{"id":2422,"date":"2024-04-16T18:23:36","date_gmt":"2024-04-16T18:23:36","guid":{"rendered":"https:\/\/web.colby.edu\/ar112-spring2024\/?p=2422"},"modified":"2024-04-16T18:23:36","modified_gmt":"2024-04-16T18:23:36","slug":"15-04-post","status":"publish","type":"post","link":"https:\/\/web.colby.edu\/ar112-spring2024\/2024\/04\/16\/15-04-post\/","title":{"rendered":"15.04 Post"},"content":{"rendered":"\n<p>Today in class we looked at several works belonging to the Realism style, centering around artists who sought to dealt with the world that they really see. Jean-Fran\u00e7ois Millet&#8217;s <em>The Sower<\/em> immediately captured my attention because of his ability to create a sense of monumentality in the depiction, whilst maintaining a personal connection to the experiences of the peasant class in France. Further, Gustave Courbet&#8217;s <em>The Stone-Breakers<\/em> and <em>A Burial at Ornans<\/em> both reinforced this ideology through Courbet&#8217;s insistence on depicting the gritty, unvarnished realities of the working class, a complete redirection of some of the prior eras of Baroque and Romantic paintings. Rosa Bonheur furthered this idea as well in <em>Plowing in the Nivernais<\/em>, as her rendering of the rural landscape and the laboring figures whilst capturing the beauty of farm labor and drawing attention to the mundane certainly indicates her talent and dedication to the style. American artists Thomas Eakins and Winslow Homer offered an intriguing contrast to the European Realists. The works <em>Snap the Whip <\/em>and <em>Max Schmitt in a Single Scull<\/em>, both shared slightly lighter and positive scenes that illustrated the changing perspectives of the country following the conclusion of the Civil War. The contrast from the European artwork is exaggerated further by subjects portrayed, as Homer includes a scene of children playing, and Eakins depicts a man engaging in sport, far more leisurely activities than that of the peasant oriented labor of the East. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>Today in class we looked at several works belonging to the Realism style, centering around artists who sought to dealt with the world that they really see. Jean-Fran\u00e7ois Millet&#8217;s The Sower immediately captured my attention because of his ability to create a sense of monumentality in the depiction, whilst maintaining a personal connection to the [&hellip;]<\/p>\n","protected":false},"author":12392,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2422"}],"collection":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/users\/12392"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/comments?post=2422"}],"version-history":[{"count":1,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2422\/revisions"}],"predecessor-version":[{"id":2423,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2422\/revisions\/2423"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/media?parent=2422"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/categories?post=2422"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/tags?post=2422"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}