Category: 131 R

Survey 6: Impressionism and Post Impressionism – Pierre-Auguste Renoir (1841 – 1919)

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The Umbrellas, 1881.

Pierre-Auguste Renoir was born February 25th, 1841 in Limoges, France. He attended the École des Beaux-Arts and at the studio of Charles Gleyre in 1862. Using these traditional classes as a foundation, he began to experiment with his art after meeting peers that shared his discontent with traditional art. He painted in the forest of Fontainebleau with his peers Claude Monet, Frédéric Bazille, and Alfred Sisley, where they developed their impressionist style. Inspired by the works of Gustave Courbet, Renoir worked on his most notable works, which were portraits and nudes of women. Alongside Monet in 1874, he created an independent artist’s society called The Impressionists, where those rejected by the Salon could exhibit their work. Although, in 1878 Renoir decided that Impressionism was not permanent like the works of old masters, and he left the exhibition to develop his work. This caused his figures to become more distinct, while the background kept its impressionist style.

In his earlier years, Renoir’s portraits seem to have very striking eyes. He gives the pupil and iris a very bold colour compared to the rest of his piece which is softer and more blended. It is interesting that following his study of old masters that his portraits no longer seem to face the viewer with their bold eyes, and their faces are less flat than they previously were. For example, The figures in The Umbrellas compared to the figure in the Dancing Girl with Castanets have much flatter faces and expressions but their eyes immediately catch your attention.

Portrait of Alphonsine Fournaise, 1879.
Two Young Girls at the Piano, 1892.
Reclining Nude, 1883.
Dancing Girl with Castanets, 1909.
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Survey 5: Realism, Pre-Impressionism, and Pre-Raphaelites – Thomas Eakins (1844 – 1916)

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The Gross Clinic, 1875.

Thomas Eakins was born on July 25th, 1844 in Philadelphia, Pennsylvania U.S.A. He attended the Pennsylvania Academy of Fine Arts, and anatomy lectures at the Jefferson Medical College. He painted dissections, and even participated in them. In 1866, he attended the École des Beaux-Arts in France, where he studied with Jean-Léon Gérôme. He was influenced by the works of Diego Velázquez and José de Ribera and they piqued his interest in oil painting. The subjects of his paintings were usually of his family and his daily activities, including fishing and rowing. In 1879, he began to teach at the Pennsylvania Academy of Fine Arts, and was adamant about using live nude models for practicing anatomy, saying that the relation between artist and model was as professional and objective as between a doctor and patient. This view was not supported by everyone, and he was forced to resign in 1886.

Eakins had a strong interest in human anatomy throughout all of his career, and his views of the human body are obviously influenced by the way medical procedures in the amphitheatre were conducted. It is impressive that the subjects of his work ranges from the unique surgical demonstrations of the time to more humble and modest paintings of his daily interests. Not only are his subjects broad, but his use of media is as well. He made paintings, sculptures, and even experimented with photography.

The Champion Single Sculls, 1871.
The Agnew Clinic, 1889.
The Artist’s Wife and His Setter Dog, 1884-89.
[Thomas Eakins and John Laurie Wallace on a Beach], 1883.
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Survey 4: Neoclassicism, Romanticism, and Rococo – Jean-Baptiste Chardin (1699 – 1779)

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Soap Bubbles, 1733–34.

Jean-Baptiste Chardin was born in 1699, in Paris, France. His work was oil portaits and still lifes of everyday objects and people, and he is considered the master of still lifes. Chardin worked with Pierre-Jacques Cazes and Noël-Nicolas Coypel and attended the Academy of Saint Luc. In 1728, he became a member of the Royal Academy of Painting thanks to Nicolas de Largillière. Later on in his life, his work was shown to Louis XV, and he was paid 1500 livres (about $1936 USD) for his painting Lady with a bird organ. Chardin was also made officially responsible for the hanging pieces in the academy Salon to showcase paintings. Unfortunately, the later years of his life were not successful and he faced many misfortunes including the loss of his eyesight and the loss of his only son to suicide in 1767. His work was no longer well-sought after because of the changing public opinion. It wasn’t until later on in 19th century that his work was found by critics Edmond and Jules de Goncourt, who brought Chardin back out of obscurity and placed his works in the Louvre.

Chardin’s still lifes and portraits are described as “luminous” and “visceral” due to his use of light and his subjects of dead animals. He painted many fish, rabbits, and chicken that had been slaughtered and were either handing or slumped on a table. The suspension of the animals and the detail he put into their wounds gives the viewer a very striking reaction. These still lifes also give a sense of anticipation, I wonder if the fish hanging is swinging back and forth or if the animals will be eaten soon after or if they are going to fall off the table they are leaning off of. The same happens with his portraits, the subjects in his portraits are blowing bubbles, washing clothes, and throwing objects. The anticipation is when the bubble will burst, or when the ball will begin to fall from its point in the air.

The Silver Tureen, 1728-30.
The Game of Knucklebones, 1734.
Still Life with Ray and Basket of Onions, 1731.
Still Life with Fish, Vegetables, Gougères, Pots, and Cruets on a Table, 1769.
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Survey 3: Baroque – Anthony van Dyck (1599 – 1641)

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Lord John Stuart and Lord Bernard Stuart, about 1638

Anthony van Dyck was a Flemish painter born in 1599. He studied under Peter Paul Rubens, and was considered his greatest pupil. He was best known for his portraits of nobility. He worked for Charles I on and off for a number of years and was titled “principalle Paynter in ordinary of their Majesties”. Van Dyck was considered precocious, and he was eager to visit different places and work with different patrons. He even left the palace of Charles I where he earned £100 a year (equivalent to about $28,139.34 USD) in order to go work in Genoa, Antwerp, and Italy. Charles I increased the salary to £200 a year in 1632, yet Van Dyck still left again just a year later. Some might consider him flighty or restless because he never stayed in one place for long. However, Van Dyck painted over five hundred portraits through out his career- dying at only 42 years old. This is a testament to his precocious character because he was clearly focused on his work if he was able to finish so many pieces in his short lifetime.

Van Dyck’s portraits are rendered with great detail, and they show nobility in dignified and elegant fashions. I was drawn to his piece Lord John and Lord Bernard Stuart because of his portrayal of the two lords. Lord John Stuart (right) looks into the distance rather than at the viewer, giving him an air of importance and sophistication. Lord Bernard Stuart (left) is posed in a pompous way, and his satin clothing is beautifully rendered to give the lord an elegant appearance. The simple background allows the focus to stay on the two Lords and makes them feel important.

The Balbi Children, about 1625-7
Equestrian Portrait of Charles I, about 1637-8
Prince Charles Louis, Count Palatine, about 1637
The Emperor Theodosius is forbidden by Saint Ambrose to enter Milan Cathedral, about 1619-20
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Survey 2: High Renaissance and Mannerism – Hans Holbein (1547 – 1619)

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Georg Gisze, a merchant in London, 1532

Hans Holbein was born in Augsburg, Germany. He took the best aspects of northern and Italian art and made the compositions of his paintings perfect examples of harmony. He made many portraits because artists at the time needed new ways to get work as the Reformation had caused a decline in religious paintings. He was made the Court Painter of Henry VIII and lived in England for two years to paint portraits of the royal household, as he was well known for them. Holbein’s portraits are seen as simple and nothing is done to make them exciting or dramatic, but the rendering of the scene was clearly done with extreme care and accuracy. The objects that surround the subjects of Holbein’s portraits tell a story about their personality and interests. While working as Court Painter, Holbein also designed a variety of items from clothing buttons to weapons.

Holbein’s portraits remind me of the saying “a picture is worth a thousand words” because his portraits are simple but give information about their subjects without being overwhelming or over complicated. He paid special attention to the clothing his subject wore, and included plants and animals as part of the scene. The variety of objects in the scene make me wonder how they relate to the subject Holbein has painted. I enjoy the detailed clothing and the textures he achieved in his work.

Anne of Cleves, 1539
Sir Brian Tuke, c. 1527/1528 or c. 1532/1534
Edward VI as a Child, 1538
Robert Cheseman, 1533

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