Lena Rivera
The 1880s saw the continuation of several artistic movements that had emerged in the preceding decades, such as Realism and Impressionism. Realism, which sought to depict everyday life and common people, was a departure from the Neoclassical and Romantic styles that had previously dominated European art. Impressionism, which originated in France in the 1870s, gained popularity throughout Europe in the 1880s, attracting artists such as Vincent van Gogh, who enrolled in an art course in Brussels in October 1880. This period also witnessed the emergence of individual artists like the Hungarian painter Mihály Munkácsy, whose work showed influences from the Impressionist movement.
| Characteristics | Values |
|---|---|
| Style | Impressionism, Realism, Neoclassicism |
| Subject Matter | Landscapes, animals, historical events, portraits, mythology, everyday life |
| Techniques | Smooth surfaces, no brushstrokes, clear focal points, energetic compositions, rich colour palettes |
| Artists | Ilya Repin, John William Waterhouse, Hokusai, J.M.W. Turner, John Constable, William Georges Thornley, William Baptiste Baird, Rupert Arthur Dent |
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What You'll Learn
Impressionism
Impressionists were interested in accurately and objectively recording contemporary life and the transient effects of light and colour. They painted outdoors and spontaneously, capturing the momentary effects of sunlight by working quickly in front of their subjects in the open air. This resulted in a greater awareness of light and colour and the shifting patterns of nature. They often painted landscapes and scenes of everyday life.
The Impressionists helped liberate art from a focus on subject matter towards personal expression and the study of creating. They met with derision from critics and the art establishment, who favoured historical, biblical, and allegorical subjects and expected paintings to have a high finish. The Impressionists' work was considered revolutionary, and they opened the door to modern art.
The first group exhibition was in Paris in 1874 and included work by Monet, Renoir, Degas, and Paul Cezanne. Monet's "Impression, Sunrise" was particularly singled out for ridicule, and the term "Impressionism" was used by critics as an insult. Seven further exhibitions were held at intervals until 1886, with the seventh Paris Impressionist exhibition in 1882 being the most selective. By this time, the methods of Impressionist painting had become commonplace in Salon art.
While the Impressionist movement had a strong following, there were some artists who never joined it. For example, the Hungarian artist Munkacsy's style was influenced by Impressionism, but he did not show colour or the individual person in the same way as the Impressionists.
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Neoclassicism
Neoclassical art was based on the belief that art should express ideal virtues and could impart a moralising message to viewers, reflecting the social and political transformations of the time. It was a widespread movement that extended beyond painting to include architecture, sculpture, literature, theatre, music, and the decorative arts.
While Neoclassicism in painting lasted until the 1840s, its influence continued to evolve and impact other styles throughout the century. Many artists in the late 1800s joined the Impressionist movement, marking a departure from the Neoclassical style. However, some artists, such as Frederic Leighton and Sir Lawrence Alma-Tadema, continued to be influenced by Neoclassicism, showcasing its enduring legacy in the evolution of art.
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Realism
The Realist art movement emerged in France in the 1840s and ended in the 1880s. It was the first explicitly anti-institutional and nonconformist art movement, with realist painters taking aim at the social mores and values of the bourgeoisie and monarchy, who were the patrons of the art market. Realist painters sought to portray real and typical contemporary people and situations with truth and accuracy, not avoiding unpleasant or sordid aspects of life. They rejected the artificiality of both Classicism and Romanticism, which had been popular movements in the academies, and instead focused on portraying the lives, appearances, problems, customs, and mores of the middle and lower classes. They consciously set themselves to reproduce all the hitherto-ignored aspects of contemporary life and society—its mental attitudes, physical settings, and material conditions.
The chief exponents of Realism in France were Gustave Courbet, Jean-François Millet, Honoré Daumier, and Jean-Baptiste-Camille Corot. Courbet was the first artist to self-consciously proclaim and practice the realist aesthetic. After his huge canvas The Studio (1854–55) was rejected by the Exposition Universelle of 1855, the artist displayed it and other works under the label “Realism, G. Courbet” in a specially constructed pavilion. Courbet was strongly opposed to idealization in his art and urged other artists to make the commonplace and contemporary the focus of their art. Courbet's first Realist works in 1849 and later artworks often depicted poor and working-class people, which were not the focus of artists previously.
The Impressionist movement that emerged in the late 1800s can be seen as a continuation of Realism, with artists continuing to focus on portraying what was happening in front of them.
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Landscape painting
In the United States, the exhibition "American Sublime: Landscape Painting in the United States, 1820-1880" showcases the development of American landscape painting during this time. The exhibition highlights the work of Frederic Edwin Church, who is considered the most prolific painter of the exhibition period. Church's paintings, such as "Landscape with Sunset" (c.1860-1870), celebrate the majesty of nature, presenting unusual natural phenomena as powerful and phenomenal.
During the 19th century, artists began to explore new areas of interest and produce works of their own accord, rather than solely through commissions. This shift towards artistic freedom and personal expression led to the emergence of innovative art movements and styles, including Impressionism. The Impressionist movement, characterised by capturing the artist's immediate impressions and feelings, gained popularity in the late 1800s, with artists such as Albert Edelfelt, Mihály Munkácsy, and Martin Johnson Heade adopting this style.
In Europe, landscape painters like Scottish artist David Farquharson and Austrian painter Otto von Thoren created works that captured the beauty of nature. Farquharson's "Mayday on the Annan" (1887) is an impressive Scottish Impressionist work, while von Thoren's untitled painting from the same period depicts horses pulling a cart across a shallow ford.
The late 19th century also saw the development of Victorian landscape paintings, with artists such as William Baptiste Baird, Joseph Henderson, and John Seymour Adams creating works that captured the essence of the era.
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Portraiture
During this time, the rise of photography revolutionized the portraiture genre. The invention of the daguerreotype, one of the earliest photographic formats, reduced the time required for creating portraits from hours to minutes. This technological advancement not only made portraiture more accessible but also introduced new considerations and opportunities for artistic expression. Photographers and painters alike had to grapple with questions such as the choice of pose, clothing, props, and expression, all of which could convey specific meanings and intentions.
In the 19th century, artists began to create works of their own initiative, exploring personal interests and themes. This shift in artistic agency brought about new movements and styles, with artists experimenting and breaking free from traditional constraints. One notable movement that emerged was Impressionism, which captivated both painters and the public. Impressionist artists aimed to capture their immediate surroundings and experiences, embracing a looser, more expressive style that prioritized their impressions of a scene over meticulous detail. This approach to art opened the door to modern art, challenging traditional artistic norms and offering fresh perspectives.
Occupational portraits were also a distinctive feature of 19th-century portraiture. These portraits went beyond simply depicting an individual's likeness to showcasing their profession or trade. Subjects were often depicted with tools or implements associated with their work, and they sometimes even posed as if engaged in their occupation. This subgenre of portraiture added a layer of functional and social context to the traditional portrait, reflecting the values and aspirations of the time.
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Frequently asked questions
The 1880s saw the rise of Impressionism, with artists like Monet capturing the effects of light and atmosphere in their work. Landscape and animal painter William Baird turned to Impressionism in this decade, producing works like 'Our Sunny Path'. Post-Impressionism was also an important movement of the late 19th century, emerging in France around 1886.
Impressionist painters sought to capture the effects of light and atmosphere, often painting en plein air (outdoors). Impressionist works often feature loose brushwork and lighter colours, conveying the fleeting nature of the present.
Post-Impressionism emerged as a response to the lack of structure in Impressionist works. Post-Impressionist artists sought to restore order and structure to their paintings, celebrating distinct artistic styles. This movement was not unified by one overarching style but was instead made up of a wide range of techniques and styles.
Neoclassicism, which had been the dominant style in Europe at the turn of the 19th century, continued to influence artists in the 1880s. This movement involved painting subjects from Classical antiquity or inventing new compositions with a Classical style. Pre-Raphaelite painting, which originated earlier in the century, was also influential, known for its bold colours, attention to detail, and focus on the beauty of nature.
In the 19th century, artists began producing works of their own accord, exploring new areas of interest. As such, many innovative techniques and styles emerged. Some artists continued to use traditional methods like the alla prima technique, in which pigments are laid on in a single application. Others, like Seurat, might work on drawings, tone studies, and colour schemes before beginning a painting.
