NCC ART104 1

Editor's Notes

• #9: , oil on canvas Musée Fabre, Montpellier
• #16: oil on canvas,Louvre, Paris
• #17: oil on canvas,Louvre, Paris
• #18: , oil on canvas Musee D’Orsay, Paris
• #23: As a chronicler of modern urban life, Daumier captured the effects of industrialization in mid-nineteenth-century Paris. Images of railway travel first appeared in his art in the 1840s. This Third-Class Carriage in oil, unfinished and squared for transfer, closely corresponds to a watercolor of 1864 (Walters Art Museum, Baltimore). Daumier executed another oil version of the subject, which he finished but extensively reworked (National Gallery of Canada, Ottawa).
• #30: Manet's painting reflects the vogue in Paris for the art and culture of Spain during the Second Empire, as well as the artist's own preoccupation with Spanish themes in the 1860s. The Spanish Singer won Manet his first critical and popular success in his debut at the Salon of 1861. He composed the work in his studio using a model and props; the singer's broad-brimmed hat and bolero jacket were worn again by Victorine Meurent when she posed for the 1862 canvas Mademoiselle V . . . in the Costume of an Espada
• #31: oil on canvas Reunion des Musees Nathionaux
• #34: Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
• #39: Portrait of Zola 1868
• #40: This is not a realistic painting of the Folies-Bergère. Suzon did work there, but she posed for the painting in Manet's studio, behind a table laden with bottles. He merged this image with rapid painted sketches he made at the Folies-Bergère. There is no attempt to make the image cohere: there is, as contemporary critics pointed out, an inconsistency to the relationship between the reflections in the mirror and the real things. The man in the top hat approaching Suzon in a sinister way in the top right hand corner of the mirror would in reality have to be standing with his back to us in front of the bar, and Suzon herself should be reflected in an entirely different place.
• #43: In this scene, cheap, outmoded prints—colored lithographs by the flower painter Pierre-Joseph Redouté—are coupled with a fashionable Tang dynasty horse and Japanese fabrics pinned on the bulletin board to typify an old-fashioned collector, obsessively accumulating an array of artworks. The depiction of individuals, interrupted at tasks amid settings that reveal clues about their character, was developed by Degas in numerous figure paintings of the 1860s and early 1870s.
• #45: Degas, Study for A Woman Seated beside a Vase of Flowers (madame Paul Valpinicon), 1865 Fogg Art Gallery
• #47: Much as Degas was fascinated by the movements of dancers, he was also intrigued by the repetitive, specialized gestures made by laundresses as they worked. This painting, the first of three versions of the composition, is distinguished by its dramatic chiaroscuro, with the woman silhouetted against a luminous white backdrop. Purchased by the singer and collector Jean-Baptiste Faure, the canvas was returned so that Degas could rework it. The artist, however, kept the picture and lent it to the 1876 Impressionist exhibition, receiving praise for his "rapidly done silhouettes of laundresses."
• #51: The watering can, visible at left, was a standard fixture in ballet rehearsal rooms; water was sprinkled on the floor to keep dust from rising when ballerinas danced. Degas also used the watering can as a visual pun: its shape is mimicked by that of the dancer at right. Shown at the 1877 Impressionist exhibition, the painting was given by Degas to the collector Henri Rouart as a replacement for an earlier work (now lost), which the artist altered and accidentally destroyed. Louisine Havemeyer purchased it from Rouart's estate sale in 1912, for $95,700, a record price for a work by a living artist.
• #52: Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
• #53: Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
• #54: Bird’s-eye view and cut-off edges suggest photographic fragment and abstract arrangement of Japanese prints. This is not the erotic object of desire of academic paintings.
• #57: Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.
• #62: Renoir seems to have composed this complicated scene without advance studies or underdrawing. He spent months making numerous changes to the canvas, painting the individual figures when his models were available, and adding the striped awning along the top edge. Nonetheless, Renoir retained the freshness of his vision, even as he revised, rearranged, and crafted an exquisite work of art.
• #63: This bold composition reveals the influence of the flat, patterned surfaces, simplified color, and unusual angles of Japanese prints, which enjoyed a huge vogue in Paris in the late 1800s. The dark figure of the man compresses the picture onto the flat plane of the canvas, and the horizon is pushed to the top, collapsing a sense of distance. Our higher vantage point gives us an oblique view into the boat. Its form is divided into decorative shapes by the intersection of its horizontal supports. After 1893, Cassatt began to spend many summers on the Mediterranean coast at Antibes. Under its intense sun, she began to experiment with harder, more decorative color. Here, citron and blue carve strong arcs that divide the picture into assertive, almost abstract, shapes. This picture, with its bold geometry and decorative patterning of the surface, positions Cassatt with such post–impressionist painters as Gauguin and Van Gogh This painting, one of her most ambitious, was the centerpiece of Cassatt's first solo exhibition in the United States in 1895. Her contacts with wealthy friends in the United States did much to bring avant–garde French painting into this country.
• #86: Cézanne, Paul_Mon St-Victoire from Lauves_1902 Cézanne, Paul_Mount Sainte-Victoire_1904-1906_oil on canvas_Philadelphia Museum of Art
• #100: Matisse, Henri_The Joy of Life_1905-6_Barnes Foundation