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But some aren't afraid to address the Industrial side of life more directly. You can see in Turner's "The Fighting Temeraire Tugged to her Last Berth to be Broken Up" the suggestion that ugly, new technology is destroying a nostalgic, beautiful, traditional heritage:

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Which perhaps went a bit too far the other way compared with the six word long other answer... sorry. Art has a way of leading from one thing on to another.

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What do you get when you put all these things together?

- The Industrial Revolution creating mass produced junk of low quality and no craftsmanship
- The Pre-Raphaelites fascination with mediaeval design
- The influence of the critic and artist John Ruskin
- The rejection of the demeaning work conditions of workers
- A nostalgic desire for the past, for the beauty of nature and for individuality

You get The Arts and Crafts movement. And frankly, some pretty serious wallpaper designs.

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This is where Menzel's work right at the beginning enters the scene.

John Ruskin was worried that workers were becoming automatons, disconnected from life, community, nature and beauty. He created a school for workmen and labourers to learn to draw, and taught them to see the world in a different way.

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You might think we've strayed a little far from the Industrial Revolution here. You wouldn't be the only one.

Realists wanted to bring things back down to earth. They wanted to show life as it really was. They wanted to give labourers something they could relate to, and fearlessly paint the harsh realities and living/working conditions of the time.

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But some aren't afraid to address the Industrial side of life more directly. You can see in Turner's "The Fighting Temeraire Tugged to her Last Berth to be Broken Up" the suggestion that ugly, new technology is destroying a nostalgic, beautiful, traditional heritage:

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Caspar David Friedrich - Wanderer Above the Sea of Fog

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Caspar David Friedrich - Wanderer Above the Sea of Fog

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Some of it is a kind of escapism from the grey drudgery of mechanical work.

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Factory towns, people who perhaps used to work outdoors all the time on the land, now work in low lit factories, in bad conditions. Cogs in a machine, with no individuality.

It's not surprising then that the art movement to react to it is all about emotion, nostalgic, and focused on the wild beauty of nature, the rugged, remote places, the exotic and free places.

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Ernst Ludwig Kirchner, Nollendorfplatz, 1912

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Ernst Ludwig Kirchner, Nollendorfplatz, 1912

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So any one answer to this question may, in fact, be true; it may be accurate, but no one (including me) does justice to the definition of this very broad question, which should perhaps be rephrased to posit: "What major influences did the Industrial Revolution have. . ." a on specific time, a place, or even specific artist.

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Umberto Boccioni, Unique Forms of Continuity in Space, 1913

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Umberto Boccioni, Unique Forms of Continuity in Space, 1913

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Kirchner, a German expressionist, feared how technology and the industrial lifestyle of the city distanced us from one another. His movement, Die Brucke, focused on the negative impact and gathering pressure technology had on Germany just before WWI. So, the complete opposite of their contemporary Futurists in Italy.

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Gauguin's Vision After the Sermon (Jacob Wrestling the Angel) 1888

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Gauguin's Vision After the Sermon (Jacob Wrestling the Angel) 1888

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If you look at a variation of impact in Italy, just before WWI you will find a celebration of the machine aesthetic in the Futurists, albeit in the form of abstraction. The idea of man merging with machine excited these artists as did the possibilities of technology. Whereas,in France and in Germany artists feared its impact.

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Eduard Monet, the impressionists’ palette

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Eduard Monet, the impressionists’ palette

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Armed with this new battery of brilliant colors, the Impressionists set their canvases alight with fireworks, leading conservatives to denounce them as “dazzlers who painted only with intense colors.” Pissarro claimed to have banished the old, dull “earth” colors from his palette. Even the gloom of Monet’s La Gare Saint-Lazare (1877) is a concoction of rainbow hues:

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"Constable Country"-which he invested with an intensity of affection. "I should paint my own places best,” he wrote to his friend John Fisher in 1821. "Painting is but another word for feeling.”

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This paint box belonged to Auguste Renoir, probably in the late 19th or early 20th century, at the end of his career. By the 1890s, during the last two decades of his life, Renoir suffered from arthritis and spent most of his time away from Paris. Unable to move his hands freely, a brush was strapped to his arm to allow him to paint. In December 1919, Renoir died at the age of 78.

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this pic says that there,s is a old men and his helper breaking stones.

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Monet and the impressionists revolutionized art by exaggerating the texture of their brushstrokes and seeking to leave viewers with deep emotions rather than a definite image. Why I think this is important because the does have deep emotions but the picture also says how people felt back then

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he took photographs and combined them with sketches for the final composition. Because of advances in transportation, Moran was able to get to the Grand Canyon of Yellowstone. Once he arrived at the Canyon

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this picture dispicts a simple trade scene

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Boats and boating--Equipment and supplies

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Loutherbourg contrasts a raging blaze from the factory with an idyllic woodland and rustic landscape. The painting captures the artists’ image of a particular moment in time while the dark colors used to paint the simple rural inhabitants are almost overwhelmed by the burst of bright light that draw the viewer’s attention to the center of the painting.