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The Stone Breakers - Gustave Courbet (1849)
A prime example of realism. The canvas is from a perspective that doesn't distort, with colors that feel natural to our own reality, and the action itself pertains the working class. The feeling and moment is crystalized. -
A Burial At Ornans - Gustave Courbet (1849)
Overwhelming with placement, solemn with expression, and elusive with specific takeaway. The detail throughout the bodies is astounding. -
The Bookwork - Carl Spitzweg (1850)
An upperclass showcase in the context of this presentation. The details suggest the inquiring mind in a secluded space, but every line feels realized in the most down to earth sense. One of my favorite touches is the globe (?) in the bottom left frame, shaping a space that we cannot see in full. -
The Sleeping Spinner - Gustave Courbet (1853)
This is the one I find most welcoming in the presentation. Perhaps the lack of expression allows me to come to a more welcoming conclusion, and the act of falling asleep to a peaceful activity is one that brings great warmth. I particularly love how at-ease the hands feel. -
The Artist's Studio - Gustave Courbet (1855)
In the canvas, art is what compels, from inspiration and fascination, and everyone that chooses not to partake succumbs to life's glib offerings. -
The Gleaners - Jean-François Millet (1857)
The piece that prompted me to create this timeline. It's probably the most renowned one, at least in my mind, and represents the realist movement in the most direct way - it's intent is immediately known. -
The Angelus - Jean-François Millet (1857)
Calming with its surface and rather upsetting with its palette. The prayer is for the light and energy that is needed for those taking part in this setting. -
Village Procession at Easter - Vasily Perov (1861)
The details expected from the movement are rather scarce, but the moment upon the departure with supposed song is enough to heighten the intent of realism. -
Iron and Coal - William Bell Scott (1861)
Production in the middle, innocence in the fore, and a constantly evolving environment that takes hold all. -
The Third Class Carriage - Honoré Daumier (1862)
Bleak with its colors, surprisingly warm with facial expression of the central figure, hopeful as it lingers in the mind. -
Young Girl Reading - Jean-Baptiste-Camille Corot (1868)
A little muddier than the other works, suggesting something that's a little more impressionistic than realistic. What's key is the expression; the sullen posture for a task that seems like a chore. -
Snap the Whip - Winslow Homer (1872)
The most overwhelming palette in this presentation, at least with its warm colors. Each expression suggests something different, making it rather difficult to grasp the result, but that only makes the fascination hold within the perceiver's eyes for a longer period. -
Christ in the Wilderness - Ivan Kramskoy (1872)
A depiction of Christ that provides the nuance during solitude. Perhaps not one would expect from this subject, but it immediately works. The detail here is really impressive, particularly the formation of rocks. -
Iron Rolling Mill - Adolph Menzel (1872)
The colors are so limited here that the figures become blended within the background of this productive establishment, yet it still conveys the realism in the moment through detail and urgency. -
Barge Haulers on the Volga - Ilya Repin (1873)
The middle figure, the one that's most brought to our attention through the warm clothes that coincide with the environment, brings the question of the act rather than having us focus on the act itself. -
Repairing the Railway - Konstantin Savitsky (1874)
The placement is everywhere, highlighting a particular class through action. The focal point isn't on one particular subject, but the realization on what's being accomplished. -
The Widower - Luke Fildes (1875)
A melancholic realization of a specific moment. The darker strokes, almost restricting our realization of the moment with its clarity, only makes the truthful snapshot all the more aching. -
The Gross Clinic - Thomas Eakins (1875)
Every face tells a story: the cowering woman, the man documenting in the back, the sole stern face, the people needing to get the job done. It's striking in the most uncomforting, alarming sense. -
Haymaking - Jules Bastien-Lepage (1877)
This one could be nearly classified as a different form of expression from the upper part of the frame, but clarification is brought to nearly overwhelming insight with the woman. Her nearly exasperated expression and body that is more detailed than needed, even for this movement. -
Pauvre Fauvette - Jules Bastien-Lepage (1881)
Bastien-Lepage is perhaps most gifted at conveying the expression in the moment from one particular individual. The surrounding canvas, while detailed in the realistic sense, doesn't convey as much as the face we see in notable detail. -
Young Girl - Jules Bastien-Lepage (1881)
Another sudden expression, as if he decided to pain this girl at just the right moment; one that comments on her profession and the feelings that are associated. The environment is rather beautiful to take in; more detailed than his other works, with flowers that need to be acknowledged (because the only person within the frame is promptly ignoring them.) -
Sad Inheritance - Joaquín Sorolla (1899)
A lot is implied here, little is realized, and the future seems, to be quite frank, less than hopeful. You want to focus more on the details of the waves than the movement of bodies.
