Lecture 5: 19th Century Art Movements: Realism and Impressionism

Arts & Humanities - 16 slides

This lecture explores the rise of Realism and Impressionism in the 19th century, highlighting the works of artists like Gustave Courbet and Claude Monet. It emphasizes how these movements challenged traditional artistic conventions by focusing on everyday life and the innovative use of light and col

Topics Covered

  • Introduction to Realism and Impressionism
  • Defining Realism: Challenges to Romanticism
  • Impressionism: Light, Color, and Modernity
  • Society and the Changing Context of Art
  • Gustave Courbet and the Realist Manifesto
  • The Technical Innovations of Impressionist Painting
  • Claude Monet: The Influence of Light and Perception
  • Challenges to Established Artistic Conventions
  • Influence of Science and Technology on Realism and Impressionism
  • Why Everyday Life Matters in Art
  • The Role of Critics and Public Controversy
  • Evolution Beyond Impressionism
  • Legacy of Everyday Life in Art
  • Critics and Collectors: The Role of Patrons
  • Practical Techniques Derived from Realism & Impressionism
  • Conclusion: Why Realism and Impressionism Matter

References

  • Nochlin, L. (1971) Realism. London: Penguin.
  • Rubin, J. (1999) Impressionism and the Modern Landscape. Los Angeles: Getty Research Institute.
  • Clark, T.J. (1973) Image of the People: Gustave Courbet and the 1848 Revolution. London: Thames & Hudson.
  • Chevreul, M.E. (1839) The Principles of Harmony and Contrast of Colors. Paris: Baillard.
  • Boime, A. (1987) The Art of the Industrial Revolution. New York: Garland.
  • Callen, A. (2000) The Spectacular Body: Science, Technique, and the Modern Artist. New Haven: Yale University Press.
  • Arnason, H.H., and Mansfield, E.C. (2013). History of Modern Art. 7th edn. Pearson Education.
  • Nochlin, L. (1971). Realism. Penguin Books.
  • House, J. (2004). Monet: Nature into Art. New Haven: Yale Press.
  • Rosenblum, R. (1989). Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko. Thames & Hudson.
  • Chevreul, M.-E. (1839). The Law of Simultaneous Contrast of Colours.
  • Tinterow, G. et al. (1994). Origins of Impressionism. The Metropolitan Museum of Art.
  • Clarke, M. (2010). The Concise Oxford Dictionary of Art Terms. Oxford University Press.
  • Huyghe, R. (1968). Impressionism. Lausanne: Skira/Edita.
  • Chevreul, M.-E. (1839) The Principles of Harmony and Contrast of Colors. London: Longman.
  • Clark, T.J. (1999) The Painting of Modern Life. Princeton: Princeton University Press.
  • Nochlin, L. (1991) Realism. London: Penguin Books.
  • Herbert, R. (1988) Impressionism: Art, Leisure, and Parisian Society. New Haven: Yale University Press.
  • Green, C. (1987) The Impressionist and the Avant-Garde. New Haven: Yale University Press.
  • Callen, A. (2000) The Art of Impressionism. London: Yale.
  • Clark, T.J. (1984) The Painting of Modern Life: Paris in the Art of Manet and His Followers. Princeton: Princeton University Press.
  • Rewald, J. (1978) The History of Impressionism. New York: Museum of Modern Art.
  • Nochlin, L. (1971) Realism. London: Penguin Books.
  • Benjamin, W. (1936) The Work of Art in the Age of Mechanical Reproduction. Cambridge: Harvard University Press.
  • White, H. (1999) Salon to Biennial - Exhibitions That Made Art History. London: Thames & Hudson.
  • Gombrich, E.H. (1995) The Story of Art. 16th edn. London: Phaidon Press.
  • Cézanne, P. (1991) Charles Harrison on Cézanne’s Spatial Technique. Burlington Magazine, vol. 130.
  • Kleiner, F.S. (2019) Gardner’s Art through the Ages. 16th edn. Boston: Cengage.
  • Harrison, C. and Wood, P. (2003) Art in Theory, 1815-1900. Oxford: Blackwell Publishing.
Browse all lectures