CA4 Realism

one year after Karl Marx and Friedrich Engels wrote their influential pamphlet, The Communist Manifesto

ARTISTS CONCERN-for the plight of the poor is evident.

Courbet depicts figures who wear ripped and tattered clothing

TRAPPED - HOW

COBORET show what is "real," Boy too young, Man to old

IMPORTANT: as with so many great works of art, there is a close affiliation between the narrative and the formal choices made by the painter, meaning elements such as brushwork, composition, line, and color.

Like the stones themselves, Courbet's brushwork is rough—more so than might be expected during the mid-nineteenth century. This suggests that the way the artist painted his canvas was in part a conscious rejection of the highly polished, refined Neoclassicist style that still dominated French art in 1848.

refusal to focus on the parts of the image that would usually receive the most attention.

Traditionally, an hands, faces, and foregrounds. Not Courbet.

attending to faces and rock equally.

The Stonebreakers seems to lack the basics of art (things like a composition that selects and organizes, aerial perspective and finish) and as a result, it feels more "real."

Ingres's early Romantic tendencies

first glance

exotic context. The peacock fan, the turban, the enormous pearls, the hookah (a pipe for hashish or perhaps opium), Title

all refer us to the French conception of the Orient not the Far East but Near East or even North Africa

Sensual nature of the image is made acceptable even to an increasingly prudish French culture because of the subject's geographic distance.

Titian had veiled his eroticism in myth (Venus), Ingres covered his object of desire in a misty, distant exoticism

Vailed by mythology, vailed by beauty

Academic Art - Formula, Expected - NEW DIFFERENT

REAL - not idealized, perfected

Looking Directly at us. Venus - Coy

CONFRONTING CORRUPTION- REALITY What are we REALLY looking at HONEST

No Modeling, no Illusion UNMASKING SOLUTION

What beauty COULD be for the MODERN World