31 -- Part 1: Mid- to Late Nineteenth-Century Art in Europe and
For art, artists, and architecture, apply the vocabulary and concepts relevant to the 19th century European and American.
Historical methods of observation, comparison, and interpretation of works of mid- to late century European or American art can be used.
To support an argument or interpretation of cultural, economic, and political contexts, select visual and textual evidence in various European and American art and artists to their media.
"I believe the tower will have its own beauty, and in Paris," said Gustave Eiffel in his approach to the 1889 Universal Exposition.
The main attraction of the Universal Exposition was the Eiffel Tower, one of the more advanced thought and modernity among artists, and it became an international symbol of the event.
The symbol of Paris is the United States in the second half of the 19th century.
In 1889, the tower was one of the city's most photographed tional industry, science, and the applied, decorative, and structures.
Thousands of tourists to the Eiffel Tower were intended to demonstrate that France bought souvenir photographs from professional engineering, technological, and industrial knowledge and commercial photographers.
The power is shown in this one.
It was originally conceived as a temporary structure rising above the exhibition buildings.
Chapter 31 Mid- to Late Nineteenth-Century Art in Europe and the United States government regulations led to some improvements, social Europe and the United ist movements condemned the exploitation of workers by capitalist factory owners and argued for communal or state ownership of the means of production.
During cans Lucretia Mott and Elizabeth Cady Stanton organized the Ameri, the Industrial Revolution intensified.
Increasing demands for coal and the country's first women's rights convention in Sen iron led to improvements in mining, metallurgy and eca Falls, New York.
They wanted legal equality of transportation.
Property rights for married women, tive and steamship, and admission of women to all trades and professions made it easier for passengers to travel.
The rise of imperial rural poor moved to cities to find work in factories and mines in the 19th century.
They need to create new markets for their products.
European nations established a lot of new colonies, but many of them had poor conditions for workers.
Many European nations established colonial possessions around the world in the 19th century as Europe and the United States became more industrialized.
The center of the Western art world was established in Paris.
Electricity powered lighting, trams, and undifferentiated areas of white and black were caused by the early photography to see red and green equally.
By the end of the century, many artists were still working in chemistry, and many created new products, such as aspirin, disinfectants, and photographic chemicals.
Steel, a new alloy of iron and carbon, was lighter, harder, and more malleable than iron and replaced it in heavy construction.
The Academie des Beaux-Arts was founded in 1816 to replace gious beliefs with scientific discoveries.
The Royal Academy of Painting and Sculpture concluded that the Earth was 6,000 years older than the Ecole des Beaux-Arts.
Charles Darwin proposed that life evolved gradually in France during the 19th century.
The Salon juries and major public commission Darwin's account were attacked by religious conservatives because they seemed to deny the existence of God.
The survival and the United States came to study the convention of the fittest, which was suggested by artists and architects from Europe.
The "underdeveloped" parts of the world were encompassed by historicist art and architecture.
Historicists referred to several dif Industrialists, merchants, professionals and middle ferent historical periods in a single work.
Ori became a source of patronage in the arts because of some academic classes, some governments, and national academies of art artists that cater to the public taste for exotic sights.
There are large annual exhi entalist paintings.
These bitions in European and American cultural centers combined disparate elements to create works that could be used to show their Egyptian, Turkish, and Indian cultures.
Cheap illustrated newspapers and magazines published art criticism that influenced the reception and production of art, both making and breaking artistic careers.
The second half of the 19th century saw Napoleon III rule France and change how art was created.
New reforms were launched.
The riots had devas artists become committed political or social activists as tated Paris's central neighborhoods, and Georges-Eugene industrialization and social unrest continued.
Some people rebuilt the city.
Haussmann imposed a new ratio to the ways in which photography transformed vision nal plan of broad avenues, parks, and open public places and perception, either setting themselves up as photogra upon the medieval heart of Paris.
He erased networks of narrow, winding work by demolishing entire phers or emulating the new medium's clarity in their own neighborhoods.
The difference between medieval streets and slums was investigated by many.
He destroyed a deeper, more human reality as well as the artistic potential of photography's wide, straight, tree-lined avenues by building grand new buildings along tion.
A young boy followed his culture.
In the 19th century, a naked British, French, and Italian man set up studios in the Middle East in order to provide photographs for both tourists and locals.
The scholar Edward Said said that Gerome paints the scene with Characterizing both academic and avant-garde art in photographic clarity and scrupulous attention to detail, leading us to think that it is an accurate representation of Orientalism as the colonial gaze upon the Orient.
"Native" men become savage and a complete fiction, mixing Egyptian, Turkish, and Indian despotic, and "native" women--and in this painting, boys--are cultures together in a fantasized pastiche."