Realism - Art Explora Academy

1

Photography

Nicéphore Niépce, View from the Window at Le Gras,

1827, photograph, 6,4 x 8 inches, Harry Ransom Center, Austin

When Le Gray took his photo of the Grande Vague (Great Wave), it followed the first photo, taken 30 years before by Nicéphore Niépce. This was a landscape view from his window.

Niepce had left his camera on its stand without moving it for more than a day to take this picture. Fortunately, technical progress since then has made it possible to reduce the exposure time required when taking photos!

In a nutshell

Nicéphore Niépce took the very first photo in 1827.

2

The different image reproduction processes

Photography was not the only image reproduction process to be perfected at the time. Artists discovered many solutions to print multiple copies of their work.

Honoré Daumier, Parisians surprised by the Rising Tide; another maritime emotion,

1852, Le Charivari, National Gallery of Art, Washington

Honoré Daumier, Rue Transnonain, on April 15 1834,

1834, lithograph, Library of Congress, Washington

Gustave Doré, Puss in Boots shouting for help for his master,

1862, engraving, Contes de Perrault, French National Library, Paris. Photo: ©BnF, Dist. RMN-Grand Palais/ image BnF

Lithography was invented at the very end of the 18th century. It allowed a large number of reproductions of the same drawing on stone.

Another example of litography, by Honoré Daumier.

Grain wood engraving made it possible to create very precise drawings and to produce an enormous quantity of copies.

In a nutshell

Processes such as lithography or grain wood engraving made it possible to reproduce many copies of works of art.

3

Realism

In the middle of the 19th century, the painter Courbet was not happy. At the time, art consisted of fine, impeccable images destined for the middle class. He was to revolutionise all that with his new stream of Realism.

He set out to portray reality without trying to make it more appealing and he began with his subjects: he did not try to make them more beautiful than they actually were!

Gustave Courbet, A Burial at Ornans,

1849-1850, oil on canvas, 10’4” x 21’11, Orsay Museum, Paris

It was ambitious. But, like Le Gray with the double negatives, Courbet took a new angle on a burial, with each subject posing in his studio. We are a long way off from a picture portraying reality here!

At the same time, other artists were looking in the same direction. Rosa Bonheur, for example, with her views on working in the fields.

Rosa Bonheur, Ploughing in Nevers: the First Dressing,

1849, oil on canvas, 4’4” x 8’7”, Orsay Museum, Paris. Photo: Thesupermat, CC BY-SA 4.0

In a nutshell

The painter Courbet, who painted characters without idealizing them, initiated the Realist movement.

4

Edouard Manet

Édouard Manet, Lunch on the Grass,

1863, oil on canvas, 6’10” x 8’8”, Orsay Museum, Paris

After Courbet, another artist wanted to paint without idealizing what he saw. His name was Manet, with an “A”. We’ll talk about Monet with an “O” later.

He exhibited this painting in 1863 and shocked the public. They found it ugly and came to see it for a good laugh.

We have to admit that it was far removed from the taste of the time.

During the same year, for example, Alexandre Cabanel exhibited Venus, which was enthusiastically welcomed and immediately bought by Napoleon III.

Manet is a witness to modern life.

Alexandre Cabanel, Birth of Venus, 1

863, oil on canvas, 4’3” x 7’4.5”, Orsay Museum, Paris

Édouard Manet, Olympia,
1863, oil on canvas, 4’3” x 6’3”, Orsay Museum, Paris

Édouard Manet, A Bar at the Folies-Bergère,
1881-1882, oil on canvas, 3’2” x 4’3”, Courtauld Institute, London

Édouard Manet, Music in the Tuileries,
1862, oil on canvas, 2’6” x 5’11”, National Gallery, London

In a nutshell

After Courbet, Manet painted modern subjects without idealizing them, which went against the mainstream taste of the time.

5

The Opera Garnier

In 1860 Emperor Napoleon III decided that a new opera house would be built in Paris.

Charles Garnier, a 35-year-old architect, won the contract. His project was for a luxurious venue, ideal for the grand festivals of the time.

Garnier mixed different architectural styles from the past. This is known as Eclecticism.

South Façade of the Opera Garnier in Paris,

Charles Garnier, built between 1861 and 1875. Photo: Peter Rivera, CC BY 2.0

The Grand Staircase

Charles Garnier, built between 1861 and 1875. Photo: isogood, CC BY-SA 4.0

The Grand Entrance Hall,

Charles Garnier, built between 1861 and 1875. Photo: Eric Pouhier, CC BY-SA 4.0

The Theatre Hall,

Charles Garnier, built between 1861 and 1875. Photo: Chris Chabot, CC BY-NC 2.0

Model of the longitudinal cross section of the Opera Garner (Paris Opera House), from the drawing by Charles Garnier for his work, The New Paris Opera House, 1880,

1985, Romain Gianese Studio, directed by Richard Peduzzi, wood, plaster, plastic, watercolour, Orsay Museum, Paris. Photo: Jean-Pierre Dalbéra, CC BY 2.0

However behind this decorative explosion of shapes and colours, he did not forget what was essential: the venue was designed to host operas. Therefore, a part of it had to be devoted to artists and technical aspects, and another part had to be suitable for receiving and providing seating for the public. This is what we refer to as Rationalism.

In a nutshell

Garnier’s Opera House is both eclectic through its mixture of different styles and rationalist because each area was designed for a specific purpose.

6

The work of Baron Haussman

Boulevard Haussmann during the works by architect Baron Haussman,

1868, engraving, Illustration from the Le Monde newspaper, Private Collection. Photo: Stefano Bianchetti/Bridgeman Images

The building of the Opera House was part of a grand urban modernization programme that the Emperor decided to organize for his capital city.

At the time, it was thought that the narrow Parisian streets fostered diseases and the solution was a radical one – whole districts were demolished and rebuilt!

It was the Prefect at the time, Baron Haussman, who took charge of this vast clean-up. That is why we speak of Hausmann’s Paris.

What form did these works take?

With the wide, spacious avenues, splendid viewing points of outstanding buildings (such as the Opera House or churches) were created.
These buildings were enhanced by the empty space left around them for admirers.
The front of the new buildings were in line and in the same architectural style.
Whilst the works were under way, the city seized the opportunity to create efficient water distribution and drain systems. This was a perfect solution for reducing epidemics.
And, to keep everyone happy, green areas were added to the urban area.

7

Impressionism

Claude Monet

Photo : CC0

It’s time to speak of Monet with an “O”.

This painter worked with a group of friends, including Auguste Renoir and Berthe Morisot. They wanted to shake up the art of their time, but official exhibitions refused to hang their paintings.

So, they decided to exhibit their works independently from formal galleries – a radical move for the time! Between 1874 and 1886, they held eight exhibitions.

These were the “Impressionist Exhibitions”. But what were the characteristics of this new movement?