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Gros, Antoine-Jean, French, Neoclassical-Romantic
Napoleon at the Plague House at Jaffa, 1804, 17.5' x 23.5'
Oil on canvass
Student of David. "David's pupils laid the foundations for the Romantic movement by exploring the realm of the exotic and the erotic, and often by turning to fictional narratives for the subjects of their paintings." p. 647
"(his) fascination with the exoticism of the Muslim world ... represented a departure from Neoclassicism. This, along with Gros' emphasis on death, suffering, and an emotional rendering of the scene, presaged core elements of the artistic movement that would soon displace Neoclassicism - Romanticism." p. 643
Ingres, Jean-Auguste-Dominique, French, Neoclassical-Romantic
Grand Odalisque, 1814, 3' x 5.5'
Borrowed from Raphael and Italian Mannerists
Romaticism
Influenced by Rousseau.
"Romantics asserted freedom was the right and property of all. They believed the path to freedom was through imagination rather than reason and functioned through feeling rather than thinking. ...
The Romantic imagination stretched its perception of the Middle Ages into all the worlds of fantasy open to it, including the ghoulish, the infernal, the terrible, the nightmarish, the grotesque, the sadistic, and all the imagery that comes from the chamber of horrors when reason sleeps. ...
Related to the imaginative sensibility was the period's notion of the sublime. ... feelings of awe mixed with terror. Accompanying this taste for the sublime was the taste for the fantastic, the occult, and the macabre - for the adventure of the soul voyaging into the dangerous reaches of the imagination." p. 650
Fuseli, Henry, Swiss-English, Romantic
The Nightmare, 1781, 3' x 4'
"Fuseli was among the first to attempt to depict the dark terrain of the human subconscious." p. 650
Goya, Francesco, Spanish, Romantic
Third of May, 1808, Painted 1814-15, 9' x 13'
Depicts the invading French army massacring Spanish peasants in revenge for an attack the previous day.
Gericault, Theodore, French, Romantic
Raft of the Medusa, 1818-19, 16' x 23.5'
Trained as a Neoclassist, the painting uses the massive, heroic motif, but in the Romantic spirit depicts a jumble of writhing bodies in every attitude of suffering, despair, and death.
The painting is based an actual event - the wreck of the frigate, Medusa, and the attempt by passengers to survive on a make-shift raft.
The placing of a black survivor as the one waving the flag at the top is an indication of Gericault's commitment to end slavery.
Delacroix, Eugene, French Romantic
Death of Sardanapalus, 1827. 12' x 16'
Liberty Leading the People, 1830. 8.5' x 11'
Constable, John, English, Romantic
The Haywain, 1821, 4' x 6'
Turner, John Mallord William, English, Romantic sensibilities.
The Slave Ship, 1840, 3' x 4'
Oil on Canvass
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