19thC Artistic Identities

(These are notes of a course given at Birkbeck College by Carol Jacobi in 2005/2006)

19thC Artistic Identities

Art and Society in the 19th Century – 26/10/2004

Artistic Identities – Slide list.

Summary *The Artists As Genius *The Academic Artists *The Social Outcast *Bohemia *Breakaway Groups *The Aesthete

Slide 1: Johan Zoffani ‘The Academicians of the Royal Academy’, exhibited 1772

Slide 2: Eugene Delacroix, ‘Paganini’ c.1832

Slide 3: Eugene Delacroix, ‘A Corner of the Studio’, c.1825

Louvre Eug'ne DELACROIX ? Charenton-Saint-Maurice, 1798 – Paris, 1863 Coin d’atelier. Le po'le H.: 0,51 m.; L.: 0,44 m. Selon certains historiens, ce coin d’atelier ne serait cependant pas de Delacroix – According to certain historians this studio corner would not be Delacroix’s.

Slide 4: Edouard Manet, ‘The Absinthe Drinker’, 1859.

Edouard Manet. The Absinthe Drinker. 1858-1859. Oil on canvas. Ny Carlsberg-Glyptotek, Copenhagen, Denmark. On display Royal Academy Autumn 2004


Slide 5: Peter Cornelius, Friederich Overbeck, ‘Double Friendship Portrait’, 1812 (drawing)

Slide 6: Frederic Leighton, ‘Self-portrait’, 1880

Slide 7: Illustration, Lord Leighton’s House, Artist’s Homes No.7, 1880.(image not found) Slide 8: Anon. Photograph, John Everett Millais in his studio, 1886.

Millais in his Studio by Rupert Fuller. 1886. Photograph. Source: Millais, facing II, 258. References Millais, John Guile. The Life and Letters of John Everett Millais, President of the Royal Academy. 2 vols. New York: Frederick A. Stokes, 1899.

Slide 9: Emily Mary Osborn, ‘Nameless and Friendless’, 1857.

Slide 10: Emily Mary Osborn, ‘Barbara Bodichon’, before 1891.

Barbara Leigh-Smith Bodichon (1827-1891) From challenging the question of marital law to founding the Englishwoman's Journal, Barbara Leigh-Smith Bodichon dabbled in all aspects of Victorian feminism. Praised for her fiery energy and artistic talent, both as a writer and painter, Barbara acted as the catalyst for many hallmarks of the nineteenth century women's movement. Barbara's first attack of the institution of marriage came in 1854 with a pamphlet she called: A Brief Summary in Plain Language of the Most Important Laws concerning Women.

Slide 11: Frederic Leighton, ‘Self-portrait’, 1852

Slide 12: Titian, ‘Portrait of a Gentleman’, active 1506-1576

Slide 13: Dante Gabriele Rossetti, ‘Self-portrait’, 1847.(image not found) Slide 14: Gustave Courbet, ‘Self-portrait as a desperate man’, 1843

Slide 15: Eugene Delacroix, ‘Liberty Guiding the People’, 1831

Slide 16: Edouard Manet, ‘The Old Musicians’, 1862

Slide 17: Gustave Courbet, ‘Portrait of Baudelaire’, 1847?

Slide 18: Gustave Courbet, ‘Portrait of Proudhon’, 1853.

Slide 19: Henry Fantin-Latour, ‘Manet’, 1867

Slide 20: Henry Fantin-Latour, ‘The Batignoles Studio’, 1870.

According to http://www.wetcanvas.com/Museum/Artists/f/Henri_Fantin-Latour/analysis_studio.html

seated left is Edouard Manet, seated right is Zacharie Astruc. Standing from left to right are Otto Scholderer, Pierre Auguste Renoir, Emile Zola, Edmond Maitre, Frederic Bazille and Claude Monet.

Slide 21: Jean-Pierre Franque, Allegory on France Before the Return from Egypt, 1810

Slide 22: Friederich Overbeck, ‘The Painter Franz Pforr’, 1810

Slide 23: Friederich Overbeck, ‘Self-portrait with Bible’, 1809

Slide 24: Dante Ganriele Rossetti, ‘Dante’s Dream at the Time of Beatrice’s Death’, 1841

Is this 1841 (our handout) or 1871 (Olga’s Gallery)?

Slide 25: Manet, ‘Berthe Morisot’ or ‘Repose’, 1869-70.

Edouard Manet. Repose (Berthe Morisot). 1869-1870. Oil on canvas. Rhode Island School of Design, Museum of Art, Providence, Rhode Island, USA

Slide 26: Emily Mary Osborn, ‘Nameless and Friendless’, 1857.

Slide 27: Rebecca Solomon, ‘A Fashionable Couple’, 1854

Slide 28: Aubrey Beardsley, ‘Self-portrait in Bed’, 1900

Further reading Laura Morowitz and William Vaughan, Artistic Brotherhoods in the Nineteenth Centu (Ashgate, 2000) Deborah Cherry, Painting Women (Routledge, 1993)

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