Art Lesson Number One

Romanticism (Delacroix)

and Gericault here. 

Realism (1840s onward) Think of the example of Ophelia appearing in Capps' poem about Aunt Karen. That is, a painting of Karen "as" Ophelia, as the Romantics might have done it up. Realism was getting closer to the truth of peoples' lives. 

Courbet number one.

Courbet number two.

Courbet number three.

Courbet The Bathers.

Jean-Francois Millet number one. 

Manet number one.

Manet number two.

Manet number three Olympia

The wiki page on Realism.

Impressionism (last Third of the 19th Century)

Renoir number one.

Suzanne Valadon number one (was Renoir's model).

Claude Monet number one.

Berthe Morisot number one.

Edgar Degas number one.

Mary Cassatt number one.

The wiki page on Impressionism 

Pointillism (1886 - 1910)

Georges Seurat Sunday Afternoon on the Island of La Grande Jatte.

Seurat detail.

Paul Signac Cassis . . .

the wiki page on Pointillism

"Edgar Degas said that looking at Gustave Courbet’s paintings made him feel as if he were being nuzzled by the wet nose of a calf. That’s an apt analogy for a tremendous Courbet retrospective that invades the Metropolitan Museum with pungencies proper to barnyards, bedrooms, and buggy dells. Courbet is the most purely forceful—because he’s forcefully impure, spitting on purity—painter of all time. (Among the Old Masters, only Tintoretto comes close.) “Realism,” his byword, describes less his method—a talented mélange of cunning and not so cunning, brazen artifices—than effects that stupefy the mind as only reality, when it overloads the senses, can. Vision is addressed, but vicarious touch and smell take delivery. Courbet’s drenching seascapes should come with towels and his steaming nudes with towelettes. He revels in the quiddity of paint: moist dirt. His art isn’t about life; it is life precipitated, with raucous panache. Nothing could be better therapy for a bodiless society of cybernetic narcissicisms than the mad wallow of this show."  ♦ Peter Schjeldahl on Courbet.