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Chapter 20The Baroque in Northern Europe

Gardner’s Art Through the Ages, 14e

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Europe in the 17th Century

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Figure 20-2 PETER PAUL RUBENS, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood, 15’ 1 7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing). Antwerp Cathedral, Antwerp.

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Figure 20-3 PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, 12’ 11 1/2” x 9’ 7”. Louvre, Paris.

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Figure 20-4 PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti, Florence..

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Figure 20-7 HENDRICK TER BRUGGHEN, Calling of Saint Matthew, 1621. Oil on canvas, 3’ 4” x 4’ 6”. The Hague.

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Figure 20-8 GERRIT VAN HONTHORST, Supper Party, 1620. Oil on canvas, 4’ 8” x 7’. Galleria degli Uffizi, Florence.

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Figure 20-9 FRANS HALS, Archers of Saint Hadrian, ca. 1633. Oil on canvas, approx. 6’ 9” x 11’. Frans Halsmuseum, Haarlem.

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Figure 20-10 FRANS HALS, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil on canvas, 5’ 7” x 8’ 2”. Frans Halsmuseum, Haarlem.

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Figure 20-11 JUDITH LEYSTER, Self-Portrait, ca. 1630. Oil on canvas, 2’ 5 3/8” x 2’ 1 5/8”. National Gallery of Art, Washington, D.C. (gift of Mr. and Mrs. Robert Woods Bliss).

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Figure 20-12 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”. Mauritshuis, The Hague.

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Figure 20-13 REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas (cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam.

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Figure 20-14 REMBRANDT VAN RIJN, Return of the Prodigal Son, ca. 1665. Oil on canvas, approx. 8’ 8” x 6’ 9”. Hermitage Museum, Saint Petersburg.

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Figure 20-15 REMBRANDT VAN RIJN, Self-Portrait, ca. 1659–1660. Oil on canvas, approx. 3’ 8 3/4” x 3’ 1”. Kenwood House, London (Iveagh Bequest).

20-15A REMBRANDT VAN RIJN, Self-Portrait, 1658. Oil on canvas, 4’ 4 5/8” X 3’ 4 7/8”. Frick Collection, New York. 15

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Figure 20-16 REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca. 1649. Etching, 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.

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Figure 20-20 JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Oil on canvas, 4’ 4” x 3’ 8”. Kunsthistorisches Museum, Vienna.

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Figure 20-20A JAN VERMEER, The Letter, 1666. Oil on canvas, 1’ 5 1/4” x 1’ 3 1/4”. Rijksmuseum, Amsterdam.

20-18B JAN VERMEER, View of Delft, ca. 1661. Oil on canvas, 3’ 2 1/2” X 3’ 10 1/4”. Mauritshuis, The Hague.

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20-19 JAN VERMEER, Woman Holding a Balance, ca. 1664. Oil on canvas, 1’ 3 7/8” X 1’ 2”. National Gallery of Art, Washington, D.C. (Widener Collection).

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The Music Lesson

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Figure 20-21 JAN STEEN, The Feast of Saint Nicholas, ca. 1660–1665. Oil on canvas, 2’ 8 1/4” x 2’ 3 3/4”. Rijksmuseum, Amsterdam.

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Figure 20-24 HYACINTHE RIGAUD, Louis XIV, 1701. Oil on canvas, 9’ 2” x 6’ 3”. Louvre, Paris.

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Figure 20-26 Aerial view (looking west) of the palace and gardens, Versailles, France, begun 1669.

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Figure 20-27 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Louis XIV, Versailles, France, ca. 1680.

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Figure 20-29 JULES HARDOUIN-MANSART, Royal Chapel, with ceiling decorations by Antoine Coypel, palace of Louis XIV, Versailles, France, 1698–1710.

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Figure 20-28 FRANÇOIS GIRARDON and THOMAS REGNAUDIN, Apollo Attended by the Nymphs, Grotto of Thetis, Versailles, France, ca. 1666–1672. Marble, life-size.

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Chapter 21Rococo to Neoclassicism: The 18th

Century in Europe and America

Gardner’s Art Through the Ages, 14e

Colonial America becomes The Independent United States 1776

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Columbus 1492Pilgrims 1620

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Figure 21-2 GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740.

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Figure 21-3 FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century.

Figure 21-4 & 215 BALTHASAR NEUMANN, interior (left) and plan (right) of the pilgrimage church of Vierzehnheiligen, near Staffelstein, Germany, 1743-1772.

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Figure 21-8 FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on canvas, 5’ 6” x 2’ 10”. The Wallace Collection, London.

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Figure 21-9 JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 8 5/8” x 2’ 2”. Wallace Collection, London.

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Figure 21-12 ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England, 1776–1779.

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21.3 The Taste for the Natural

• Examine the philosophy of Jean-Jacques Rousseau, in contrast to Voltaire, his interest in the ‘natural’ as opposed to the ‘artificial,’ and artistic expression of these ideas.

• Understand the different styles of the “natural” in France, England, the United States, and in Italy.

• Examine choices of ‘ordinary’ life, the natural world, and sentimentality as subjects in art.

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Figure 21-13 JEAN-BAPTISTE-SIMÉON CHARDIN, Saying Grace, 1740. Oil on canvas, 1’ 7” x 1’ 3”. Louvre, Paris.

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Figure 21-14 JEAN-BAPTISTE GREUZE, Village Bride, 1761. Oil on canvas, 3’ x 3’ 10 1/2”. Louvre, Paris.

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The Natural Taste in France

• Examine the subject matter and formal elements in the “natural taste” in France.

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Figure 21-15 ÉLISABETH LOUISE VIGÉE-LEBRUN, Self-Portrait, 1790. Oil on canvas, 8’ 4” x 6’ 9”. Galleria degli Uffizi, Florence.

21-15A ÉLISABETH-LOUISE VIGÉE-LEBRUN, Marie Antoinette and Her Children, 1787. Oil on canvas, 9’ 1/2” X 7’ 5/8”. Musée National du Château de Versailles, Versailles.

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21-16 ADÉLAÏDE LABILLE-GUIARD, Self-Portrait with Two Pupils, 1785. Oil on canvas, 6’ 11” X 4’ 11 1/2”. Metropolitan Museum of Art, New York (gift of Julia A. Berwind, 1953).

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Natural Taste in the United States

• Examine the American taste for “downrightness” and plainness in art.

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Figure 21-20 BENJAMIN WEST, Death of General Wolfe, 1771. Oil on canvas, approx. 4’ 11” x 7’ National Gallery of Canada, Ottawa (gift of the Duke of Westminster, 1918).

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Figure 21-21 JOHN SINGLETON COPLEY, Portrait of Paul Revere, ca. 1768–1770. Oil on canvas, 2’ 11 1/8” x 2’ 4”. Museum of Fine Arts, Boston (gift of Joseph W., William B., and Edward H. R. Revere).

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Italian Natural Taste and Tourism

• Understand the concept of the “Grand Tour” and the expression of the “picturesque” in art.

The British Grand Tour in the 18th CenturyEighteenth-century British Grand Tourists to Italy generally followed a standardized itinerary from London to Rome and Naples. From London, travelers crossed the English Channel to Calais, and continued across France, usually with a lengthy stop in Paris. There were two options for crossing into Italy. One could either cross the Alps or book a sea voyage from southern France to Leghorn (today’s Livorno). On their return to England, tourists often traveled through Germany and the Low Countries. European tours of this sort typically lasted a year or more. The eighteenth-century itinerary remained popular well into the nineteenth century, and was also the model for later nineteenth-century American to

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Figure 21-22 ANTONIO CANALETTO, Riva degli Schiavoni, Venice, ca. 1735-1740. Oil on canvas, 1’ 6 ½” X 2’ 7/8”. Toledo Museum of Art, Toledo.

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21.4 Neoclassicism

• Understand how the discovery of Herculaneum and Pompeii create an interest in classical art.

• Understand the formal elements of classical art and their revival in 19th century art and architecture.

• Examine Neoclassical art and architecture in France, England, and in the United States.

• Examine the adaptation of classical and mythological subject matter in Neoclassical art.

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Figure 21-23 ROBERT ADAM, Etruscan Room, Osterley Park House, Middlesex, England, begun 1761. Victoria and Albert Museum, London.

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Figure 21-24 ANGELICA KAUFFMANN, Cornelia Presenting Her Children as Her Treasures, or Mother of the Gracchi, ca. 1785. Oil on canvas, 3’ 4” x 4’ 2”. Virginia Museum of Fine Arts, Richmond (the Adolph D. and Wilkins C. Williams Fund).

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Figure 21-25 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris.

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Figure 21-26 JACQUES-LOUIS DAVID, The Death of Marat, 1793. Oil on canvas,. 5’ 5” x 4’ 2 1/2”. Musées Royaux des Beaux-Arts de Belgique, Brussels.

Figure 21-32 JEAN-ANTOINE HOUDON, George Washington, 1788-1792. Marble, 6’ 2” high. State Capitol, Richmond.

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Figure 21-33 HORATIO GREENOUGH, George Washington, 1840. Marble, 11’ 4” high. Smithsonian American Art Museum, Washington, D.C.

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The Neoclassical in the United States

a.k.a. Federal Style• Examine Neoclassical or Federal Style as the national style of architecture in the United States in the early 19th century.

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Figure 21-30 THOMAS JEFFERSON, Monticello, Charlottesville, United States, 1770–1806.

Figure 21-31 THOMAS JEFFERSON, Rotunda and Lawn, University of Virginia, Charlottesville, Virginia, 1819-1826. 59

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Chapter 22Romanticism, Realism,

Photography: Europe and America, 1800 to

1870

Gardner’s Art Through the Ages, 14e

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Napoleonic Europe 1800-1815

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Figure 22-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris.

22-1A JACQUES-LOUIS DAVID, Napoleon Crossing the Saint-Bernard Pass, 1800–1801. Oil on canvas, 8’ 11" X 7’ 11”. Musée National du Château de Versailles, Versailles.

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22-2A JEAN-AUGUSTE-DOMINIQUE INGRES, Napoleon on His Imperial Throne, 1806. Oil on canvas, 8’ 8 5/8” X 5’ 3”. Musée de l’Armée, Palais des Invalides, Paris.

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Foreshadowing Romanticism

• Notice how David’s students retained Neoclassical features in their paintings

• Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism

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Figure 22-1 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. Oil on canvas, 17’ 5” x 23’ 7”. Louvre, Paris.

68Figure 22-6 JEAN-AUGUSTE-DOMINIQUE INGRES, Apotheosis of Homer, 1827. Oil on canvas, 12’ 8” x 16’ 10 3/4”. Louvre, Paris.

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Figure 22-7 JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814. Oil on canvas, approx. 2’ 11 7/8” x 5’ 4”. Louvre, Paris.

JEAN-AUGUSTE-DOMINIQUE INGRES Josephine-Eleonore-Marie-Pauline de Galard de Brassac de Bearn, Princesse de Broglie

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Features of Romanticism : P. I. N. E.

• P. I. N. E.– Past – longing for the medieval past, pre-industrial

Europe (Gothic architecture will be revived)– Irrational/ Inner mind / Insanity – Romantic

artists depict the human psyche and topics that transcend the use of reason. One Romantic artist, Gericault chose to do portraits of people in an insane asylum.

– Nature – longing for the purity of nature, which defies human rationality

– Emotion/ Exotic – Romantics favored emotion and passion over reason. Exotic themes and locales were also popular because they did not adhere to European emphasis on rationality.

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Figure 22-8 HENRY FUSELI, The Nightmare, 1781. Oil on canvas, 3’ 4 3/4” x 4’ 1 1/2”. The Detroit Institute of the Arts (Founders Society Purchase with funds from Mr. and Mrs. Bert L. Smokler and Mr. and Mrs. Lawrence A. Fleishman).

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Figure 22-9 WILLIAM BLAKE, Ancient of Days, frontispiece of Europe: A Prophecy, 1794. Metal relief etching, hand colored, 9 1/2” x 6 3/4”. The Whitworth Art Gallery, Pierpont Morgan Library, New York.

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Figure 22-10 FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2” x 5 7/8”. Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).

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Figure 22-10A FRANCISCO GOYA, The Family of Charles IV, 1800. Oil on canvas, approx. 9’ 2” x 11’. Museo del Prado, Madrid.

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Figure 22-11 FRANCISCO GOYA, Third of May, 1808, 1814. Oil on canvas, 8’ 9” x 13’ 4”. Museo del Prado, Madrid.

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Figure 22-12 FRANCISCO GOYA, Saturn Devouring One of His Children, 1819–1823. Detached fresco mounted on canvas, 4’ 9 1/8” x 2’ 8 5/8”. Museo del Prado, Madrid.

Two Old People Eating

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Figure 22-13 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas, 16’ 1” x 23’ 6”. Louvre, Paris.

22-13A THÉODORE GÉRICAULT, Charging Chasseur, 1812. Oil on canvas, 11’ 5” X 8’ 8 3/4". Louvre, Paris.

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Figure 22-14 THÉODORE GÉRICAULT, Insane Woman 1822–1823. Oil on canvas, 2’ 4” x 1’ 9”. Musée des Beaux-Arts, Lyons.

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Figure 22-15 EUGÈNE DELACROIX, Death of Sardanapalus, 1827. Oil on canvas, 12’ 1 1/2” x 16’ 2 7/8”. Louvre, Paris.

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Figure 22-16 EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, 8’ 6” x 10’ 8”. Louvre, Paris.

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Figure 22-17 EUGÈNE DELACROIX, Tiger Hunt, 1854. Oil on canvas, 2’ 5” x 3’. Musée d ’Orsay, Paris.

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Figure 22-19 CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on canvas, 3' 7 1/2" X 5' 7 1/4". Nationalgalerie, Staatliche Museen zu Berlin, Berlin.

22-20 CASPAR DAVID FRIEDRICH, Wanderer above a Sea of Mist, 1817–1818. Oil on canvas, 3’ 1 3/4" X 2’ 5 3/8”. Hamburger Kunsthalle, Hamburg.

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Romantic Landscape Painting

• Understand the romantic interest in the landscape as an independent and respected genre in Germany, England, and the United States.

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Figure 22-22 JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas, 2’ 11 11/16” x 4’ 5/16”. Museum of Fine Arts, Boston (Henry Lillie Pierce Fund).

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Figure 22-23 THOMAS COLE, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836. Oil on canvas, 4’ 3 1/2” x 6’ 4”. Metropolitan Museum of Art, New York (gift of Mrs. Russell Sage, 1908).

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Figure 22-24 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6’ x 10’. National Museum of American Art, Smithsonian Institution, Washington, D.C.

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Figure 22-25 FREDERIC EDWIN CHURCH, Twilight In the Wilderness, 1860s. Oil on canvas, 3’ 4” x 5’ 4”. Cleveland Museum of Art, Cleveland (Mr. and Mrs. William H. Marlatt Fund, 1965.233).

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22.3 Modernism and Realism

• Examine the meanings of “Modernism” and “Realism” and the rejection of Renaissance illusionistic space.

• Understand the changes in Realist art in form, style, and content.

• Examine the use of art – especially photography and printmaking -- to provide social commentary.

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Figure 22-26 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5’ 3” x 8’ 6”. Formerly at Gemäldegalerie, Dresden (destroyed in 1945).

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Figure 22-27 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, 10’ 3 1/2” x 22’ 9 1/2”. Musée d’Orsay, Paris.