Europe and America, 1800 to 1870 - Franklin Township ... From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism.

Europe and America,

1800 to 1870

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Napoleonic Europe 1800-1815

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Goals

• Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities.

• Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from

portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art

medium known as photography

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30.1 From Neoclassicism to Romanticism

• Understand the philosophical and stylistic differences between Neoclassicism and Romanticism.

• Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter.

• Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century.

• Identify artists and architects of the period and their works.

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Neoclassicism in Napoleonic France

• Understand reasons why Neoclassicism remained the preferred

style during the Napoleonic period

• Recall Neoclassical artists of the Napoleonic period and how

they served the Empire

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Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”.

Louvre, Paris.

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Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris.

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Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842.

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Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome.

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Foreshadowing Romanticism

• Notice how David’s students retained Neoclassical features in

their paintings

• Realize that some of David’s students began to include subject

matter and stylistic features that foreshadowed Romanticism

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Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. Oil on canvas, 17’ 5” x 23’ 7”. Louvre, Paris.

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Figure 30-6 ANNE-LOUIS GIRODET-TRIOSON, The Burial of Atala, 1808. Oil on canvas,. 6’ 11” x 8’ 9”. Louvre,

Paris. 13

Figure 30-7 JEAN-AUGUSTE-DOMINIQUE INGRES, Apotheosis of Homer, 1827. Oil on canvas, 12’ 8” x 16’ 10 3/4”.

Louvre, Paris. 14

Figure 22-9 RAPHAEL, Philosophy (School of Athens), Stanza della

Segnatura, Vatican Palace, Rome, Italy, 1509–1511. Fresco, 19’ x 27’. 15

Figure 30-8 JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814. Oil on canvas, approx. 2’ 11 7/8” x 5’

4”. Louvre, Paris.

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30.2 The Rise of Romanticism

• Examine the exotic, erotic, the landscape, and fictional narrative as subject matter.

• Understand the mixture of classical form and Romantic themes

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Features of Romanticism : P. I. N. E.

• P. I. N. E.

– Past – longing for the medieval past, pre-industrial Europe (Gothic architecture will be revived)

– Irrational/ Inner mind / Insanity – Romantic artists depict the human psyche and topics that transcend the use of reason. One Romantic artist, Gericault chose to do portraits of people in an insane asylum.

– Nature – longing for the purity of nature, which defies human rationality

– Emotion/ Exotic – Romantics favored emotion and passion over reason. Exotic themes and locales were also popular because they did not adhere to European emphasis on rationality.

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The French Debate: Color vs. Line

• Understand the French debate over theories related to color

(expression) vs. line (drawing or form) as appropriate to

artistic expression.

• Realize that this debate has roots in the paintings and ideas

of Nicolas Poussin, considered to have set the canon for

French academic paintings, and the works of Peter Paul

Rubens, most famous for his rich and sensuous colors.

• Differentiate between Poussinistes and Rubenistes.

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Figure 30-15 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas, 16’ 1” x 23’ 6”. Louvre, Paris.

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Figure 30-16 THÉODORE

GÉRICAULT, Insane Woman 1822–1823.

Oil on canvas, 2’ 4” x 1’ 9”. Musée des

Beaux-Arts, Lyons.

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Figure 30-17 EUGÈNE DELACROIX, Death of Sardanapalus, 1827. Oil on canvas, 12’ 1 1/2”

x 16’ 2 7/8”. Louvre, Paris. 22

Figure 30-18 EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, 8’ 6” x 10’ 8”. Louvre, Paris.

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Figure 30-19 EUGÈNE DELACROIX, Tiger Hunt, 1854. Oil on canvas, 2’ 5” x 3’. Musée d’Orsay, Paris.

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Antoine-Louis Barye (French, Paris 1796–1875 Paris) Tiger Devouring a Gavial (Tigre dévorant un gavial)

Figure 30-20 FRANÇOIS RUDE,

Departure of the Volunteers of 1792 (La

Marseillaise), Arc de Triomphe, Paris,

France, 1833–1836. Limestone, 41’ 8”

high.

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Figure 30-9 HENRY FUSELI, The Nightmare, 1781. Oil on canvas, 3’ 4 3/4” x 4’ 1 1/2”. The Detroit Institute of the Arts

(Founders Society Purchase with funds from Mr. and Mrs. Bert L. Smokler and Mr. and Mrs. Lawrence A. Fleishman). 27

Figure 30-10 WILLIAM BLAKE, Ancient of Days,

frontispiece of Europe: A Prophecy, 1794. Metal

relief etching, hand colored, 9 1/2” x 6 3/4”. The

Whitworth Art Gallery, Pierpont Morgan Library,

New York.

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Romantic Landscape Painting

• Understand the romantic interest in the landscape as an

independent and respected genre in Germany, England, and

the United States.

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Figure 30-21 CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on canvas, 3' 7 1/2" X 5' 7 1/4".

Nationalgalerie, Staatliche Museen zu Berlin, Berlin.

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Figure 30-22 JOHN CONSTABLE, The Haywain, 1821. Oil on canvas, 4’ 3” x 6’ 2”. National Gallery, London.

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Jacob van

Ruisdael,

View of Haarlem

with Bleaching

Grounds

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Figure 25-26 CLAUDE LORRAIN, Landscape with Cattle and Peasants, 1629. Oil on canvas, 3’ 6” x 4’

10 1/2”. Philadelphia Museum of Art, Philadelphia (George W. Elkins Collection).

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Constable

Ruisdael

Lorraine

Figure 30-23 JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing Overboard the Dead and Dying,

Typhoon Coming On), 1840. Oil on canvas, 2’ 11 11/16” x 4’ 5/16”. Museum of Fine Arts, Boston (Henry Lillie Pierce

Fund). 35

Figure 30-24 THOMAS COLE, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm),

1836. Oil on canvas, 4’ 3 1/2” x 6’ 4”. Metropolitan Museum of Art, New York (gift of Mrs. Russell Sage, 1908). 36

Figure 30-25 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6’ x 10’. National

Museum of American Art, Smithsonian Institution, Washington, D.C.

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Figure 30-26 FREDERIC EDWIN CHURCH, Twilight In the Wilderness, 1860s. Oil on canvas, 3’ 4” x 5’ 4”. Cleveland

Museum of Art, Cleveland (Mr. and Mrs. William H. Marlatt Fund, 1965.233).

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Drama, Action, and Color in Spanish Romanticism

• Examine the issues of drama, action, and color in the art of

Francisco Goya.

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Figure 30-11 FRANCISCO GOYA, The Sleep of Reason

Produces Monsters, from Los Caprichos, ca. 1798. Etching

and aquatint, 8 1/2” x 5 7/8”. Metropolitan Museum of

Art, New York (gift of M. Knoedler & Co., 1918).

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Figure 30-12 FRANCISCO GOYA, The Family of Charles IV, 1800. Oil on canvas, approx. 9’ 2” x 11’. Museo del Prado,

Madrid.

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Figure 30-13 FRANCISCO GOYA, Third of May, 1808, 1814. Oil on canvas, 8’ 9” x 13’ 4”. Museo del Prado, Madrid.

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Figure 30-14 FRANCISCO GOYA, Saturn Devouring One of His

Children, 1819–1823. Detached fresco mounted on canvas, 4’ 9

1/8” x 2’ 8 5/8”. Museo del Prado, Madrid.

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