19th-century French art  

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[[Walter Benjamin]] called Paris "the capital of the 19th century". In order to understand the amazing diversity of artistic expressions which Paris gave birth to from the 1860s to the 1940s, one needs to understand both the unique experience of this city and the financial, social and political experiments that it was host to, such as [[Haussmann's renovation of Paris]] which was a massive renovation of the city that created amazing perspectives and broad boulevards, but also replaced poorer neighborhoods and created fast routes to move troops through the city to quell unrest such as the [[Paris Communes]]. Yet there was also a second Paris at the limits of Haussmann's city on the hill of [[Montmartre]] with her windmills, [[cabaret]]s and vineyards. [[Café]] culture, cabarets, [[Arcade (architecture)|arcade]]s (19th century covered malls), [[anarchism]], the [[nobrow|mixing of classes]], the radicalization of art and artistic movements caused by the academic [[Salon (gathering)|salon]] system, a boisterous [[shock value|willingness to shock]] — all this made for a stunning vibrancy. What is more, the dynamic debate in the visual arts is also repeated in the same period in music, dance, architecture and the novel: [[Schoenberg]], [[Stravinsky]], [[Proust]], [[Nijinsky]], etc. This is the birth of [[Modernism]]. [[Walter Benjamin]] called Paris "the capital of the 19th century". In order to understand the amazing diversity of artistic expressions which Paris gave birth to from the 1860s to the 1940s, one needs to understand both the unique experience of this city and the financial, social and political experiments that it was host to, such as [[Haussmann's renovation of Paris]] which was a massive renovation of the city that created amazing perspectives and broad boulevards, but also replaced poorer neighborhoods and created fast routes to move troops through the city to quell unrest such as the [[Paris Communes]]. Yet there was also a second Paris at the limits of Haussmann's city on the hill of [[Montmartre]] with her windmills, [[cabaret]]s and vineyards. [[Café]] culture, cabarets, [[Arcade (architecture)|arcade]]s (19th century covered malls), [[anarchism]], the [[nobrow|mixing of classes]], the radicalization of art and artistic movements caused by the academic [[Salon (gathering)|salon]] system, a boisterous [[shock value|willingness to shock]] — all this made for a stunning vibrancy. What is more, the dynamic debate in the visual arts is also repeated in the same period in music, dance, architecture and the novel: [[Schoenberg]], [[Stravinsky]], [[Proust]], [[Nijinsky]], etc. This is the birth of [[Modernism]].
-The 19th century started out [[French Romanticism|Romantic]], moved from [[realism]] to [[naturalism]] and ended in the [[fin-de-siècle]] [[Decadent movement|decadent]] [[Belle Époque]].+The 19th century started out [[French Romanticism|Romantic]], moved from [[realism]] to [[naturalism]] (with a digression to [[Impressionism]]) and ended in the [[fin-de-siècle]] [[Decadent movement|decadent]] [[Belle Époque]].
==Romanticism== ==Romanticism==

Revision as of 21:04, 3 February 2008

Olympia by Édouard Manet, painted in 1863, it stirred an uproar when it was first exhibited at the 1865 Paris Salon. Today, it is considered as the start of modern art.
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Olympia by Édouard Manet, painted in 1863, it stirred an uproar when it was first exhibited at the 1865 Paris Salon. Today, it is considered as the start of modern art.

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French art of the 19th century has been instrumental in the development of Western art. It is to correct to say that Modern art was born in 19th century Paris.

Walter Benjamin called Paris "the capital of the 19th century". In order to understand the amazing diversity of artistic expressions which Paris gave birth to from the 1860s to the 1940s, one needs to understand both the unique experience of this city and the financial, social and political experiments that it was host to, such as Haussmann's renovation of Paris which was a massive renovation of the city that created amazing perspectives and broad boulevards, but also replaced poorer neighborhoods and created fast routes to move troops through the city to quell unrest such as the Paris Communes. Yet there was also a second Paris at the limits of Haussmann's city on the hill of Montmartre with her windmills, cabarets and vineyards. Café culture, cabarets, arcades (19th century covered malls), anarchism, the mixing of classes, the radicalization of art and artistic movements caused by the academic salon system, a boisterous willingness to shock — all this made for a stunning vibrancy. What is more, the dynamic debate in the visual arts is also repeated in the same period in music, dance, architecture and the novel: Schoenberg, Stravinsky, Proust, Nijinsky, etc. This is the birth of Modernism.

The 19th century started out Romantic, moved from realism to naturalism (with a digression to Impressionism) and ended in the fin-de-siècle decadent Belle Époque.

Romanticism

See French Romanticism

The French Revolution brought great changes to the arts in France. Orientalism, Egyptian motifs, the tragic anti-hero, the wild landscape, the historical novel and scenes from the Middle Ages and the Renaissance, all these elements of Romanticism created a vibrant period that defies easy classification.

Romantic tendencies continued throughout the century, both idealized landscape painting and Naturalism have their seeds in Romanticism. The work of Gustave Courbet and the Barbizon school are logical developments from it, as is the late nineteenth century Symbolism of such painters as Gustave Moreau, the professor of Matisse and Rouault, as well as Odilon Redon.

For many critics Édouard Manet represents the division between the nineteenth century and the modern period (much as Charles Baudelaire does in poetry). His rediscovery of Spanish painting from the golden age, his willingness to show the unpainted canvas, his exploration of the forthright nude, and his radical brush strokes are the first steps toward Impressionism. Impressionism would take the Barbizon school one step farther, rejecting once and for all a belabored style and the use of mixed colors and black, for fragile transitive effects of light as captured outdoors in changing light (partly inspired by the paintings of J. M. W. Turner). It led to Claude Monet with his cathedrals and haystacks, Pierre-Auguste Renoir with both his early outdoor festivals and his later feathery style of ruddy nudes, Edgar Degas with his dancers and bathers.

After that threshold was crossed, the next thirty years became a litany of amazing experiments. Vincent van Gogh, Dutch born, but living in France, opened the road to expressionism. Georges Seurat, influenced by color theory, devised a pointillist technique that governed the Impressionist experiment. Paul Cézanne, a painter's painter, attempted a geometrical exploration of the world, that left many of his peers indifferent. Paul Gauguin, a banker, found symbolism in Brittany and then exoticism and primitivism in French Polynesia. Henri Rousseau, the self-taught dabbling postmaster, became the model for the naïve revolution.

One also finds in the early period of the 19th century a repeat of the debate carried on in the 17th between the supporters of Rubens and Poussin: there are defenders of the "line" as found in Jean Auguste Dominique Ingres, and the violent colors and curves as found in Eugène Delacroix. The comparison is however somewhat false, for Ingres' intense realism sometimes gives way to amazing voluptuousness in his Turkish bath scenes.

See also

Many of the developments in French arts in the 19th century parallel changes in literature. For more on this, see French literature of the 19th century. 1



Unless indicated otherwise, the text in this article is either based on Wikipedia article "19th-century French art" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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