Archive for the ‘Modern Art Podcasts’ Category
The Painters of Modern Life
Although the Pre-Raphaelite artists initiated the artistic interest in contemporary urban life and the problems of modern people, the Parisian artists are given credit for learning how to express modernité in formal terms. The French painters found the seventeenth century Dutch painters important precursors. Inspired by the depiction of ordinary moments of daily life among the middle class in Holland, the emerging avant-garde artists began to rethink, not just how to handle modern content, but also how to use paint itself so that their art could be “of its own time.” The result of this experimentation was an evolution of painting into the twentieth century.
Tags: " Dutch Republcan Art, "Authenticity", "Finish", "Sketch", "the heroism of modern life, Charles Baudelaire, Charles Freer, Claude Monet, Clement Greenberg, Cubism, Duncan Philips, Dutch Art, Dutch Masters, E. H. Gombrich, Edouard Manet, Emile Bernard, Fauvism, formalism, Frederick Leyland, Georges Seurat, Gerhrd Dou, Gustave Courbet, Henri Matisse, Henri Toulouse-Lautrec, Henrich Wölfflin, Impression, Impressionism, James Tissot, James Whistler, Jan Steen, John Singer Sargent, Middle Class Audience, Paul Cezanne, Paul Durand-Ruel, Paul Gauguin, Pierre Renoir, Pieter de Hoch, Salon d'automne, Salon system, T. J. Clark, Théophile Gaultier, The Blue Rider, The Dutch Republic, The New Art HIstory, Vincent van Gogh
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Advanced Guard before the Avant-Garde
There is some historical disagreement over when and where the avant-garde movement in the visual arts began. But it is clear that that the notion that changes in art come from the margins not the center came into existence and began to impact painting by the middle of the nineteenth century. What were the aesthetic and cultural conditions that made the avant-garde possible?
Tags: Edouard Manet, Gustave Courbet, Gustave Flaubert, Jean-François Millet, John Millais, John Ruskin, Jules Bastien-LePage, Jules Breton, Modernism, modernité, Naturalism, Peasant Painting, plein-aire, Popular Imagery, Pre-Raphaelite Brotherhood, Raphael, Realism, Romanticism
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Whistler and Art-for-Art’s-Sake
Whistler was unusual among artists of his time in that he answered back to critics and took pains to establish his own discourse on his own art. Fiercely independent and willing to lose a patron for the sake of his artistic vision, the artist sued when the aging British critic, John Ruskin, accused him of disrespecting the public. The resulting trial established a new definition for Modernist art, with Whistler following up with his now-famous “Ten O’Clock Lecture.”
Tags: ", " David Park Curry, " Queen Anne Architecture, " William Frith, "House Beautiful, "Ornament and Crime, "The Ruskin Pamphlet: Whistler vs. Ruskin, Adolph Loos, Art and Art Critics, art-for-art's sake, Charles Baudelaire, Claude Monet, E. W. Godwin, Emmanuel Kant, Exposition Universalle, Grosvenor Gallery, James Abbott McNeill Whistler, John Ruskin, Nocturnes, Oscar Wilde, Sir Coutts Lindsay, Stéphane Mallarmé, Synaesthesia, Ten O'Clock Lecture, Théophile Gaultier, The Butterfly Cabinet, The Peacock Room, Weissenhofseidlung, Whistler's White House
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Whistler and the Peacock Room
The term “artistic freedom” may seem like a given but for nearly a century after Kant established the principal, “freedom” was rarely practiced. But Whistler took the concept seriously and set out to test it, clashing with the critics, the public, and, most famously with his patron. “The Peacock Room” was an exercise in art-for-art’s sake and an illustration of the primacy of the will of the artist.
Tags: Asian Porcelain, Deanna Bendix, Frances Leyland, Frederick Leyland, Freer Gallery, interior decoration, James Abbott McNeill Whistler, The Peacock Room, Thomas Carlyle, Thomas Jeckyll
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Whistler the Realist
One of the most overlooked avant-garde pioneers was the American in Paris (and London), the expatriate, James Whistler. Although overshadowed in art history by his good friend, Édouard Manet, Whistler was the other scandal in the Salon des Refusés and instituted installation techniques later adopted by the Impressionists. Always controversial, Whistler’s art, like that of Manet, established Modernist tenets with his groundbreaking paintings.
Tags: " "The White Girl, " David Park Curry, "Correspondances, "Whistler's Mother, Charles Baudelaire, Edouard Manet, Gustave Courbet, Impressionism, James Abbot McNeill Whistler, John Ruskin, Joseph Paxton, London, Pre-Raphaelites, Realism, Royal Academy, William Morris
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EDOUARD MANET, PART TWO
The painter of Parisian modernité, Édouard Manet, abandoned his early strategy of commenting on past masterpieces but continued his quest to update and modernize traditional genres in Salon painting. A transitional painter, Manet pointed to way to the final break from Academic art with his work during the last two decades of his life.
Tags: " "Nana, " "The Bal at the Opera, " "The Bar at the Folies Bergere, " demimondaine, "In the Conservatory, "male gaze", Academic Painting, Berthe Morisot, Charles Baudelaire, Degas and lower class women, Degas and the Ballet, Edgar Degas, Edouard Manet, Impressionist artists, Modernism, modernity, The Painter of Modern LIfe
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ÉDOUARD MANET, PART ONE
It is with Édouard Manet that the concept of Modernism as a new form of urban culture is manifested in painting. This podcast traces Manet’s ironic and satiric play with art historical predecessors in his efforts to both succeed in the Salons and to capture the fleeting world of modernité.
Tags: " "Music in the Tuilleries, "male gaze", Charles Baudelaire, Edgar Degas, Edouard Manet, Gustave Courbet, Le Dejeunner sur l'Herbe, Manet and the Salons, Manet and Women, Modernism, modernity, Olympia, Salon des Refusés, The Painter of Modern LIfe, women and Modernism
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GUSTAVE COURBET, PART ONE
The early career of Gustave Courbet is discussed within the historical context of class struggles during the middle of the nineteenth century. The Realism in Courbet’s paintings of the 1850s manifested itself not only in politically controversial content but also in aesthetic decisions, which challenged Salon conventions.
Tags: " Khalil Bey, " Linda Nochlin, "Bather, "Origin of the World, "Proudhon and His Family, "Realist Manifesto", "The Painter's Studio, "Young Ladies on the Banks of the Seine, Alfred Bruyas, Commune, Franco-Prussian War, Gustave Courbet, Napoléon III, Pavilion of Realism, Pierre-Paul Proudhon, Realism, Salon des Refusés, T. J. Clark, The Artist's Studio, The Sleepers, Third Republic
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GUSTAVE COURBET, PART ONE
As a self-proclaimed “Realist” in a highly charged political atmosphere, Gustave Courbet challenged the conventions of the French Salon system. During the 1850s, Courbet confronted the bourgeoisie audience with the realities of small town French life on large scale canvases.
Tags: " "Peasants of Flagey Returning from the Fair, " "The Burial at Ornans, " "The Young Ladies of the Village, "Stonebreakers, "the heroism of modern life, "The Most Arrogant Man in France, Charles Baudelaire, Dinner at Ornans, Gustave Courbet, images d'Epinal, Ornans, Petra Chu, Popular Imagery, Realism, Revolution of 1848
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SINCERITY AND ARTIFICE IN REALISM
By the middle of the nineteenth century, Realism was an international movement. In England, with the Pre-Raphaelite Brotherhood, “realism” was a form of a return to the moral and ethical purpose of art in the Early Renaissance. However, in France, “realism” divided along two poles, “sincerity,” as with Millet and Courbet, or “artifice,” as with Manet.
Tags: city and country themes, Edouard Manet, Gustave Courbet, Honore Daumier, Jean-François Millet, John Ruskin, Jules Bastien-LePage, Jules Breton, Jules Castagnary, Naturalim, Popular Imagery, Pre-Raphaelite Brotherhood, Realism, Theophile Thore
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