Realism
Realism, sometimes called naturalism, in the arts is generally the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, or implausible, exotic, and supernatural elements. Realism has been prevalent in the arts at many periods, and can be in large part a matter of technique and training, and the avoidance of stylization.
In the visual arts, illusionistic realism is the accurate depiction of lifeforms, perspective, and the details of light and color. But realist or naturalist works of art may, as well or instead of illusionist realism, be "realist" in their subject-matter, and emphasize the mundane, ugly or sordid. This is typical of the 19th-century Realist movement that began in France in the 1850s, after the 1848 Revolution,[1] and also social realism, regionalism, or kitchen sink realism. The Realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century.
There have been various movements invoking realism in the other arts, such as the opera style of verismo, literary realism, theatrical realism, and Italian neorealist cinema.
In the visual arts, illusionistic realism is the accurate depiction of lifeforms, perspective, and the details of light and color. But realist or naturalist works of art may, as well or instead of illusionist realism, be "realist" in their subject-matter, and emphasize the mundane, ugly or sordid. This is typical of the 19th-century Realist movement that began in France in the 1850s, after the 1848 Revolution,[1] and also social realism, regionalism, or kitchen sink realism. The Realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century.
There have been various movements invoking realism in the other arts, such as the opera style of verismo, literary realism, theatrical realism, and Italian neorealist cinema.
Photography
The history of photography began in remote antiquity with the discovery of two critical principles: camera obscura image projection and the observation that some substances are visibly altered by exposure to light. There are no artifacts or descriptions that indicate any attempt to capture images with light sensitive materials prior to the 18th century. Around 1717 Johann Heinrich Schulze captured cut-out letters on a bottle of a light-sensitive slurry, but he apparently never thought of making the results durable. Around 1800 Thomas Wedgwood made the first reliably documented, although unsuccessful attempt at capturing camera images in permanent form. His experiments did produce detailed photograms, but Wedgwood and his associate Humphry Davy found no way to fix these images.
In the mid-1820s, Nicéphore Niépce first managed to fix an image that was captured with a camera, but at least eight hours or even several days of exposure in the camera were required and the earliest results were very crude. Niépce's associate Louis Daguerre went on to develop the daguerreotype process, the first publicly announced and commercially viable photographic process. The daguerreotype required only minutes of exposure in the camera, and produced clear, finely detailed results. The details were introduced as a gift to the world in 1839, a date generally accepted as the birth year of practical photography.[1][2] The metal-based daguerreotype process soon had some competition from the paper-based calotype negative and salt print processes invented by William Henry Fox Talbot. Subsequent innovations made photography easier and more versatile. New materials reduced the required camera exposure time from minutes to seconds, and eventually to a small fraction of a second; new photographic media were more economical, sensitive or convenient, including roll films for casual use by amateurs. In the mid-20th century, developments made it possible for amateurs to take pictures in natural color as well as in black-and-white.
In the mid-1820s, Nicéphore Niépce first managed to fix an image that was captured with a camera, but at least eight hours or even several days of exposure in the camera were required and the earliest results were very crude. Niépce's associate Louis Daguerre went on to develop the daguerreotype process, the first publicly announced and commercially viable photographic process. The daguerreotype required only minutes of exposure in the camera, and produced clear, finely detailed results. The details were introduced as a gift to the world in 1839, a date generally accepted as the birth year of practical photography.[1][2] The metal-based daguerreotype process soon had some competition from the paper-based calotype negative and salt print processes invented by William Henry Fox Talbot. Subsequent innovations made photography easier and more versatile. New materials reduced the required camera exposure time from minutes to seconds, and eventually to a small fraction of a second; new photographic media were more economical, sensitive or convenient, including roll films for casual use by amateurs. In the mid-20th century, developments made it possible for amateurs to take pictures in natural color as well as in black-and-white.
19th Century Architecture
19th-century architecture was greatly influenced by earlier architectural movements and foreign, exotic styles, which were adapted to the new technologies of the early modern age. The revivals of Greek, Gothic, and Renaissance designs were fused with contemporary engineering methods and materials. In the Western world, Historicism idealized past empires and cultures, and used motifs inspired by them to stimulate national nostalgia. The main types of nineteenth century architectural styles included: Greek Revival (1800-1900); Gothic Revival (1810-1900) - see English Gothic architecture - Neo-Renaissance and Richardson Romanesque (1840-1880); Second Empire (1850-1880); Exoticism (1800-1900); Industrial architecture (1850-1900); Skyscraper design (1885-1900).
Characteristics and History
Two principal characteristics distinguish 19th-century architecture; the use of a variety of historical styles and the development of new materials and structural methods.
The first arose from the 19th century architect's perception that he had to continue in the traditional styles of their predecessors. Elements of these earlier styles were put together to give an air of authority to town halls (Birmingham), railway stations (Euston, London), opera houses (Paris Opera) and legislatures (Houses of Parliament, London). Restraints of taste and careful application of Classical standards, which had characterised the 18th century, gave way to a variety of styles which could be either quaint, bombastic or severe and generally, to modern eyes, of great curiosity.
The second characteristic emerged from the development of new materials as a result of the new industrial needs. In building, new forms - factories, warehouses, railway terminals, administrative centres, hospitals - were demanded. In the mid years of the century, cast iron was used structurally in large buildings such as warehouses and libraries. The Crystal Palace, designed by Joseph Paxton for the 1851 International Exhibition in London, provided a spectacular example of the possibilities of cast iron and glass that had worldwide publicity. The new ferrous building materials were made to conform to the taste for Classical, medieval or other exotic styles (Brighton Pavilion); for example the glass and iron vault for Paddington Station by Brunel and Wyatt was supported on 'Gothic' columns. In 1889 Gustav Eiffel designed the exhibition tower for Paris which bears his name and provided the same form of publicity for the new material - steel.
In America, late 18th century architecture and early 19th century building designs were typically based on Roman or Greek architecture - known as 'Federal style' or 'Greek Revival'. Exponents included Thomas Jefferson (1743-1826), William Thornton (1759-1828), James Hoban (1762-1831), Charles Bulfinch (1763-1844) and Benjamin Latrobe (1764-1820). Later came a revival of Gothic architecture, led by designers such as Richard Upjohn (1802-78), Andrew Jackson Downing (1815-52) and James Renwick (1818-95). Romanesque was represented by Henry Hobson Richardson (1838-86), and Renaissance by Richard Morris Hunt (1827-95), while the versatile Charles Follen McKim (1847-1909) produced a range of different designs.
Characteristics and History
Two principal characteristics distinguish 19th-century architecture; the use of a variety of historical styles and the development of new materials and structural methods.
The first arose from the 19th century architect's perception that he had to continue in the traditional styles of their predecessors. Elements of these earlier styles were put together to give an air of authority to town halls (Birmingham), railway stations (Euston, London), opera houses (Paris Opera) and legislatures (Houses of Parliament, London). Restraints of taste and careful application of Classical standards, which had characterised the 18th century, gave way to a variety of styles which could be either quaint, bombastic or severe and generally, to modern eyes, of great curiosity.
The second characteristic emerged from the development of new materials as a result of the new industrial needs. In building, new forms - factories, warehouses, railway terminals, administrative centres, hospitals - were demanded. In the mid years of the century, cast iron was used structurally in large buildings such as warehouses and libraries. The Crystal Palace, designed by Joseph Paxton for the 1851 International Exhibition in London, provided a spectacular example of the possibilities of cast iron and glass that had worldwide publicity. The new ferrous building materials were made to conform to the taste for Classical, medieval or other exotic styles (Brighton Pavilion); for example the glass and iron vault for Paddington Station by Brunel and Wyatt was supported on 'Gothic' columns. In 1889 Gustav Eiffel designed the exhibition tower for Paris which bears his name and provided the same form of publicity for the new material - steel.
In America, late 18th century architecture and early 19th century building designs were typically based on Roman or Greek architecture - known as 'Federal style' or 'Greek Revival'. Exponents included Thomas Jefferson (1743-1826), William Thornton (1759-1828), James Hoban (1762-1831), Charles Bulfinch (1763-1844) and Benjamin Latrobe (1764-1820). Later came a revival of Gothic architecture, led by designers such as Richard Upjohn (1802-78), Andrew Jackson Downing (1815-52) and James Renwick (1818-95). Romanesque was represented by Henry Hobson Richardson (1838-86), and Renaissance by Richard Morris Hunt (1827-95), while the versatile Charles Follen McKim (1847-1909) produced a range of different designs.
ARTWORKS
Realism
113. The Stonebreakers, Gustave Courbet
* The Gleaners, Millet
115. Olympia, Édouard Manet
* The Gross Clinic, Eakins
* The Thankful Poor, The Banjo Lesson, Tanner
119. The Burghers of Calais, Auguste Rodin
* Age of Bronze, Gates of Hell
Photography
114. Nadar Elevating Photography to Art, Honoré Daumier
110. Still Life in Studio, Louis-Jacques-Mandé Daguerre
117. The Horse in Motion, Eadweard Muybridge
127. The Steerage, Alfred Stieglitz
19th Century Architecture
124. Carson, Pirie, Scott and Company Building, Louis Sullivan
* Bibliotheque Nationale, Labrouste
* Crystal Palace, Paxton
* Eiffel Tower, Eiffel
* Marshall Field Building, Richardson
113. The Stonebreakers, Gustave Courbet
* The Gleaners, Millet
115. Olympia, Édouard Manet
* The Gross Clinic, Eakins
* The Thankful Poor, The Banjo Lesson, Tanner
119. The Burghers of Calais, Auguste Rodin
* Age of Bronze, Gates of Hell
Photography
114. Nadar Elevating Photography to Art, Honoré Daumier
110. Still Life in Studio, Louis-Jacques-Mandé Daguerre
117. The Horse in Motion, Eadweard Muybridge
127. The Steerage, Alfred Stieglitz
19th Century Architecture
124. Carson, Pirie, Scott and Company Building, Louis Sullivan
* Bibliotheque Nationale, Labrouste
* Crystal Palace, Paxton
* Eiffel Tower, Eiffel
* Marshall Field Building, Richardson
Vocabulary
Aquatint
Avant-garde
Caricature
Drypoint
Japonisme
Lithography
Modernism
Plein-air
Positivism
Skeleton
Zoopraxiscope
Avant-garde
Caricature
Drypoint
Japonisme
Lithography
Modernism
Plein-air
Positivism
Skeleton
Zoopraxiscope
Assignment:
Add the Artworks listed to your flash cards, and read Chapter 29 in Gardener's, and use the study guide to focus on what is important in this chapter. You can view the study guide here. (This study is only here to help you study. You do not need to turn anything in.)
This website is based upon work supported by:
Dr. Robert Croad for workshops, resources and time -
Marsha Russell for your generosity in sharing materials and knowledge -
and to Valerie Park for your AP Art History web site that this website is based upon.
Dr. Robert Croad for workshops, resources and time -
Marsha Russell for your generosity in sharing materials and knowledge -
and to Valerie Park for your AP Art History web site that this website is based upon.