Industrialization and Reform in 19th Century London

Copyright ©2012 Pearson Inc.
Anonymous. Old Hetton Colliery, Newcastle. ca. 1840.

Gustave Doré. Orange Court, Drury Lane, from London, A Pilgrimage,
1872, by Gustave Doré and Blanchard Jerrold, 1872. 1869.

The Industrial City: Conditions in London
How did industrialization shape the nineteenth century?
• Water and Housing — Lethal bacteria such as cholera thrived in
the Thames and its principle victims were the poor. London’s rapid
growth contributed to the problem. The poor crowded into buildings
already stressed by age and disrepair turning neighborhoods into
slums.
• Labor and Family Life — As a result of industrialization, the British
workforce became a class of workers who neither owned the means
of production nor controlled their own work. Children of poor
families worked as assistants in the factories. Wives were solely
responsible for domestic life.

Map: London in 1898: Factories with over 100 workers.

Map: The growth of London, 1800-1880.

Reformists Respond: Utopian Socialism, Medievalism,
and Christian Reform
How did reformers react to industrialization?
• Utopian Socialism — Among the critics of free enterprise were
those who envisioned ideal communities, where production would
be controlled by society as a whole rather than by individuals.
Fourier was a utopian socialist.
• A.W.N. Pugin, Architecture, and the Medieval Model — Pugin
published a book called Contrasts comparing medieval and modern
buildings, aiming to show the decay of taste over time. He was
commissioned by the architect Barry to design the interiors and
ornamentation of London’s new Houses of Parliament.

A. W. N. Pugin. Contrasted Residences for the Poor, from Contrasts: or, a
Parallel Between the Noble Edifices of the Fourteenth and Fifteenth
Centuries, and similar Buildings of the present Day; showing the Present
Decay of Taste. 1836.

Literary Realism
What is literary realism?
• Dickens’s Hard Times — Nothing exasperated Dickens more than
the promise of the Industrial Revolution to improve life and its ability
to do just the opposite. He addresses this issue in Hard Times.
• French Literary Realism — French realists claimed to examine life
scientifically, without bias. Balzac’s Human Comedy is populated by
characters from all levels of society and drew them from direct
observation. Flaubert’s Madame Bovary is a realist attack on
Romantic sensibility.

• Literary Realism in the United States: The Issue of Slavery —
American realist writers were haunted by the “terrible truth” of
slavery and were inspired by the abolitionist movement. Narrative of
the Life of Frederick Douglass: An American Slave was published in
1845, his account of life under slavery. Slave narratives, such as
the Narrative of Sojourner Truth offers evidence of the rhetorical
persuasiveness of Truth. Harriet Beecher Stowe’s Uncle Tom’s
Cabin became the symbol of the abolitionist movement in America.
Mark Twain’s Adventures of Huckleberry Finn is vigorously opposed
to slavery, and portrays those who supported it in a uniformly
unflattering light.

Charles Barry and A.W.N. Pugin. Houses of Parliament, London. 1836-60.
Length: 940’.

J.M.W. Turner. Rain, Steam and Speed: the Great Western Railway. 1844.
33-3/4" × 48”.

J. T. Zealy. Renty, Congo. Plantation of B. F. Taylor, Esq. Columbia, SC,
March 1850. 1850.

Portrait of Frederick Douglas. 1847.

Portrait of Sojourner Truth seated with Knitting. 1864.

Robert S. Duncanson. Uncle Tom and Little Eva. 1853.
27-1/4" × 38-1/4”.

French Painting: The dialogue Between Idealism and
Realism
Who defined the direction of French painting during the nineteenth
century?
• Theodore Gericault: Rejecting Classicism — Gericault’s The
Raft of the “Medusa” is a rendering of true events and assumes a
political dimension.
• The Aesthetic Expression of Politics: Delacroix versus Ingres
— Delacroix exhibited Scenes from the Massacres at Chios at the
Salon of 1824 and shows journalistic themes. His Liberty Leading
the People, is an allegorical representation with realistic details.
Ingres showed a deeply royalist work in The Vow of Louis XIII and
never hesitated to adjust the proportions of the body to the overall
composition as seen in his Grand Odalisque.
• Caricature and Illustration: Honore Daumier — Daumier was an
artist known for his political satire who regularly submitted cartoon
drawings to the newspapers. These were made possible by the
new medium of lithography.

• Realist Painting: The Worker as Subject — Daumier openly
lampooned the idealism of both Neoclassical and Romantic art.
What mattered was the truth of everyday experience such as is
depicted in The Third-Class Carriage. By focusing on laborers the
painting is implicitly political.
• Gustave Courbet: Against Idealism — Courbet rejected the
traditional political and moral dimensions of realism in favor of a
more subjective and apolitical approach to art exemplified by The
Stonebreakers and A Burial at Ornans.
How does Realism change the role and identity of the painter?

Théodore Géricault. The Raft of the "Medusa.” First oil sketch. 1818.
16’ 1" × 23’ 6”.

 Closer Look: Théodore Géricault, Raft of the
“Medusa”
MyArtsLabChapter 28 – Industry and the Working Class: a New Realism

Eugène Delacroix. Scenes from the Massacres at Chios. 1824.
165" × 139-1/4”.

Jean-Auguste-Dominique Ingres. The Vow of Louis XIII. 1824.
165-3/4" × 103-1/8”.

Jean-Auguste-Dominique Ingres. La Grande Odalisque. 1814.
35-7/8" × 63”.

Eugène Delacroix. Odalisque. 1845-50.
14-7/8" × 18-1/4”.

Jean-Auguste-Dominique Ingres. Closer Look: Orientalism and Ingres's
Turkish Bath: The Valpinçon Bather. 1808.
57-1/2" × 38-1/4”.

Jean-Auguste-Dominique Ingres. Closer Look: Orientalism and Ingres's
Turkish Bath: The Turkish Bath. 1862.
Diameter: 42-1/2”.

Eugène Delacroix. Liberty Leading the People. 1830.
8'6" × 10'7”.

Honoré Daumier. Gargantua. 1831.
10-3/8" × 12”.

Honoré Daumier. Rue Transnonain, April 15, 1834. 1834.
11-1/2" × 17-5/8”.

Materials & Techniques: Lithography (black and white diagram).

 Studio Technique Video: Lithography

Honoré Daumier. The Third-Class Carriage. ca. 1862.
25-3/4" × 35-1/2”.

Jean-François Millet. The Sower. 1850.
40" × 32-1/2”.

Gustave Courbet. The Stonebreakers. Salon of 1850-51. Destroyed 1945.
1849.
5’ 3" × 8’ 6”.

Gustave Courbet. A Burial at Ornans. Salon of 1850-51. 1849-50.
10’ 3-1/2" × 21’ 9”.

 Closer Look: Courbet’s A Burial at Ornans

Photography: Realism’s Pencil of Light
What is photography’s role in the rise of a realist art?
• Some painters understood the potential of photography to seize
painting’s historical role of representing the world. The new medium
made personalized pictures available not only to the wealthy but to
the middle- and working classes. The public’s taste for views of the
world’s architectural and scenic wonders gave rise to the practice of
commercial photography.

William Henry Fox Talbot. Wrack. 1839.
8-11/16" × 8-7/8”.

Louis-Jacques-Mandé Daguerre. Le Boulevard du Temple. 1839.

Charles Richard Meade. Portrait of Louis-Jacques-Mandé Daguerre. 1848.
6-3/16" × 4-1/2”.

William Henry Fox Talbot. The Open Door. 1843.
5-5/8" × 7-5/8”.

Maxine Du Camp. Westernmost Colossus of the Temple of Re, Abu
Simbel, from Du Camp's Egypte, Nubia, Palestine et Syrie (Paris, 1852),
plate 107. 1850.
8-7/8" × 6-5/16”.

Charles Darwin: The Science of Objective Observation
What is The Origin of the Species?
• The emphasis on direct observation and the objective reporting of
real conditions is reflected in the science of the nineteenth century.
In Origin of Species, Darwin argued that through the process of
natural selection, certain organisms are able to increase rapidly over
time by retaining traits conducive to their survival and eliminating
those that are less favorable to survival.
Given Darwin’s objective observations and conclusions, why were his
conclusions so controversial?

Conrad Martens. The Beagle Laid Ashore for Repairs, from Charles
Darwin, Journal of Researches into the Geology and Natural History of the
Various Countries Visited by H. M. S. Beagle (London, 1839). 1833-34.

Roger Fenton. The Valley of the Shadow of Death. 1855.
10-7/8" × 13-3/4”.

Industrialization and Reform in 19th Century London

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