A History of European Art

the two men seem virtually unaware of their companion’s nakedness, and one gestures in a conversational manner. The naked woman’ ...

Lecture 42: Manet and Monet—The Birth of Impressionism Although painted in 1863, Olympia was not entered in the Salon until 1865 ...

service, Monet entered the Paris studio of Charles Gleyre in 1862, where he met Renoir and Sisley. These three were among, the p ...

Lecture 42: Manet and Monet—The Birth of Impressionism with the “Bloody Week” of May 2128, during which the last 147 supporters ...

Honoré Daumier: And all this time they maintained she never felt better! (Et pendant ce temps-là ils continuent à af¿ rmer!), 18 ...

Lecture 42: Manet and Monet—The Birth of Impressionism Fried, Manet’s Modernism. Sproccati, Monet. What elements in Manet’s wor ...

Monet and Degas ........................................................................... Lecture 43 We’re going to continue l ...

Lecture 43: Monet and Degas the haystack has a pyramidal shape with bands of landscape neatly behind it. With this structure in ...

imaginative leap: In the past, he had painted the waterlily garden from the bank or from a boat, but always it was a pond surrou ...

Lecture 43: Monet and Degas Finally, we look at The Breakfast after the Bath (c. 1895). This painting was also a studio setup wi ...

Rouen Cathedral, West Façade, Sunlight, 1894, oil on canvas, 39 3/8 x 25 7/8” (100.05 x 65.8 cm), National Gallery of Art, Washi ...

Lecture 44: Renoir, Pissarro, and Cézanne Renoir, Pissarro, and Cézanne....................................................... L ...

Although these characteristics are associated with Impressionism, we should not expect to ¿ nd them in equal measure in each art ...

Lecture 44: Renoir, Pissarro, and Cézanne subtlest he ever painted. Blue-grey permeates the painting; there is very little disti ...

Here we turn for a comparison to Camille Corot (1796–1875), a great independent landscape artist whose working life spanned the ...

Lecture 44: Renoir, Pissarro, and Cézanne but an essential part of the painting’s structure, because they intersect with the dar ...

like electrons, and they orbit around a nucleus—a single apple, more ¿ rmly modeled than the others. Cézanne placed this apple a ...

Lecture 44: Renoir, Pissarro, and Cézanne death, Cézanne wrote to the painter Emile Bernard, “I am continually making observatio ...

Red Roofs, 1877, oil on canvas, 21 ½ x 25 ¾” (54.5 x 65.6 cm), Musée d’Orsay, Paris, France. Pierre-Auguste Renoir: Luncheon of ...

Lecture 45: Beyond Impressionism—From Seurat to Matisse Beyond Impressionism—From Seurat to Matisse .......................... L ...