Literature and Art That Attempts to Capture Events of Everyday Life Is Known as

Realism

Realism, an creative move that began in French republic in the 1850s, rejected Romanticism, seeking instead to portray contemporary subjects and situations with truth and accuracy.

Learning Objectives

Summarize the cardinal thoughts of Realism

Key Takeaways

Cardinal Points

• Realists revolted against the exotic subject matter and exaggerated emotionalism of the Romanticism that had dominated French literature and art since the belatedly 18th century.
• Realist works depicted people of all classes in ordinary life situations, which often reflected the changes brought on by the Industrial and Commercial Revolutions.
• Realists tended to showcase sordid or untidy elements in their paintings.
• Important figures in the Realist art movement were Gustave Courbet, Honore Daumier, and Jean-Francois Millet.

Realism  was an artistic movement that began in France in the 1850s, post-obit the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the late 18th century, revolting against the exotic subject matter and exaggerated emotionalism of the movement. Instead, Realists sought to portray "real" gimmicky people and situations with truth and accurateness, including all the unpleasant or sordid aspects of life. Realist works depicted people of all classes in ordinary life situations, which often reflected the changes brought on by the Industrial and Commercial Revolutions.

The Realists depicted everyday subjects and situations in contemporary settings, and attempted to describe individuals of all social classes in a like fashion. Classical idealism, Romantic emotionalism, and drama were avoided equally, and often sordid or untidy elements of subjects were showcased somewhat, as opposed to beingness beautified or omitted. Social realism emphasized the depiction of the working grade and treated working grade people with the same seriousness as other classes in art. Realism likewise aimed to avert artificiality in the treatment of  human relations and emotions; treatments of subjects in a heroic or sentimental manner were rejected. Important figures in the Realist art move were Gustave Courbet, Honore Daumier, and Jean-Francois Millet.

A Burial At Ornans past Gustave Courbet, 1849: Courbet is regarded as the leading proponent of the Realist movement.

Realism in Painting

Two important figures in the Realist move were Gustave Courbet and Jean-Francois Millet.

Learning Objectives

Depict how Realist ideals manifest in Realist painting

Cardinal Takeaways

Key Points

• Realism arose in opposition to Romanticism, which had dominated French literature and fine art since the tardily 18th century.
• Realist painters often depicted common laborers, and ordinary people in ordinary surroundings engaged in real activities equally subjects for their works.
• Gustave Courbet is known equally the primary proponent of Realism and his paintings challenged convention by depicting unidealized peasants and workers, oftentimes on a thou scale traditionally reserved for paintings of religious or historical subjects.
• Jean-Francois Millet is noted for his scenes of peasant farmers of which "The Gleaners" is i of his nearly well-known due to its depiction of the realities of the lower class.

Realism was an artistic movement that began in French republic in the 1850s, after the 1848 Revolution. The motility arose in opposition to Romanticism, which had dominated French literature and art since the belatedly 18th century. Realism revolted against the exotic subject matter and exaggerated emotionalism and drama typical of the Romantic movement. In favor of depictions of real life, Realist painters often depicted common laborers, and ordinary people in ordinary surroundings engaged in existent activities as subjects for their works. The chief exponents of Realism were Gustave Courbet, Jean-François Millet, Honoré Daumier, and Jean-Baptiste-Camille Corot.

Gustave Courbet

Jean Désiré Gustave Courbet (1819–December 31, 1877) was a French painter who led the Realist movement in 19th century French painting. Rejecting the predominant bookish convention and the Romanticism of his fourth dimension, Courbet's independence ready an example that was important to later artists, such as the Impressionists and the Cubists. Every bit an artist, he occupies an important place in 19th century French painting equally an innovator and as an creative person willing to make bold social statements in his work.

Courbet's paintings of the late 1840s and early on 1850s brought him his offset recognition. They challenged convention by depicting unidealized peasants and workers, ofttimes on a grand calibration traditionally reserved for paintings of religious or historical subjects. Courbet courted controversy by addressing social issues in his work, and by painting subjects that were considered vulgar, such as the rural suburbia, peasants, and working conditions of the poor. For Courbet realism dealt not with the perfection of line and form, but entailed spontaneous and rough handling of paint, suggesting direct observation by the creative person while portraying the irregularities in nature. He depicted the harshness in life, and in so doing challenged gimmicky academic ideas of art.

A Burying at Ornans by Gustave Courbet, 1849–l: Exhibition of this piece at the 1850–1851 Paris Salon created an "explosive reaction" and brought Courbet instant fame.

A Burial at Ornans was a vast painting, measuring x by 22 feet (iii.i by half-dozen.half-dozen meters), and drew both praise and violent denunciations from critics and the public, in office because it upset convention by depicting a prosaic ritual on a scale that previously would have been reserved for a religious or royal field of study. Additionally, the painting lacks the sentimental rhetoric that was expected in a genre work. Courbet's mourners brand no theatrical gestures of grief, and their faces seemed more caricatured than ennobled. The critics defendant Courbet of a deliberate pursuit of ugliness.

Jean-Francois Millet

Jean-François Millet (Oct 4, 1814–January twenty, 1875) was a French painter and one of the founders of the Barbizon School in rural French republic. Millet is noted for his scenes of peasant farmers and can exist categorized as part of the Realism art move.

Adult female Baking Bread by Jean-Francois Millet, 1854: This painting depicts a woman working in the abode, and is a typical representation of the Realists' engagement with depicting the realities of life at the time.

One of the well-nigh well known of Millet'due south paintings is The Gleaners (1857). While Millet was walking the fields around Barbizon, one theme returned to his pencil and castor for 7 years—gleaning—the centuries-old right of poor women and children to remove the bits of grain left in the fields following the harvest. He institute the theme an eternal one, linked to stories from the Former Testament. In 1857, he submitted the painting The Gleaners to the Salon to an unenthusiastic, even hostile, public.

Gleaners by Jean-Francois Millet, 1857: One of his most controversial, this painting by Millet depicts gleaners collecting grain in the fields nearly his home. The delineation of  the realities of the lower grade was considered shocking to the public at the fourth dimension.

Pre-Raphaelites

The Pre-Raphaelites were a group of English painters, poets, and critics, founded in 1848.

Learning Objectives

Evaluate the ideas that underpinned the Pre-Raphaelites and how they were manifested in their fine art

Fundamental Takeaways

Key Points

• The Pre-Raphaelites sought to reform art by rejecting what they considered to be a mechanistic approach first adopted by the Mannerist artists who succeeded Raphael and Michelangelo.
• They believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite." They wanted a return to the abundant particular, intense colors and complex compositions of Quattrocento Italian art.
• Influenced by romanticism, the Pre-Raphaelites thought freedom and responsibility were inseparable. Nonetheless, they were particularly fascinated by medieval culture, believing information technology to possess a spiritual and creative integrity that had been lost in later eras.
• In later years the motility divided and moved in two separate directions. The realists were led by Hunt and Millais, while the medievalists were led past Rossetti and his followers, Edward Burne-Jones and William Morris.

Key Terms

• Mannerist: An creative person who uses Mannerism, a style of European fine art that emerged from the later years of the Italian Loftier Renaissance around 1520.
• quattrocento: The 1400s, the 15th century Renaissance Italian period.

The Pre-Raphaelite Brotherhood

The Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti. The three founders were soon joined past William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form a vii-member brotherhood. The group's intention was to reform art by rejecting an approach that they considered mechanistic, one that was first adopted by the Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in item had been a corrupting influence on the academic teaching of art, hence the proper name "Pre-Raphaelite." The Pre-Raphaelites wanted a return to the arable particular, intense colors and complex compositions of Quattrocento Italian and Flemish art. The Pre-Raphaelites defined themselves as a reform move, created a distinct name for their form of fine art, and published a periodical, The Germ, to promote their ideas.

The brotherhood's early on doctrines emphasized the personal responsibility of individual artists to make up one's mind their own ideas and methods of depiction. Influenced by Romanticism, the Pre-Raphaelites thought liberty and responsibility were inseparable. Nevertheless, they were particularly fascinated by medieval civilisation, believing it to possess a spiritual and creative integrity that had been lost in afterwards eras.

Pre-Raphaelites and Realism

The emphasis on medieval culture clashed with principles of realism, which stressed the independent observation of nature. In its early on stages, the Pre-Raphaelite Brotherhood believed its two interests were consistent with one another, but in after years the movement divided and moved in two separate directions. The realists were led past Hunt and Millais, while the medievalists were led by Rossetti and his followers, Edward Burne-Jones and William Morris. The divide was never accented, since both factions believed that art was essentially spiritual in grapheme, opposing their idealism to the materialist realism associated with Courbet and impressionism.

The Pre-Raphaelite Brotherhood was greatly influenced by nature and its members used keen detail to show the natural world using bright and sharp focus techniques on a white canvas. In attempts to revive the luminescence of color plant in Quattrocento art, Chase and Millais developed a technique of painting in sparse glazes of paint over a wet white ground in the hope that the colors would retain jewel-like transparency and clarity. Their accent on luminescence of color was a reaction to the excessive use of bitumen by before British artists. Bitumen produces unstable areas of muddy darkness, an effect the Pre-Raphaelites despised.

Ophelia: Ophelia, by John Everett Millais, reflects the Pre-Raphaelite use of luminescence of colour in composition.

Exhibitions

The first exhibitions of Pre-Raphaelite work occurred in 1849. Both Millais's Isabella (1848–1849) and Holman Chase's Rienzi (1848–1849) were exhibited at the Royal Academy. Rossetti's Girlhood of Mary Virgin was shown at a Gratuitous Exhibition on Hyde Park Corner. Equally agreed, all members of the alliance signed their work with their proper name and the initials "PRB."

In 1850 the Pre-Raphaelite Alliance became the subject of controversy after the exhibition of Millais's painting, Christ in the Firm of His Parents, which was considered to be cursing by many reviewers, notably Charles Dickens. The brotherhood'southward medievalism was attacked as backward-looking and its extreme devotion to item was condemned every bit ugly and jarring to the eye. Co-ordinate to Dickens, Millais made the Holy Family wait like alcoholics and slum-dwellers, adopting contorted and cool "medieval" poses.

Christ in the House of His Parents: Pre-Raphaelite Millais's painting, Christ in the House of His Parents, was considered to be blasphemous by many reviewers, notably Charles Dickens, who said Millais made the Holy Family look like alcoholics and slum-dwellers, adopting contorted and absurd "medieval" poses.

Afterward 1856, Dante Gabriel Rossetti became an inspiration for the medievalizing strand of the motion. He was the link betwixt the two types of Pre-Raphaelite painting (nature and romance) after the PRB became lost in the late 1800s. Rossetti, although the least committed to the brotherhood, continued the proper noun and changed its way. He began painting versions of women using models like Jane Morris, in paintings such as Proserpine, after the Pre-Raphaelites had disbanded.

Since the Pre-Raphaelites were stock-still on portraying subjects with near-photographic precision—though with a distinctive attention to detailed surface-patterns—their work was devalued past many painters and critics. For case, subsequently the First Earth War, British Modernists associated Pre-Raphaelite fine art with the repressive and backward times in which they grew up.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/realism/

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