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- Stone Breakers
- Artist: Courbet
- Era: 19th century Realism
- Techniques:
- portrayed the lowest in French society
- menial labor is neither romanticized nor idealized
- dirty brown and grays convey the dirty nature of the tasks
- sharp angles created in bodies - suggests mechanical monotomy
- painted the year before workers rebelled against republic for reform of working conditions
- Revolution of 1848 - labor became a national concern and puts the workers on center stage
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- Burial at Ornans
- Artist: Courbet
- Era: 19th century Realism
- Techniques:
- anti-heroic composition and ordinary subject matter
- autobiographical - death of the artist's paternal grandfather
- church fathers and leaders of the village are present
- exact view from cemetery at Ornans
- figures in groupings
- creates movement through:
- - panoramic view
- - use of white
- - groupings of figures that create an undulating line
- women are doll-like with dark colors
- sparing bright colors
- walls of figures seen at eye level - blocks view of what is behind them
- barren cliffs and overcast sky highlights focus towards ground
- faces are specific portraits
- artist controls composition through color
- mundane reality of life and death
- "represents a small town funeral, yet represents the funerals of all small towns" - critic
- ordinary rhythms of everyday life
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- Gleaners
- Artist: Millet
- Era: 19th century Realism
- Techniques:
- considered to be the rural counter part to Courbet
- three women preforming the backbreaking work of gleaning the last wheat scraps
- feudal right traditionally granted to peasants
- clearly outlined figures that are projected forward from background by the high horizon line
- figures are almost individual sculptures
- open, vast sky that stretches back so far to help project the women forward
- other workers in background - disproportionately small
- 3/4 landscape shows dominance of land- workers have realistic truth and a calm mood
- sympathetic portrayal of poor that was sometimes considered a political manifesto
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- Harbor of La Rochelle
- Artist: Corot
- Era: 19th century Realism
- Techniques:
- Classical structure to it
- cloudless, airless dimension
- diluting the drama and the color tones of Romantic era
- soft, quiet
- careful gradation of tone
- filtered light from outside the picture frame and casts soft, long shadows
- filtered light dances across the picture frame
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- Rue Transnonian
- Artist: Daumier
- Era: 19th century Realsim
- Techniques:
- depicts an atrocity with the same shock as Goya's Third of May
- broken, scattered bodies
- increasing artistic bias towards using facts as subjects
- rough and spontaneous - pictorial manner
- expressive exaggeration which creates a more dramatic impact
- small piece
- baby under his arm
- street in Lion - unknown sniper killed a civil guard who went to try to suppress the a labor riot - remaining civil guard storm the building (housed working families) where the sniper was and killed everyone inside, including women and children
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- Nadar Raising Photography to the Height of Art
- Artist: Daumier
- Era: 19th century Realism
- Techniques:
- portrays struggle of getting photography recognized as a fine art
- court decision that said that art was a fine art so that they could protect it with copyrights
- Nadar is energetically taking pictures in a balloon over Paris with roop tops labeled "photography"
- Nadar was a staunch advocate of balloon transportation and produced the first aerial photos of Paris in his balloon called the Giant
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- Third-Class Carriage
- Artist: Daumier
- Era: 19th century Realism
- Techniques:
- glimpse into a cramped a grimy railway carriage of the 1860s
- hard wooden benches
- displaced 19th century industrial people in unposed attitudes and unplanned arrangements - candid shots
- anonymous, insignificant, and dumbly patient with a situation that they couldn't change
- vague, impersonal, and blank faces
- tries to achieve realism by isolating some unplanned details to emphasize the monotony of everyday light
- some people in back have undetailed faces
- women in foreground are dignified
- effects of industrialization
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- Olympia
- Artist: Manet
- Era: 19th century Realism
- Techniques:
- Olympia was a popular name for prostitutes back then
- white bed extends across foreground - reminiscent of the Venus of Urbino by Titian
- nude except for ribbon on neck, bracelet, mule slippers, and orchid in hair
- meets the viewer's eye with a look of cool indifference, shameless, almost defiant
- black maid presents her with a bouquet of flowers from one of her clients
- combination of a black made and a nude prostitute evoke moral depravity, inferiority, and animalistic sexuality
- contrast of skins made reference to racial divisions
- rougher brushstrokes
- abrupt shifts in tone
- black cat alludes to evil ways of both women - depravity
- similar to Venus of Urbino
- - use of white sheets but rougher lower class sheets
- - wall pushes her forward
- - wall divides women
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- Le Dejeuner sur L'Herbe
- Artist: Manet
- Era: 19th century Realism
- Techniques:
- heroism of modern life
- one is Manet's brother and the other is his favorite sculptor Leenhof and the woman is Meurend is his favorite model
- unidealized figures, at ease
- flirtatious pose that appalled the gov't sponsored salons
- throw back to Gorgione
- still-life, landscape, and figuration
- people = land
- color and light bind them
- light is so even that it flattens everything
- figures don't have mass or volume
- captures tones and values
- originally titled "The Bath"
- back section has a softer focus, broadly painted planes, and is more blended
- harshly lit figures in foreground
- paints in still-life in cloth and basket and the figures are the part of it
- synthesis of the history of painting - portraiture, pastoral scenes, history painting, nudes, and religious scenes
- triangular composition alludes to holy trinity
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- Nymphs and Satyr
- Artist: Bouguerreau
- Era: 19th century Realism
- Techniques:
- flirtatious, idealized, beautiful nyphs striking various poses blending them into the background
- naturalistic in manner
- didn't like being labelled as realist
- focused on people
- made to look like real people
- it was accepted to see nudes when they are mythical subjects
- highly requested artist
- lighting makes everything seem as though the figures are glowing - makes it look fictional
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- Horse Fair
- Artist: Bonheur
- Era: 19th century Realism
- Techniques:
- reminiscent of Burial at Ornanz
- movement in animals
- uneven line almost hidden by the activity of the horse
- influenced by Parthenon's frieze and Gericault:
- - dramatic lighting
- - loose brushwork
- - rolling sky
- wildness, vibrancy, and liveliness to the work
- reproduced it in engravings making it extremely popular
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- Veteran in a New Field
- Artist: Homer
- Era: 19th century Realism
- Techniques:
- simple, direct, and significant commentary on the effects and aftermath of the Civil War
- man with his back to the viewer harvesting wheat
- veteran clear from uniform and canteen and title
- gone from harvesting men to harvesting wheat
- national concern of disbanded soldiers - veterans concern was how to smoothly transition from time of war to a time of peace
- America's ability to affect a smooth transition
- comments symbolically about death (soldiers and Lincoln)
- farmers used a cradled scythe to harvest wheat by 1860s
- one tool transformed veteran into a symbol of death - grim reaper
- painting is a ellagy to soldiers who died in war and lamentation of recently assassinated president
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- Fox Hunt
- Artist: Homer
- Era: 19th century Realism
- Techniques:
- whom is hunting whom?
- fox being hunted by crows
- winter scene with deep snow making fox's movement slower
- everyone is looking for something to eat
- harsh outline of fox against snow - ligthing
- Romantic because of violence in nature
- 3/4 landscape
- high horizon line pushes fox to foreground
- warm colors in foxes coat contrasts to rest of piece
- survival of the fittest
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- Gross Clinic
- Artist: Eakins
- Era: 19th century Realism
- Techniques:
- named after doctor Gross in Jefferson medical center
- lecturing on a surgery - bone infection
- softened brushstrokes like Rembrandt
- rejected by Philadelphia exhibition
- two people standing in doorway
- harsh lighting focuses the viewer's attention
- fifty-fifty composition
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- Horse Galloping
- Artist: Muybridge
- Era: 19th century Realism
- Techniques:
- callpotype print
- bet to prove that in stride horses legs are all off the ground
- zoopraxiscope - projects a sequence of images onto the screen - illusion of motion
- begins realism of cinema
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- Daughters of Edward Darley Boit
- Artist: Sargeant
- Era: 19th century Realism
- Techniques:
- different levels of trust and maturity
- story of coming of age, emotional development of a young woman
- foreground is youngest with innocent expression
- next daughter is behind her
- third one is pulled back
- fourth on has side to viewer in total defiance
- ecentric arrangement of slight figures to suggest how much at ease they are
- Japanese vases, red screen, and fringed rug are huge in scale making the girls more diminuitive
- picture frame cuts off objects
- casual positioning of figures
- alluding to the concept of photography and the candid shot
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- The Thankful Poor
- Artist: Tanner
- Era: 19th century Realism
- Techniques:
- quiet devotion similar to Millet's work in terms of mood
- Rembrandt's soft circular brushstrokes and lighting
- extended families all living under one roof
- dignity, peace, and tenderness
- softer light
- lighter strokes
- light dissolve details
- golden light illuminates child's expression
- its much more important to learn for the younger generation
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- Ophelia
- Artist: Millais
- Era: Pre-Raphaelite Brotherhood
- Techniques:
- based on Shakespeeare's Hamlet
- captures the moment of her suicide
- creates every detail as if it is a word in a poem
- setting is a spot along a real river
- had his friend lie in a bathtub to capture the realism
- realism evokes emotion
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- Beata Beatrix
- Artist: Rossetti
- Era: Pre-Raphaelite Brotherhood
- Techniques:
- spiritual beauty of women
- from the work of Dante
- looking down on Florence from Heaven
- painted as a memorial to his wife, Elizabeth Siddal, model for Ophelia
- trance-like state
- red dove deposits a poppy flower in her hands
- red dove is a messenger of love and death
- poppy is symbolic of sleep and death
- Siddal died of an opium overdose
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- Blessed Art Thou Among Women
- Artist: Kaisebier
- Era: Pre-Rahpaelite Brotherhood
- Techniques:
- photograph
- platinum print on Japanese tissue paper
- meditative mood through soft focus of lense
- center figures and vertically framing them in the doorway
- frontaly posed girl with profile woman
- parallel biblical picture of the Annunciation - encouraging child to be coming something more
- clothes contrast
- girl seems real but the mother isn't present, alludes to spirit
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