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117 Cards in this Set
- Front
- Back
Friedrich, Wanderer Above Sea of Fog
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- Friedrich was one of the first European artists to establish landscape painting in Europe
-- The figure is in modern urban clothes, middle class, an urban voyager out in nature -- Marks as an outsider to the natural world -- Single solitary figure confronting the vastness and immensity of nature -- A point to show that humans are not at home in nature, often set against it somehow -- A distinct sense of the potential danger of nature and of the landscape to people, a fore that can overwhelm -Fundamental opposition between nature and culture and the fascination of nature in romantic works -- A contrast between immensity of nature and finitude of person -- Not just seen in the subject matter but also the way in the composition. The landscape seems to expand infinitely, very much cut off by the edges of the painting. -- He wants us to see this as a fragment and portray the landscape to go on and on. Often landscape painters include things at the edges of works to bring your eyes down, he doesn't do that. No minimizing of the edges. -- Draws attention to the horizon line which accentuates the vastness -- All aspects help communicate the idea that nature is not containable and unrepresentable in its entirety - There is a lack of detail. He gives it a formless, hard to grasp quality - In various ways he is positioning nature as an infinite force or entity that is difficult to grasp. He is making people. both figures in the world and the viewers, realize their own sense of finitude. Their fragility within the immense state of nature. - Sense of alienation as a basic human condition. The important idea of the romantic figure as a solitary outsider - Major interest in the subjective life or the experience of the alienated individual |
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Friedrich, Chalk Cliffs at Rugen
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- This work has a lot of similar qualities to Wanderer
- 3 figures posed on the edge of the cliffs -- These figures, like the single male we just saw, are urban visitors to the wild landscape - This is not a landscape that has been cultivated, claimed, or rendered useful to human society. Not managed by people. - The vastness and sense of nature as a dangerous entity is made clear by the fact that the figures are positioned precariously at the edge of a cliff - Contrast between vastness of nature and fragility of people -- That opposition is communicated by Friedrich on part by the composition. Horizontally, the horizon line in the distance, contrast between sharpness and clarity of foreground and the much less detailed formless unarticulated sea in the back - Uses a limited pallet, limited choice of colors - Brushwork is almost invisible - Wants the material qualities to disappear and the images to remain. Strong austerity - denial of visual pleasures in metaphysical ideas. -- Relationship between nationalism and landscape. When Friedrich painted these, Germany was not a world power. Power was rising and as part of the increasing nationalism, there was an increasing popularity of national landscape. Using the land as an emblem of Germany's collective identity. |
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Friedrich, Monk By The Sea & Abby in an Oak Forest
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- In both of these pictures the figures are dwarfed by their surroundings
- Religious ideas in Friedrich's landscape - Monk standing in front of the sea shows the connection between religion and nature - Both are reduced and simplified renderings of landscapes - Purification of paint -- No texture, thin paint - this de-materialization of the painting and the attempt to make the paint itself disappear is an emphasis on the idea against the material and for the metaphysical realm |
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Friedrich, Sea of Ice
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- Explicit and direct idea of nature as an overwhelming force that is a threat to people is at play
- A ship trapped in a sea of ice, seems like the water has frozen around it. It is crushing the ship and turning it on its side. -- Sense of danger and fear + nature as overwhelming force - Extreme states of experience, intense emotion - Predominance of harsh, jagged, asymmetrical forms in this composition. -- Assault on the harmony and symmetry and the sense of order and restraint in neoclassical painting - Primacy of the fragment = the landscape is a fragment of the larger whole. A sense of the landscape extending out. -- We also see the fragmented forms in the fact that the composition is made of fragmented forms of the jagged chunks of ice - Specific 18th century aesthetic and philosophical concepts -- Concept of the sublime - Friedrich's evocation of nature as an infinite and overwhelming force that makes people more fragile comes from the idea of the sublime originated by philosophers of the time. -- Aesthetically pleasing: symmetry, whole forms, meant to produce a sense of pleasure -- Sublime: formlessness, lack of limits and boundaries, elicits a sense of fear and terror. Associated experiences that create a sense of our lack of control of our surroundings -- Out inability to perceive unfamiliar forms and landscapes, etc. Friedrich really helped the legitimacy of landscape paintings as ambitious work -- why is there a heightened interest in landscape? - Increase of tourism and travel - Increased interest in representation of different locals - Mass urbanization at this time. Created a nostalgia and idealization of nature that landscape painting responded to - Increased interest in natural sciences and the natural world - Growth in the market for art - Germany and England's art academies were much less rigid as in France. |
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Runge, Anchilles Battling with the River Scamander
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- Very early work
- References the classical past - Was not a successful work, wasn't well received. He was disappointed by this reception and became disenchanted with art. Led him to reconsider the direction of his work - Writes a letter saying something in our time is going to die, enlightenment is over, limits in the neoclassical model -- this shift becomes romantic ideology |
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Runge, The Times of Day: Morning
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Painted panels that represented allegorical images. Meant as a decorative scheme for interior. Meant to symbolize a unity of creation and death. Unity of circle.
- In the center is a metaphysical meditation on life and death - Pen and ink drawings that he then engraved. Center on floral motifs. Not naturalistic representations of nature, instead used elements of nature for various symbolic meanings. |
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Runge, The Rest On The flight to Egypt
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- Mary and Joseph on the landscape on an early morning
- Jesus reaching up to the sun - Elevation of nature here, gives it a very explicit religious context -- Shows that one can see landscape in religious terms, they are very close connected, there is a spirituality in nature - Many symbolic elements: tulip tree rising, reminds us of elements of times of day - Despite the progress he made in oil painting he thought that is was a disappointment so he left it unfinished. |
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Runge, The Times of Day: Morning (Redone)
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- Took the project up again and painted -- this is a smaller painted version, not the panels he hoped to produce
- Several key changes from the sketch to the painting -- Expansive landscape element at the bottom of the work. Took the landscape that was a minor genre and elevated it. Symbolic of the idea that landscape is capable of making a spiritual element -- Changes from linear to more coloristic -- Aurora on horizon, behind her is a blossom that is difficult to see. Many symbolic elements in and around the picture Was never able to get far with this project. He left it unfinished and died soon after. Though he died young he was considered a central figure in the German Romantic movement. |
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Goya,Charles IV on Horseback, 1800-01
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Goya was named painter to the king -- this is an example of the royal portraits at that time
Focused primarily on portraits and major religious commissions |
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Goya, Family of Charles IV, 1800-01
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The most widely discussed, important, and elaborate piece of work by Goya as the royal painter
- Family of Charles IV - Constitutes an extreme departure from the norms that guarded royal portraiture -- There is a complete lack of idealization of the royal figures -- The simplicity of their poses, their ordinary quality of the way they're holding their bodies, suggests nothing about their greatness or authority - they are just standing there -- There is a lack of connection among the figures - not a royal unit - appears just like a collection of individuals -- Their faces are so plain in comparison to the luxury of their clothing - Royal portraiture is usually meant to be essentially a monument of the royals -- they are supposed to be portrayed as larger than life like the power that they hold -- Goya is the first to really make royalty look human-like and ordinary -- He depicts them just as they appear - no deeper meaning, no grandeur ideas that elevate them -- They are wearing the garb that displays them as representative of the state but they don't inhabit the real quality -- Evident brushwork -- Goya puts himself in the shadows (inspired by Velazquez's Las Meninas), sets himself apart and he portrays them in such a way that shows both his critique of their rule and his closeness to them -- Great unsolved mystery of the work -- the family accepted this portrait, we don't know why |
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Top: Goya, The Clothed Maja, c. 1798-1805
Bottom: Goya, The Nude Maja, c. 1798-1805 |
Maja = bohemian women in Spanish
- There are several remarkable aspects of this work -- The pair, one clothed one naked, actually highlights all the more that she is an actual woman that discarded her clothing -- somewhat shocking - No pretext or history, no mythological allusions, no pretense for the representation of the nude figure -- She stairs at the viewer, seemingly unconcerned with how her naked body is being gazed upon -- Her face is somewhat unidealized -- No luxury around her -- No attributes of a usual female nude --- The space is empty, the light isn't soft or inviting, the couch is kind of rugged -- The naked body is just right in front of you, nothing is there there to distract you from it --- Object of sexual appeal --- A remarkable departure of how women and especially nude women were depicted by other artists --- This figure is a modern, up-to-date, secular Venus |
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Left: Goya, Self Portrait, c. 1797
Right: Goya, Self-Portrait, c. 1815 |
These portraits represent two different outlooks on his life. Both the monarchy and the enlightenment came to be seen as "imports" imposed on them by someone else. Goya became disillusioned with both ideas.
On the left: - Depicting himself as the court painter -- Luxurious clothing, bright eyes, qualities that would evoke the enlightenment On the right: - Simple clothes - Older - Dark emphasis on the body - A softer view on himself and possibly the world Marks the transition of thought into the realm of Romantic ideals. |
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Goya,The Madhouse, c. 1794 |
- Depiction of the world of social outcast and misfits
- These figures embodying the extreme states of mind that Romantics were so very interested in - Deeply interested in those that were thought to lack rationality (rebellion of enlightenment ideals) - Dramatic use of light and dark representing rationality and irrationality, reason and darkness, etc. |
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Goya,Los Caprichos: AllWill Fall, 1797-98
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- Lovebirds having their wings clipped
-- A statement of the artist about the unideal realities of love and romance - Prostitutes are performing the wing clippings -- They represent a world of vice (unmoral/wicked behavior) as opposed to the fantasies people people have about love "All Will Fall" -- all love will inevitably fall into the ugly realities of the everyday work - Ambiguities of setting and lighting: figures could be any place or no place, no consistent light source |
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Goya,Los Caprichos:Yes, He Broke the Pot, 1797-98
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- A child getting spanked
- Transforms this common act of reprimanding children for their bad actions into something dark and beastial -- The mother holding the shirt in her mouth -- Makes a statement of how people can act like animals to each other and be quite brutal and society accepts it -- No moralizing to it - in a way this is descriptive of how Goya saw the world and human behavior |
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Goya,Los Caprichos: TheSleep of Reason Produces Monsters, 1797-98
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- Monsters portrayed in the background
- The question the issue seems to raise: what happens when reason sleeps? -- An anti-enlightenment question -- Ambiguity in the title --- Exemplifies Goya's ambivalence to the enlightenment --- Supposed to be a portrait yet there is no face making it somewhat of a rebellion against representation or self representation |
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Goya,Los Caprichos: IsThere No One to Untie Us?, 1797-98
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- People struggling with ropes
- A commentary about the institution of marriage -- The idea of being trapped with or bound to one another -- Profoundly unidealized -- Lifting the curtain - showing how ugly social institutions can be |
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Left: Goya,The Second of May, 1808, 1814
Right: Goya, The Third of May, 1808, 1814 |
Political context: these are pictures of war. A different take on the Napoleonic war. His army invaded Spain in 1808 full of guerrilla fighters. The king and queen of France gave up their power and their son becomes king. Then their son made a deal with Napoleon to give up the throne and give kingship to Napoleon's brother. Spain fought tremendously against French rule -- instability and violence. French troops were especially brutal in suppressing the fighters of Spain. They were particularly brutal because Spain was not seen as on parr with Europe. This lasted until 1814 until the French Monarchy was restored.
May 2nd and 3rd there was a revolt against Napoleon's brother which was vigorously and brutally suppressed. A year later Goya was commissioned by the Spanish government to depict this uprising as a way of signaling the Spanish people that they were united against the French. Both are extremely moving history paintings. The 2nd: - The painting gives us the impression of first hand encounter and immediacy - There is no sense of center, its not at all clear where our attention should be focused, very chaotic - Portrays a Spanish rider stabbing this horse as it rides by him -- There is no order to the violence which is confusing to the viewer --- Goya depicts this chaos of battle in general. He doesn't align himself with either side of the war ---- Portrayed through the tumble of figures in a composition that was quite illegible compared to usual history painting --- There is no larger heroic cause as that would give meaning to the confusion The 3rd: - Spanish fighters are being executed by the French army - Here there is a very clear compositional and emotional narrative focus - The Spanish fighter is depicted by Goya with a clear allusion to Jesus on the cross - arms flung open either as a symbol of defiance or to take his life -- Spanish martyrdom -- Spacial -- Dramatic light and dark -- Faceless anonymous machine like French soldiers executing them -- Light source gives a religious tone and cast - though salvation isn't signified -- No beauty to the dead/injured body --- These images give sympathy to the Spanish nationalist part against the French |
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Goya,The Disasters of War: Sad Forebodings of What is to Come, 1810-1820
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Disasters of war series is the representation of the fatal consequences of the disasters of war against Bonaparte, portraying rape, mutilations, deaths, sufferings, etc.
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Left:Goya, The Disasters of War: With or Without Reason, 1810-1820
Right:Goya, The Disasters of War: The Same, 1810-1820 |
Violence of one side pitted against the other, placed one after the other in the series
Left: French executing the Spanish Right: Spanish fighter executing French soldiers - Representing Goya's refusal to take sides in the conflict. Shows both sides committing atrocities and violent acts - His understate titles -- there is a flatness to them suggesting that the image speaks for themselves, which is very powerful - Portrays war to be just meaningless slaughter - neither side had a more justifiable reason for war than the other |
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Goya,The Disasters of War: All This and More, 1810-1820
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Goya underscores the facelessness of war -- illustrating it as a dehumanizing process
- Represents the body as purely physical, material, a brutalized thing - The body also evokes no more larger ideas of politics or morality like it used to |
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Goya,The Disasters of War: The Same Thing Elsewhere, 1810-1820
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- Again Goya refuses to give war any redemptive value or meaning
- Bodies are in piles and clumps representing the dehumanizing - Mass of parts |
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Goya,The Disasters of War: Nothing, 1810-1820
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- The conclusion of this series
- A world totally dark and tragic |
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Goya,Tauromaquia,1815-1816
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Goya here is leveling the difference between humans and animals. He portrays people to be driven by much darker forces than that of the enlightenment.
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Goya,The Black Paintings: Saturn Devouring His Children, 1819-23
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Mythology still as a source for the artist. Also a stylistically speaking material brushwork — emphasizes the subject of Saturn devouring his children. Dark lush palette conveys the meaning of his subject matter.
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Constable, The Haywain
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Constable grew up in a wealthy family, father was a successful business man, owned a lot of property which was a key factor in how his landscape work developed
Very early on developed a particular notion of landscape that he would continue for the rest of his career: - The truth in all things - Purity of representation - Direct experience of the landscape and the world Focused primarily on the landscape/area of his home region (where he grew up) -- familiarity, person history, memories -- he is personally rooted in these landscapes - Domesticated landscape -- cultivated, maintained, inhabited - Figures are small, but not in the sense that they are meant to be seen as being overwhelmed by the foliage around them - Large scaled, highly finished -- most likely to prove higher value of landscape work to the skeptics and critics |
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Left: Constable, Golding Constable's Kitchen Garden
Right: Constable, Golding Constable's Flower Garden |
- "Golding" = Constable's father -- depicting his father's land, garden, etc.
- Both pictures were painted from inside the family home - Reflection of one's property -- nature is a peaceful space and one's home - Worked, ordered, civilized landscapes -- Though almost never much evidence of those working in the land - never shown from the worker's point of view, but from the point of view of the owner --- A testament to land ownership and management He paints what he knows -- associations with his life/memories - Constable is a Romantic artist but not in the usual sense. Instead its the idea of the individual experience, and the importance of one's particular experience, of the painter's life in the work - Shift from small property to large family owned farms |
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Constable, Dedham Vale, Morning
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- Familiar, intimate landscape
- Was committed to grounding these works in his direct observation -- In tradition just representing in of itself wasn't enough, always had to have reference to history, religion, or something more. - Constable was different. Instead he made associations with himself, his own intimate memories, his personal experience |
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Left: Constable, Dedham Vale, 1802
Right: Constable, Dedham Vale, 1828 |
- Greenery in the foreground guides our eyes throughout the work
- Both portray an identical point of view -- Constable makes changes in the level of finish, the brushwork, the greenery --- Showing here that the same place can be represented again and again using different elements an subtle changes - Quickness of technique -- has the appearance of a landscape sketch -- immediate response -- romantic notion at work, its relationship with the artist at work -- People accused Constable of painting without subjects - he didn't use narratively important subjects or maybe no subjects at all, instead he paid most attention to the site/landscape he was representing and his experience of it. That was all the subject he needed. |
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Constable, Hadleigh Castle
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Another kind of landscape subject -- an image of a ruin
- This is a different notion of nature, here nature isn't so tame or ordered like his father's land rather we see the way how nature naturally erodes and inevitably falls apart - A gothic castle -- referencing the medieval past of England, closely connected -- gothic architecture was seen to be rooted in the whimsical forms of nature |
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Constable, Cloud Studies
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Another kind of landscape representation -- though they are more like nature studies
- Would note the time of day, wind conditions, weather conditions, etc -- had a scientific quality about them - Evidence of Constable's commitment to visible phenomena in the world -- grounded in the specificity of what he is seeing -- an inquiry to the law of nature -- Loose brushwork -- Quick sketches made from immediate observation |
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Turner, Hannibal's Army Crossing the Alps
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Turner had a different model of landscape painting in comparison to Constable
- Historical and observational landscapes -Hannibal was a well known ruler - he is portrayed here leading his troops across the alps -During the Napoleonic empire - Enormous swirl of the storm above, Hannibal is barely visible -- Struggles of Hannibal and his Carthaginian Empire and the violence of the invading forces (Napoleon) -- Figures are diminished, reduced to the bottom edge of the work -- Dark cloud darkens everything - Turner takes a historical subject and represents it from a landscape point of view - "terrible magnificence" - Visible active brushwork -- an important part of his Romanticism |
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Left: Turner, The Rise of Carthaginian Empire
Right: Turner, The Decline of Carthaginian Empire |
- Directly engage with the subject of empire
- Uses landscape to tell a story and communicate an allegory -- using the past to speak to the present, historical subjects as allegories to speak to current events -- Inevitable rise and fall of empires -- During the fall of the Napoleonic empire --- Sunrise and sunset metaphorically representing the fall of the empire --- Fragility of empire, impermanence |
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Left: Turner, Slave Ship
Right: Turner, Rain, Steam, and Speed: The Great Western Railway |
- Stylistically a great deal changed in his work. Thought we can see in some way a sense of connection to Hannibal's Crossing the Alps
- Both have narrative elements but here Turner is shifting to contemporary events, modern landscapes with social and economic significance - Both have very visible brushwork -- an important park of his romanticism Slave Ship: - Slave ship crossing the atlantic dumping bodies into the sea to be able to collect insurance money for the slaves -- a horrific scene -- The sea is illustrated as an overpowering force -- Moral significance, essentially taking representation of landscape to lend force to his anti-slavery stance and to critique the institution of slavery Train: - The speed of looking and painting the landscape are liked to the speed of the train crossing the landscape - Rain is pouring down at an angle - The train is an extremely important innovation amongst the rural landscape |
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Turner, Petworth Park
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- Petworth was someone's property
- Quieter - Vastness to the landscape, but a lot of picturesque detail - Expansiveness of the sky -- optical effects |
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Left: Turner, Color Beginnings, 1819
Right: Turner, Moonlight, c. 1840 |
- Water color images
- Derive still from observation but seem to almost lose their subject - Both have an abstract quality about them - Ahead of their time |
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Turner vs. Friedrich
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How can we succinctly articulate what they share or their differences?
- Immensity of nature, overriding force - Potential dangers of nature - Nature = contemplative space - Historical vs. Contemporary - Loose / vigorous brushwork — depicting different qualities |
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Left:Copley, Mrs. Ezekiel Goldthwait,1771
Right:Copley, Ezekiel Goldthwait,1771 |
- Portraiture as a means to convey success and good standing in colonial society -- identifying oneself as wealthy
- Impressive descriptive abilities -- portraying textures and materials etc -- Evident in this work - the textures of the lace, the cotton frill around her sleeve, the wooden table, the satin dress - Also considered quite talented in giving psychological depth in his figures |
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Copley,Portrait of Paul Revere, 1768-70
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- Seen as having a slightly less rigid/informal quality
- Extreme clarity of form — rigidity of form, space is somewhat airless |
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Copley,Watson and the Shark, 1778
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- The first major painting produced after he moved to Europe
- Clearly see Copley's desire to pursue more ambitious paintings with more epic subject matter and more complicated composition -- Depicting a historical event in Cuba - boy named Watson was swimming in the water and was attacked by a shark. He survived and later became a successful merchant and politician. Possibly commissioned this work. --- Sense of drama - scene of life and death --- Worked directly from models for the work except the shark (obvious in that its pretty unconvincing realistically - shows the challenge he took on) |
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BenjaminWest, Death of General Wolfe, 1770
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- Crucial in American art and its connection with Europe
- Moved from US to England -- achieved tremendous success (Europe was seen as the center for western art as a culture) - An early attempt by an American artist to take on history painting - Depicts the war between the French and British - Wolfe lead a successful attack from the British over quebec, but died in battle -- Wolfe is posed similarly to jesus after he was taken down from the cross -- West in this sense elevates Wolfe through this reference of religious imagery -- Journalistic attention with the event in combination with a set of conventions -- Figures in the foreground portrayed laterally from left to right -- creates a sense of coherence, legibility, balance to what was in reality a chaotic moment in time |
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JohnTrumbull, Death of General Warren at Battle of Bunker Hill, 1786
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Trumbull was ambitious and passionate about making works that went with the national identity conventions
- Key events in the revolutionary period - American soldiers trying to fend off the British soldiers - Dying hero -- being portrayed similar to Jesus off the cross - Secular martyr - Combination of realist elements (specificity) and a desire to raise this event beyond the particulars -- allegorizing national identity, self sacrifice |
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JohnVanderlyn,Death of Jane McCrea, 1804
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Vanderlyn did not go to England to study with West. Was the first American artist to study in Paris.
- An actual historical figure who was taken captive and killed by American Indians who were Britain's allies - Chooses this well-known event and aims to make it a key image of the American revolution -- American artists are tied to whats happening in Europe by at the same time also very committed to American painting |
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ThomasCole, Mountain Sunrise, Catskills, 1826
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- One of the founders of the landscape painting movement in the US in the 19th century
- A typical landscape by Cole -- not a detailed rendering on the landscape, not aiming to depict a descriptive representation - Meant to evoke a sense of contemplation - Not out of a very careful study of the scene -- Believed landscape could have a morally uplifting quality to the viewer - saw it somewhat in religious terms -- Saw the wild, untouched quality of the landscapes as a key contrast between American and Europe. Europe was the model from which the colonists came so there was this sense that America was in many ways inferior. In turn, the wilderness of the American landscapes was superior to Europe. America's newness was supreme, a benefit. |
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Cole,Lake with Dead Trees, 1825
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- Botanical
- Meant to invite contemplation of the natural world - Specific light |
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AsherB. Durand, Kindred Spirits, 1849
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Painted right after Cole died
Two figures out in the landscape — Cole and William Collin Brian...Why these two people? Before Cole left for a trip to Europe, Brian wrote what would become a very famous poem to Cole |
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Top:Cole, Voyage of Life Cycle: Childhood, 1840-42
Bottom:Cole, Voyage of Life Cycle: Youth, 1840-42 |
Childhood --> Youth --> Old Age
Each season in the landscape describes a different period of life. - Vehicle for meditation, for the passage of time - - Cycle produced in the early 1840s by the end of that decade Cole had died |
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Cole,Voyage of Life Cycle: Old Age, 1840-42
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Childhood --> Youth --> Old Age
Each season in the landscape describes a different period of life. - Vehicle for meditation, for the passage of time - - Cycle produced in the early 1840s by the end of that decade Cole had died |
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Left:Durand, Interior of a Wood, 1850
Right:Durand, In the Woods, 1855 |
Landscape = A construction, a particular definition of nature, and of societies attitude towards it
- Faithful to botanical specifics of the landscape, not about morals or allegories - Overt quality -- In some cases extremely close up rather than expansive -- Examining piece by piece |
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Jean-Auguste-DominiqueIngres Ingres, The Ambassadors of Agamemnon Visiting Achilles, 1801
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This painting won Ingres the Rome prize
- Achilles is on the left side holding a lire, representatives of Agamemnon pleading with Achilles to join the Romans. The figure in the middle is Patrocholus, he and Achilles were very close. - We see Achilles in conflict between self interest and patriotism, between duty and private treasures - This work shows Ingres' mastery of neoclassical vocabulary -- Gestures and postures of idealized male body used to tell the narrative -- Mastered the compositional techniques of history painting --- Arranged figures from left to right for the clear narrative, making the picture as legible as possible - Shows his command over neoclassical history painting even as a student - Also shows his departure from the model of Davidian history paintings - There is distinct elongation of the figures/attenuation. Certainly in the body of Patrocholus and Achilles too. This elongation lends to a sense of grace and sensuality. |
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Ingres,Napoleon on His Imperial Throne, 1806
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- Napoleon depicted here holding the scepter of Charles the 5th and the hand of Charlome another great emperor. Showing him with the most power possible.
- This painting is like a secular painting that one worships - Incredible detailed rendering of surfaces and patterns in materials: fur, color, smooth carpet, etc. - The picture physically has a glassy quality to it, smooth surface but a sense/tone of coldness and hardness in this picture itself - This hyper detailed work shows a departure from David's neoclassicism which was characterized by restraint, simplicity, and clarity - Napoleon did not like David's aesthetic of little detail, thought it was too obvious and explicit in claims to power |
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Left:Ingres, Mademoiselle Rivière,1805-6
Right:Ingres, Madame Rivière,1805-6 |
Left: The daughter
Right: The mother - Great examples of his attention to a variety of surfaces and textures -- Delicacy of veil, the smooth velvet, etc. - We also see his very pronounced distortion of anatomy -- The arm is very distorted, one is much longer -- The hands are also interestingly portrayed -- Elongated figures, almost boneless = made to infuse the figure with beauty and grace and sensuality -- This fixation with human exterior explains why the figures lack a sense of integrity, no depth as subjects -- As a prolific portrait painter, something that artists didn't devote time too, leveling of the genres = Romanticism! |
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Ingres, Jupiter and Thetis, 1811
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- The subject is from honer's iliad, the picture has an irrational quality - The throne floats on clouds - Binary of the sexes taken to the extreme here-- Jupiter is large, masculine, muscular, sculptural -- Thetis is submissive, almost boneless, looks almost shadowless - No consistency of scale, Thetis looks tiny in comparison to Jupiter - The different parts of the composition don't seem to come together to make a single composition -- prevented from realistically existing in the same world -- Ingres didn't love large scale multi-figural compositions. The difficulty he had with this subject is the reason we don't see other examples of it. This work shows a lot of problems he had with the composition as a lot of the aspects don't come together. This is why he doesn't do big pictures and why he focuses on single subjects with compositions free of narrative - There is specific attention to detail but other parts are much more precise - The body of Thetis is a great example of eroticizing the female body through distortion and elongation - Continuous departure from David's work -- Much less sculptural attention of the body, more attention to surface, persistent distortion of the body, closer attention to the female body |
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Ingres,Vow of Louis XIII, 1824
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This was his first major success in Paris as an established artist
- We see the 17th century French monarch placing the kingdom of France under the watch of the virgin Mary - This work was shown in 1824, and had a specific meaning for audiences at the time. The french monarchy had recently been restored. - This work signifies France's tradition of a catholic monarchy - Connects to current king Louis 18th with Louis 13th, doing so legitimizes his rule - There are 2 zones of this piece: Louis, and the virgin Mary - It is a picture seen as very rooted in the past. The religious institutions and politics of France. Also in the long standing artistic traditions of France. |
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Ingres, The Apotheosis of Homer, 1827
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This work was commissioned to decorate the galleries of the louvre -- the public museum was a relatively new institution
- Homer in the center. There greek poet of classical antiquity. About to be crowned as divine. At his feet are the iliad and the oddesy. - Great artists throughout history are arranged around him, in the foreground are 17th century writers, artists, etc. - An allegory of the development of the western allegorical tradition starting with homer and moving forward - A canon of western culture, fitting for the louvre - The composition is very symmetrical, very static, rationally organized, linear - Certain aspects of the work stress the continuity between the different eras - There is also an asserted importance of religious tradition - The work embodies the ideals of the French academy - Every figure in the picture is from the past, and that past comes to a halt in the 17th century (200 years before Ingres painted the work) -- He considered putting himself in the picture but decided against it - A linear history is being presented but doesn't suggest continuity into the present or future. It is rather a cannon that divorces from contemporary art. Shows a gap between artistic tradition and his own present moment. |
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Ingres,ValpinçonBather, 1808
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- Supposed to portray a nonwestern European female figure
-- This is his construction for what non western figures and people look like and how they're opposite from westernized culture. These types of images are now referred to as Orientalist Images. - No geographical specificity here - Could be set anywhere - Tended to represent the non-western people in stereotypical ways to show the superiority of the westernized culture - There was tremendous interest in non western locals for a variety of reasons: One was the Napoleonic military campaigns in the middle east, increase in travel, archaeology, development of the french colonies, etc. - This is an early example of his orientalist images - A semi-orientalist nude woman - She is wearing a turban as a sign of non western culture but is a semi-classical nude figure - Smooth surface and firmness to her contour - We see the absolute clarity and distinction between each object in the scene which is a sign of linearism -- her skin is also colored the same which is linear |
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Ingres, The Great Odalisque, 1814
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- One of his most well known female figures and oriental figures
- An odalisque is a term for a female concubine - The figure of an odalisque is a key element in oriental painting as it is an object of fantasy for western men - There is a frequent association with orient culture and femininity -- common idea is western is masculine, orient is feminine - Oriental culture is also associated with eroticism and the decorative (silks, feathers, etc.) - This work also features incredible detail and almost no brushwork - There is somewhat of a contradictory impulse of very detailed work against distortion of the female body -- Her spine is incredibly elongates, her torso is depicted in a way that is completely not anatomical, her arms are very long. You can see the bottom of her feet, her breast, and her face. All things purposefully done to maximize the erotic pleasure of the piece. -- Her body is stretch and twisted for full visibility The reactions of this piece were varied. Some thought she was the epitome of beauty, others were troubled by the idea of representation of a nude without narrative background. There were many paintings of non mythological non narrative nudes but those were private and this work was very public. Critics were also very upset with the distortion of her form. |
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Ingres, Odalisque and Slave, 1842
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- A variety of skin tones from light to dark in the background
- Interesting in that Ingres portrays these non western women with light skin. This represents their ambivalence in their desire for another race. Men fantasized about the non western women but the fantasy is in part of women of their own race. The 'otherness' is appealing, but somewhat of an uncertainty. - Ingres here mixes the figures that speak to the western idea of beauty plus the otherness quality - There is an emphasis of decoration, costume, orient, etc. - Ingres's figure recalls the tradition of western venues but is placed in oriental and ornamental interior |
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Ingres, The Turkish Bath, 1862
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- Profusion of countless female bodies
- Excess of female form and of female eroticism - Most of them are light skinned, again taking the traditional western values and putting them into a non western setting |
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Ingres,Louis-François Bertin,1832
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- One of Ingres's most famous portraits
- Depicts a business man - Portrayed in a way that exemplifies prosperity and self confidence of the French upper class - This portrait shows a sense of psychological presence/depth, something that is rare in his work - Not a lot of detail is used, most likely because he is a man |
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Left:Ingres, The Comtesse d'Haussonville,1845
Right:Ingres, Madame Moitessier,1856 |
- The portrayal of these female figures shows Ingres's obsession for quality of details and minute description in paint
- Wonderful example of unique sense of contours of the body - The hand is a boneless splay of figures as they gently touch her face - Extremely distorted - Ironic for an artist seen as a representative for classical tradition, a lot of his work shows somethings that is really lacking in his large compositions |
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Left:Ingres, Raphael and the Fornarina,1814
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- A somewhat allegory of portraiture (a portrait of a portrait)
- It is a portrait of historical figures -- of Raphael and his mistress - Interesting in that Raphael, despite having his mistress on his lap, isn't entranced by her but rather his portrait of her - An ode to the powers and seduction that paintings can have on their viewers |
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Ingres,Paolo and Francesca, 1819
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- Ingres produced 18 of these over the course of 40 years
- The subject is taken from dante's inferno - Paolo and Francesca were contemporaries of Dante and he includes them in the inferno - Ingres had intended to represent them over the course of 4 different moments, but never gets past the first moment, the opening moment of the story -- Not an ideal moment to depict because the story is unclear, not enough for the viewer to understand. It would make sense in a series but he never continued. - Also wanted to produce a cycle of Raphael but never got past the first couple images of him - The lovers are almost fused together, everything else is secondary - If you look at many renderings the furniture and other elements change but the pose of the lover is always the same |
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Delacroix, Self Portrait as Hamlet
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- Helps us clearly see the persona/identity Delacroix shaped for himself
- Hamlet is a conflicted, doomed character in Shakespearian literature -- Delacroix wants to situate himself as an alienated, tortured figure -- Identification with the outsiders -- big interest i Romanticism --- Extreme states of mind - the artist included with his turbulent internal life - Also show shows his connection/fondness of shakespeare -- Seen as an alternative model for classical inspiration, seeing his relationship with different cultural positions |
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Delacroix, The Barque of Dante and Virgil
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- His first major painting, first one he exhibited at the salon
- Dante and Virgil exploring the underworld -- Delacroix chooses Dante as his source in this picture - looking to Dante as an alternative in some sense to a classical subject -- Exploration of the interior world of human subjectivity and emotion, extreme realms of experience - the importance of Delacroix for alternative sources - Bodies in the foreground - Extremely brushy mode of paint application, vigorous and visible -- infusing the scene with intensity and highlighting/drawing attention to the presence of the artist - Criticized by some, admired by others - A colorist painting in its representation of flesh, nuances in color and texture, attention to fabric, water = formless thing- no line no edge which fills the work -- The painting itself/surface of the work is emphasized, lushness |
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Delacroix, Greece Expiring on the Ruins of Missolonghi
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- This piece is a reference to the greek war of independence from the Turks — a cause that many liberal europeans took a lot of interest in
- Identification with the underdogs/victims — aligning himself with the powerless, the more marginal (both very important qualities of Romanticism) - Not a historical event but a contemporary one -- Demands of history painting and also contemporary ones - how does one find the balance between specificity and also satisfy the need to move beyond the particularities of place and time and represent larger ideals - Single female figure as a representation of revolution - Blood streaked on stone - Arms of a dead greek fighter - Victorious soldier in the distance -- Reference to the dead and dying figures gives a sense of importance to the immediacy of the event - Mixture of allegorical and the realist - Influence of Raft of Medusa: triangular composition, figure pictured on an unstable base |
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Delacroix, Liberty Leading the People
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- The revolution of 1830
- Monarchy installed in place — Louis Phillip was supposed to be much more of a liberal monarch - Fighting that took place on the barricades of Paris Delacroix found a solution to the challenge of creating modern history paintings: - Central figure is a single female allegorical figure as a symbol of liberty, revolution, and of France -- She is shown wearing classical garb, holding the tri-colored flag - Crowd of figures arranged around the central figure of liberty — meant to represent the joining together of different classes in the revolution to fight against the monarchy - Loose gestural brushwork - Critics went both ways, some thought too chaotic others thought it was successful - Inspired by Raft of Medusa: pyramidal composition, foreground with injured or dead bodies |
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Delacroix, The Massacre at Chios
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- Greeks lost the battle of independence against the Turks and were slaughtered
- A turkish soldier is depicted in the process of capturing a greek woman - Struggle for independence - Sense of sympathy evoked for the Greeks — the romantic identification with the weaker of the two parties - Half landscape, half still life, half historical - Inspired by Raft of Medusa: no central figure, no hero to celebrate, a scene of suffering and death with no redeeming qualities. - An orientalist image - Fantasy of the non western european world -- Depicted as very exotic -- Wearing non-western european clothing -- Wide range of skin tones depicted, emphasizing their racial otherness -- Sensual posing - not only feminizing the men but eroticizing the women --- Confirms the notion of the non-european world as an erotic place, a world of fantasy -- Bodies that emphasize their own mortality - do not signify abstract values - not the bodies of ancient greek culture (on which David would base his history paintings) — these come from Delacroix's imagination - Moment of Ottoman soldier, combination of intense violence and intense eroticism — common in orientalist images |
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Gerome, The Snake Charmer
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- Oriental subject
- Image loaded with myth and stereotype - Especially clear illustration of features of orientalist painting -- Numerous ways that Germone signals the non-western european setting: clothing, architecture, setting --- Naked boy — bodily pleasure, less inhibited — suggesting codes of propriety that govern western Europe don't govern here — the idea that people actually walk around without clothing --- Highly decorated space - rich with intense deep color and pattern, non western european places associated with decor, attractive surfaces, a world that appeals to the senses Subject = the snake charmer - Emphasizes the supposed irrationality of these non-western places, the mystical quality of this culture - Implicit opposition in these images, perpetuating non western stereotypes - People watching the snake charmer — suggesting laziness to the culture as opposed to the "hard working" industrial culture in western Europe - There is an obvious lack of modernity — suggests these are places in states of decay -- Sense that the further one gets from Europe its as if you travel back in time --- Illusionism --- Helps justify the colonization of Europe --- Superiority of western civilization/culture |
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Delacroix, Death of Sardanapalus
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- A very unreal, intensely imagined kind of scene
- Depicts the moment of the destruction of the Syrian king Sardanapalus -- The king was facing an uprising so he ordered the destruction of everything in his palace -- This piece depicts Sardanapalus watching as everything is destroyed and his women are killed - This work was commissioned by the French government - A history painting in crisis -- Essentially illustrates the last moments of a decadent and unpopular ruler - seems like an unfit choice for a commission by the government --- This could have been Delacroix's lack of understanding of what a history painting should have been. Instead of a suitable public subject with resonance, he chooses a fantasy image. - The heram = a key subject in orientalist images - We see the way in which the female body is displaced to be an erotic feast for the viewer -- Very attractive totally naked women about to be slaughtered - Public history painting turned into a private orientalist image - This piece is intensely violent, erotic, and richly decorative, which is quite typical for an orientalist image - Dark skinned figures battling with horses -- non western Europe as the kind of emblem of uncivilized nature - Composition inspired by Raft of Medusa: basic triangular quality, bed functioning like the raft, space rendered unstable, composition built out of an unstable pile of bodies -- Conveys a sense of turmoil and instability, dynamic intense dramatic scene - This work was generally met with hostility — excess of sexuality and violence, lurid colors, chaotic composition - The protagonist Sardanapalus is not heroic or idealistic, instead alienated and isolated — very romantic quality — withdrawn, private identification of Delacroix with this figure - A colorist image — attention to skin tone and contours of the body |
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Left:Ingres, The Great Odalisque, 1814
Right:Delacroix, Reclining Odalisque, 1827-28 |
- Subject matter is almost identical — clearly highlights the differences and similarities
- Similar is sexual ability, color and textural appearance Ingres: - Cool - Restraint — something withheld - No anatomical specificity Delacroix: - Abandonment - Angst - Loose energetic brushwork - Colorist nature |
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Delacroix,The Women of Algiers
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- Delacroix travels to Morocco to temper his orientalist accesses and ground his images in experience and observation
-- He does not go to Rome, instead he looks for other alternative sources --- Romantic in his rejection of classical tradition, alternative cultural models with which they can identity themselves - During this time he made a lot of notes and sketches. His post Morocco images are more grounded but still fantasized with stereotypes and assumptions. -- He used these sketches as the base for pictures once he left Morocco -- His new work was used as somewhat of a response to the criticism of his previous works --- Much stronger sense of repose and restraint --- Spacial setting much more clear, plausible, rational --- Less evocative posing --- Much more well received --- Incredibly ornamented interior: highly patterned, rich patchwork, rich colors, the idea that orient is a pleasure for the senses --- Skin tone: the women represent a range of skin tones, highlighting these places with racial 'otherness' |
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Delacroix,The Lion Hunt
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Would continuously paint works with themes that evoked his time in north Africa Painting for a specific reason — in 1855 the universal exposition a world fair — the king gave Delacroix a retrospective at the fair
- Theme is quintessentially orientalist — nature, uncontrolled wild space represented by the lions, primal battles between man and nature --- - Richly colored - Clothing exotic and appealing |
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Left:GustaveCourbet, Self Portrait: Man with a Leather Belt, 1845-46
Right:Courbet, Self Portrait: The Desperate Man, 1843 |
- An exploration of himself in different guises, in different states of mind -- origins in Romanticism
Left: dreamier, contemplative Right: Extreme emotional intensity - Playing with identity - Importance of one's own experience - In 1848 Courbet stops producing self portraits, instead begins producing large scale works -- being essentially 'normal'. - The change in his work was a result of another revolution in France, the revolution of 1848. As a result the monarchy was abolish, the 2nd republic a democratic form of government was put in place. A few years later Louis Napoleon declared himself as emperor. |
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Courbet,After Dinner at Ornans,1848-49
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- Depicts Courbet's father and three friends sitting at the table after a meal listening to music
- Unusual because they are represented on an enormous scale, portrayed as life-size figures - Prior to this that scale was exclusively reserved for history painting/exceptional pieces of art rather than the ordinary -- was criticized exactly for this reason - The work is roughly painted. Uses visible, thick brushwork, crudely laid on the canvas -- wanted to relate the realism of that world - The figures seem disconnected from each other, no connection from a narrative point of view -- Also an unusual composition choice as a man is facing his back to the viewer - No sentimentality - Contemporary subjects of his own world |
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Courbet,The Stonebreakers, 1849
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- Liberal critics liked, conservatives didn't
- Portraying figures from the bottom of the economic ladder - Story that Courbet found these men at the side of the road and asked them to come to his studio so he could paint them. Important as he brought them back to the studio rather than using a model as others would have done -- symbolizing the unidealized reality brought into the studio -- Emphasizes their poverty and hardship -- Difficulty of their physical labor -- Communicates their struggle not by appealing to sentiment - we don't even see their faces -- Gives tangible sense of the harsh material physical reality of that world: torn clothes, heaviness of their shoes, rough texture of their clothes, roughness of the stones, stiffness of their postures --- Very thick brushwork - as if Courbet is some sort of laborer as well as this picture is a labor - The landscape fills the entire canvas, enclosing the viewer - Landscape is certainly not what would have been considered as a picturesque charming landscape, its realistic, barely any sky, instead filled with dark landscape - Viewers as the time would have recognized it as a place in Courbet's home region -- creates a sense of realism, the landscapes and figures he knew best - The picture is large, figures approaching life size. He places them very much in the foreground, seemingly trying to confront the viewer. Doesn't allow for a comfortable spacial or psychological distance. Helps to communicate their hardship. - Not something posed or artificial, a scene found in the world and represented in a picture. |
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Courbet,Burial at Ornans,1849-50
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- Was heavily criticized, very controversial
- Many critics felt like he deliberately made his figures ugly - Were not idealized, did not depict any noble qualities, not picturesque -- Courbet refuses to conform to the stereotypes of how the french peasantry were usually depicted. - The background is recognizable as Ornans - Courbet's home region - The cemetery depicted is adjacent to his family's land - This painting is of his uncle's funeral - Depicts family, members of the community, recognizable portraits -- realism is a representation of his own world - The painting depicts the moments right before the start of the ceremony, the mourners walking in a serpentine line before they get to the grave - Giving significance to the ordinary by producing it on such a large scale - Courbet's treatment of the topic of the funeral itself -- materialized the matter of fact quality of death as a hole in the ground in the center foreground - There is very little spirituality, instead focuses on death as a brute fact - Even the church officials are not depicted as spiritual - Lacks emotional cohesiveness, the figures are disconnected - It is a specific picture of a specific event at a specific place, no underlying meaning to it - Thickly painted, evokes the physical labor of the artist, turns painting into an act of physical labor. Symbolizes Courbet's sympathy to the political left understanding the struggle of labor. - The composition seems to be cut off on both sides -- gives no clue to the viewer as to what they're supposed to be taking away from the work, or what the attitude was, etc. -- Courbet doesn't offer what a typical work of this kind of subject matter would offer - Defined an audience for his work - not just the audience of the French Salon, but rather he painted it for a "knowing" audience. |
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Courbet,The Peasants of FlageyReturning from the Fair, 1850-55
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- A father in traditional place and clothing of a peasant but strangely wearing the top hat of a bourgeoisie figure -- strange
- The figures don't quite seem to convincingly occupy the same space. There is a pasted on quality. The perspective is slightly distorted. - Deliberate unreadability - Strange mixture of peasant and bourgeois - Image of the countryside as a place in-flux - Refused to make absolute distinctions between heirarchy of the social classes - Puts forward an image of rural France that doesn't conform o the stereotypes of the countryside |
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Courbet,The Meeting or Bonjour Monsieur Courbet, 1854
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- Depicts Courbet (on the right) with his key patron and the patron's servant, all meeting on the road.
- The patron was a key art collector at the time, bought Courbet's work. He met Courbet in Southern France and requested a painting to remember this visit. - Artist producer + patron that makes the production possible - Image of the artist as an autonomous figure -- his wealthy patron somewhat bowing to him - Artist supported by cultured private individuals |
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UniversalExposition of 1855
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- 4 years after Louis Napoleon made himself emperor. In celebration of his empire he held a universal exposition in Paris -- a world fair meant to highlight achievements of individual countries
- The main structure was called the palace industry - World fairs were kind of competitions, wanted to demonstrate France's superiority - Courbet submitted his work for the fine arts section - The jury only accepted some of his work. In rebellion, Courbet made his own "Pavillon of Realism" outside the exposition -- Demonstrated his refusal to recognize the state as the end all be all --- Positions literally and figuratively himself as an outside figure against the emperor |
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Courbet,The Painter’sStudio: A Real Allegory Summing Up Seven Years of My Artistic Life, 1855
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- This work was the center piece in the Pavilion of Realism
- It includes landscape, female nudes, self portraiture. Combines different kinds of subject matter that he had worked on up to this point. Figures on the left are the figures of commonplace, right are the shareholders — - Left: society as a whole, social injustice, economic inequality, etc. - Right: Colleagues, friends, supportive figures, patrons, etc. - Self portrait in somewhat defiance back faced slightly towards the viewer - Child could be an allusion to the stone breaker - Nude figure on the other side - Courbet associates himself to landscape painting and the female nude which he comes to take on in the years to come. Painting sums up his past life, and his future: 7 Years of his artistic life -- why 7? Seven years before was the 1848 revolution which is how he identifies the start of his career. |
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Courbet,Château of Chillon,1874
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End of Courbet's career
- in 1870 Napoleon the third was defeated by the Prussian army — another period of instability and violence in France - Courbet was accused as being responsible to the destruction of a monument during this time and was found guilty - When they wanted to put it back up — forced Courbet to pay for it — they took his pictures and property - He fled to Switzerland, could not come back to France - Subject of work — A prison (fitting) - Behind the Chateau are the mountains separating Switzerland and France |
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WilliamHolman Hunt, Rienzi, 1849
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A historical figure portrayed, living in the late medieval 14th century:
- A subject of late medieval Italian history - A populist leader - Helped take power from the nobles - Depicts him with his fist raised yelling "justice, justice" Truth to nature -- - Equal attention to all parts of the scene, every element of the composition significant to the narrative or not - Each face is highly detailed - Basing these figures on real figures in the world - High detail and illusionism -- Rendering of each object and each figure with a high level of specificity and detail - Hunt carried out a lot of research on the historical moment and subject matter -- Exemplified in the medieval shield and spears -- Historical accuracy - Study of landscape -- Fig tree on the left side of the picture. Studied a fig tree in his garden from direct observation -- attentiveness to natural components - Wealth of specificity and detail in every place you look - Moral and spiritual renewal -- nature was the divine order, fidelity to nature was a reflection of their religiosity - Hyper illusionism -- has a strange effect as one naturally doesn't experience the world with such high level of detail -- portrayed somewhat like an illusion -- No strong difference between objects near and far -- Conventional illusionistic techniques of painting were thought as artifices - they strove to go away from these artifices |
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Hunt,Strayed Sheep/Our English Coasts, 1852
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- Incredible attention to detail in every minute element
- Close attention to the way sunlight falls on certain objects - This canvas was taken outdoors - The brushwork is almost invisible, smooth surface - Botanical specifics - Not detail for the sake of detail, had a religious component. Dedication to the divine as nature is a divine creation. The work has two titles: - The piece is also about christians straying from doctrine - English channel in the background - The channel is what separates England from France -- possible warning to England about invasion by France -- Nationalist component of this picture as well |
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Hunt,The Awakening Conscience, 1853
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- A highly moral painting
- Two contemporary figures -- contemporary subject matter - The idea that moral regeneration could be achieved - Image references David Copperfield by Charles Dickens, a straying young woman - The girl ends up adulterous, strays away from moral ideals, etc. - Represented by hunt as a moral crisis, and a moral tragedy - To underscore the tragedy of the girl and her despair, Hunt originally gave her a pained expression but it was so pained and distressing that the original owner asked hunt to modify it - The moment depicted is a hopeful one - Girl sitting on man's lap, portraying her being sexually astray. But she is getting up - representing the idea that her conscious has awoken and is now separating herself from her fallen life -- Light streaming though the back window represents divine guidance -- Painting hanging above in the work portrays a women falling to adultery as well -- Variety of material, reflections of the mirrors, the carpets - a wealth of visual information |
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JohnEverett Millais, Jesus in the House of His Parents, 1850
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- Jesus snags his figure on a nail and his blood drips to his feet. Mary is shown comforting her wounded son.
-- Allusion to the crucification of Jesus -- Blood dripping down - Detail giving full accounting to all elements of the world - Hyper detail, hyper clarity -- wood shavings scattered on the floor - Intense desire to render the scene to portray its truth - Millais painted this work in a real carpenter shop -- Detail in the lines of the wood, the hair, the veins of the individual - This work had a lot of controversy because it is of a religious subject and was too realistic. Because it was religiously natured, thought it should be idealized. |
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Millais,Portrait of John Ruskin, 1853-54
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-Ruskin was a defender of the pre-raphaelites
- Was a giant in the world of 19th century art - His defense helped stem the tithe of criticism of them |
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DanteGabriel Rossetti, The Annunciation, 1850
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- Mary, the girl, recoils from him -- she is represented with pale skin and red hair, typical for pre-raphaelite pictures
- Absence of detail, simplicity and restraint - Equally as committed to the truth of nature - Ground tips up -- linear perspective was "untrue" - Deliberate dryness -- wanted to make this picture look like earlier Italian fresco painted |
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ArthurHughes, The Long Engagement, 1859
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- A painting about sexual and moral choices
- Commitment to moral rectitude exemplified by the upward casts of their gazes - Passion but repressed passion - Hands clasped - Tremendous amount of detail -- overwhelming account of the elements of the scene - A lot of research about the subject of this work - Sacrifice and virtue for a moral work -- mirrored by the working process of the artist (got stung by a bee... etc.) |
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FordMadoxBrown, Work, 1852-1865
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- Representing the moral goodness of hard work
- Worked on this painting for 10 years - Not a member of the pre-raphaelite group but shared similar ideas - Meant to include all type of work, all working on an array of class on a hot day in the summer - Represents different social and economical levels as well - Ditch diggers energized by their labor - labor is represented as an uplifting force, one of strength, something celebrated - People studying -- equally fulfilling labor |
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Frontispiece for the second editionof Marc-Antoine Laugier’s Essayon Architecture,1755
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- Classical artistic value and architectural production was the model for architecture in the 1800s
- Simplicity and restraint - Muse of architecture on the right, holding a compass and a right angle (architectural instruments), leaning on an ionic column, pointing to a hut -- Hut usually symbolizing the architectural structure that society had gradually progressed beyond -- Laugier is instead using the hut as a representation of a classical Greek temple. Saying the Greek temple is so essential that it is coming out of nature itself -- implying the ancient Greeks had discovered architecture --- Seen as ideal model, return to simplicity could reform architecture and ground it in reason -- The 4 trunks representing greek columns, embodying the basic structure |
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Angelika Kaufmann, Portrait ofWinckelmann, 1764
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- Was one of the great proponents of neoclassical art
- His writings helped unite people to celebrate classical history — he saw the future in the past |
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Left: J.L. Leroy, Ruins of the MostBeautiful Monuments in Greece: Ionic Order, 1758
Right: J.L. Leroy, Ruins of theMost Beautiful Monuments in Greece: The Temple of Minerva, Details of theColumns and the Ionic Capitals |
Various aspects of ancient Greek society intertwined with architecture
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Jacques-Germain Sufflot,Sainte-Genevieve Church, Paris, 1757-89
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- One of the greatest examples of mid 18th century neoclassical architecture
- Built to hold the remains of the 18th century Saint Genevieve - Louis the 15th commissioned to rebuilt the medieval church that was originally there - Modeled after the Roman Pantheon -- absolute neoclassicism modeled to the ancient Roman architecture - During the revolution the church was turned into a secular building |
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Left: Jacques-Germain Sufflot,Sainte-Genevieve Church, Paris, 1757-89
Right: Ancient Greek Amphitheater, n.d. |
- Public plaza in front of the church modeled after an ancient Greek amphitheater
- Also a doing by the monarchy to highlight and elevate the public spaces and architecture - Stamp of the enlightenment -- call for the public realm, public civic institutions, public life - The idea that public urban spaces could reform public civic life |
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Ange-JacquesGabriel, Place Louis XV/Louis XV Square (Later Known as Place de la Concorde),Paris, 1755
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- One of the most important public space projects that was taken under Louis XV
- Originally a statue was put up to celebrate Louis XV -- the grandness, elegance of these square began to show a concern for the civic functions of the state/government. - The notion of government as an administrative entity separate from the monarchy - The creation of this square was an increasing demand for the government to develop public work projects - Interesting intersection between city planning, enlightenment, and architecture |
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Left: Ange-JacquesGabriel, Place Louis XV/Louis XV Square (Later Known as Place de la Concorde),Paris, 1755
Right: Isidore-Stanislas Helman,January 21, 1793, The Death of Louis Capet in Revolution Square, 1794 |
During the french revolution, the the stature of Louis XV was torn down
- The revolutionary government put a guillotine on the pedestal to replace it — killed Louis 15th, 16th, Marie Antoinette, Robespierre, etc. |
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Victor Louis, Comédie Française,Paris, 1786-90
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- A theater in Paris built in the late 18th century
- First free standing theater -- designed with the purpose of being specifically a theater - Debates: a lot of discussion on the role the theater could have on the public life of the city -- could provide the audience with the moral models to follow |
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Left: Interior View of the Comédie Française
Right: Ancient Greek Amphitheatre, n.d. |
- Modeled from the ancient amphitheater — semi circular auditorium
- Democratically arranged - This building is a clear example of the larger notion of theater as a public place for social gathering, the building itself as a public monument, attending it a public event, saw it as an important meeting place for the public |
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Étienne-Louis Boullée,Cenotaph for Isaac Newton, 1784
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Boullee produced a series of drawing for his theory of architecture
- Fantastical designs - A tomb for Isaac Newton, in honor of him - Designed the building in the shape of the sphere symbolizing the universal truths Newton had discovered -- Architecture could reflect natural law as much as science -- Sphere evoking the infinite - This was the first idea for a public monument with no neoclassical vocabulary -- Instead Boullee finds the perfect essential form for the building itself |
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Étienne-Louis Boullée,Design for a French National Library, 1785
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- Another one of his designs of public buildings — was never built
- A new type of building, there were no public libraries at the time - The new idea of form and function — books a part of the walls — architecture reflecting the function of the building - Ionic columns and curved ceilings — curved ceilings usually were in ancient bath houses, were the only public buildings that survived — modeled after them - A call for new public buildings to enlighten the citizenry |
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Claude Nicolas Ledoux,Royal Salt Works, 1771-74
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- Was concerned with how the basic form of a building expresses its function
- Had a utopian idea of public oriented buildings - Was commissioned to design a salt working town/industrial village - Circular form echoes ancient amphitheater - Labor is celebrated in this utopian industrial village — grandness of the architecture - Designed a utopian town (never built) and surrounding woods -- Industry and nature put together - Designed a circular house for someone who makes tires — buildings built for the person and not their social class |
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The Louvre Museum, Paris
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Public museum displaying the royal art collection of the french monarchy. In 1791 the revolutionary government decreed the louvre would become a public museum, nationalizing of a lot of monarchial property.
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Left: Jacques-François-Joseph Swebach,Arrival of Art Treasures to the Louvre from the Great Army, n.d.
Right: Hubert Robert, Seasons Roomin the Louvre, 1802-03 |
Napoleon greatly expanded the Louvre’s collection through conquests and treaties. In 1803 the Louvre was renamed the Napoleon museum.
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Room of Elgin Marbles in theBritish Museum, London
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Right: a horse that came form the Greek parthenon from Athens
Left: a hall in the British museum |
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Images of the Festival of theFederation, July 14-18, 1790
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- Took place where the Eiffel tower now stands
- Was a celebration of a constitutional monarchy - Oaths were taken at this pageant to the constitutional monarchy - Central feature = the large arena -- References to the classical past even in this ephemeral architectural set up |
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Durand and Thiebault,Temple of Equality, 1794
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- New importance of public participation in French post revolutionary society
- Revolutionary government places importance on French infrastructure and architectural composition - Shape beliefs, perceptions of the government - This design was meant as a prototype -- Concern for efficiency -- For economy -- For replicatability -- Buildings not only needed to be grand but everyday structures had to be built on a large scale -- Ethos of the government, emphasis on public life |
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Left: Louvre Museum, Paris
Right: Painting of the 16th Century Room in the Museum ofFrench Monuments, c. 1817 |
Not the only public museum that the revolution government that opened:
Right: Museum of French Monuments - Confiscated objects - Objects from churches - Objects from collections were not seen the same way — before reflected the private values of wealth — in public terms speak to nationality - No longer collections that attest to power, prestige of the owner, but speak to the public and the nation, treated as repositories of national accomplishment |
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Left: Natural History Museum, Paris
Right: Conservatory of Arts andCrafts, Paris |
New public museums
- Emphasis on public relation - Testifies to the public orientation of the government, government was more in service of the public through the creation of these public institutions |
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Triumphal Arch, Paris, 1806-36
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- Created under Napoleonic Rule
- He commissioned a large number of monuments and architectural projects in France and French territory - Napoleon envisioned paris as the capital of his future empire - Commissioned right after the battle of Austerlitz - He wanted to align his empire with the Roman empire |
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Left: Vendome Column, Paris,1806-1810
Right: Trajan’sColumn, Rome, AD 113 |
- Vendone was another monument commissioned by Napoleon modeled very much after Trajan’s column — attesting that Napoleon was trying to align his empire with that of the Romans
- Wrapped in scenes from the battle of Austerlitz - This column was toppled — Courbet was accused — was told he had to pay for it, couldn’t, so was exiled until he was able to and fled and later died in Switzerland |
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Cathedral of Notre Dame, Paris
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- Gothic architecture — gothic revival
-- Profound interest in gothic architecture -- There had been a lot of neglect for medieval gothic buildings as national treasures -- The heart of the nation could be found in its architectural history -- this movement began to salvage these buildings - Notre Dame is a symbol of the french nation - Widespread interest in the revival of this monument - Highly debated as to how buildings should be "preserved" -- Violette Le Deux and others wanted to repair the damage that had been done during the revolution --- They also added elements - took liberty in doing so ---- He felt that a successfully restored building should encapsulate the original period of its construction. Believed they should represent a particular moment in history -- but it was artificial, made the actual building subservient to what it had originally been from its time period |
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Sainte-Chapelle,Paris, 1239-1248
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Built buy the king of France in the 13th century to house holy relics
- Key example of medieval gothic architecture - Violette Le Deux was one of the young men in the restoration of the building |
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Henri Labrouste,Sainte-Genevieve Library, Paris, 1838-1850
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- Part of the background to Labrouste's work was a broader question at the time about whether certain architectural styles and forms are timeless, whether they should always think of classical forms as the model, or whether there could be a style that is specific to its own time — relative vs absolute - Was commissioned to design and build a freestanding public library. This was a new building type so he devoted a lot of attention to the question of how the exterior and interior would symbolize this new type of building. Exterior: - Rows of names on the facade of the building, names of the authors who's books are featured inside the library -- the catalog - The facade turns the visitor into a reader -- elicits the act of reading - the purpose of the building and its content shapes the facade - The site where the library was built is also close to the Church of Sainte Genevieve so he included elements on the facade of the library that were featured on the church - Repetition of arches, swags on the exterior - Knew the church would be the focus of the square/area |
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Henri Labrouste,Reading Room of Sainte-Genevieve Library, Paris, 1838-1850
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Interior:
- Large quantities of cast iron gave the ability to create an open space and maximize space -- Cast iron was able to minimize the number of internal divisions in the reading room and was able to support the structure without columns - gave a quality of openness, airiness, and luminosity -- Testament to new kinds of buildings, new materials, new heating, new light -- Also a testament to its moment and new technologies -- Made it a comfortable space -- Was specifically modern Labrouste wanted the building to demonstrate the use of industrial materials - The iron was used not only for structure but for decorative elements - revolutionary! -- An important concept being expressed was that architectural ornament should be grounded in its construction -- Was the embodiment of a building of the industrial period |
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Left: Charles Rohault de Fleury, Jardin de PlantesGreenhouse, 1834-36
Right: LeonceReynaud, Gare duNord/North Train Station, 1846 |
- Greenhouse made of iron and glass — an early example of 19th century use of iron
- Train station also an example of iron being used prominently in its construction |
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Left: Henri Labrouste,Sainte-Genevieve Library, Paris, 1838-1850
Right: Étienne-Louis Boullée,Design for a French National Library, 1785 |
- Both have vaulted ceilings
- Both lined with books - Labrouste’s library influenced many libraries throughout the world -- Is a key figure in the history of modern architecture - Representative of the idea that architecture should represent the current moment - Ideas emerged from his work that were continuous in history — form should reflect function, ornamentation should be minimal, etc. |
