Academies and History Painting in Latin America

1
Academies and History Paintingin Latin America
The Royal Academy of San Carlos in Mexico City,
founded in 1785, was the first academy of art in
America, and the only one established under
colonial rule. In Brazil, the Academia Imperial
de Belas Artes was founded in Rio de Janeiroin
1826 with the French painter J.B. Debret, who
trained in Davids studio, as director. In Peru,
the Academy was founded in 1919. (coinciding
with the arrival of avant-garde modern
art) Dawn Ades
2
Natalia Majluf, Ce nes pas le Peru, or, the
Failure of Authenticity Marginal Cosmopolitans
at the Paris Universal Exhibition of 1855The
movement of artists and intellectuals from Latin
America to metropolitan centers (and usually
back) increased dramatically after independence
from Spain in the early nineteenth centuryyoung
Creole Americans traveled to Paris, London, and
Rome not as exiles or émigrés but as
cosmopolitans, as participants in a world
culture. but the international community
has systematically rejected any sign of their
sameness. (Majluf)
3
Francisco Laso, The Indian Potter (or Dweller in
the Cordillera), 1855, o/c, 44 H., Lima
The same comparative context that rejected the
cosmopolitanism of the Latin American artists
served simultaneously to locate France at the
very center of the international art scene.
Majluf
4
José Ferraz de Almeida Junior (Brazil 1859-1899),
The Guitar Player, 1899, o/c, 56 H, Pinocoteca
do Estado de Sao PaoloAcademic genre paintings -
costumbrismo
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(left) Aztec goddess, Coatlique, c. 1500 C.E.
discovered in 1790, Mexico City (right)
Praxiteles, Hermes Dionysus, 4th Century
B.C.The Royal Academy of San Carlos in Mexico
City was thoroughly European in its aims and
practices. Students studied from a selection of
plaster casts of Greek and Roman sculptures sent
from Spain. The question of beauty of European
versus ancient indigenous Mexican work was
discussed.
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Juan Cordero (Mexico, 1824-1884), The Bather,
c.1860, oil on canvas, 59 X 45 in.
Corderos draped nude shocked Mexican visitors at
a 1864 exhibition in Mexico City.
7
Felix Parra, Friar Bartolomé de las Casas, 1875,
oil on canvas, Museo Nacional de Arte, Mexico
City. The woman turns to the Christian friar and
not the Aztec god.
8
Juan Cordero (Mexico, 1824-1884), Columbus
Before the Catholic Monarchs, 1850, o/c, 68 H.
First history painting of an American subject
seen by Mexican viewers.
Academic history paintings were popular in the
New World.
9
José Maria Obregón, The Inspiration of Columbus,
1856, oil, 58 high
10
José Maria Obregón, Discovery of Pulque, 1869,
oil on canvas73 x 91 in., Museo Nacional de
Arte, Mexico City
Xochitl, who discovered pulque, presents it to
Tecpancaltzin Academic Neoclassicism in Mexico
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Impressionism"All that is solid
melts into air" (Marx and Engels, Communist
Manifesto, 1848)"Capture your Moments"
(Kodak ad, 1888)
12

• IMPRESSIONISM Paris, the 1870s
• Quiz question for Thursday, May 14th Exactly
  what was so Avant-garde and modern about
  Impressionism? How can it have been radical when
  it is so easy to like, not at all shocking?
  Use at least three works of art, fully
  identified, by three artists as examples.

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(left) Pierre-Auguste Renoir, Portrait of Claude
Monet. 1875, o/c, Musée d'Orsay, Paris (right)
Claude Monet. Self-Portrait. 1886, o/c, private
collection, Paris(center) Edouard Manet,
Portrait of Monet, 1880, india ink on paper,
Musée Marmottan
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(left) Johann Wolfgang von Goethe (17491832)
Color Theory, 1805-1829(center) Michel-Eugène
Chevreul, color wheel, c.18601888First Kodak
Camera
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Map of France showing Impressionist and
Post-Impressionist locations for painting en
plein aire (in the open air).
16
James Whistler (American expatriate in London) -
Harmony in Blue and Silver, Trouville, 1865
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James Whistler, Nocturne in Black and Gold The
Falling Rocket, 1875Oil on wood, 23 3/4 x 18 3/8
in. (60.3 x 46.6 cm) Detroit Institute of
Artshttp//blogs.princeton.edu/wri152-3/rpower/a
rchives/001951.html Information re. 1877 slander
suit against John RuskinI have seen, and
heard, much of cockney impudence before now but
never expected a coxcomb to ask two hundred
guineas for flinging a pot of paint in the
publics face - Ruskin, 1877 review
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Gustave Courbet, Low tide, Trouville, 1865
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Eugène Boudin (French, 1825-1898), (top)
Vacationers on the Beach at Trouville,
1864(bottom) Boudin, The Beach at Deauville,
1863, oil on canvas. Painted out of doors, en
plein air. Influential teacher/mentor of Claude
Monet
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(top) Claude Monet, The Beach at St-Address,
1867Bottom) Boudin, View of Portrieux,1865
21

• Precursor painters sources of Impressionism

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John Constable (English), The Haywain, 1821
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Constable, Cloud Study, 1822, Oil on paper laid
on board,12 x 19 1/4 inchesCourtauld Institute
Galleries, London
24
Joseph Mallord William Turner (English,
1775-1851), Rain, Steam Speed The Great
Western Railroad, exhibited in 1844 at the Royal
Academy, London, oil on canvas. Romantic
landscape painter studied by Claude Monet in
London in1870 (in refuge from the Franco-Prussian
war.
25
Théodore Rousseau (French, 1812-1867) Forest of
Fontainebleau, Morning, 1850Barbison School
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Eugene Delacroix (French Romantic painter),
(top) Tiger Hunt, 1854(bottom) Odalisque,
1855, oil on wood with source photographic
studyGestural painting and optical theory.
Orientalist, not a Painter of Modern Life
Delacroix, an alchemist of color, miraculous,
profound, mysterious, sensual, awesome explosive
color and subdued color, a penetrating harmony.
The gestures of man and animal. The scowl of the
beast, the snufflings of animality. -
Charles Baudelaire
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(left) Jean-Auguste-Dominique Ingres, Madame
Leblanc 1823 Oil on canvas. Metropolitan MA, New
York City Eugène Delacroix. Self Portrait.
c.1837. oïl on canvas. Louvre, Paris
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Claude Monet, Luncheon on the Grass, oil on
canvas, 165 x 59 in. 1866Musée dOrsay, Paris
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(left) Claude Monet, Dejeuner sur lherbe
(Luncheon on the Grass), 1866, Oil on canvas.
Edouard Manet, Dejeuner sur lherbe, 1863
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Claude Monet, Women in the Garden, 1866-7, oil on
canvas, 84 x 81
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Claude Monet, La Grenouillère ("The Frog Pond"),
1869, oil on canvas, 29 x 39 in. Metropolitan
Museum of Art, NY
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Claude Monet, La Grenouillère, 1869 Auguste
Renoir, La Grenouillère, 1869, 26 x 32 in.
Nationalmuseum, StockholmPainted side by side at
Bougival on the Seine river
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Claude Monet, The Thames at Westminster, 1871,
Oil on canvas, 47 x 72.5 cm (18 1/2 x 28 1/2"),
National Gallery, London. Monet left France for
England to escape the Franco Prussian war and was
not in Paris during the seige or Commune.
34
First Impressionist Exhibition 15 April 1874
Exhibition of the Société Anonyme of Painters,
Sculptors, and Printmakers(left) Nadar
(Gaspard-Felix Tournachon) (1820-1910) Nadar¹s
Studio at 35 Boulevard des Capucines (right)
Claude Monet, Boulevard des Capucines, 1873 (31
1/4 x 23 1/4") A new modern view one of Baron
Haussmanns new boulevards
35
Edward Anthony (American, 18181888) Henry T.
Anthony (American, 18141884) Broadway on a Rainy
Day, 1859 Albumen silver prints from glass
negatives, each 3x3 in., stereograph. (right)
Claude Monet, Boulevard des Capucines, 1873 (31
1/4 x 23 1/4")
Compare Stop-action or "instantaneous"
stereographic urban views by the Anthony
brothers, New Yorks first manufacturers of
cameras and photographic supplies, with Monets
flickering impression. Which is more real?
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Claude Monet, Impression, Sunrise 1873
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Monet, Railroad Bridge at Argenteuil,
1874Anonymous, photo of the Argenteuil Railway
Bridge, c. 1895

• The Impressionist Eye is, in short, the most
  advanced eye in human evolution
• Jules Laforgue

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Claude Monet, The Gare Saint-Lazare, 1877,
National Gallery, London
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(left) Katsushika Hokusai, South Wind, Clear
Dawn, from Thirty Six Views of Mount Fuji, c.
1830-2, color woodblock, 10 x 15(right) Claude
Monet, Haystack, Sunset, 1891, oil on canvas, 28
x 36in, MFA BostonMonets 23 views of haystacks
(1891-2) under various light conditions is
thought to be influenced by Hokusais 36 views of
Mount Fuji. Monet owned a copy of this print by
Hokusai.
People are not sufficiently aware of how much
our contemporary landscape Artists have borrowed
from these pictures, especially Monet, whom I
often encounter at Bings in the little attic
where Levy is in charge of the Japanese
prints. Edmund de Goncourt, 1892
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Monet, Rouen Cathedral, the West Portal, Dull
Weather, dated 1894, painted 1892oil on canvas
39 3/8 x 25 5/8 in. (100 x 65 cm) Musée d'Orsay,
Parishttp//www.learn.columbia.edu/monet/swf/
Click for information about Monets Rouen
Cathedral series, 1892-4, and reproductions of
most of the paintings.
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Claude Monet, Rouen Cathedral, the West Portal
and Saint-Romain Tower, Full Sunlight, Harmony in
Blue and Gold, dated 1894, painted 1893, Oil on
canvas, 42 1/8 x 28 3/4 in. Musée d'Orsay, Paris
42
Claude Monet, Water Lilies (The Clouds) 1903 Oil
on canvas (29 3/8 x 41 7/16 in.) Private
collection
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Monet's home and garden at Giverny(below right)
Studio constructed for the Nympheas (Water
lilies) Series
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(No Transcript)
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(left) Utagawa Hiroshige, Wisteria Blooms Over
Water at Kameido, from One Hundred Views of Edo,
c. 1857, color woodblock 14 x 9 in. Brooklyn
MA(below) Claude Monet, Water Lilies and
Japanese Bridge, 1899, oil on canvas, Princeton
University
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(left) photoportrait of Pierre-Auguste Renoir
(right) Frédéric Bazille, Portrait of
Pierre-Auguste Renoir, 1867, Oil on canvas, (37 x
32 1/3 in) Musee d'Orsay, Paris
47
Claude Monet, La Grenouillère, 1869 Auguste
Renoir, La Grenouillère ("The Frog Pond")
1869Painted side by side at Bougival on the
Seine river
48
Pierre-Auguste Renoir, The Dance at the Moulin de
La Galette (Montmartre), 1876
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(left) Auguste Renoir, Torso of a Woman in
Sunlight, 1876 (Impressionism, considered first
modern, democratic art movement, born out of the
class revolution that brought down the Ancien
Régime) Hedonism and veiled eroticism(right)
Jean-Honoré Fragonard, Bathers, 1756 (Rococo,
considered the cultural epitome of French
aristocracy, the Ancien Régime swept away by the
class revolutions beginning in 1789) Hedonism and
veiled eroticism
50
Berthe Morisot, Self Portrait, 1885 Edouard
Manet, Portrait of Berthe Morisot, 1872
51
Berthe Morisot, The Cradle (sister Edma and
child), 1872, o/c (Morisot married in
1874)Exhibited in the First Impressionist
exhibition. Morisot exhibited in 7 of the 8
Impressionist exhibitions.
52
Berthe Morisot, Hide-and-Seek, 1873, Oil on
canvas, 45 x 55 cm (17 3/4 x 21 5/8") The models
are Berthe Morisot's sister Edma and Edma's
daughter, Jeanne Berthe
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Berthe Morisot, The Wet Nurse Angèle Feeding
Julie Manet, 1880. Private collection
54
Mary Cassatt (American, 1845-1926), Little Girl
in a Blue Armchair, 1978, oil on canvas, 35 X 51
(88.9 x 129.5 cm). Point of view, photographic
cropping, sensuous immediacy modern painting
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(left) Auguste Renoir, The Loge, 1874 (right)
Mary Cassatt, In the Loge, 1880
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Mary Cassatt, In the Omnibus, drypoint and
aquatint in colors, series of 10, 1890-91Suzuki
Harunobu, (Japanese Ukiyo-e printmaker)
1724-1770) Women and Child, woodblock print,
c.1750Ukiyo-e prints were key source for
modernist form - flatness, rejection of
Renaissance illusionism - but also in content
daily life of the middle and working classes.
57
Women's Building, Sophie Hayden, architect, World
Columbian Exhibition of 1893 in Chicago,
featuring Cassatts Modern Woman mural, 12- 58
(lost)
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Young Women Picking Fruit of Knowledge and
Science, 1892 Womens Building, Chicago Worlds
Fair
Center panel
59
Mary Cassatt, Young Women Picking Fruit, 1891/92,
oil on canvas, 52 x 36 in (132 x 91.5 cm.)
Carnegie Museum of Art, Pittsburgh
60
(below) Edgar Degas, The Tub, 1886, pastel on
paper, 23 x 32(left) Katsushika Hokusai, Women
at the Public Bath, from the Manga vol. I, c.
1820, color woodblock, 7 x 4 In the manga,
Degas said, he found relief from Western arts
obsession with the female form divine.
European artists continually borrowed motifs from
the manga.
Both subject matter contemporary woman bathing
and style that was considered radically
anti-academic and modern, are directly influenced
by Japanese art.
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Motion Photography and the Beginnings of Cinema
Eadweard Muybridge, 1879
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Eadweard Muybridge (Edward James Muggeridge,
British 1830-1904), AKA Helios San Francisco
Landscape photographer, Valley of the Yosemite,
ca.1867

• Muybridges five-month trip to the Yosemite
  Valley in 1867 yielded 260 published views, 160
  of them stereographs. His were among the most
  celebrated images taken of the Valley.

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Eadweard Muybridge (Edward James Muggeridge,
British 1830-1904), Galloping Horse, Motion
Study Sallie Gardner, owned by Leland Stanford,
running at 1.40 gait over the Palo Alto track,
June 19, 1879, wet plate collotype, a sequence of
photographs with 12 cameras

• Muybridge began the project in 1872. In 1878, he
  succeeded in taking a sequence of photographs
  with 12 cameras that captured the moment when the
  animals hooves were tucked under its belly.
  Publication of these photographs made Muybridge
  an international celebrity.

64
Edgar Degas, At the Races, 18771880, oil on
canvas, Musée d'Orsay, Paris, informed by
Muybridges photography.
65
Eadweard Muybridge, The Zoopraxiscope, projector
presented in autumn of 1879 The private
gathering that watched the first Zoopraxiscope
projections at Mayfield Grange, the home of
Muybridge's sponsor, Leland Stanford at Palo Alto
farm, in the autumn of 1879 has the distinction
of being one of the earliest motion picture
audiences.
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Zoopraxiscope disc and detail of stencil
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Eadweard Muybridge, Animal Locomotion Man
Shoveling (Self Portrait), 1895University of
Pennsylvania
68
Thomas Eakins (American Realist Painter,
1844-1916), George Reynolds Seven Photographs,
1883, albumen print, Pennsylvania Academy of Fine
Arts (lower left) Motion Study male running
jump to left, ca. 1885, (lower right) Motion
Study female nude, blindfolded, walking to left,
ca. 1885
Eakins approached the human figure with the
analytical eye of a scientist.
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(left) Thomas Eakins, The Swimming Hole, oil on
canvas, 1884-85 (right) Eakins Eakins's Students
at the Site for Swimming, albumen print, ca.1884
70
Thomas Eakins, Max Schmitt in a Single Scull,
1871, oil on canvas, c.32X46 (82x117cm),
Metropolitan Museum, NYC
71
Etienne-Jules Marey (French Physiologist
18301904), Photographic Gun camera with a
rotating plate capable of taking rapid sequence
of separate images. (below) Marey, Pelicans in
Flight, c.1882

• Marey saw Muybridges motion photographs when
  they were published in Paris in 1878.
  Muybridges multi-camera system wasnt scientific
  enough for Marey.

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Marey, Chronophotographic study of Man Pole
Vaulting, 1890 -1891, albumen silver print

• Marey used dry photographic plates, faster than
  the wet plates Muybridge used, and an ordinary
  camera with its lens left open. Behind the lens,
  Marey put a rotating metal disk that had from one
  to ten slots cut into it at even intervals. As
  the subject, dressed in white, moved in front of
  a black background, the rotating shutter exposed
  the glass plate, creating a sequence of images.

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Thomas Eakins, Motion Study using Mareys wheel
camera, Pennsylvania Academy of Fine Arts, 1885
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Edgar Degas (French Realist/Impressionist Painter
and Sculptor, 1834-1917)Frieze of Dancers, 1895,
oil on canvas, 27 3/4 x 79Multiple views of a
single figure, an approach that violated the
traditional notion that a painting must represent
a unity of time, place, and viewpoint