Gardner’s Art Through the Ages,

13e
Chapter 31
Europe and America,
1870 to 1900

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Industrialization of Europe and U.S. about
1850

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 Goals
• Understand why the Industrial Revolution, Darwinism, Marxism
and sociopolitical changes altered ideas about the nature and
subject matter of art in the later 19th century.
• Examine the meanings of “Modernism” and “Realism”
philosophically and in the appearance of art and architecture.
• Understand the formal and content issues of the Impressionists,
Post-Impressionists, and Symbolists.
• Examine experiments in materials and form in art and
architecture at the turn of the century.

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 31.1 Impressionism

• Understand the formal elements and subject choices of the

Impressionist artists.
• Examine the Impressionists’ interest in sensation,
impermanence, and the “fleeting moment” as it was
expressed in their art.
• Understand the importance of light and color theory in the
work of the Impressionists.
• Recognize representative Impressionist artists and works.

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Figure 31-2 CLAUDE MONET, Impression: Sunrise, 1872. Oil on canvas, 1’ 7 1/2” x 2’ 1 1/2”. Musée Marmottan, Paris.
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31-2A CLAUDE MONET, On the Bank of the Seine, Bennecourt, 1868. Oil on canvas, 2’ 8" X 3’ 3 5/8”. Art Institute of Chicago,
Chicago (Potter Palmer Collection).

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31-2B ÉDOUARD MANET, Claude Monet in His Studio Boat, 1874. Oil on canvas, 2’ 8” X 3’ 3 1/4". Neue Pinakothek, Munich.

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Figure 31-3 CLAUDE MONET, Rouen Cathedral: The
Portal (in Sun), 1894. Oil on canvas, 3’ 3 1/4” x 2’ 1 7/8”.
Metropolitan Museum of Art, New York (Theodore M.
Davis Collection, bequest of Theodore M. Davis, 1915).

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Figure 31-4 CLAUDE MONET, Saint-Lazare Train Station, 1877. Oil on canvas, 2’ 5 3/4” x 3’ 5”. Musée d’Orsay, Paris.

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Figure 31-5 GUSTAVE CAILLEBOTTE, Paris: A Rainy Day, 1877. Oil on canvas, 6’ 9” x 9’ 9”. The Art Institute of
Chicago, Chicago, (Worcester Fund).
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Figure 31-6 CAMILLE PISSARRO, La Place du Théâtre Français, 1898. Oil on canvas, 2’ 4 1/2” x 3’ 1/2”. Los Angeles
County Museum of Art, Los Angeles (the Mr. and Mrs. George Gard De Sylva Collection).
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Figure 31-8 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876. Oil on canvas, 4’ 3” x 5’ 8”. Musée d’Orsay,
Paris.
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Figure 31-9 ÉDOUARD MANET, Bar at the Folies-Bergère, 1882. Oil on canvas, 3’ 1” x 4’ 3”. Courtauld Institute of Art
Gallery, London.
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Figure 31-10 EDGAR DEGAS, Ballet Rehearsal, 1874. Oil on canvas, 1’ 11” x 2’ 9”. Glasgow Art Galleries and Museum,
Glasgow (Burrell Collection).
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31-7 BERTHE MORISOT, Villa at the Seaside, 1874. Oil on canvas, 1’ 7 3/4” x 2’ 1/8". Norton Simon Art Foundation,
Los Angeles.
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31-7A BERTHE MORISOT, Summer’s Day, 1879. Oil on canvas, 1’ 5 3/4” X 2’ 5 3/8”. National Gallery, London (Lane
Bequest, 1917).
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 Japonisme and Later Impressionism

• Examine issues of other Impressionist, such as the influence

of the Japanese print and concerns with formal elements.

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Figure 31-11 Left: EDGAR DEGAS, The Tub, 1886. Pastel, 1’ 11 ½” X 2’ 8 3/8”. Musee d’Orsay, Paris.
Right: TORII KIYONAGA, detail of Two Women at the Bath, ca. 1780. Color woodblock, full print 10 ½” X 7
½”, detail 3 ¾” X 3 ½”. Musee Guimet, Paris.

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31-11A VINCENT VAN GOGH, Japonaiserie: Flowering Plum Tree, 1887. Oil on canvas, 1’ 9 1/2” X 1’ 6”. Rijksmuseum Vincent
van Gogh, Amsterdam.

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Figure 31-12 MARY CASSATT, The Bath, ca. 1892. Oil
on canvas, 3’ 3” x 2’ 2”. The Art Institute of Chicago,
Chicago (Robert A. Walker Fund).

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Figure 31-13 JAMES ABBOTT MCNEILL
WHISTLER, Nocturne in Black and Gold (The
Falling Rocket), ca. 1875. Oil on panel, 1’ 11
5/8” x 1’ 6 1/2”. Detroit Institute of Arts,
Detroit (gift of Dexter M. Ferry Jr.).
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Figure 31-14 HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895. Oil on canvas, 4’ x 4’ 7”. Art
Institute of Chicago, Chicago (Helen Birch Bartlett Memorial Collection).
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31-14A HENRI DE TOULOUSE-
LAUTREC, Jane Avril, 1893. Color
lithograph, 4’ 2 1/2” X 3’ 1”. San Diego
Museum of Art, San Diego (gift of the
Baldwin M. Baldwin Foundation).
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 31.2 Post-Impressionism

• Understand the differences in emotional expression and

subject choices between the Impressionists and the Post-
Impressionists.
• Understand the Post-Impressionist experimentation with
form and color.
• Recognize the individuality of the Post-Impressionist artists
and the styles each one developed.

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Figure 31-15 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886. Oil on canvas, 6’ 9” x 10’. The Art Institute
of Chicago, Chicago (Helen Birch Bartlett Memorial Collection, 1926).
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Figure 31-16 VINCENT VAN GOGH, Night Café, 1888. Oil on canvas, 2’ 4 1/2” x 3’. Yale University Art Gallery, New
Haven (bequest of Stephen Carlton Clark).
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31-16A VINCENT VAN GOGH, The Potato Eaters, 1885. Oil on canvas, 2’ 8 1/4” X 3’ 8 7/8". Rijksmuseum Vincent van
Gogh, Amsterdam.
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Figure 31-17 VINCENT VAN GOGH, Starry Night, 1889. Oil on canvas, 2’ 5” x 3’ 1/4”. Museum of Modern Art, New
York (acquired through the Lillie P. Bliss Bequest).
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Figure 31-18 PAUL GAUGUIN, Vision after the Sermon or Jacob Wrestling with the Angel, 1888. Oil on canvas, 2’ 4 3/4” x 3’
1/2”. National Gallery of Scotland, Edinburgh.
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Figure 31-19 PAUL GAUGUIN, Where Do We Come From? What Are We? Where Are We Going? 1897. Oil on canvas, 4’ 6
3/4” x 12’ 3”. Museum of Fine Arts, Boston (Tompkins Collection).

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 Post-Impressionist Form

• Examine the extraordinary art of Cezanne and his interest in

form, paving the way for Cubism.

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Figure 31-20 PAUL CÉZANNE, Mont Sainte-Victoire, 1902–1904. Oil on canvas, 2’ 3 1/2” x 2’ 11 1/4”. Philadelphia
Museum of Art, Philadelphia (The George W. Elkins Collection).
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31-20A PAUL CÉZANNE, The Large Bathers, 1906. Oil on canvas, 6’ 10 7/8” X 8’ 2 3/4”. Philadelphia Museum of Art,
Philadelphia (W.P. Wilstach Collection).

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Figure 31-21 PAUL CÉZANNE, Basket of Apples, ca. 1895. Oil on canvas, 2’ 3/8” x 2’ 7”. The Art Institute of Chicago,
Chicago (Helen Birch Bartlett Memorial Collection, 1926).
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 31.3 Symbolism

• Examine the issues of imagination, fantasy, and formal

changes in the art of the Symbolists.
• Understand the expression of “modern psychic life” in the
art of the Symbolists.

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Figure 31-22 PIERRE PUVIS DE CHAVANNES, Sacred Grove, 1884. Oil on canvas, 2’ 11 1/2” x 6’ 10”. The Art
Institute of Chicago, Chicago (Potter Palmer Collection).

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Figure 31-23 GUSTAVE MOREAU, Jupiter and Semele, ca. 1875. Oil
on canvas, 7’ x 3’ 4”. Musée Gustave Moreau, Paris.

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31-23A GUSTAVE MOREAU, The Apparition,
1874–1876. Watercolor on paper, 3’ 5 3/4” X 2’
4 3/8”. Louvre, Paris.

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Figure 31-24 ODILON REDON, The
Cyclops, 1898. Oil on canvas, 2’ 1” x 1’ 8”.
Kröller-Müller Museum, Otterlo.

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Figure 31-25 HENRI ROUSSEAU, Sleeping Gypsy, 1897. Oil on canvas, 4’ 3” x 6’ 7”. Museum of Modern Art, New York
(gift of Mrs. Simon Guggenheim).

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31-25A HENRI ROUSSEAU, The Dream, 1910. Oil on canvas, 6’ 8 1/2" X 9’ 9 1/2”. Museum of Modern Art, New York (gift
of Nelson A. Rockefeller).

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Figure 31-26 Aubrey Beardsley, The Peacock Skirt, 1894. Pen-and-ink illustration for Oscar Wilde’s Salome’, 9”
X 6 5/8”. Fogg Art Museum, Harvard University, Cambridge (bequest of Grenville L. Winthrop).

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31-26A JAMES ENSOR, Christ’s Entry into Brussels in 1889, 1888. Oil on canvas, 8’ 3 1/2” X 14’ 1 1/2”. J. Paul Getty Museum,
Los Angeles.

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Figure 31-27 EDVARD MUNCH, The
Scream, 1893. Tempura and pastels on
cardboard, 2’ 11 3/4” x 2’ 5”. National
Gallery, Oslo.

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Figure 31-28 GUSTAV KLIMT, The Kiss, 1907–1908. Oil on canvas, 5’ 10 3/4” x 5’ 10 3/4”. Österreichische Galerie
Belvedere,Vienna.
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Figure 31-29 GERTRUDE KASEBIER, Blessed Art Thou
among Women, 1899. Platinum print on Japanese tissue, 9
3/8” X 5 ½”. Museum of Modern Art, New York (gift of
Mrs. Hermine M. Turner).

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 31.4 Sculpture
in the Later 19th Century
• Examine the issues of realism and expression related to
sculpture in the later 19th century.
• Understand the selection of contemporary subject matter by
sculptors.
• Recognize representative sculptors and works of the later
19th century.

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 Sculpture: Realist and Expressive

• Examine issues of realism, expression and subject matter in

sculpture of the later 19th century.

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Figure 31-30 AUGUSTUS SAINT-GAUDENS, Adams
Memorial, Rock Creek Cemetery, Washington, 1891. Bronze, 5’ 10”
high. Smithsonian American Art Museum,Washington, D.C.

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Figure 31-31 JEAN-BAPTISTE CARPEAUX, Ugolino
and His Children, 1865–1867. Marble, 6’ 5” high.
Metropolitan Museum of Art, New York (Josephine
Bay Paul and C. Michael Paul Foundation, Inc. and the
Charles Ulrich and Josephine Bay Foundation, Inc.,
gifts, 1967). 50
31-31A JEAN-BAPTISTE CARPEAUX, The
Dance, from the Opéra, Paris, France, 1867–1869.
Limestone, 13’ 9 3/8” high. Musée d’Orsay, Paris.

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Figure 31-32 AUGUSTE RODIN, Walking Man,
1905. Bronze, 6’ 11 ¾” high. Musee d’Orsay, Paris.

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31-32A AUGUSTE RODIN, The Gates of
Hell, 1880–1900. Posthumous bronze cast,
20’ 10” X 13’ 1”. Musée Rodin, Paris.

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Figure 31-33 AUGUSTE RODIN, Burghers of Calais, 1884-1889. Bronze, 6’ 10 ½” high, 7’ 11” long, 6’ 6”
deep. Musee Rodin, Paris.
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 31.5 Decorative Art: Arts and Crafts
Movement and Art Nouveau
• Examine the ideas of Ruskin and Morris in shaping the Arts
and Crafts Movement.
• Understand the interest in aesthetic functional objects in the
Arts and Crafts Movement.
• Examine the preference for high-quality artisanship and
honest labor.
• Examine the organic forms of Art Nouveau in art and
architecture.

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Objects and Décor of the Arts & Crafts

• Understand the interest in aesthetic functional objects and

the preference for high-quality artisanship and honest labor.

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Figure 31-34 WILLIAM MORRIS, Green Dining Room, South Kensington Museum (now Victoria & Albert Museum),
London, England, 1867.
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Figure 31-35 CHARLES RENNIE MACKINTOSH and MARGARET MACDONALD MACKINTOSH,
reconstruction (1992–1995) of Ladies’ Luncheon Room, Ingram Street Tea Room, Glasgow, Scotland, 1900–1912.
Glasgow Museum, Glasgow. 58
 Art Nouveau Art and Architecture

• Examine the organic natural forms in Art Nouveau art and

architecture.

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Figure 31-36 VICTOR HORTA, staircase in the Van Eetvelde House, Brussels, 1895.

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31-36A VICTOR HORTA, foyer and
stairwell of the Tassel House, Brussels,
Belgium, 1892–1893.

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Figure 31-37 LOUIS COMFORT
TIFFANY, lotus table lamp, ca. 1905. Leaded
Favrile glass, mosaic, and bronze, 2’ 10 1/2”
high. Private collection.

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Figure 31-38 ANTONIO GAUDI, Casa Milá, Barcelona, 1907.

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 31.6 Architecture
in the Later 19th Century
• Understand the new technology and changing needs of
urban society and their effects on architecture.
• Examine new materials use in architecture and the forms
made possible as a result.
• Understand how architects were able to think differently
about space as a result of new technology and materials.
• Examine the remarkable work and theories of Louis Sullivan.

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 New Technology and Materials

• Understand new technology, changing needs of urban

society, and new materials in architecture.

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Figure 31-1 ALEXANDRE-GUSTAVE EIFFEL,
Eiffel Tower, Paris, France, 1889.

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Figure 31-39 HENRY
HOBSON RICHARDSON,
Marshall Field wholesale store,
Chicago, 1885–1887
(demolished 1930).
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 The Architecture of Louis Sullivan

• Understand the issues of space and decoration in the

remarkable work and theories of Louis Sullivan.

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Figure 31-40 LOUIS HENRY SULLIVAN,
Guaranty (Prudential) Building, Buffalo, 1894–1896.

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31-40A LOUIS HENRY SULLIVAN, Wainwright
Building, St. Louis, Missouri, 1890–1891.

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Figure 31-41 LOUIS HENRY SULLIVAN, Carson, Pirie, Scott Building, Chicago, 1899–1904.

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 Discussion Questions
 In what ways did the Modernist art of the later 19th century
break from the past?
 How did Modernist artists call attention to the ‘facts’ of art
making?
 Why did the public find the subjects, forms, and techniques
of the Impressionists shocking?
 What are some key elements of the Post-Impressionist
painters? How did their work inspire other artists?
 What would you consider the most important
breakthrough in architecture?

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