31 Mid- to Late Nineteenth-Century Art in Europe and

• For art, artists, and architecture, apply the vocabulary and concepts relevant to the 19th century European and American.

• Historical methods of observation, comparison, and interpretation of works of mid- to late century European or American art can be used.

• To support an argument or interpretation of cultural, economic, and political contexts, select visual and textual evidence in various European and American art and artists to their media.

• "I believe the tower will have its own beauty, and in Paris," said Gustave Eiffel in his approach to the 1889 Universal Exposition.
• The main attraction of the Universal Exposition was the Eiffel Tower, one of the more advanced thought and modernity among artists, and it became an international symbol of the event.
• The symbol of Paris is the United States in the second half of the 19th century.

• In 1889, the tower was one of the city's most photographed tional industry, science, and the applied, decorative, and structures.
• Thousands of tourists to the Eiffel Tower were intended to demonstrate that France bought souvenir photographs from professional engineering, technological, and industrial knowledge and commercial photographers.
• The power is shown in this one.
• It was originally conceived as a temporary structure rising above the exhibition buildings.

• Chapter 31 Mid- to Late Nineteenth-Century Art in Europe and the United States government regulations led to some improvements, social Europe and the United ist movements condemned the exploitation of workers by capitalist factory owners and argued for communal or state ownership of the means of production.

• During cans Lucretia Mott and Elizabeth Cady Stanton organized the Ameri, the Industrial Revolution intensified.
• Increasing demands for coal and the country's first women's rights convention in Sen iron led to improvements in mining, metallurgy and eca Falls, New York.
• They wanted legal equality of transportation.
• Property rights for married women, tive and steamship, and admission of women to all trades and professions made it easier for passengers to travel.

• The rise of imperial rural poor moved to cities to find work in factories and mines in the 19th century.
• They need to create new markets for their products.

• European nations established a lot of new colonies, but many of them had poor conditions for workers.

• Many European nations established colonial possessions around the world in the 19th century as Europe and the United States became more industrialized.
• The center of the Western art world was established in Paris.

• Electricity powered lighting, trams, and undifferentiated areas of white and black were caused by the early photography to see red and green equally.

• By the end of the century, many artists were still working in chemistry, and many created new products, such as aspirin, disinfectants, and photographic chemicals.

• Steel, a new alloy of iron and carbon, was lighter, harder, and more malleable than iron and replaced it in heavy construction.

• The Academie des Beaux-Arts was founded in 1816 to replace gious beliefs with scientific discoveries.
• The Royal Academy of Painting and Sculpture concluded that the Earth was 6,000 years older than the Ecole des Beaux-Arts.
• Charles Darwin proposed that life evolved gradually in France during the 19th century.
• The Salon juries and major public commission Darwin's account were attacked by religious conservatives because they seemed to deny the existence of God.
• The survival and the United States came to study the convention of the fittest, which was suggested by artists and architects from Europe.

• The "underdeveloped" parts of the world were encompassed by historicist art and architecture.

• Historicists referred to several dif Industrialists, merchants, professionals and middle ferent historical periods in a single work.
• Ori became a source of patronage in the arts because of some academic classes, some governments, and national academies of art artists that cater to the public taste for exotic sights.
• There are large annual exhi entalist paintings.
• These bitions in European and American cultural centers combined disparate elements to create works that could be used to show their Egyptian, Turkish, and Indian cultures.

• Cheap illustrated newspapers and magazines published art criticism that influenced the reception and production of art, both making and breaking artistic careers.

• The second half of the 19th century saw Napoleon III rule France and change how art was created.
• New reforms were launched.
• The riots had devas artists become committed political or social activists as tated Paris's central neighborhoods, and Georges-Eugene industrialization and social unrest continued.
• Some people rebuilt the city.
• Haussmann imposed a new ratio to the ways in which photography transformed vision nal plan of broad avenues, parks, and open public places and perception, either setting themselves up as photogra upon the medieval heart of Paris.
• He erased networks of narrow, winding work by demolishing entire phers or emulating the new medium's clarity in their own neighborhoods.
• The difference between medieval streets and slums was investigated by many.
• He destroyed a deeper, more human reality as well as the artistic potential of photography's wide, straight, tree-lined avenues by building grand new buildings along tion.

• A young boy followed his culture.
• In the 19th century, a naked British, French, and Italian man set up studios in the Middle East in order to provide photographs for both tourists and locals.

• The scholar Edward Said said that Gerome paints the scene with Characterizing both academic and avant-garde art in photographic clarity and scrupulous attention to detail, leading us to think that it is an accurate representation of Orientalism as the colonial gaze upon the Orient.
• "Native" men become savage and a complete fiction, mixing Egyptian, Turkish, and Indian despotic, and "native" women--and in this painting, boys--are cultures together in a fantasized pastiche."

• The oil is on the canvas.
• The Clarks acquired it in 1942.

• The building by Charles Garnier was built at the intersection of Haussmann's grand avenues and the sian landmark and is still a major function.
• The directions, the Opera was designed with transportation interior in mind and had a modern cast-iron more opulent, with neo-Baroque sculptural groupings, internal frame; yet in other respects it is a masterpiece heavy gilded decoration.
• There was an earlier period of greatness in France.

• The Baroque staire members of the Paris over an arcade are referred to as the seventeenth-century wing elite.
• The pur of the Louvre was meant to fulfill the human desire to hear, nuity of the French nation and to flatter Napoleon III by to see, and to be seen.

• Chapter 31 covers mid- to late 19th century art in Europe and the United States.

• He had a private collection of Beaux-Arts.

• Cabanel won the Prix de Rome in 1845 and held many academic practices in high, while avant-garde artists nered top honors at the Salon three times in the 1860s.

• Cabanel's technical mastery of anatomy, flesh tones and academic training DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch DropCatch There is oil on the canvas.

• Contemporary artists are able to distribute photographic engraving, wood engraving, and lithography for printing.
• Artists in the 19th century were able to reproduce their work with up to 10,000 copies of used engravings or etchings on more durable surfaces.

• One of the canniest self-marketers of the century was often engraved for reproduction.

• The artist sold the reproduction rights to the art to the dealer, who in turn hired other painters to create delicate shadings of his works.
• There are at least two smaller-scale copies of the work.
• The image quality was affected by the dealer pressing that wore down the plate after the original could be printed up to 100 times.

• Artists used steel prints in the late 19th century.
• The painted copies were sold by the dealer.

• The faces of the new sculptural group seemed too random, the facial mercantile elite, their achievements and possessions, and expressions of the figures were too vivid, and their bone structure and proportions were too much.
• The car wanted a mechanical method for drawing from nature.

• The camera obscura (Latin, meaning responding to the values of a new generation of patrons "dark chamber"), was one of the earliest devices.
• The practical box with a lens through which light passes was less interested in art that idealized upside-down image of the scene onto the opposite wall than in art that brought the ideal down to earth.

• The images produced by a camera obscura (later called simply a "camera") on light-sensitive material were developed as a way to fix.

• Photography did not have a single inventor.
• Several individuals worked on the technique at the same time, each contributing a part to the process.
• It was more difficult to stop or fix the image around 1830 because a few experimenters had found ways to record it, but the last step was more difficult.

While experimenting with ways to duplicate his paintings, Louis-Jacques-Mande Daguerre discovered that a plate coated with light-sensitive chemicals and exposed to light for 20 to 30 minutes would reveal a "latent image."

• By 1836, he had developed a method of fixing his image by bathing the plate in a solution of salt, and he vastly improved the process by using the chemical hyposulfate of soda as suggested by Sir John Frederick Herschel.
• The final image was negative, but when viewed on a silver plate it appeared positive.
• The plaster is about the same height.

• A make it light-sensitive camera is a lightproof box with a hole.
• The light is directed through a small opening in the paper to create a positive image.
• There is a lot of light reaching the film.
• Positive prints can be generated from a single negative.

• Digital photography records images as digital to light--usually a small fraction of a second--thanks to the chemical process being replaced by it.
• Small, modern information files that can be manipulated on computers with cameras are usually used at eye level.
• Exploiting the artistic potential of through them, the photographer sees almost the same image this new photographic medium is a major preoccupation of that will be captured on film.

• When the shutter is open, the light reflected off objects enters the camera and strikes the film.
• Pale objects reflect more light than dark objects.
• The negative image on the film is caused by the silver in the film being exposed to the most light.

• The denser the black tone created by the chemicals, the more light the film receives.

• An American artist traveled to Paris to exchange information about his invention, the telegraph, with an American artist who was interested in Daguerre's photography.
• The daguerreotype process was introduced to America within weeks of Daguerre's announcement.

• The daguerreotype is 61/2 x 81/2''.

• Henry Fox Talbot, a wealthy amateur, made negative copies of engravings, lace, and plants by placing them on paper soaked in silver chloride and exposing them to the light.
• The basis of photographic printing was discovered when he discovered that the negative image on paper could be exposed again on another piece of paper to create a positive image.
• Talbot's negative could be used more than once so he could produce more positive images.

• Talbot rushed to patent his process when he heard of Daguerre's announcement.
• Herschel came up with the term photography, derived from the Greek for "drawing with light".

• Photography was used to make visual records of the world.
• From the beginning, photographers worked to create striking compositions by experimenting with the new medium.
• The sixth-plate daguerreotype is 7 x 8.3 cm.

• He chose to view photog nostalgia for a rural way of life that was fast disappearing raphy in visual and artistic terms because of the commercial potential of the daguerreotype.

• It expresses early photography.
• If silver nitrate was mixed with collodion, a combination of guncotton, ether, and alcohol, it would adhere to glass.
• The collodion-silver nitrate mixture needed only a few seconds' exposure to light to create an image.
• The result was a glass negative that could be used to make many positive proof.

• A print from a calotype negative is 55/8 x 711/16''.

• The print is 18 x 23 cm.

• The momentous events of the Civil War were documented by American photographers.
• At the beginning of the conflict, Alexander and Timothy O' Sullivan worked with Mathew Brady to make war photographs that were widely distributed.

• There were a lot of technical difficulties.
• The glass plate used to make the negative had to be coated with a sticky substance.
• The image would be ruined if the plate was dried and the dust contaminated it.
• Early war photographs were taken in camp or in the aftermath of a battle, since long exposure times made action photographs impossible.
• The image shows a person who has been killed.
• This rock formation was in the middle of the battlefield and had no view needed for a sharpshooter.
• The dead body was dragged to the site by the photographers and the rifle they were using was theirs.

• The print is 25.4 x 20.3 cm.
• The Royal photographic composed to create a picture, but photography promises Society, Collection at the National Museum of Photography, Film, a kind of factuality that we do not expect from paint and Television, England.

• He knew that the sacrifice of artists' reputations and the visual world without bias would be required if photography could not record.

• One of the most creative early photographers was not as radical or extreme as Viollet-le-Duc, but she received her as a gift from her daughters.
• The idea of the great men and women theless was embraced by a number of artists who were associated with British arts, letters, and sciences.

• The approach of the man was experimental and radical.
• In the modern world of Paris at mid-century, a world rejected the sharp focus of commercial portrait photogra that was plagued by violence, social unrest, overcrowding, and phy, which she felt accentuated the merely physical attri poverty.

• She wanted to call attention to the avant-garde.
• Her subjects were suffused with rising food prices, high unem light, political disenfranchisement, and government expressions.
• In her book, she said that she had had "such men before my camera my whole soul lution of 1848, led by a coalition of socialists, anarchists, has endeavoured to do its duty towards them in record and workers."
• The July Monarchy ended and the Second Republic was established.

• Some truths of life for all people, poor as well as privileged were created in reaction to the rigidity of academic training.

• The first artists to call themselves avant-garde or a Realist were the French military.
• In his own words, he designates the forward units of a big, blustery man, and that they would soon occupy territory that the main force Socialist but a democrat and a Republican would soon occupy.
• He was raised near the Swiss border in the French town of Ornans.
• In relation to art to Paris, the term was first mentioned.
• The street fighting in Paris in 1848 was a catalyst for two large canvases socialists.
• The works of Henri de Saint-Simon have come to be regarded as the defining works of the Realist movement.

• The artist of Paris in the aftermath of the modern life was represented by the stone break by the architect Eugene Viollet-le-Duc.
• The younger figure was involved in the revolution of 1830.
• The French academic system of architectural training was dressed by Viollet-le-Duc's opposition to lift a large basket of rocks to the side of the road.
• A small elite of inde boots was needed for his tattered shirt and trousers.
• His older companion, seemingly broken by the pendent radical thinker, artists, and architects to break lowly work, pounds the rocks as he kneels, wearing the away from the Academie des Beaux-Arts and the norm more traditional clothing of a peasant.

• The Gemaldegalerie was destroyed in World War II.

• The depiction of labor at the size of a history painting is to consider two men breaking stones on the highway.

• Courbet submitted the two paintings together.
• It is not meant to be a record of that avant-garde.
• Since Oudot is shown alive in some of his works by the International Exposition of 1855, Courbet constructed a temporary building on rented land from an earlier portrait.
• The two men who went to the fair's Pavilion of Art and installed a show of his right of the open grave, dressed not in contemporary but own works that he called the "Pavilion of Realism," are also revolutionaries.
• They would follow his footsteps if they were close to the grave.

• The cause of democracy in France was advanced by accusations of political radicalism.

• Despite living and working in Paris, this painting depicts a rural burial life-size and is 10 by 21 feet.
• He never felt comfortable with the rows of the picture that were irregular.
• A state commission awarded for digger kneels over the gaping hole in the ground, placed his part in the 1848 revolution, and flanked by a bored altar boy and a village of Barbizon, just south of Paris.

• Oil on canvas is 33 x 44''.

• To make a loaf of bread.
• The most popular French painter of farm life wasRosa Bonheur, who reached the tiny stalks of grain remaining on the ground.
• Her success makes her back easier.
• The Comte de Saint-Simon believed in Millet's paintings and denied the accusations.

• The landscape paintings of Jean-Baptiste Bonheur's father, a drawing teacher, gave her a more romantic and less artistic training.

• After dedicating herself to accurate depictions of historical landscapes early in his career, Corot moved toward more naturalistic and intimate scenes of obsolete technology and rural France.
• She studied her subjects by reading and making detailed studies in stockyards in the woods.
• She had to obtain police permission to dress in trunks and branches and with the fresh green of men's clothing in order to gain access to the all-male pre soft, new foliage of Corot's feathery brushwork.
• Her breakthrough came at the new growth.
• A man and Salon of 1848, where she showed eight paintings and won a woman pause to talk on the road winding from left to right a first-class medal.
• There is oil on the canvas.

• The Metropolitan Museum of Art/ Art Resource, NY/ Scala, Florence was inspired by the marbles of the Parthenon.
• He wanted artists to be painters of contem don and Gericault.
• The scene shows grooms porary manners and "of the passing moment and of all the displaying splendid Percheron horses, some walking obe suggestions of eternity that it contains," using both mod diently in their circle, others rearing up."
• The lack of rights resenting the visual world is one of the reasons why some have inter ern urban subjects.
• In order to comprehend and comment on the pres the time, the break with the past was not read that way.
• The art of farm animals was highly praised after the invention of photography.

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• Bonheur demie des Beaux-Arts became so famous working within the Salon system that she received France's highest award, membership number of works submitted, and inevitably rejected.
• In 1863, the jury turned down nearly 3,000 awards.

• The Salon des Refuses was ordered by Napoleon III after a storm of protest.

• The experience of modern life was linked to the dynamic nature of the city.

• The Themes of the modern city and of political engagement to Realism and modernity are key to friendship with Baudelaire as a result of his with modern life in an industrialized world.

• Titian was the most scandalous part of the painting.
• There is a woman in the background.
• The audience side of city life in the guise of Classical art was intended to assume that these women were prostitutes and the men were provocative.
• Their customers were out in front of the stark lighting.
• The painting's nude, cool colors, and flat quality of his references to important works of art of the past were shocking.

• Titian and Giorgione are now attributed to Giorgione.
• Manet had copied it in Florence.

• At first, his painting appears to pay homage to Titian's in Camille Pissarro, and Pierre-Auguste Renoir, all of whom its subject matter would soon exhibit together as the Impressionists and fol courtesan.

• All of these tened were worked on by Manet.
• Titian's colors are warm and rich, while Manet's colors are cold and harsh.
• Titian's "Venus" seems to be at odds with the male spec favored by the Impressionists, but he always retained his tator.

• A young woman is serving drinks and giving her a bouquet of flowers.
• The bar in the famous nightclub that offered circuses, ship with us is underscored by her cat, which--unlike the musicals, and vaudeville acts--arches its back at the viewer.

• Her hands look raw and she has an unnaturally ruddy face.

• In 1855, the barmaid made his independence known by rent at once detached from the scene and part of it, one of the hall nearby and staging his own show.
• Many items were included in the still life of liquor bottles, tangerines, and Manet the unofficial leader of a group of forward- thinking and flowers on display for purchase.
• Artists and writers gathered at the Cafe Guerbois in sexualized looking, and the barmaid's uneasy reflection in the Montmartre district of Paris is what this image is about.
• The mirror seems to acknowledge that both her class and the cafe were frequented by artists like Degas and Monet.

• He painted ization and industrialization to show the social injustice of the time.
• A group of peasants are interested in presenting a realistic look at reality that was condemned to the brutal work of pulling ships up the Volga exposed the difficult lives of the working poor and the River.
• The complexity of urban life heightens our sympathy for these workers.

• It is done to rescue him in Russia.
• The painting was a call to action.

• Although it was not a term used in the slavery they had experienced on the large estates of the United States, realism was tocracy.
• Two years later, a group of painters inspired by a tradition stretching back to colonial, declared their loyalty to the peasant trait painters.
• The work of photographers during the Civil War was taken up by the St. Petersburg Academy of ing work.

• Russian art had been controlled by art since 1754.
• They considered the escapist aesthetic of teenth-century American art to be escapist.
• The academy, the members of which dedicated them, made a series of uncompromising paintings selves to be socially useful realism.
• They were criticized for their subject matter.

• The Academy of the Fine Arts, like their counterparts in music and litera ing in anatomy, lacked rigor and he joined a nationalist movement to reestablish the Jefferson Medical College nearby.
• He went to the Ecole des Beaux-Arts in Paris, where they believed to be an authentic Russian culture, and then spent six months in Spain, where he encountered the real Western European customs that had long dominated ism of Baroque artists.

• He was appointed director of instruction at the Pennsylvania Academy after being a charismatic teacher.

• It was one of the most controversial paintings.

• The Alumni Association gift was purchased by the Pennsylvania Academy of the Fine Arts and the Philadelphia Museum of Art in 2007.

• At the Pennsylvania Academy of the Fine Arts, Eakins disapproved of the academic technique of drawing from plaster casts.

• The oil is on a canvas that is 73 x 113.3 cm.

• The man's face was visible in the early sketches.

• There is a scientific and medical display in the Philadelphia Museum of Art.
• The monumental painting fishing village on the rugged North Sea coast shows Dr. Samuel David Gross performing an operation.

• Gross pauses to lecture to medical people he encountered in England, he set aside idyllic sub students taking notes in the background, as well as to Eak jects for themes of heroic struggle against natural adver ins himself, whose self-portrait appears along the paint sity.
• He was particularly fond of the ing's right edge.
• A woman cringes in horror at the bloody spectacle that is a mechanical apparatus used for rescues of the patient.
• During the summer of 1884, he made sketches of surgeons, who were considered to be afraid, especially by the crew in Atlantic City, New.

• Gross is portrayed as saving a hero by using a buoy and beams of light on his fore woman.

• Rem's family must have been involved in the conception of this portrait.
• She attended Oberlin College, the first college FIG, with the help of abo brandt's famous Baroque painting of Dr. Tulp.
• The American painter's use of light seems in the United States to grant degrees to women, and then to point to a similar homage to scientific achievement: moved to Boston.
• The light of knowledge and the source of progress is what modern science lions of abolitionist leaders and Civil War heroes financed is.
• In 1867, when she moved to Rome, she was welcomed into procedure with the help of an American expatriate artist.
• If Hosmer had used Neoclassical style to address viously, the patient's leg would have been removed.

• In 1867, after a ten-month sojourn in France, companion who boosted himself up on the ball that once Homer returned to paint nostalgic visions of the rural bound his ankle and raises his broken shackles in a ges scenes that had figured in his magazine illustrations.

• Lewis's female figure is more submissive than her male counterpart to align her with the modern ideal of womanhood and make her more appealing to white audiences.

• Lewis had to borrow money to pay for the marble.
• She shipped it back to Boston in hopes of getting a subscription drive to pay her loan.
• The steady income from the sale of medallions eventually paid off Lewis's debt.

• Other women and African Americans were excluded from art schools, but they were among the students at the Pennsylvania Academy of the Fine Arts.
• The most successful African-American painter of the late nineteenth and early twentieth centuries was Henry Ossawa Tanner.

• The oil on canvas is 49 x 351/2''.

• After graduating from the academy, he worked as a photographer and drawing teacher in Atlanta.
• He moved to Paris in 1891 to further his studies.
• In the early 1890s, he painted scenes from African-American and rural French life that combined Eakins's realism with the delicate brushwork he encountered in France.
• He wanted to counter caricatures of African-American life created by other artists.
• An elderly man is teaching a young boy how to play a musical instrument.

• In 1897, after a trip to Palestine.

• The Bible Howard University Gallery of Art is in Washington, DC.

• The passage of time is suggested by 16:14 The Raphaelite Brotherhood was formed by seven young London artists in response to what they considered to be letters under her prayer book.
• Instead leaves that surround her are associated with the "Raphaelesque" conventions taught at the Royal shame, and they seem to suck her into themselves.
• Jane Burden, his model for this and many other paint and spirituality that they found lacking in, was one of the reasons why they looked back to the Middle.

• The oil on canvas is 105.4 x 119.4 cm.

• The lower center of the painting is where the title is written.

• The Arts and Crafts movement was inspired by Morris.
• He was against the idea of art being a specialized product made for a small group of people.
• Morris was a socialist and opposed mass production and factory life.
• He argued that laborers derive satisfaction from being involved in the entire process of creation and thus produce honest and beautiful things.

• The American expatriate James Abbott McNeill Whistler focused his attention on the rooms and walls where art was hung, but he did so to satisfy the tastes of the elites.

• After flunking out of West Point in the early 1850s, Whis with rush seat, 33 x 161/2 x 14'' (83.8 x 42 x 38.6 cm), was ebonized.
• He studied art in Paris and was influenced by Morris.
• The two artists painted several sea 12'101/2'' x 11'55/8'' (3.96 x 3.53 m).
• The chair and curtain were used to makescapes.
• After Morris & Company, Whistler settled in London.
• His art began to take on a more decorative quality at the William Morris Gallery.

• He believed that the arrangement of the company's Sussex line of chairs could be aesthetically pleasing in seated chairs of the region.
• The handwoven curtain in the background is typical of Morris's fabric designs, which do not reference the outside world.
• He patterned the exhibition rooms for his own art with the medium.
• The pattern's soothing blue aim is to create a total harmony of objects and space.

• He was one of the first patrons of the William Morris Gallery, London, E17, England, and he thought that she was a captive not of her husband's art, but of her.

• William began to call his works "symphonies" and "arrangements," Morris worked briefly as a painter under the suggestion that their themes resided in their influence compositions of the Pre-Raphaelites before turning his atten rather than their subject matter.

• He exhibited things.
• Unable to find satisfactory furnishings for his some of these in 1877, he drew the disdain of England's lead new home after his marriage in 1859, and built them himself with the help of friends.
• Decrying later founding a decorating firm to produce a full range of Whistler's work as carelessly lacking in finish and pur of medieval-inspired objects.

• The oil is on the panel.

• The work appears completely abstract at first glance.
• The painting depicts a fireworks show over a lake at Cremorne Gardens in London, with viewers clearly seen along the lake's edge in the foreground.
• The critic was sued by Whistler for libel after reading his review.
• He turned the courtroom into a public forum to promote his art.

• The development of abstract art in the next century was influenced by the theories of Whistler.

• James Abbott McNeill Whistler's A: Yes, very often is a partial transcript.

• I knocked it off in a couple of days and attached it one day.
• An arrangement of line, form, and color is used to finish the work.

• The fireworks at Cremorne are represented by the 200 piece of labor you asked.

• If it were called a view of Cremorne, it would last a lifetime.

• The judge ruled that it is an artistic arrangement.
• It was marked 200 guineas.
• He only awarded one farthing to Whistler.

• The Academy's spective was different from that of the Realists.

• The younger effectively ended instead of challenging social commentary.

• He was born in Paris but grew up in the port city of Le Havre, where he trained briefly with an academic teacher but established his own studio to record the fleeting effects of light and atmosphere.
• He was urged to trust his personal impressions by his friend Charles-Fran, who applied many small touches of pure color directly.
• Monet's focus was the creation of a modern paint paint, which artists could conveniently pack and take out style, not the production of biting social commentary.

• Setting aside the boredom of the academic, the Impressionists celebrated the semirural plea program for painting, with its elaborate draw sures of outings to the suburbs, which the Paris train made possible for the middle class.
• The Impressionists wanted to capture the locations far from Paris, rather than depict them in the works.

• The Franco-Prussian War broke out in the summer of 1870 and Monet fled to London.
• The Corporation of Artist-Painters, Sculptors, Engravers, regions of Alsace and Lorraine were lost at the end of the 19th century.
• The war devastated the French economy.
• In Paris, Pierre-Joseph Proudhon, an anarchic, who months between March and May 1871 urged citizens to band together into self-supporting grass and establish the Commune, a working-class city gov roots organizations, rather than relying on the state.
• A mutual 20,000 dead and 7,500 imprisoned was envisioned by Pissarro.
• The aid group was hit by the horror when artists opposed the Salons.

• Courbet was imprisoned for a short time and in art because of the fear of being branded an enemy of the bers.
• politi was in several styles after 1871.
• All 30 participants agreed not to submit commentary in French art, and anything that year to the Salon, which had in the past the challenge of the avant-garde was expressed increas often rejected their work.
• This was a declaration of rebellion.

• The entire lickings were dubbed.
• Monet and his colleagues embraced the atmosphere of mist, despite the fact that the fast, line disappears among the shimmering shapes of steam open brushstrokes and unfinished look of some of the ships and docks in the background, clouded by a thick paintings.
• The term intensity and shift was used by Monet to describe their aim of rendering the ing forms of a first sketch and presenting it as the final work instantaneous impression and fleeting moment in paint.

• Oil on canvas is 48 x 63 cm.

• They have Bridgeman images.

• When painting, try to forget what you have before you--a tree, a house, a field, or whatever.
• Think of a little square of blue, an oblong of pink, a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it gives your own naive impression of the scene before you.

• During his long career, Monet explored personal impressions of light and color.
• He focused on a limited number of outdoor subjects through several series of paintings: haystacks, poplar trees silhouetted against the sky, and the facade of Rouen Cathedral.
• The cathedral was painted by him because of his fascination with the way light plays across the stone surface, changing its appearance constantly as the lighting changed throughout the day.

• The oil on canvas is 100.1 x 65.8 cm.

• In the late 1870s, from a second-story window across the street, he finished his work and it became more visually complex.

• Impressionist painter Pierre-Auguste Renoir focused most of his attention on painting scenes where the urban meets the rural, instead of painting scenes where the urban meets the rural.
• He portrayed the rural landscape on its own, but he often at leisure produced mostly images of the middle class.
• He was already working as a figure painter when he met Monet at the Ecole des Beaux-Arts.

• Renoir was born in the Dutch West Indies to French parents and by the mid-1870s he was combining his upbringing near Paris with his interest in art.
• He and Monet lived in 1870.

• Pissarro settled in Pontoise, a small, hilly village northwest of Paris, where he worked for many years, because he wanted to glamorize the working-class clientele.
• The oil on canvas is 46.5 x 56 cm.

• There is oil on canvas, 1713/16 x 295/16''.

• The overall mood is enjoying an outing on the lake of the fashionable Bois de knit together by the dappled sunlight falling through the Boulogne.
• In the fifth Impressionist exhibition trees and Renoir's soft brushwork weaving blues and pur, the painting exemplifies the emphasis on formal portraiture through the crowd and around the canvas.
• The naive features in Impressionist painting--the brushstrokes and image of a life of innocent leisure--are as much the subject as the figures themselves.

• Although his paintings are closer to Realism in their Impressionist artist Berthe Morisot, they defy intensely frank portrayals that often suggest social convention to become a professional painter.

• Instead of painting outdoors, Degas composed Morisot and her sister, Edma, copied paintings in the Lou his pictures in the studio from working drawings and pho vre and studied with several teachers, including Corot.
• The Ecole des late 1850s and early 1860s was where he received his academic training.
• The sisters exhibited their Beaux-Arts and his three years in Italy art in the five Salons between 1864 and 1868, the year they studying the Old Masters blossomed in paintings.
• Edma gave up painting in 1869 to devote herself to domestic duties, but Berthe continued her representational clarity.
• After her 1874 marriage to the brother of the Impressionists, his themes and painting were closer to his than to the Impressionists.

• During the 1870s, Degas sent nine paintings to the first exhibition of the Impres portraits of friends and relatives, and showed her work in all but one of them.

• She focused on depictions of women's lives and the ballet in the 1870s and 1880s, a subject she knew well.
• She painted at a time when it was in decline.
• Degas uses a fluid and painterly style, flattening her picture plane and drawing or painting actual dancers in rehearsal, but he also makes her brushwork more prominent.

• A drawing on thin, cream-colored wove paper is mounted on a canvas.

• There is a pastel on cardboard.

• The impact of Japanese prints and photography on Degas's art can be seen in the photo.

• The artist who exhibited with the Impressionists but whose art soon deviated from them in both style and technique was influenced by her contact with Degas.
• Mary Cassatt was an American expatriate.
• Born dancers look bored or exhausted; others stretch, perhaps near Pittsburgh to a well-to-do family and raised in the to mitigate the toll this physical work took on their Bod cosmopolitan world of Philadelphia, she studied at the ies.
• Ballerinas came from lower-class Pennsylvania Academy of the Fine Arts between 1861 and 1865 and showed their scantily clad bodies in pub 1865, then moved to Paris for further academic training, something that "respectable" bourgeois women did and lived there for most of the rest.
• The figure paintings she exhibited at the Salons of the able were widely assumed to be sexually avail of, and they attracted the attention of wealthy men who were willing to support them in exchange for sexual favors.

• She disliked one of the dancers so much that she called him a tector.

• The composition seems to tilt the group's supporters.

• The domestic and social life of the double basses is emphasized by the dark scrolls world she knew best, which is why she focused her paintings on the abrupt foreshortening.
• The Japanese representations of women with children may derive from the prints, which Degas collected, while the seemingly arbi genre paintings of fellow expatriate Henry Ossawa Tanner suggest photography.
• He also practiced cliched stereotypes.

• Degas's ballet paintings highlight informal and contrast the impressionist moments associated with public performance, his later treatment of clothing and setting and the solidly modeled images of bathing women are furtive glimpse of inti forms of faces and hands.
• Initially, this may seem to be two separate compositions, with the Virgin and Child at the left and the woman at the right.

• Gustave Caillebotte was one of the friends who helped organize several Impression point.

• The oil on canvas is 90.2 x 64.5 cm.

• He qualified for the Ecole des Beaux-Arts but never attended.
• Caillebotte was fascinated by the regularized streets of Haussmann's Paris.
• His compositions represent life along the boulevards.
• The broad, wet streets create the subject of this painting, with anonymous, huddled Parisians mostly pushed to the periphery, their shiny umbrellas as prominent as their silhouetted bodies.
• The couple strolling toward us is fully realized and personalized.
• They are squeezed between the lamppost and the saturated red and green of a shopfront and are capped by the strong horizontal of the two umbrellas.

• The oil on canvas is 212.2 x 276.2 cm.

• The U.S. Navy opened the door for the pure aesthetic conception of art that was liberated from Renaissance rules of Japan.
• Trade and diplomacy were discovered by Degas.
• Two years later, when France, England, Russia, and the United States signed trade agreements.
• European and American artists were able to use Japanese industrial design art that allowed regular exchange of goods.

• They thought that the attention of mod elegance was lacking in the West.

• The Ecole des Beaux-Arts in Paris hosted an exhibition of woodblock prints in 1890.
• She felt a connection to the "floating world," the realm of geishas and popular enter the style of these prints and began to appear for sale in specialty shops.
• The use of broad, flat, unmodulated areas of color or tone became fashionable for those in the art world to collect Japanese their emphasis on outline and pattern over form and space.

• The exhibition of these prints in 1891 was her first solo exhibition, and her work was acclaimed by her fellow artists.

• Degas was dumbfounded, how indi's friend and mentor responded depended on their own interests.

• There is a color drypoint and aquatint.
• The print is 27 x 19.2 cm.

• The Realists and Impressionists continued to create art until the end of the century, but by the mid-1880s they had lost their dominance to younger artists.

• The theme of the weekend is leisure.

• The late nineteenth-century French painted the entire canvas using only 11 colors, and three sculptors studied the passionate physicality of the values.
• When viewed from a distance of about 9 feet, the human form; Symbolists, who retreated into fanciful painting reads as figures in a park rendered in many colors and sometimes horrifying worlds of the imagination; Art and tones; but when viewed from a distance of 3 feet, the Nouveau artists,

• The urban cityscape has been the subject of a number of conflicting interpretations from the first appearance of the painting.

The English critic Roger Fry came up with the term "post blended working-class and middle-class life and leisure."

• Some art historians think that Seurat satirized the sterile group of painters whose work he had collected for habits, rigid attitudes, and domineering presence of the exhibition.
• He acknowledged that these artists did grow the middle class in Paris, but they all used intellectual exercise on the nature of form and color.

• They can develop their individual styles through Impressionism.

• He was born in Gogh and trained at the Ecole des Beaux-Arts.
• Van Gogh was the oldest son of "correct" Impressionism and worked as an art dealer.
• He decided to become an artist after seeing Classical relief sculpture and seeing that he preferred the clar a teacher and an Evangelist.
• He moved to Paris in 1886 after a brief period of study in Brus, which he found to be quite emotional.
• He encountered the Parisian avant-garde.
• Van Gogh was interested in the "law of the simultaneous contrast adapted Seurat's Pointillism by applying brilliantly col of colors" formulated by Chevreul in the ored paint.
• Chevreul observed that the objects next to each other gave his pictures a sense of energy and texture.

• Van Gogh believed that when a blue object is set next to a yellow one, the eye will live, with its constant social change and focus on progress detect in the blue object a trace of purple, the complement and success, alienating people from one other and from the other.
• His paintings communicate blue.

• The Bois de Boulogne was an upper-middle-class park in an area of grand avenues, while the Grande Jatte faced a lower-class industrial area across the river.

• The Art Institute of Chicago between artist and viewer will allow me to do a background of the rich tional barrenness of modern society.
• In a prolific output, most intense blue that I can contrive, and by this over only ten years, he produced paintings that contrib simple combination, the shining fair head against uted significantly to the later emergence of Expressionism, this rich blue background, I shall obtain a mysterious in

• This is more than one exhibition.
• He lost his job in the stock market because he had a record of what Van Gogh felt.
• He abandoned his wife and five children in the last year and a half of his life to pursue a full-time painting career.

• The simpler pleasures of prein could not paint a picture of what place would bring, as he heard loud noises in his head and wanted to hurt himself.

• Gauguin returned to once advise another artist not to paint from nature in French Polynesia, where he died in 1903.

• Art is not static.
• The so mother and a radical French journalist father were used to paint in a "primitive" way.
• During the 1870s and early 1880s, he wore colored flat shapes, anti-naturalist color, and bold black while he was a stockbroker.
• Gauguin's style was called "synthetism" because he was a student of Pissarro.
• He exhibited in the final four Impressionists in an abstract application of line, shape, space, and color.

• There is oil on the canvas.
• Acquired through the Bequest.

• He had gone to Tahiti to find an unspoiled reality and to depict it as the ideal of his dustrial paradise, but he chose to ignore it.

• The central female bather dips her feet in as was his practice in many of his Tahitian horizontal zones, increasingly abstract from the water and looks coyly out at viewers, paintings, Gauguin did not base this top to bottom.
• The upper zone is painted while the two androgynous sculpted idols are on either side of her.
• He owned pictures of a statue of a god on a beach, but three of them were taken at a Buddhist temple complex.

• By reflecting a strange and unexpected pool of water, abstracting into a dazzling array of three figures posed on an reality exactly where we expect to see a bright colors and arranged in a puzzlelike pattern unnaturalistically pink beach.

• The central woman links her desire to evoke the mysterious centers of spatial recession to the arched form behind the pool.
• His goal was symbolic rather than stylized.

• The oil on canvas is 69.5 x 90.5 cm.

• The international movement in art and liter was led by Symbolism, which performed an erotic dance before Herod and demanded as reward the head of John the Baptist.
• A vision of the saint's severed head appeared in the air, dripping blood and emitting holy light.
• The last decades of the 19th century depicted this scene and its exotic set photographic and scientific examination of the nature of ting, as well as a popular interest in the spirit world creating an atmosphere of decadence.

• The exhibition went almost unnoticed by the press because the Symbolists rejected the value placed on rational in a cafe close to the fair.

• They sought a deeper and more mysterious reality beyond everyday life, which they conveyed through strange, ambiguous subject matter and stylized forms that suggest hidden and elusive meanings.

• They compare their works to their dreams.

• There was a similar movement among poets and writers.

• A visionlike atmosphere is present in the later work of Gustave Moreau.
• There is a watercolor on paper.

• Symbolism originated in France and had a profound impact on the avant-garde in other countries.
• Edvard Munch's work shows the terrifying workings of an anguished mind.

• The canvas is unprimed and has tempera and oil on it.

• The oil on canvas is 90.3 x 150 cm.

• The masks that Ensor's family sold for the pre-Lenten were models on the grotesque in awkward poses, giving them a disturbing look.

• Ensor's acidic colors and Rodin's status as a major sculptor were confirmed in getic paint handling.

• A defiance of conventional expectations and an inter city if six leading citizens surrendered them est in emotional expressiveness also characterizes the selves to him for execution.

• Rodin's relocation of public sculpture from a high pedestal to a low base would lead to the elimination of the pedestal itself, thus presenting sculpture in the "real" space of the viewer.

• Their relationship lasted 15 years.
• Claudel was 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217 800-273-3217

• It was produced in several versions and sizes between 1892 and 1905.
• The subject of the waltz was controversial because of the close body contact demanded of dancers.
• The sculpture depicts a dancing couple, both nude, although the woman's lower body is covered with long, flowing drapery, a concession she made after an inspector from the Ministry of Fine Arts declared their sensuality unacceptable.
• Claudel didn't finish the commission because she added enough drapery.
• She cast the modified version in bronze, in which the spiral flow of the cloth creates the illusion of rapturous movement as the dancers twirl through space.

• The height is 97/8''.

• She drew inspiration from nature, especially from vines, snakes, flowers, and winged insects, because she feared their execution would be a bad omen.

• The goal was to harmonize all aspects of design into one.

• The artist most responsible for suggesting to viewers that ordinary people are capable of noble acts was the Belgian Vic.
• Rodin presented ordinary-looking men in vari and Brussels, while Horta worked in the office of a Neoclassical ous attitudes of resignation and despair for six years before opening his own sackcloth with rope halters.
• He received his first important city in 1892.
• He enlarged their hands and feet and exaggerated their facial expressions.
• The house's entry hall swathed them in heavy fabric, showing how and stair.
• The iron they may have looked at but also how they must have felt work, wall decoration, and floor tiles were all designed in as they forced themselves to take one difficult step after an intricate series of long, graceful curves.
• The English Arts and sculptural abstractions were born out of Rodin's willingness to stylize the human body.

• Natural forms were integrated into the design of the sandstone sculptures and parks that are still revolutionary in their dynamic and multicolored glass and tile surfaces, imaginatively freedom of line.

• Most tiles are scales.
• His designs of entrances to the Paris Metro of St. George are remembered by a fanciful turret at its edge.

• The wood is olive and has ash panels.

• Toulouse-Lautrec was left physically disabled due to a genetic disorder that caused him to have stunted forms, flattens space, and suppresses modeling his growth.
• In order to accommodate the cheap colored lithographic printing family in southern France, he moved to Paris technique he used, but the resulting bold silhouettes and in 1882, where his private academic training was trans curving lines.

• The most bohemian of the avant-garde artists lived in Montmartre.
• Toulouse-Lautrec devoted himself to depicting the nightlife of Montmartre--the cafes, theaters, dance halls, and brothels that he himself frequented.

• Montmartre's most popular entertainers were advertised on roughly 30 lithographic posters designed by Toulouse-Lautrec.

• There is a stage that zooms into the background.
• The hand and face of a double-bass player, part of his instrument, and pages of music frame the poster in the extreme foreground, which recalls the compositions of Degas.
• There is a four-color lithograph.

• The Beginnings caused urbanization in Europe and the United States, which in turn demanded more industrialization.
• More than 20 international fairs celebrating innovations in industry and technology were started by a belief in the perfectibility of soci.

• A dilemma faced by the industrial city, caught between the exhibition and the Crystal Palace, introduced a new building classicizing tradition of the Beaux-Arts academic style and techniques.

• Paul Cezanne, late in his life, altered the panes.
• The triple-tiered edifice was the largest space that the course of avant-garde painting by returning to an had ever been enclosed in, covering more intense visual scrutiny of the world around him.
• A retrospective exhibition of Cezanne's exhibition space was held in 1906, covering almost a million square feet.
• The central vaulted transept was based on life's work in Paris and revealed his methods for the design of new cast-iron train stations.

• 6 million people had visited the technology end of the exhibition, most agreeing that the Crystal Palace was a technological marvel.

• The pace of life sped up a lot over the course of Neoclassicism and Romanticism.
• The novelty of its iron-and-glass frame overshadowed its more legitimate architecture because of Industrialization.

• As the transportation hub for grain, livestock, and other items, Henri Labrouste had a radical desire to combine the east and west coasts.
• Although commercial facilities and office buildings were designed, reluctant to push his ideas at the Ecole, he pursued them in primarily with practical needs in mind.

• The space is opened visually by Richard Morris columns.
• The Ecole des Beaux-Arts in Paris was where Hunt studied archi torical allusions in the Classical detailing.
• Extraordi the vast open space made possible by industrial materials is thoroughly modern.

• After the Civil War, Hunt built many lavish mansions for a growing class of wealthy in the United States, emulating Beaux European models.

• Hunt supervised the design of the types for industry, transportation, commerce, storage, and the 1893 World's Columbian Exposition in Chicago, which would accommodate more orating the 400th anniversary of Christopher Columbus.
• Engineering prices were not the focus.
• Chicago was a case in point.

Although be a model of the ideal American city-- clean, spacious, the rough, blocklike facing stone, the arched windows, carefully planned, and Classically styled--in contrast to and the decorated cornice all evoke historical architecture, the soot and overcrowding of most American Richardson's

• Richardson's building was a revela landscape design and City's Central Park was responsible for the exhibition's Plain and sturdy.
• After the disastrous fire of 1871, he converted the marshy lakefront into a series of lagoons, canals, ponds, and islands for the young architects of Chicago.
• As in the White City, and others informally, the same time as new technology for producing steel, which contained the busy conglomerate strong, cheap alloy of iron, created new structural opportunites for "less civilized" nations.

• The world's first Ferris wheel, structural steel and the elec, which provided a spectacular view of the fair, made them a city.
• Most of the buildings were demolished after the fair.
• The first was built by William Le Baron Jenney.

• The Administration Building, the Agriculture Building, and the Manufactures and Liberal Arts Building were all near the Court of Honor.
• The exposition was also known as the White City because of its nickname.

• It was demolished in 1935.

• A richly decorated frieze in terra-cotta relief crowns the building and is capped by a thick slab.

• The ferent levels of function were followed by younger architects in the shops at the bottom and offices in the Chicago School.

• This idea was adopted by a new style of architecture and used to justify the removal of the skyscraper.
• There is surface decoration from buildings.

• The MIT home of the United States' first formal architecture is not necessary because of the thick corner piers.
• The thinner piers between Beaux-Arts in Paris were where he developed a dislike for the office windows.
• He settled in Chicago in 1875 because of the third story to the attic and the building boom that followed the fire of 1871.

• He entered into a partnership with an engineer named Dankmar Adler.

• Sullivan's first major skyscraper, the Wainwright In the Wainwright Building, has a U-shaped plan that provides an interior in the rich vegetative ornament that swirls around the light-well for the illumination of inside offices.
• The ground crown of the building is similar to the capital of a Corin floor, which was designed to house shops.
• The display of merchandise can be seen in the triangular structure of the building.
• The second story features large windows that reflect the influence of Classical design on the shop offices.
• In the twentieth century, identical floors of offices would be lit by rectangular windows, and an attic story houses the building's mechanical plant and aesthetic stripped of applied decoration.

• During the second millennium bce, parks were created in China as enclosed hunting reserves for kings and nobility.
• Private recreation grounds were for the privileged in Europe from the Middle Ages to the 18th century.
• The first urban park for the public was in Germany.
• The picturesque style of an English landscape garden was laid out by Friedrich Ludwig von Sckell.
• It contained irregular lakes, gently sloping hills, broad meadow, and paths meandering through wooded areas.

• The creation of large public parks that had green open spaces helped purify the air and provided city dwellers of all classes with a place for recreation as a result of the crowding and pollution of cities during the trial Revolution.
• The Bois de Boulogne and the Bois de Vincennes were replanted in the English style in the 1850s and 1860s, and were one of the many municipal parks built in Britain and Paris during the 1830s and 1840s.

• In American cities before 1856, the only public out door spaces were small squares between certain intersection, and larger gardens, such as the Boston Public Garden, neither of which filled the growing need for varied recreational facilities in the city.
• For a time, landscaped suburban cemeteries in the picturesque style were popular sites for strolling, picnicking, and even horse racing--an incongruous set of uses that strikingly demonstrated the need for more urban parks.

• The parkland was set aside in the 19th century because of the rapid growth of Manhattan.

• A map of 1873 shows a revised and extended park layout.

• No artist had a greater impact on the next generation than Paul Cezanne.
• Cezanne studied art first in Aix and then believed that the park of any great city was the surface of the park.
• His early pictures were somber in color and streets and often depicted Romantic themes of drama scaping in the English tradition, but were rejected by the Salon.

• His style changed in the early 1870s under the influence of Pissarro.
• He began painting landscapes after adopting a bright mall that leads to the Classically designed Bethesda Terrace.

• When the land was low, Cezanne dedicated himself to the study of what depressed it, installing drainage tiles and carving out nature.
• They planted clumps of trees to con sionists, but he did not want to capture the fleeting nature of trast with open spaces and exposed natural outcroppings.
• They arranged structured paintings through a methodical application of walking trails, bridle paths, and carriage drives through color that merged drawing and modeling into a single pro the park with a series of changing vistas.

• An existing Cezanne's dedicated pursuit of this goal resulted in the park being divided into two sections.

• By the end of the Civil War, Central Park was complete and the mountain rising above the Arc Val ley was dotted with buildings and trees.
• The evergreen tree that is to the left of the scene creates visual harmony between the two main elements of the composition.
• Oil on canvas is 251/2 x 32''.

• The light, stable atmosphere, and absence of human activity seem to be wrongly drawn in Chapter 31 Mid- to Late Nineteenth-Century Art in Europe and the United States.

• The wine bottle trolled that the right side of the table is higher than the left.
• His brushstrokes, which vary from short, paral has two distinct silhouettes, and the pastries on the table lel hatching to light lines to broader swaths of flat color, next to it tilt upward toward the viewer, while we seem weave together the elements of the painting into a The shifting viewpoints are not the same as the flattened visual space.
• The surface design comes from Cezanne's depiction of space, which creates tension rejection of the rules of traditional perspective.
• Between the illusion of three dimensions within the picture linear perspective and the reality of its two-dimensional surface requires the eye of the artist.

• The composition as the lighter values in the background creates an effect of whole that is therefore atmospheric perspective.
• It is a complex and dynamic recession.
• Instead of faithfully reproducing the colors in the foreground static objects from a stable vantage point, Cezanne recre and background and by the tree branches in the sky, which ated, or reconstructed, our viewing experiences through follow the contours of the mountain.

• Photographs of this scene show that Cezanne's paintings became more com ated a composition in accordance with a harmony that he plex internally and more detached from observed reality in the last years of his life.

• He painted the largest can painting as a work of art, which he called "something vas he ever painted," in the last year of his life.
• It returns in several ways to the aca, not a representation of nature but "a demic convention of history painting as a monumental, construction after nature" was a crucial step toward the multi-figured composition of nude figures in a landscape modern art of the next century.

• There is oil on canvas.

• Cezanne suffused the picture with a cool light recognizable time and space, as the figures assumed blues, greens, and roses laid down over a white statuesque, often Classical poses and seem to exist outside ground.
• The scene's remoteness is emphasized by using a restricted palette.

• Explain how the photographic process works and paintings differ from traditional European paintings by focusing on one Daguerre and Henry Fox Talbot in the emergence of specific work from the chapter.

• European artists often use art from the past to address concerns of the present.
• The two paintings have different messages.

• They should express the concerns of the artist, patron, or FIG.