Styles of Art in the Late 19th and 20th Centuries

In the later on decades of the 20 ^thursday century, the European collection grew to include nineteen ^thursday and xx ^thursday century artists. Works by artists such as Marie Laurencin (1883- 1956), Edgar Degas (1834- 1917), Marc Chagall (1887-1985), Salvador Dalí (1904-1989), as well every bit an of import collection of Bloomsbury artists (1 of our Featured Collections) joined the collection. Museum purchases in the 1990s and early 2000s – which added prints by Paul Cézanne (1839-1906), Pablo Picasso (1881-1973), Francis Bacon (1561-1626), Henri Moore (1898-1986), Max Beckmann(1884-1950), Käthe Kollwitz (1867-1945) and others – were made strategically, with the dual goals of strengthening our holdings and filling gaps in the art historical survey primal to a teaching museum'due south mission.

The Bloomsbury Group

Artists Featured in This Section

Very little is known nearly Tomàs Aceves, a Spanish artist working during the tardily 19^th century. However, looking at his extensive body of work, it is clear that the creative person had a favored bailiwick: the Alcázar in Seville. The intricate architectural forms of the imperial palace's mudéjar style—a distinctive mélange of Islamic, Moorish, Gothic, Renaissance, and Romanesque elements—appears in countless of Aceves' paintings. Originally constructed in the 8^th century by the Umayyad Caliphate, the palace was later reconstructed and added upon by the Catholic monarchs of Spain who reclaimed the region during the Reconquista of the 13^th – sixteen^th centuries.

This painting displays the Courtyard of the Dolls (Patio de las Muñecas), a small courtyard designed to organize the rooms of the Palace's private area. The proper noun derives from the minor doll heads that decorate the entryway arches. The columns and capitals of the construction date to antiquity; however, much of the courtyard was remodeled by the Cosmic Monarchs and afterwards restored during the 19^thursday century. Aceves carefully renders the various textures and patterns of the courtyard'due south elaborate architecture to nearly photorealistic detail. This purported documentarian quality of the work, along with the unnaturally inserted props (the potted establish, carpet, and pillow), situate that artist within the Orientalist genre. The verisimilitude of the painting sought to capture "realistic" images of the distant colonies while the unusual props, particularly the Oriental carpeting and pillow, further exotified the strange lands and cultures. The reappearance of these items along with the prolific nature of Aceves' paintings perhaps indicates the artist's efforts to cater to the popular Orientalist genre of the time.

Bouguereau, perhaps better than any other artist, typifies the French Bookish style of painting in the late nineteenth and early on twentieth centuries. His paintings are characterized past superb technique, harmonious limerick, and elegance. His outset lessons were with Louis Sage, a pupil of Jean-August-Dominique Ingres (1780-1867). Draughtsmanship and long, elegant lines are the qualities for which Ingres is renown, and these qualities are apparent in Bouguereau'due south work as well. Bouguereau was the recipient of an outstanding education, culminating at the École des Beaux-Arts in Paris. He was awarded the M Prix de Rome in 1850, and in 1888 he was appointed a professor at the École des Beaux-Arts, Paris. Yet, his reputation as an artist has waxed and waned several times from the late nineteenth century to the nowadays. Bouguereau's work tends to exist sentimental and quasi-mythological in a neo-classical manner. Because of this, his work was considered passé by the end of the nineteenth century when critics, following Charles Baudelaire'due south charge, chosen for works of fine art that reflected everyday life. In contrast to Bouguereau's neo-classical refinement, we may consider Pablo Picasso's blueish period subjects (1901-1903) of beggars and absinthe drinkers. When information technology came into the Cornell'southward collection, Tendres propos was known as "Innocence." Nonetheless, research undertaken in the belatedly 1990s for the catalogue raisonnée of Bouguereau revealed that in a sale of 1901 this painting was known by its current, and less-generic, championship.

Brassaï, the pseudonym of Gyulas Halász, fabricated his name in photography with the publication of Paris by Night 1933, an intimate and sympathetic documentation of night life in the humbler quarters of Paris. Brassaï was mesmerized past the urban center'due south activeness during the evening hours. Fellow Hungarian and lensman André Kertész loaned him a camera and suggested he document the nocturnal life of the confined, brothels, mirror-lined cafes and trip the light fantastic halls and on the streets.

As a former painting student transplanted to Paris in 1923, Brassaï became friends with many of the advanced painters in the city. In early June of 1939, on the eve of the Second World War, and at the request of Henri Matisse, Brassaï carried out a serial of photographic "Nudes in the Studio" of the artist drawing his model at Villa d' Alésia in Paris, at the studio lent to him by American sculptor Mary Callery. The staged photograph was one of several at this sitting used as illustrations for Brassaï'due south book The Artists in My Life. The model, nude except for bracelets and slippers, poses in various locations within the studio as Matisse dressed in professional person attire draws from life. Brassaï noted of these photographs, "Standing in his bright, light flooded studio in his white smock, Matisse looked like the principal of staff in some infirmary. Oddly, enough, he had had the same advent as a young man…his boyfriend students at the Ecole des Beaux-Arts had nicknamed him "The Doctor."

Brassaï's acquaintance with Harper's Bazaar editor Carmel Snowfall and fine art managing director Alexey Brodovitch, and as a colleague in Parisian artistic circles granted him opportunities to photograph many artists for the magazine. For more than than thirty years, he documented amid them, Bonnard, Giacometti, Braque, and Le Corbusier, in their homes in Paris, Normandy, and elsewhere during various periods of their lives.

This is an excellent example of French nineteenth-century Realism, a motion that rebelled against the arcadian content of mythical and historical painting and turned, instead, to contemporary subjects. In 1851, Gustave Courbet (1819-1877) became the leading French Realist, creating a coherent and revolutionary movement through his massive compositions with great social consciousness. Wood Rafts on the Rhine River besides shows a debt to Romanticism (the motion preceding Realism), especially to an 1819 work past the nifty Romantic painter Théodore Géricault (1791-1824), The Raft of the Medusa. The grim heaven, muted colors, muscular figures, and triangular composition (formed by the clomp, workmen, and poles) all recall The Raft of the Medusa, merely with an added grittiness and naturalism. The artist Gustave Brion lived most of his life in Strasbourg on the Rhine. His Realistic works, of which this painting is very typical, showroom a slap-up sympathy for the workmen and farmers of Alsace-Lorraine. Brion exhibited this award-winning work, which helped to establish his reputation, in the Salon of 1855. It was engraved in 1856 by Jean-Pierre-Marie Jazet (1788-1871).

Paul Cezanne was a French Post-Impressionist painter, who greatly inspired the art of Cubism, Fauvism, and other avant-garde styles. His expressive brushwork and use of color highlight the artist'south methodical approach to depicting landscapes and genre scenes. Throughout Cezanne'southward prolific career, the nude became an of import recurring theme.. He oft drew the bodies from memory or his imagination, rather than from a human model. The Large Bathers, based mostly on his 1876-1877 painting Bathers at Rest, is an example of Cezanne's work in lithography, rare in the artist's oeuvre. In 1896-1897, Cezanne created this lithograph for art dealer Ambroise Vollard's album of prints. Although this work is black and white, at that place are other hand-colored versions of this impress.

Raised in France, Jean Charlot'due south commitment to his Christian faith was a constant in his life and artistic do. Merely the decision to get out French republic—he moved to Mexico with his mother in 1920—forever changed his artistic path. Before the move, he had developed a corking involvement in the history and visual culture of Mexico. From a immature historic period he heard stories of Mexico and became familiar with its ancient civilizations. Upon his inflow at that place, Charlot lived in Mexico City, but traveled to other parts of the land.

The Great Builders Ii was inspired by his fourth dimension in the Yucatán. In addition to his fascination with pre- Columbian ruins, Charlot engaged in deep learning well-nigh contemporary indigenous traditions, and became a particular proponent of Indigenismo, a social and political motility that encouraged emphasis on Amerindian cultures that was embraced by artists working in Mexico in the first half of the twentieth century. He besides wrote prolifically about Mexican art, from popular art to murals.

Honoré Daumier, a prolific draughtsman, printmaker and illustrator, is all-time known for his satirical caricatures and his critique of all segments of society from the urban center class to the upper echelons.  Daumier'southward works are characterized by scenes of modern life.  In his Les Paysagistes, translated as The Landscapers, Daumier depicts two figures, an artist and a farmer, in the countryside.  The artist sits at an easel and sketches the farmer while she holds the tools of her trade.  The French clarification at the bottom of the sketch translates to "Exercise not motility! You lot are cute like this."  Here, he produces his satirical commentary on the Barbizon painters, who plant inspiration working en plen air, or outdoors. Barbizon painters rejected classical conventions and instead of the traditional do of artists in a studio rendering academic subjects, they often depicted scenes of everyday life while working straight in nature. Daumier spent some fourth dimension in Barbizon, near the Forest of Fontainebleau in the summer of 1865.

Edgar Degas was a founding leader of the Impressionist movement, even so he disliked the term and preferred to classify himself every bit a Realist.  Throughout his prolific career, the creative person frequently experimented with new creative materials and methods. His body of piece of work is composed of numerous types of media such as pastel, sculpture, printmaking, and drawing, which often depicted the human being figure and scenes of everyday life. Mary Cassatt in the Louvre shows Degas' technical innovation by combining etching, aquatint, and dry out point to create a pastel effect. In this work, the artist pays unique attention to the Paintings Gallery in the Louvre, where several of his works were displayed along those of Mary Cassat (1844-1926). Cassatt, an Impressionist Painter and American expatriate, was known for her representations of mothers and children. Her silhouette creates a strong diagonal in the work and contrasts the seated position of her sister. Cassatt is the more engaged of the two as she interacts straight with the artworks, while her sister appears hidden behind a guidebook and turned away from the paintings.

Trained at the Florentine Accademia di Belle Arti, Emilio P. Fiaschi was a marble sculptor whose surviving works are mostly allegorical and mythological status, and busts of maidens. This work stands out in its remarkable liveliness and illusionism, the face still discernible underneath the clinging gossamer of a windblown (or wet) veil. Her subtly modeled facial features, such as downcast eyes and parted lips revealing her teeth, make strong contrasts to the jagged lines of her creased veil. Her bare-skinned shoulders and cervix are pumiced to perfect smoothness in dissimilarity to the wrinkled dress.

Many other nineteenth-century artists, including Raffaelle Monti (1818-1881), Camilo Torreggiani (1820-1896), and Albert-Ernest Carrier-Belleuse (1824-1887), sculpted veiled figures in marble, a technically demanding subject area. Unlike other examples, The Veiled Lady is neither static nor neoclassical. Information technology captures the subject'due south vivacity and conveys a sense of the transient moment derived from a close ascertainment of reality. Instead of a vestal virgin, Fiaschi represents a modernistic woman of means in the finery of that time. The single rose stem beneath her chest may however be a traditional symbolic motif, whether referring to the transience of life or love.

Though all-time known for his large-scale piece of work, Gasq also created modestly sized statues in both marble and bronze, like this Hero and Leander, for the market. Characteristic of an artist trained at the École des Beaux-Arts and exhibiting at the Salon, Gasq favored classical and allegorical subjects. Hero and Leander are two mortal lovers in Greek mythology. Leander swam a unsafe strait in the dark for his nightly trysts with Hero, a priestess of Venus, until on ane tempestuous night he was drowned. Gasq renders the moment when Hero mourns over Leander'southward dead body cast ashore. She kisses him, lifts up and embraces his head with one mitt, and draws his lifeless hand close to her chest with the other. Her gestures and the expression on her face encapsulate deep sorrow and her love for Leander. The sculptor masterfully represents the moisture drape clinging to Hero'due south lower body, her air current-blown hair, water churning over rocks, and Leander'south inert still beautiful body.

Twentieth century creative person Käthe Kollwitz'south emotional and powerful works became associated with the German Expressionism movement in which artists expressed and represented the social anxieties during the era leading up to WWI. Defended to social reform, most of Käthe Kollwitz'due south works symbolize the anguish and burdens of the working class in Germany. During the turn of the century, Deutschland faced numerous economic crises in which much of the population was poor with very little income. Her naturalistic way appeals to the viewer's emotions and captures the bleak outlook thatmany individuals endured at thetime, peculiarly those of working women. In this work, the woman appears down-hearted, with her eyes downcast and the dark shadows enveloping her face. This work reflects the creative person's personal sympathies towards the working classes.

Marie Laurencin began her long and successful career as one of the artists in the circumvolve known as the Bateau-Lavoir, named after the building in Paris' Montmartre commune where Pablo Picasso (1881–1973) and Georges Braque (1882–1963) had their studio in the 1910s. Laurencin met Braque when she was studying art at the Académie Humbert. She became a regular participant in the creative, intellectual, and social life of the Parisian avant-garde; amidst the visitors to the Bateau-Lavoir were the painters Henri Matisse (1869–1954) and André Derain (1880–1954) and the writers Guillaume Apollinaire (1880-1918) and Jean Cocteau (1889-1963).

She developed an individual mode characterized by graceful images of female figures rendered in fragile shades of blue, pink, and green, with dark eyes and pilus. Untitled: Two Women is representative of this style: two dancers stand close together, clothed in pale pink-beige outfits confronting a background of soft blue-gray and a more vivid periwinkle bluish on the left. The collage technique and unfinished quality of this piece suggest that it may have been a sketch for a more finished work. Like Picasso, Laurencin was commissioned by dance impresario Sergei Diaghilev to produce costumes and fix designs for ballets, and she produced several oil paintings of dancers, often in pairs or trios. Information technology is conceivable that this piece of work was used every bit a way to experiment with color combinations of costumes and sets for a ballet production.

Sir John Lavery was all-time known for his portraiture. In the 1870s, he attended classes at the Haldane Academy of Art while he worked for a Glasgow photographer, retouching photographs. In 1879 he moved to London and took painting classes at Hetherley's School, where he painted costume models and learned the art of producing marketable backgrounds. Lavery traveled to Paris in 1888, studied at the Académie Julian, and worked aslope international artists. In that location, his work gained recognition, and by 1888 he was awarded the opportunity to paint Queen Victoria's visit to the International Exhibition in Glasgow during the year of her jubilee. This commission propelled his career and solidified his standing as a distinguished portrait painter.

In 1910, the editor of the Illustrated London News commissioned Lavery to paint a portrait of the Russian ballerina Anna Pavlova, to annunciate her 2d season at the Palace Theatre. Lavery accustomed the request with the stipulation that Pavlova would provide "a reasonable number of sittings and some kind of understanding that appointments would be kept." Pavlova modeled for Lavery regularly during her time in London. These appointments resulted in the portrait for Illustrated London News, in addition to two full-length painted portraits of Pavlova in her role as Bacchante, including the i shown here (the 2nd is in the collection of the Kelvingrove Fine art Gallery and Museum, Glasgow).

Henri Matisse, an early on twentieth century French designer, author, and artist worked in painting, sculpture, and impress. After an exhibition at the Salon d'Automne in Oct 1905, Matisse amongst several of his contemporaries were identified every bit fauves (wild beasts), for their advised, colorful, and advanced compositions. He used expressive brushwork and unnaturalistic, bright and bright colors in his works that challenged traditional modes of representation and moved away from the style of Impressionism.  In this work, created not long after that exhibition, Matisse depicts a female nude in an intimate setting. Though the composition is void of color, the linework is signature of his technique. The decorated, geometric lines of the background emphasize the frail, curved lines and the lack of defined musculature of the effigy in the foreground. While Matisse worked in a variety of printing techniques, this woodcut is a rare instance from his oeuvre.

Marius-Jean-Antonin Mercié, who studied at the École des Beaux-Arts in Paris, was one of the most prominent French sculptors of his time, and his monumental works were in smashing demand. During the four decades of his prolific career beginning with his Salon debut in 1868, he received numerous major institutional awards, public popularity, and critical acclaim.

The hollow-cast bronze Gloria Victis is a reduced serial cast after his 3-meter-loftier original in plaster made while in Rome. When Prussia invaded France in 1870, Mercié executed a winged female person figure of Celebrity supporting a victorious soldier, only afterwards learning of the French surrender in 1871 he replaced the latter with a expressionless soldier holding a broken sword. The work thus became a memorial for the fallen soldiers of the Franco-Prussian War, an allegory of "Glory to the Vanquished." This commemorative monument, first shown in Rome in 1873 and so in Paris the next year, received a sensational public reception. The city of Paris acquired the plaster sculpture and had it cast in bronze at full calibration (now in the Hôtel de Ville) in 1875. Other communities throughout French republic likewise commissioned full-scale bronze casts of this celebrated piece of work. In response to its enormous popularity, Barbedienne, a noted Parisian foundry, was authorized to make Gloria Victis in reduced scale. Inscribed on the front rim of this sculpture's base of operations is the work'southward title, "GLORIA VICTIS," and on its back, the foundry mark, "F. BARBEDIENNE, FONDEUR." Nearly the left foot of the winged figure is the artist'due south signature, "A. MERCIÉ."

It is worth noting the grace of both figures' elongated bodies. The diagonal lines created past Celebrity's limbs and open wings suggest energetic movement. The bronze surface too has sumptuous patinas: night chocolate-brown for the drapery, medium brown on the skin, and gilt tone on Celebrity's armor.

Alberto Pasini is best known for his Orientalist paintings that realistically draw Eye and Nearly Eastern subjects, based on commencement-hand observations during his all-encompassing travels to the region.  His first trip was to Persia via Arab republic of egypt in 1855–56.  During his 2nd trip in 1859, he stopped at Cairo, crossed Arabia along the Lebanese coast, and ended in Athens. A Mosque in Cairo is characteristic of Pasini's genre-like paintings with Orientalist themes that render metropolis lives and highlight Islamic architecture and customs. Every bit typical is the atmosphere evoked through intense calorie-free and brilliant color. Here, Pasini captures a slice of urban life taking place in the corner of a square, outside a smithy and a pocket-sized mosque. Two farriers hammer a horseshoe onto 1 of two horses, watched by two men dressed in caftans nearby. Though meticulously rendered and having the semblance of a careful recording of an observed reality, it is an imaginary scene concocted from before drawings.

Pablo Picasso was a Spanish painter whose prolific career totals more twenty,000 artworks. His fashion encompasses that of Cubism, Neoclassicism, Surrealism, and Expressionism. In his last years, Picasso was highly influenced past celebrated paintings and how he would fit into the art historical canon. Les Femmes d'Alger is a series of effectually 14 paintings and 100 drawings inspired past Eugene Delacroix'southward 1834 painting The Women of Algiers in their Apartment. Picasso encountered this work at the Louvre in 1874 and visited many times to study the painting. While Delacroix's orientalist piece of work was rendered in a romanticized style, Picasso dismantled Delacroix's themes, figures, and imagery and transformed them with a modern take. Hither, Picasso emphasized the two-dimensional quality of the moving-picture show plane and created bathetic, geometric figures inspired stylistically in part by his colleague, Henri Matisse.

Emile Louis Picault made numerous bronze statues of allegorical, mythological, and historical subject area thing. Typical of his piece of work, La Source du Pactole (The Source of Pactolus/Slap-up Wealth) is an apologue personified by an arcadian young male person nude. The figure that appears seated on a rock personifies the river Pactolus, where according to Greek mythology King Midas washed his hands and thereby turned sand into gold; the give-and-take "pactole" in French is synonymous with "great wealth" and "gilded mine." His pose and aspect of a water jug, out of which aureate coins spill similar h2o, adhere to the traditional iconography of river gods. However, this effigy appears to exist modeled after a worker who holds a hammer and a caliper in each mitt and wears a headscarf. In the concluding quarter of the nineteenth century, images of workers and transmission labor were indeed prevalent and tended to exist idealized like heroes and gods.

Joseph Mallord William Turner was a nineteenth century English language Romantic painter and printmaker, recognized for his sublime landscapes and seascapes.  In his Shipwreck, the creative person demonstrates the sheer force of the elements; the sea becomes the focus of the composition every bit the individuals on the boats fall victim to the ability and force of the water.  Turner incorporates chiaroscuro, the contrast between light and nighttime, to create perspective, depth, and drama.  This intensely atmospheric and dynamic scene depicts the dangers of natural phenomena and emphasizes the sublime notion that humans are at the mercy of nature which was popular in the nineteenth century. This engraving, created after Turner'due south 1805 painting, highlights the work of one of his nigh defended principal engravers, William Miller.

The nineteenth century saw the revival of gothic and medieval designs, and past the 1860s they had get a major influence in Europe, particularly England due to its cultural past. Craftsmen explored the medieval period further by reviving the stained-glass medium to beautify the interior of churches and private residencies. These stained-drinking glass windows were probable made by a commercial English studio for the 1871 Hartford, Connecticut home of Lucy and James Goodwin.  Set up at the stop of the hallway of the chief entrance of the house, which overlooked the piazza, the windows immediately ready the tone for visitors. The gem-toned windows recall medieval stained-glass design, with roundels featuring oak, maple, and carmine branches, birds, and fruit.

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Source: https://www.rollins.edu/rma/collection/european-art/19th-and-20th-century-art.html

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