Art History!

Bio

- born in Fuendetodos, near Zaragosa, Aragon
- father was guilder – gold leaf, framer
- his mother was born to “impoverished aristocracy." There was more "pride than food on the table".
- She encouraged Goya to study art
- married Josefa Bayeu in 1773, aged 27. Josefa died in 1812.
- Upon her death, their posessions were inventoried; contained Rembrandt prints.
- was employed with Spanish Court. Floridablanca, minister, employed Goya, painted portrait in 1782
- 1786 employed as the painter to the King (Charles/Carlos III)
- 1789 appointed court painter
- 1799 given title “first painter of the court”
- Carlos III reigned 1759-1788, Carlos IV (1748-1819) reigned 1788-1808 and was abdicated as result of Napoleonic invasion of Spain.
- Ferdinand VII picked by Napoleon to reign, Goya painted his portrait in 1814.
- In 1793 Goya went "stone deaf" from a mysterious illness and was undoubtedly shaken
- In 1823 Goya exiled to Bordeaux, France and died there until his body was eventually repatriated to Spain
- A great deal of Goya's works are oil on canvas but Goya was also proficient in many methods of printing, making lithographs even into his 80s.
Note: Majo, Maja, and Majismo = beaus of the lower class (manner, action, inspiring)

Selected Works:

"The Third of May, 1808" 1814
Style: Spanish Romanticism
Source: Velasques, Rembrandt.
-Commissioned by the Spanish Government to commemorate the Napoleonic invasion of Spain.
-Depicting arbitrary violence (civilians executed for holding weapons, knives)
-Note Madrid in the background.
-Use of chiaroscuro
-Figure in white in Crucifixion pose


"The Duke and Duchess of Osuna" 1788
Style: Spanish Romanticism
- The couple were good friends of Goya
- They supported his artwork; invited him to make them a painting for their home but gave creative control, some of the first witchcraft paintings came about from this. (See below)


"Courtyard of Lunatics" 1794
Style: Spanish Romanticism
-Painted shortly after he went deaf
-suggested that he made this painting from life drawings
-ties strongly to Gericault's work (see below)


"The Witches Sabbath" 1797
Style: Spanish Romanticism
- He-goat surrounded by covent of witches
- seems whimsical until you take a closer look at the grotesque violent subject matter; babies on a spit
- displays the range of human capabilities
(connect to Runge Hulsenbeck (see below))
- also painted after he went deaf
- NOT black painting, see below


"The Witches Sabbath: 1821-2
Style: Spanish Romanticism
-Black painting (black paintings made between 1820-23, painted directly on the walls of Goya's house "Quinta del Sordo" which were later removed and mounted on canvas)


"Saturn devouring his young" 1820-23
Style: Spanish Romanticism
- Black Painting
- posthumously cencored: erect penis was blacked out
- after removed from Quinta del Sordo along with the other Black Paintings, were shown in Paris in the late 18th century – dismissed by art critics as work of a madman but greatly admired by Parisians


"The Sunken Dog" 1823
Style: Spanish Romanticism
-made at the end of the Black paintings
- dog is a silent witness to such atrocities as depicted in the black painting
- small, sinking in the depth of the empty painting


"The Milkmaid of Bordeaux" 1823
Style: Spanish Romanticism
- made after the Black paintings
- full of light, life, and optimism
- possibly modelled by Leocadia Weisz, whom he lived with at the end
- originally not wearing funeral attire, was added later

Other Works:
+ Show Spoiler +

Bio
- born in a harbour town: Greifswald
- lost a sibling in a very frightening accident – suffered from survivors guilt
- studied in Copenhagen, Denmark
- elected to academy of Dresden in 1816
- late marriage
- interested in arctic paintings
- studied and died in Dresden
- His work fell into obscurity after his death, only recently was a renewed interest in his work
- Re-embracing German romantic painting
- Hitler was a fan

Selected Works:

"Abbey in the Oak Wood" 1809-10
Style: German Romanticism
- from his strict Lutheran background, illustrates the ruinous state of religious at that time
- procession of monks burying one of their own
- most of the painting is empty sky; was interested in broader spirituality


"Monk by the Sea" 1809
Style: German Romanticism
- moody, brooding
- mostly of nature; being dwarfed by it
- the sublime
- large piece, 2m wide


"The Stages of Life" 1835
Style: German Romantic
- late work, near the end of his life
- decpits generations
- possibly considering his own final journey
- Note: Swedish Flag, Griefswald was part of Sweden at the time

Other Works:
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Bio
- born in Wolgast, which is now part of Germany
- His older brother, Daniel financially supported his pursuit of art in Copenhagen, and then Dresden
- he married and moved to Hamburg, but soon relocated to his parent’s home Wolgast between 1805 and 1807 to escape the Napoleonic siege of Hamburg
- His brother Daniel was interested in poetry and literature and culture
- Got the commission for the Hulsonbeck children (was his business partener)


"We Three (Wir Drei)" 1804
Style: German Romantic
- Artist is on left, along with Daniel (Right) and his wife Pauline
- Body language suggests narrative
- a psychological portrait of their relationships


"The Hulsenbeck Children" 1805
Style: German Romantic
- Commissioned
- Older boy is brandishing a whip
- Believed to be one of the first paintings of children not being little angels, but having the ability to do evil
- Possibility to have the handle of the wagon in a phallic position?
- Depicting the sexuality of children
- Psychological part of children that was not shown before
- Note: size of children compared to house, fence
- : smallest child clinging to sunflowers - losing connecting to nature?
- : possilbly showing children in biblical proportions; similar to the flight into Egypt?

Bio
- Turner’s father gave up his business (upper class barber and wig maker) to help his son with his art practice; the “family firm”
- Turner’s Mother suffered from psychosis; Admitted to asylum 1801, treated but released uncured at Bethlem in London, Readmitted in private Islington asylum, died there April 1804
- was apprenticed very young, sketchbooks date back to 1789, before his 15th birthday was admitted to the royal academy of art
- Worked with Thomas Walton
- Taught him about perspective and topographical draftsmanship
- 1799, when 24, became associate of royal academy at the earliest possible age
- 1802, declared full member at 27
- became professor of perspective at the academy at age 32
- aged 29, 1804, founded his own gallery where he exhibited his own work and had yearly exhibitions, usually opened in the spring and closed in July while he travelled and painted
- loved Claude Lorraine 1605-1682, saw himself in competition with
- Turner was weeping at his paintings, worried that he could never be able to paint like him
- Saw himself in competition with the masters
- Traveled every year, repeatedly to Italy
- Loved disasters and portraying all aspects of
- Derain, Monet, abstract expressionists, fauvists, inspired by him
- Seen as a precursor of impressionism, along with John Constable.
- Had great reception for his artwork during his lifetime

Selected Works:

"The Slave Ship / Slavers throwing overboard the dead and dying; taiphoon coming on" 1840
Style: English Romantic
- Slave trade had been recently abolished in Britain (1839)
- Inspired by accounts that were familiar to him about slaver and slave ships
- Threw slaves overboard before going in to port to collect on insurance (“lost at sea”) instead of paying for medical bills for the sick ones. Could not collect insurance on dead slaves.
- shows moral, contemporary outrage
- Ruskin bought the painting in 43 (on money borrowed from his father), and installed in dining room
- He wrote about it in his book, Modern Painters
- Sold i t later; was “unable to live with its subject matter”


"Peace, burial at sea" 1842
Style: English Romantic
- memorial painting:
-Sir David Wilkie, Fellow artist, died unexpectedly at sea of Gibraltar returning from his trip to the middle east
- The painting is about grief: "if I only had the paint to make them (the sails) blacker” - Turner


"Burning of the Houses of Parliament" 1835
Style: English Romantic
- A History/Disaster painting
- of London, 1/2
- painted as the event was unfolding


"Venice, the grand Canal" 1835
Style: English Romantic
- one of the founders of English watercolor landscape painting
- idyllic, dream-like landscape
- the material of nature was translated into resounding chords of colour

Other Works:
+ Show Spoiler +

Bio
- born in Paris
- Was 28 when she worked at the Academy
- 1783 one of only 2 women accepted in the Academy
- Adelaïde Labille-guiard was the other
- Firm believer in Monarchism
- Personal friend of the Queen Marie Antoinette (met at aged 24)
- Worked in her Father’s Studio
- Louis Vigée painted portraits and taught at the Academy
- How she met the Royal family
- Painted them as early as when she was 14
- Fled 1789 Oct 6 France to exile in Italy
- Left by public coach with her Daughter(Julie b. 12 Feb 1780 d. 1819) and a nanny
- Spent 16 years in exile, returned 1805
- Husband Jean-Baptiste LeBrun
- Was a successful art dealer
- Sued for divorce for having been abandoned by his wife
- His politics leaned toward the French revolution
- She used her art to make a political statement

Selected Works:

"Self Portrait of the Artist" 1789
Style: Late Baroque
- Depicting herself in a very unassuming outfit
- Intimate, casual depiction
- One of many self portraits
- painted after going into exile
- painting of painting, similar to artemisia gentilleschi's allegory

Other Works:
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Bio
- born in Paris
- Parents (Marie and Louis) came from business class
- Relationship to his Mother was not close
- Spent a lot of time with Buron (Aunt’s family)
- Only child
- Developed a close relationship to Joseph Marie Vien (1716-1809) (teacher – neoclassical, director of French academy in Rome)
- Apprenticed at age 15 (1764)
- Learned a lot about studio organization
- Considered the strengths and weaknesses in apprenticeship system in France, came up with ways to make more democratic
- Won Prix de Rome (minimum three years, stayed for 6 years b/w 1775 and 1781)
- Father was killed in a duel in 1757 when David was only 9 years old
- Placed great emphasis on Scale of paintings and pairing down of formal language, wanted to be read immediately
- Was commissioned to paint the Storming of the Bastille
- June 1791 King Louis 16th went to Vergennes
- Was captured and brought back to Paris
- 1792 - first French republic proclaimed
- 1793 David was elected as a debute in the new French Republic
- David voted for death sentence of King Louis XVI
- Dec 1799 Napoleon (I)Bonaparte (1769-1821) assumed power of France
- Became “first consul”, Emulating the history of Rome

Selected works:

"Death of Marat" 1793
Style: Neoclassical
- Commissionned
- dividian (olive, plain dim) background
- Jean-Paul Marat was a writer, a debuté
- Charlotte Corday (counter-revolutionary) requested a meeting with Marat
- Stabbed him under his collar bone
- Had a skin condition and spent a lot of time in the bath
- Nudity literal and metaphorical
- Is holding a letter –a request from Corday to meet with him
- She was arrested, tried and was guillotined
- was alligned withe Robespierre, Vengence killings on both sides
- Source: Fargeau had voted for the king to be executed
- Read as a metaphor for his extreme vulnerability
- David was invited to look at Marat after the assassination
- Wallpaper changed from elaborate to neutral (a dividian bg)
- Fallen, heroic figure
- Box was made up – a metaphor for the Pièta by Girodet 1789
- Girodet was his studio assistant



"Self Portrait of David" 1794
Style: Neoclassical
- Few self portraits produced
- Painted during the revolution, after the fall of Robespierre
- Arrested and taken to prison
- Painted in his cell
- Shows a lump in his right cheek (benign tumour)– result of a fencing accident
- Passionate and reserved
- Direct gaze
- Tightly grasping his palette.
- Spent over a year in jail, and released 1795
- Loss of prestige, income, property
- Had difficulty regaining his stature as an artist
- Separated and remarried (96) his wife Charlotte deCoeur
- Visited him in jail frequently even after divorce
- His Wife’s social status put her in line to be a Monarchist
- Had 4 children
- David took the boys, Mother took the girls


"Napoleon in his Study" 1812
Style: Neoclassical
- David was the painter for Napoleon but was only allowed to paint him when officially comissioned.
- Lord Douglas asked David to paint this for him (illegally)
- painted from memory
- Painted in 3 Months
- Shown as an insomniac (clock at ~4am)


Portrait of Mme. (Juliette) Rècamier 1800
Style: Neoclassical
- Mme. Recamier threw elegant parties, but David painted her in a simple Roman dress/robe
- Youthful – aged 23
- Married wealthy banker from Lyons
- Light fixture painted by Ingres, among, possilbly, other parts of the painting?
- unfinished, she did not like the painting and often missed sittings
- Dividian background
- compare to painting of Mme. Recamier by François Gérard + Show Spoiler +, shows her with pomp, sexuality


"Leonidas at Thermopylae" 1802
Style: Neoclassical
- 5x4m
- Male Nudity to show heroism
- Great military feat
- Small band of Spartans help off huge Persian army
- Persians had superior technology
- Held off at Thermopylae
- Napoleon didn’t like seeing his official painter making a painting about a lost battle
- Actively discouraged David on continuing on this painting
- Historical Painting

Other Works:
+ Show Spoiler +

Bio
- Born in Montauban, Tarn-et-Garonne,
- Father was a miniature painter (painted miniature pictures)
- Perfectionist
- Very well known for his commissioned portraits
- Felt that the purpose of high art was to paint mythology
- Accomplished at a young age
- Won the prix do Rome
- Was student of David
- Helped gain recognition at young age

Selected Works:

"Jupiter and Thetus" 1811
Style: Neoclassical
- 3m
- Thetus is begging Jupiter to help her son Achilles in war
- Painted at aged 31, had researched for 5 years
- From a passage in the Iliad


"Oedipus and the Sphinx" 1808
Style: Neoclassical
- Licked surface (can't see any brush strokes)
- Figure are bottom right warning him
- Rich, narrative content
- Extensively retouched in 1825, and perhaps again later
- Large scale
- Ingres love of mythology
- Thought it was the mission (highest level) of the fine arts
- Thinking about how to represent the great myths


"Portrait of Louis François Bertin" 1832
Style: Neoclassical
- Seen as to represent the new business/bourgeois class
- Exudes savoir faire
- Made preparatory studies in pencil before painting
- Photographic
- Spidery hands (were ridiculed)
- Language of gesture
- His art, while neoclassic is not without gesture and expression


"La Grande Odalisque" 1814
Style: Neoclassical
- Small, long torso
- Wilful distortion
- Almost precursors cubism in the way that he has shown her face from many viewpoints
- Embrases freedoms that Romantic painters were taking with their paintings


"Napoleon I on his imperial throne" 1806
Style: Neoclassical
- Commissioned
- Type of robes
- Holding ivory hand of justice of Charlemagne
- Holding the Sceptre of Charles V
- Also Sword of Charlemagne on right
- Compare to the pedigree of the alps (Hannibal, and Charlemagne carved in the rock of "Napoleon crossing the Alps)
- Face is mask-like
- Imprisoned with rigid geometry, references god-like statues

Other Works:
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- Tended to promote conformity
- Academic Thought
- Portraits popular
- 20% automatic increase in value for portraits once accepted into the salon
- Prizes rose by 50%
- The Salon was abolished in 1773 as a Royal Academy
- Napoleon I promoted the Salon
- 1804 1806 1808 1810 1812 Salons (Napoleonic)
- 1808 there were 803 works by 404 artists
- 1810 “ “ 1124 works 524 artists including 75 Women

Bio
- born in Charenton, near Paris
- Possibly not raised by biological father – looks a lot like someone else
- neoclassically trained
- his style has an emphasis on color and movement rather than clarity of outline and carefully modeled form
- Had 7 applications rejected from the salon
- In 1857 was finally accepted (aged 59)



"Liberty leading the People" 1830
Style: French Romantic
- Revolution of July 1830
- Liberty allegory
- Carrying Republic tricoloure flag
- Charles X brought back to the throne
- The King of the Bourgeoisie
- Memorialising the moment


"Death of Sardinapalus" 1826
Style: French Romantic
Source: Play by Lord Byron
- Women, Horse, Servants all going to be burned on funeral pyre not letting them fall into the hands of his enemies
- Assyria
- Full of movement
- Poorly received


"Barque of Dante/Dante and Virgil in the Inferno" 1822
Style: French Romantic
Source: Canto 8 of Dante's Inferno
- Shown in the Salon when he was 24
- his first major work
- Dante crosses the River Styx
- they plough through waters heaving with tormented souls


"The Execution of Dolge Marino Faliero" 1826
Style: French Romantic
Source: Lord Byron Play
- Venice
- Smaller in scale
- Exoticism
- “Grimness of death”


"Self portrait of the Artist" c.1835
Style: French Romantic
- Texture
- Surface quality
- Full range of values
- Expressive
- Not a lot of detail in clothing, background

Other Works:
+ Show Spoiler +

Bio
- Born in Rouen
- Lost mother when young 1808, he was aged 17
- Extremely close to his mother, she left him a great sum of money
- Bought himself his first horse
- Alexandrine de Martin 1785 – 1875 – Géricault’s aunt
- Had affair with his Aunt, she became pregnant
- George Géricault (son) studied art & architecture but never practiced
- She owned a number of his works
- died aged 33 from riding accidents and chronic tubercular infection



"Raft of the Medusa" 1818-19
Style: French Romantic
- Salon of 1819
- 2m x 8.5 m
- So politically charged that the Salon, the title was change to “Shipwreck”
- Delacroix posed as at least one figure
Story of the Medusa:
- 1816 July – ran aground off the Mauritanian coast
- Captain Duroy de Chanmareys (Was later imprisoned for three years for incompetence)
- Few lifeboats – used by Captain, senior officers etc 250 ppl in 6 life boats
- Remaining 150 instructed to make their own raft
- By day 2 20 people had died
- The raft was being towed by the life boats, but eventually the cords were cut and the raft was left to fend for itself
- By day 3 fighting and cannibalism – half died
- By day 6 only 28 left
- By day 13 there were only 15 survivors
- Day 13 – the Ship Argus was sighted – it was actually searching for them
- Argus disappeared and reappeared 2-3 hours later
- 5 died soon after they were rescued – only 10 survivors
- Navy tried to cover up
- Henry Savigny, surgeon got together with Correard (both survivors) and published a book 1817
- Sept 1816 some of the accounts were leaked to a journal and published
- Heroic, pinnacle figure is not white
- built a fake raft to scale, had models pose on
- talked to survivors to get 1st hand account
- studied corpses to realistic painting
-decapitated heads, severed arms, legs


"Portraits of The Insane" c.1822-3
Style: French Romanic
- Only 5/15 survive
- Painted from Life
- Painted in Paris for Dr. Georget
- Chief of Psychiatry
- First time addressed this topic
- Auctioned off in 2 lots when he died
- Sympathetic objectivity

Bio
- born in Ornans (Besançon) - Franche Comté
- Post-romantic
- Father (Régis 1798) was a farmer, and paid a small allowance for him to study art
- Aged 20 moved to Paris, largely self taught
- Showed a great deal of self confidence and bravado from a young age
- First born boy, then 4 girls
- Was close to family and roots
- Epinal – French city, but word refers to popular woodcuts, lithos, etc
- Term became part of class warfare
- Charles Baudelaire (1821-1867) contemporary, friend
- Daumier (1808-1878) contemporary
- J F Millet (1814-1875) contemporary
- All saw height and breakdown of both neoclassicism and romanticism
- Cultural change – Carl Marx argued that classical antiquity was no longer viable as a model in the fine arts
- Shared will for revolutionary change – communist manifesto published at that time, even if Courbet did not read atm
- French Revolution of 1848
- Set off by a recession (as sim to other countries at that time)
- Fighting in the streets between proletarian fighters and the guard
- 3000 imprisoned or executed for having defied authority
- Avant Garde Artist (coming from military term)
- Courbet in the 40s was already making scenes of proletarian figures as heros – workers
- “no one wants to admit that a stonebreaker is equal to a prince”
- Technique was “alien” to established notions and audiences
- At Height of pitch battles, he wrote to his family and wrote “I do not believe in wars fought with guns and cannons, I have been waging a battle of intellect”
- Courbet used the term “Realisme”
- Realist – lover of the honest truth
- “Show me an angel, and I’ll paint it”
- early submissions refused, 1844 “Self portrait with Black Dog” accepted to Salon
- Construction of the Artist as self
- 1844 “Male guitar player” also accepted (lost)
- 1840s had found his milieu
- his own atelier on the left bank
- Brasserie Andler met with others – Baudelaire, Jules Champfleur etc
- 1853 (after revolution Emperor Napoleon III) decree issued that the exhibition would be cancelled – France would stage a universal exposition, 1855
- Courbet painted, for that exhibition, Comte de Nieuwerkeke was aware of Courbet’s up and coming status and wanted him to be included in the Exhibition, arranged to meet Courbet for lunch at a very elegant restaurant to coerse Courbet to make a painting to his standards, Courbet declined
- Courbet made his own exhibition, the Pavilion of Realism, - L’Atellier du Peintre
- First time art shown outside the “system”
- Died in exile
- Political upheaval
- Ran in political election, elected as a communal (deligate) 6th arondissement in Paris 1871
- Bombing of the Column in the Place Vendôme 16th May 1871
- France defeated by Germany in Sedan 1871 Jan (Franco-Prussian)
- People lost faith in Government
- Napoleon III 1808-1873(Louis-Napoleon) (Napoleon II never came to power)
- Courbet fined and imprisoned for the bombing of the column
- Not allowed to paint (in jail)
- aided forgery of his own works, – his students made and signed his work with his help


Selected Works:

“The studio of the Painter, a real allegory summing up seven years of my artistic life” 1855
Style: Realsim
- Sent to official jury but was rejected because he did not follow the minister of art
- ~30 figures including Courbet, nude model is both the muse and a real woman. All life size
- On the left, the masses, on the right the exploited and exploiters
- “Courbet exploited high art, its techniques, size and something of its sophistication in order to revive popular art, made in art which claimed by scale and proud title of history painting to break down the dominant classes”

- Alfred Bruyas funded his pavilion
- Louvre purchased this painting in 1920, 65 years after it was painted
- unfinished background
- on Right, supporters and friends, Baudelaire, etc
- on Left, political figures, such as Napoleon diguised as a dog trainer
- muse is a real woman, not an idealised
- crucified figure behind painting, hanged for the sins of the masses on the left
- skull is on "le devoir" paper
- Only shown 3 times in his lifetime


"The Stone Breakers" 1850
Style: Realism
- Autre Bourgeoisie
- Faces hidden
- Proletarian Labour
- Young man suffering from scurvy?
- Sketched from life, perhaps invited them to studio to pose
- Destroyed by accidental fire


"The Meeting (Bonjour Mr. Courbet)" 1854
Style: Realism
- Commissioned by Brouya
- Explore question of constructing the artist’s identity
- Arriving in Montpellier
- Met by Brouya and servant
- bringing low art (landscape) into high art niche


"The Winnowers" 1853-4
Style: Realism
- Separating Wheat from Chaff
- Painted in Studio at Ornans
- “Habits of the countryside” project
- Invites a narrative
- Plenty
- Labour


"Dressing the Dead Girl" c.1850s
Style: Realism
- Unfinished. 2.5m x ~2
- Shows his method - painted light to dark, painted all over the painting (was traditional to paint top to bottom like a printer)
- Part of the series on the habits of the countryside (Realist Project
- Originally a nude, later clothed
- Originally, preparing a young woman to be married, but then Courbet got bored and became a dead woman – holding mirror (first, check reflection, then check for breath)
- Courbet loved to paint things that weren’t meant to be


"Hunter on Horseback, Redcovering the Trail" 1864
Style: Realism
- Horse fills entire space
- Triangular
- Courbet saw himself as the hunter, was fond of the landscape, and hunting
- Resting hand lovingly on hind quarters


"After Dinner at Ornans" 1849
Style: Realism
- Awarded Gold Medal
- Life size
- Automatically purchased (because won medal) for 1500 franks
- Mixed but positive reception
- Family home
- Peasants returning from Flagey

Other Works:
+ Show Spoiler +

Bio
- Grew up on a Farm in Gruchy, Normandy
- Difficult land to farm
- Mother was literate and encouraged Millet to read
- Insisted they learn Latin
- As opposed to Courbet who wasn’t a great reader although he portrayed himself as such
- Very religious, but modest family, very patriotic, and disciplined
- Studied with Bon Dumuchal as a teenager
- At age 21, 1835, became an apprentice to Paul Delaroche
- 1839 quit impulsively
- applied but did not win prix de Rome
- opened small studio and advertised to paint portraits
- Close to the countryside
- Associated to the town on barbizon, was one of the Barbizon school founders
- Moved there in his thirties During time of napoleon III coup
- Theodore Rousseau was close friend, also, Daubigny
- Misunderstood, similarly to van Gogh, however Millet has reception in the 40s
- Art aficionados began to collect his artwork - Hunt and ???
- Had the sense that his work was important
- Officially married twice
- First wife died in childbirth
- Moved to Barbizon with Catherine (2nd), already had 4 children


Selected Works:

"The Angelus" 1859
Style: Naturalism
- Shown in 1865, 7
- Commissioned by Thomas Appleton, but was completely open ended, Millet had creative control
- Distant church bells are tolling the Angelus
- Signalled the end of a long work day
- Huge market recognition
- American art collectors bought this painting at auction, they outbid the Louvre, sold for half a million franks
- Later donated to the Louvre
- Posthumous fame was huge
- Millet was invited to sit on Salon juries but refused
- Durand-Rouel was in charge of Millets estate
- Kept many works which didn’t reach the bid
- Shown and criticised at Salon
- Very much a concervative


"The Gleaners" 1857
Style: Naturalism
- Solid, monumental, deliberate
- Gathering missed bits of wheat (gleaning)
- Details of background – new mechanised method of cutting the wheat
- Man on horseback overseeing the operation
- Women are darkly tanned
- Small, intimate paintings
- quiet, domestic toiling

Other Works:
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Bio
- born in Paris
- bourgeois family
- landscape painting was on the upswing
- studied with Achille-Etna Michallon, a student of David
- leading painter at Barbizon school
- also studied in Italy
- when Daumier went blind, bought him a house
- although had great commercial success was not recognised by the academy until shortly before his death, won gold medal
- work references neoclassical tradition and influences impressionism and plein air
- many forgeries, easy to replicate

Selected Works:

"La Toilette" 1859
Style: Realism
- Overpriced it so it wouldn’t sell
- Watteau inspiration
- Late corot, aged 63
- 1859 Salon didn’t sell
- Audience didn’t know what to make of it
- Manet loved it
- Source for dejuner sur l’herbe
- Late Corot has shimmery leaves


"La Blonde Gasconne" c. 1850
Style: Realism
- Figurative
- He Loved La Source
- Bellini
- Not allegorical but not literal either
- Question of desire
- Was a Bachelor his whole life
- Had long-standing liaison with some women
- Odalisque
- In Aug of ’26, wrote to friend Osmond, ‘I have only one goal in life, an that is one that I want to pursue faithfully. I want to make landscapes, this keeps me from any serious attachment, that is to say, marriage’

Other Works:
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Bio
- born in Marseille, moved to Paris at young age
- was employed as an errand boy, then book seller, to keep him away from art
- worked with Alexandre Lenoir
- later entered the Académie Suisse
- worked for the comic journal, La Caricature
- Friends with Baudelaire, Millet, Balzac
- Social politically charged
- Satire
- Saw himself as a painter, was also printmaker, caricaturist, sculptor
- His political satire was remembered
- Corot bought Daumier a house after he went blind

Selected Works:

"Rue Transnonain" 1834
Style: Naturalism
- Lithograph
- April ‘34
- National Guard accused people of having shot from their windows
- So they stormed the buildings. Building shown was apartment building and murdered the people who lived in these buildings, innocent people murdered in their sleep
- Daumier made and showed it just weeks after it happened.
- Artist’s home was raided more than once

Other Works:
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