User:Admualberta/sandbox

Source: Wikipedia, the free encyclopedia.

Research Assignment One, Gustave Courbet

My Search Process and a Brief Comparison

For the Wikipedia assignment, there were three topics that I chose to research. I decided to focus on art history as my general subject matter and narrowed my focus on realism and two important artists in that movement, Gustave Courbet and Rosa Bonheur. Through subsequent research, I chose to only continue to investigate Gustave Courbet further, as I find his history to be the most interesting.

My major for my undergraduate degree was the History of Art, Design and Visual culture, which is why I felt it to be the most suitable topic for me to explore. Because I already have previous knowledge of these topics, I am more readily able to tell if an article is presenting false or biased information. Art History is also quite a broad subject, meaning that there will be more articles to examine and more readily available resources, as there has been more time for scholars and academics to collect and conduct research. However, if I were to study a fairly new topic, the information and resources available would be limited, resulting in no accurate way to verify the article.

The other encyclopedias that I referenced were found either through my own previous knowledge, through class discussions, or through searching for the subject matter online. One of the main differences between Wikipedia and conventional encyclopedias is that conventional encyclopedias frequently list actual authors, whereas Wikipedia uses more of a collective group effort and editing process to develop an article. Also, an individual is not able to track down a Wikipedia user to verify their credentials. However, with the conventional encyclopedia authors you can easily verify their authority on a particular subject matter and look into their credentials.

Another difference that I noted was that Wikipedia articles are lacking in images. The articles that I found through Britannica and the Metropolitan Museum of Arts offered quite a few images of the Courbet's works, which is very helpful when researching a visual art. I also discovered that although conventional articles may be more reputable, they often times had distracting advertisements or offered more dated information. This is a really great benefit of Wikipedia, all of the articles that I had researched were updated very recently. It is too bad that there is not a better method to ensure that the material being posted to wikis is more accurate because Wikipedia is a really wonderful resource.


Wikipedia References

  • “Gustave Courbet.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 28 Aug. 2012. Web. 1 Sept. 2012.Gustave Courbet
  • “Realism.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 28 Aug. 2012. Web. 20 Sept. 2012.Realism
  • “Rosa Bonheur.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 28 Aug. 2012. Web. 23 Sept. 2012.Rosa Bonheur

Encyclopedia References

  • Berman, Avis. “Larger than Life.” Smithsonian Magazine., April 2008. Web. 30 Sept 2012.[1]
  • Galitz, Kathryn Calley. "Gustave Courbet (1819–1877)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. May 2009. Web. 30 Sept 2012.[2]
  • "Gustave Courbet." Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2012. Web. 30 Sep. 2012.[3]
  • "Gustave Courbet." The Columbia Electronic Encyclopedia. © 1994, 2000-2006, on Infoplease. © 2000–2007 Pearson Education, publishing as Infoplease. Web. 30 Sep. 2012.[4]
  • "Rosa Bonheur." Encyclopedia of World Biography. 2004. Encyclopedia.com. Web. 30 Sep. 2012.[5]


Assignment Two

Realism

Overview

Realism is a 19th century art movement that gained prominence in France after the 1848 French Revolution and continued to develop late into the 19th century.[1] Realism was a rejection of Romantic art, an overly idealized, imaginative and embellished form of art. It was characterized by the accurate representation of rural, working class life. Through this representation, Realism sought to elevate the lives of the working class to the status of High culture art, thus aiding in the elimination of class distinctions.[2] Realist art acted as a social commentary on current French society, as it challenged traditional and academic art through its subject matter and and its goal of bringing art to the masses.[3] The Barbizon school preceded the Realist movement and Impressionism and Naturalists in art are the groups the followed.[4]

History

Although it was not popularized until the mid 19th century, realism already had roots in the art of the Egyptians and the early Renaissance, artists of which focused on a more idealized lifelikeness and used the human form as their main subject.[5] Realism made its appearance in France earlier in the 19th century in the form of Romantic Realism, which can be seen in the art of the Barbizon school.[6] It was around this time that there was an abundance of changes that inspired a shift in the art world. One such change was the abolishment of the hierarchy of genres which resulted in the growth of landscape, still life and other previously ‘lower’ styles of art.[7] Artists such as Jean-Francois Millet presented the simplicity of rural and working class life in a 17th century Dutch influenced style.[8] Through his work, Millet intended to “monumentalize peasants at work” and in a fashion reject industrialization through a concentration on rural life.[9] Although not as politically charged as some artists who would appear later in the movement, Millet was making strides by depicting peasants in a manner that made them appear more important than they actually were believed to be.

The main proponent of the Realist movement was French artist Gustave Courbet, whose rough painting style and rural subject matter epitomized the ideals of the anti-academic realists.[10] Courbet challenged the hierarchy of paintings that were preferred at the Salon de Paris and the Ecole des Beaux-Arts, mainly the importance of history painting. He achieved this through the use of ordinary subjects in works created using the grandiose scale and style normally reserved for historical compositions.[11] This was exemplified in his piece Burial at Ornans (1849-1850).[12] During the Exposition Universelle in 1855, Courbet had submitted his piece The Painter’s Studio (1855) which resulted in its rejection.[13] This rejection prompted him to establish his own Pavillon du Realisme not far from the main exhibition grounds where he not only exhibited the rejected piece, but forty other works and his own penned Realist Manifesto.[14] Although heralded as the leader of the movement, many believe that Courbet “simply put the seal on all the changes that had occurred all over Europe in the previous decade."[15]

There was also a great deal of political and social change that occurred in the time period in which Realism was popularized, mainly the growth of the middle class. The movement emerged during the rise of the Industrial Revolution which pulled a great number of rural workers into the urban centers, while also polluting the rural environment with factories.[16] Urban centers were drastically evolving, Paris, for example, was going through a complete renovation. Georges-Eugene Haussmann was in the process of designing larger streets throughout Paris, which would allow for easier transportation throughout the city.[17] However, although this development was very beneficial, it also was going to push the poorer Parisians to the outskirts of the city. [18] These changes resulted in a greater and more urgent concern for the welfare of the lower classes, which was brought to light by “Pierre Proudhon's socialist philosophies and Karl Marx’s Communist Manifesto, both urging a proletariat uprising.”[19] These factors contributed greatly to the developing art movements. The growing social conscious inspired artists to produce works that had a broader reach, something that could appeal to and be understood by the masses regardless of social standing or level of education. The works that were created by Realists were intended to shed light on the plight of the rural and impoverished individual, while also displaying the same kind of intricacy that existed in urban, Bourgeoisie life.[20] This depiction was shocking as it displaced the idea of simplistic rural harmony and caused the urbanites to contemplate the well being of individuals outside of their social and economic sphere.[21] Because of the growing middle class, art needed to be more inclusive. A move away from historical painting towards landscapes, still lifes, portraiture and genre painting was an act to attract and maintain increased middle class patronage, to create pieces that would appeal to a large audience.[22] Gabriel Laviron, in 1830 “called for an accessible, popular art the was based on visible reality alone, without allegory or literal illusion”.[23] The prominence placed on an accurate depiction was important as realists wanted to use their art as a form of record keeping, documenting not just the success or tragedies of the time, but the everyday life of the average citizen as well. The rise in Auguste Comte’s Positivism, the complete and absolute faith in science, also influenced the Realists to produce these records in the most natural, authentic manner that they could. Individuals were curious and wanted to experience more than just history or fantasies, they wanted to gain insight into the lives of others, which is what the Realists were trying to deliver.[24] In conjunction to this more natural style, the popular history painting was not entirely accurate. Because of commissions and personal biases; any correct historical information was far outweighed by embellishment and imagination, which often times was designed to make the commissioner or subject appear more favourable.


Critical Response

As with many of the other movements that were occurring at the time, Realism was met with great opposition.[25] It used art as a vehicle to record and publicize the hardships and poverty experienced by the lower classes, which was not well received by the bourgeoisie. Characteristics of the movement included a rough, simple painterly style that was not overly embellished, thick application of paint, or impasto, and often times, dark mundane colors to represent the hardship and strife of the figures and scenes depicted in the works.[26] This painting technique was also a point of contention, as the movements that were previously popular were characterized by a more finished appearance, smooth brush strokes and thin layers of paint, the purpose of which was to make the piece appear life like, as if it were not a painting at all.

Although Realism was met with an intense backlash, it did untimely influence many of the art styles that vehemently opposed it. Characteristics of Realism can be seen in the works if Historical and Religious painting, particularly there was a move away from ‘l’art pour l’art’ or ‘art for art’s sake’.[27] Artists chose to depict figures and landscapes in their pieces more naturally, while still allowing for embellishment to help create a more appealing overall composition. [28] An example of this can be seen in the works of Jean-Leon Gerome and William-Adolphe Bougueareau. [29]


Influential Figures

Honore Daumier was another influential Realist who acted as the “urban counterpart to that of Millet.”[30] Daumier performed social commentary on the distinctions and interactions of urban classes through his satirical drawings and graphic works for journals such as La Caricature and Le Charivary, many of which were destroyed by order of Louis-Philippe.[31] He created satirical images of working class heroes prevailing over their upperclassmen again supporting the rise of the middle class.

Jules Breton, also a Realist, was an apprentice to Millet.[32] Like Millet, he chose the subject matter of peasants in the fields, who he depicted almost like royalty as they projected a certain demeanour and aura of grace. .[33]

Another unique realist was Rosa Bonheur. Bonheur is an interesting figure in art history as she is seen as somewhat of a revolutionary by being one of the first dominant female artists. Bonheur chose rural imagery as well, but focused more intensely on animal figures. Finocchio, Ross. Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Web. 15 Nov. The idea of positivism also appeared to influence the works of Bonheur quiet strongly, as she spent a great amount of time studying the anatomy of the figures she painted, one popular example of this is her piece The Horse Fair (1853-1855). [34]


The End of the Movement

Realism, although not as prominent outside of France, was seen in other countries late into the 20th century. Realism was directly followed by the Impressionist movement. The Impressionists were influenced by realism in their depiction of rural modern life; however their focus was primarily geared towards landscapes and still life. Their work was not as politically charged but it did initially receive much of the same backlash as the Realists. Edgar Degas and Edouard Manet are two figures from the late 19th century, who can be categorized into both movements. Degas is an example of an artist who depicted the Realist style in sculpture. His piece Little Dancer of Fourteen Years (1881) is a relatively small statue of a young ballerina, it is unique in that it does not try to disguise the awkwardness of the skinny adolescent.[35] Degas even goes as far as to use real tulle on the ballerina and real ribbons in her hair in order to create an incredibly accurate piece. [36]

Manet’s work was an evolved form of realism. Instead of using rural or mundane subjects in his pieces, he chose to focus on the bourgeoisie through insight into their scandalous lives, a comment on “decorum rather than political insight”. [37]

Realism was also seen in literature in the 1860s-1870s.[38] Its focus was on moral judgments, social criticism and human compassion, which was exemplified in the works of Charles Dickens and Leo Tolstoy.[39]

Outside of France and the Twentieth Century

Realism did not have as big of an influence outside of France. In other countries, such as Victorian England, the academic style did not have as much authority since genre paintings and landscapes were already extremely popular. [40]

In the United States Realism could be seen in the works of Winslow Homer and Thomas Eakins through Pictorial Realism and The Eight. Prendeville, Brendan. [41] These figures produced images of everyday life in urban centers, immigration, poverty and images of the ugly and grotesque.[42]

Neue Sachliehkeit (New Objectivity) in Germany used the realist style to depict the plight of post WWI Germany.[43]

The Hague school in the Netherlands focused on scenes of landscapes and genre pieces, which influenced the early works of Vincent Van Gogh. [44]

Social Realism was a Depression era American movement and was used to convey the hardships and inequality of American society.[45] Social Realism was an “officially sponsored Marxist aesthetic in the Soviet Union from the early 1930s until the country’s dissolution in 1991.”[46]

Realism eventually became a form of rejection to modern art between the 1930s and 1980s.[47] Although Realism could be seen in the works of Pablo Picasso and the Cubists, it was used as a refusal of these modern styles, up to and including Pop Art, as it became a return to a more natural depiction of subjects.[48]



  1. ^ {Finocchio, Ross. Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Web. 15 Nov. 2012.}
  2. ^ {"Realism." Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2012. Web. 15 Nov. 2012.}
  3. ^ {Finocchio, Ross. Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Web. 15 Nov. 2012.}
  4. ^ {Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic.}
  5. ^ {Prendeville, Brendan. Realism in 20th Century Painting. New York: Thames & Hudson Inc., 2000. Print. (7)
  6. ^ {"Realism." Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2012. Web. 15 Nov. 2012.}
  7. ^ {Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic. (8)}
  8. ^ {"Realism." The Grove Dictionary of Art, From Renaissance to Impressionism. 2000. Print.}
  9. ^ {Finocchio, Ross. Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Web. 15 Nov. 2012.}
  10. ^ {Finocchio, Ross. Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Web. 15 Nov. 2012.}
  11. ^ {"Realism." The Grove Dictionary of Art, From Renaissance to Impressionism. 2000. Print. (271)}
  12. ^ {"Realism." The Grove Dictionary of Art, From Renaissance to Impressionism. 2000. Print. (271)
  13. ^ {Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic. (8)}
  14. ^ {Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic. (8)
  15. ^ {Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic.}
  16. ^ {"Industrial Revolution." Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2012. Web. 15 Nov. 2012.}
  17. ^ {"Georges-Eugene Haussmann." Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2012. Web. 18 Nov. 2012.}
  18. ^ {"Georges-Eugene Haussmann." Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2012. Web. 18 Nov. 2012.}
  19. ^ {Finocchio, Ross. Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Web. 15 Nov. 2012.}
  20. ^ {Hughes, Robert. Courbet: Painting As Politics. Academic Search Complete, 1977. Web. 13 Nov. 2012.}
  21. ^ {Hughes, Robert. Courbet: Painting As Politics. Academic Search Complete, 1977. Web. 13 Nov. 2012.}
  22. ^ {"Realism." The Grove Dictionary of Art, From Renaissance to Impressionism. 2000. Print.}
  23. ^ {"Realism." The Grove Dictionary of Art, From Renaissance to Impressionism. 2000. Print.}
  24. ^ {Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic. (9)}
  25. ^ {Finocchio, Ross. Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Web. 15 Nov. 2012.}
  26. ^ {"Realism." Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2012. Web. 15 Nov. 2012.}
  27. ^ {Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic. (12-13)}
  28. ^ {Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic. (12-13)}
  29. ^ {Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic. (12-13)}
  30. ^ {Finocchio, Ross. Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Web. 15 Nov. 2012.}
  31. ^ {Finocchio, Ross. Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Web. 15 Nov. 2012.}
  32. ^ {Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic. (11)}
  33. ^ {Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic. (11)}
  34. ^ {Finocchio, Ross. Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Web. 15 Nov.}
  35. ^ {"Realism." The Grove Dictionary of Art, From Renaissance to Impressionism. 2000. Print. (273)}
  36. ^ {"Realism." The Grove Dictionary of Art, From Renaissance to Impressionism. 2000. Print. (273)}
  37. ^ {"Realism." The Grove Dictionary of Art, From Renaissance to Impressionism. 2000. Print. (272)}
  38. ^ {"Realism." Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2012. Web. 15 Nov. 2012.}
  39. ^ {"Realism." Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2012. Web. 15 Nov. 2012.}
  40. ^ {"Realism." The Grove Dictionary of Art, From Renaissance to Impressionism. 2000. Print. (273)}
  41. ^ {Realism in 20th Century Painting. New York: Thames & Hudson Inc., 2000. Print. (10)}
  42. ^ {Prendeville, Brendan. Realism in 20th Century Painting. New York: Thames & Hudson Inc., 2000. Print. (10)}
  43. ^ {Prendeville, Brendan. Realism in 20th Century Painting. New York: Thames & Hudson Inc., 2000. Print.}
  44. ^ {"Realism." The Grove Dictionary of Art, From Renaissance to Impressionism. 2000. Print. (273)}
  45. ^ {Prendeville, Brendan. Realism in 20th Century Painting. New York: Thames & Hudson Inc., 2000. Print.}
  46. ^ {"Social Realism." Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2012. Web. 15 Nov. 2012.}
  47. ^ {Prendeville, Brendan. Realism in 20th Century Painting. New York: Thames & Hudson Inc., 2000. Print.}
  48. ^ {Prendeville, Brendan. Realism in 20th Century Painting. New York: Thames & Hudson Inc., 2000. Print.}

References

  • Finocchio, Ross. Nineteenth-Century French Realism. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000. Web. 15 Nov. 2012[6]
  • Fried, Michael. Courbet's Realism. United States of America: University of Chicago Press, 1992. Electronic. [7]
  • "Gustave Courbet." Columbia Electronic Encyclopedia. Academic Search Complete, 2011. Web. 13 Nov. 2012.[8]
  • Hughes, Robert. Courbet: Painting As Politics. Academic Search Complete, 1977. Web. 13 Nov. 2012.[9]
  • "Industrial Revolution." Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2012. Web. 15 Nov. 2012. [10]
  • Lombardi, Laura. "From Realism to Art Nouveau". Sterling, 2009. Electronic. [11]
  • Malafronte, Allison. Defining Realism. American Artist. Academic Search Complete, 2012. Web. 13 Nov. 2012.[12]
  • Novotny, Fritz. "Painting and Sculpture in Europe 1780-1880". Baltimore, Maryland: Penguin Books, 1960. Print.
  • Prendeville, Brendan. Realism in 20th Century Painting. New York: Thames & Hudson Inc., 2000. Print.
  • "Realism." Encyclopaedia Britannica. Encyclopaedia Britannica Online Academic Edition. Encyclopaedia Britannica Inc., 2012. Web. 15 Nov. 2012. [13]
  • "Realism." The Grove Dictionary of Art, From Renaissance to Impressionism. 2000. Print.
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