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July Monarchy. Louis Philippe – King in 1830. Compromise Policy – a.k.a. happy medium. July Monarchy – crucial for French culture and art – synthesis of Classicism and Romanticism. > resurgence of landscape painting. > popularity of historic and Orientalist genre scenes.
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July Monarchy • Louis Philippe – King in 1830. • Compromise Policy – a.k.a. happy medium. • July Monarchy – crucial for French culture and art – synthesis of Classicism and Romanticism. > resurgence of landscape painting. > popularity of historic and Orientalist genre scenes. > popularization of high art > explosion of printed images in books, newspapers, etc.
Revolution of 1848 • caused by a food shortage dating to 1846 • touched off revolutions throughout the European community • Louis Philippe fled to England • Second Republic proclaimed • Alphonse de Lamartine • Napoleon III
Photographers • Like painters, attracted to the orient • Maxime Du Camp • monuments and urban scenes in Egypt • Charles Cordier • indigenous people – “ethnographic photography”
Daguerreotype Yielded a positive image on a polished metal plate Disadvantage of the daguerreotype considerable time to prepare, expose and develop the plate couldn’t be reproduced
HonoreDaumier (French, 1808-1879)
Second Empire • improved France • science, technology and industry • public works • state of the lower class
Salons of the Second-Empire • historic genre scenes • Orientalist scenes • female nudes • landscape paintings • Realist peasant painting • contemporary urban life scenes • portraiture
Roots of Realism • Charles Baudelaire • Review of Salon of 1846 called for the depiction of the grand present
Realism • “the artistic engagement with the ordinary, contemporary life that began in the 1840s is known as ‘Realism.’” Source: Chu. Nineteenth-Century European Art
The Desperate Man (Self Portrait) (1844-45) Gustave Courbet (French, 1819-1877)
Lucian Freud and Leigh Bowery imitating the poses of artist and model in Courbet’s The Painter’s Studio, photographed by Bruce Bernard. Freud insisted there was nothing special about his studio, but in fact it was ‘a meticulously constructed space with almost surreal features including walls layered in impasto where he wiped his brushes’.
Henri Fantin-Latour, Portrait of Édouard Manet, 1867
Hiroshige, Utagawa(Japanese 1797-1858)Koume Embankment from 100 Views of EdoColor woodcut; 1857
Hokusai, 36 Views of Mt. Fuji, the Great Wave off Kanagawa, 1823