemporary vigor of the body through brushwork - Male masculinity was at question especially with the loss of the FP war - Would have been a traditional setting for female - Showing him from behind - sexually available, problematizes nudity with domesticity - Interior not always feminine, questions the space and how people interact with it

Bazille Fisherman with a Net 1868 ## Footnote - Contemporary figures at the river - Not an activity need to do in the nude - Non-urban, a natural setting, really confusing viewer - Effects of light and shadow - Another nude figure in the distance - Issue of propriety and male nudity, the city found it necessary to forbid male nude bathing - Real problem for contemporaries

Bazille Summer Scene 1869 ## Footnote - Various activities - Some specific rendering but not entirely - Plaints image in the radical format of a square - Factories in the distance - figures on their day off - Interested in the freshness of color, light and shadow - Contemporary bathing trunks roots the swimmers in the now - Shapes - stripes capture the movement and moment - Vulnerability

Caillebotte Boulevard Seen from Above 1880 ## Footnote - Making strange dizzying angles and plunging views - New kind of Paris - no horizon line - Rounded grates played against diagonal of bench - 4 men seen from the top foreshortened - interchangeable and isolated, no interaction - Tree only natural element in Haussmann pictorial space - Street, carriage, horse, grid-like structure - Geometry and shape to control composition - Repetitive

Caillebotte Fruit Displayed on a Stand 1880 ## Footnote - Themes = selling and consumption - Artfulness of selling and display is a celebration - Tomatoes @ the right wouldn't have been displayed with other fruits at major fruit markets - Not representing a large fruit market - All white paper - hand of green grocer - Packing paper into pans - Plums manipulate space - Quinces, apples, figs, pears, - Diliberately being ambiguous and conveying a sense of the whole - Looking from above - urban viewpoint, imposes this view and gridlike structure to create picture composiiton - artfulness and modernizing in this - About commodity and consumption = modern

Caillebotte Paris Street; Rainy Day 1877 ## Footnote - 1877 impressionist exhibition - Huge scale - Cross roads near gar saint lazar - complex intersection - engaging with an actual place - urban, haussmannization, fashionable - Scaffolding, troubling of haussmann - constant interruption of life - highly rational and crafted composition - X's, squares, grids - Veil of the woman to class and mans dress - Mans unsettles a seemingly stable structure, coming into the class - Caillebotte plays instability of everyday life - distraction - Rushing perspective

Caillebotte Le Pont de l’Europe 1876 ## Footnote - pont = bridge in french - bridge going over train tracks - Zola calls this bridge the iron star because of its multiple arms - Choosing viewpoints engage with his interest in design, the urban, and structure - Complicated composition, rushing perspective - Imperial soldier, carriage coming into the scene, the intersection of people - passing train in smoke interrupts the view - Woman = ambiguous not clearly accompanied by the man

Ingres Turkish Bath 1862 ## Footnote - always a construction based in fantasy - middle of the second empire - the orient becomes a pretense to represent exotic - round format - sold quickly - problematic - flesh against flesh - otherness of the slaves - harem - repetition of the fresh

Jean-Léon Gérôme Moorish Bath 1885 ## Footnote - started in London, ended in paris, never in turkey - Reminds viewers position as white, creating racial otherness - white of skin is dramatic against bather - Elastic perfect skin vs. muscular - uses light to highlight differences - opposition inside and outside the painting - both objectified in different ways - sense this is real which makes it believable - don't know so assume real - two nudes in space = double whammy for male erotic viewing - unknowable places & relation to the female nude - like degas's very knowable places

Jean-Léon Gérôme Moorish Bath 1870 ## Footnote - Reminds viewers position as white, creating racial otherness - white of skin is dramatic against bather - Elastic perfect skin vs. muscular - uses light to highlight differences - opposition inside and outside the painting - both objectified in different ways - sense this is real which makes it believable - don't know so assume real - two nudes in space = double whammy for male erotic viewing - unknowable places & relation to the female nude - like degas's very knowable places

Gérôme Slave Market 1866

Gérôme Snake Charmer 1880 ## Footnote - Young boy's body is the locus of desire, charming snake, the phallic element added to the erotic charge - details of tiles look objective, however, they're created - Inspired by palace Topkapi palace, which is problematic because it doesn't exist - Spectators represent varieties of ethnicities - No western viewer in popular because of absence of time