1. Gardner‟s Art Through the Ages,
12e
Chapter 28
The Enlightenment and its Legacy:
Art of the Late 18th through the
Mid-19th Century
1

2. Napoleonic Europe 1800-1815
2

3. Goals
• Understand the origins and spread of the luxurious and
decorative style known as Rococo.
• Understand the main styles of Neoclassicism and Romanticism in
the early 19th century Europe and America.
• 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
3

4. 28.1 Rococo: The French Taste
• Examine the luxurious artistic expressions of salon culture
which culminated in the style known as Rococo.
• Understand the completeness of the style, in decorations,
accessories, paintings and sculpture, interiors, and
architecture.
• Examine the extreme development of the Rococo style in
Germany.
4

5. Rococo Interiors
• Examine the development of the Rococo style, its materials,
colors, and design elements.
5

6. Figure 28-1 GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and
sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740.
6

7. Figure 28-2 FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich,
Germany, early 18th century.
7

8. Art of the French Salons
• Examine the artistic expressions of salon cultural style known
as Rococo.
8

9. Figure 28-3 ANTOINE WATTEAU, L‟Indifférent, ca.
1716. Oil on canvas, approx. 10” x 7”. Louvre, Paris.
9

10. Figure 28-4 ANTOINE WATTEAU, Return from Cythera, 1717–1719. Oil on canvas, approx. 4‟ 3” x 6‟ 4”. Louvre,
Paris.
10

11. Figure 28-5 FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on
canvas, approx. 5‟ 6” x 2‟ 10”. The Wallace Collection, London.
11

12. Figure 28-6 JEAN-HONORÉ
FRAGONARD, The Swing, 1766. Oil on
canvas, approx. 2‟ 11” x 2‟ 8”. The Wallace
Collection, London.
12

13. Figure 28-7 CLODION, Nymph and Satyr, ca.
1775. Terracotta, approx. 1‟ 11” high.
Metropolitan Museum of Art, New York
(bequest of Benjamin Altman, 1913).
13

14. Figure 28-8 WILLIAM
HUNTER, Child in Womb,
drawing from dissection of a
woman who died in the ninth
month of pregnancy, from
Anatomy of the Human
Gravid Uterus, 1774.
14

15. 28.2 Scientific Art of the Enlightenment
• Understand the motivation of the Enlightenment and the
interest in science and the natural world and its effect on
artistic expression.
• Understand the philosophical concepts of Voltaire as they
relate to artistic expression.
• Examine the early applications of technology and scientific
advancements to art.
15

16. Science and Art
• Understand the expression of scientific ideas in art and art as
recording observations in the natural world.
16

17. Figure 28-9 JOSEPH WRIGHT OF DERBY, A Philosopher Giving a Lecture at the Orrery (in which a lamp is put in
place of the sun), ca. 1763–1765. Oil on canvas, 4‟ 10” x 6‟ 8”. Derby Museums and Art Gallery, Derby, Derbyshire.
17

18. Figure 28-10 ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England (first
cast-iron bridge over the Severn River), 1776–1779. 100‟ span.
18

19. Figure 28-11 JEAN-BAPTISTE GREUZE, The Village Bride, 1761. Oil on canvas, 3‟ x 3‟ 10 1/2”. Louvre, Paris.
19

20. 28.3 The Taste for the Natural
• Examine the philosophy of Jean-Jacques Rousseau, in
contrast to Voltaire, his interest in the „natural‟ as opposed to
the „artificial,‟ and artistic expression of these ideas.
• Understand the different styles of the “natural” in France,
England, the United States, and in Italy.
• Examine choices of „ordinary‟ life, the natural world, and
sentimentality as subjects in art.
20

21. The Natural Taste in France
• Examine the subject matter and formal elements in the
“natural taste” in France.
21

22. Figure 28-12 JEAN-BAPTISTE-SIMÉON
CHARDIN, Grace at Table, 1740. Oil on
canvas, 1‟ 7” x 1‟ 3”. Louvre, Paris.
22

23. Figure 28-13 ÉLISABETH LOUISE
VIGÉE-LEBRUN, Self-Portrait, 1790. Oil
on canvas, 8‟ 4” x 6‟ 9”. Galleria degli Uffizi,
Florence.
23

24. The Natural Taste in England
• Examine the issues of morality, satire, and narration in visual
art in England.
24

25. Figure 28-14 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, approx. 2‟ 4” x
3‟. National Gallery, London.
25

26. The English Grand Manner Portrait
• Examine the English Grand Manner portrait as an expression
of the natural taste in Rococo form.
26

27. Figure 28-15 THOMAS GAINSBOROUGH, Mrs.
Richard Brinsley Sheridan, 1787. Oil on canvas,
approx. 7‟ 2 5/8” x 5‟ 5/8”. National Gallery of Art,
Washington (Andrew W. Mellon Collection).
27

28. Figure 28-16 SIR JOSHUA REYNOLDS,
Lord Heathfield, 1787. Oil on canvas,
approx. 4‟ 8” x 3‟ 9”. National Gallery,
London.
28

29. Natural Taste in the United States
• Examine the American taste for “downrightness” and
plainness in art.
29

30. Figure 28-17 BENJAMIN WEST, The Death of General Wolfe, 1771. Oil on canvas, approx. 5‟ x 7‟ National Gallery of
Canada, Ottawa (gift of the Duke of Westminster, 1918).
30

31. Figure 28-18 JOHN SINGLETON
COPLEY, Portrait of Paul Revere, ca.
1768–1770. Oil on canvas, 2‟ 11 1/8” x 2‟
4”. Museum of Fine Arts, Boston (gift of
Joseph W., William B., and Edward H. R.
Revere). 31

32. Italian Natural Taste and Tourism
• Understand the concept of the “Grand Tour” and the
expression of the “picturesque” in art.
32

33. Figure 28-19 ANTONIO CANALETTO, Basin of San Marco from San Giorgio Maggiore, ca. 1740. Oil on canvas. The
Wallace Collection, London.
33

34. 28.4 Revival of Classicism
• Understand how the discovery of Herculaneum and Pompeii
create an interest in classical art.
• Understand the formal elements of classical art and their
revival in 19th century art and architecture.
• Examine Neoclassical art and architecture in France,
England, and in the United States.
• Examine the adaptation of classical and mythological subject
matter in Neoclassical art.
34

35. Neoclassical Art in France
• Understand the formal elements of classical art and their
revival in 19th century.
• Examine the adaptation of classical and mythological subject
matter.
35

36. Figure 28-20 ANGELICA KAUFFMANN, Cornelia Presenting Her Children as Her Treasures, or Mother of the
Gracchi, ca. 1785. Oil on canvas, 3‟ 4” x 4‟ 2”. Virginia Museum of Fine Arts, Richmond (the Adolph D. and Wilkins C.
Williams Fund). 36

37. Figure 28-21 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 11‟ x 14‟. Louvre, Paris.
37

38. Figure 28-22 JACQUES-LOUIS DAVID,
The Death of Marat, 1793. Oil on canvas,
approx. 5‟ 3” x 4‟ 1”. Musées Royaux des
Beaux-Arts de Belgique, Brussels.
38

39. Figure 28-23 JACQUES-LOUIS DAVID, The Coronation of Napoleon, 1805–1808. Oil on canvas, 20‟ 4 1/2” x 32‟ 1
3/4”. Louvre, Paris.
39

40. French Neoclassical Architecture
• Examine classical revival in architecture as an expression of
French power and glory.
40

41. Figure 28-24 JACQUES-
GERMAIN SOUFFLOT, the
Panthéon (Sainte-Geneviève),
Paris, France, 1755–1792.
41

42. Figure 28-25 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842.
42

43. Figure 28-26 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, life-size. Galleria Borghese, Rome.
43

44. Neoclassical Art and Architecture
in England
• Understand classical elements of art and architecture,
Palladian influence, and their revival in 19th century England.
44

45. Figure 28-27 RICHARD BOYLE (earl of Burlington) and WILLIAM KENT, Chiswick House, near London, England,
begun 1725. British Crown Copyright.
45

46. © 2005 Saskia Cultural Documentation, Ltd.
Figure 28-27 Alternate View
Principal Facade with entrance gate
46

47. Figure 28-28 JOHN WOOD THE YOUNGER, the Royal Crescent, Bath, England, 1769–1775.
47

48. Figure 28-29 JAMES STUART, Doric
portico, Hagley Park, Worcestershire,
England, 1758.
48

49. Figure 28-30 ROBERT ADAM,
Etruscan Room, Osterley Park House,
Middlesex, England, begun 1761.
Victoria and Albert Museum, London.
49

50. The Neoclassical in the United States
• Examine Neoclassical as the national style in art and
architecture in the United States in the early 19th century.
50

51. Figure 28-31 THOMAS JEFFERSON, Monticello, Charlottesville, United States, 1770–1806.
51

52. Figure 28-32 Drawing of view of Washington, 1852, showing BENJAMIN LATROBE‟S Capitol (1803–1807) and
MAJOR L‟ENFANT‟S plan (created in 1791) of the city.
52

53. Figure 28-33 EDMONIA LEWIS, Forever Free, 1867.
Marble, 3‟ 5 1/4” x 11” x 7”. James A. Porter Gallery of
Afro-American Art, Howard University, Washington,
D.C.
53

54. Figure 28-34 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. Oil on canvas, approx. 17‟ 5” x 23‟ 7”.
Louvre, Paris.
54

55. Figure 28-35 ANNE-LOUIS GIRODET-TRIOSON, The Burial of Atala, 1808. Oil on canvas, approx. 6‟ 11” x 8‟ 9”.
Louvre, Paris.
55

56. Figure 28-36 JEAN-AUGUSTE-DOMINIQUE INGRES, Apotheosis of Homer, 1827. Oil on canvas, approx. 12‟ 8” x
16‟ 10 3/4”. Louvre, Paris. 56

57. 28.5 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.
57

58. The Move toward Romanticism
• Examine how the artist Jean-Auguste-Dominique Ingres
combined classical form with Romantic themes.
58

59. Figure 28-37 JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814. Oil on canvas, approx. 2‟ 11” x 5‟
4”. Louvre, Paris.
59

60. Figure 28-38 GIOVANNI BATTISTA PIRANESI, Carceri 14, ca. 1750. Etching, second state, approx. 1‟ 4” x 1‟ 9”.
Ashmolean Museum, Oxford.
60

61. 28.6 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
61

62. Figure 28-39 HENRY FUSELI, The Nightmare, 1781. Oil on canvas, 3‟ 4” x 4‟ 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).
62

63. Figure 28-40 WILLIAM BLAKE, Ancient of
Days, frontispiece of Europe: A Prophecy, 1794.
Metal relief etching, hand colored, approx. 9 1/2”
x 6 3/4”. The Whitworth Art Gallery, The
University of Manchester.
63

64. Drama, Action, and Color in
Spanish Romanticism
• Examine the issues of drama, action, and color in the art of
Francisco Goya.
64

65. Figure 28-41 FRANCISCO GOYA, The Sleep of
Reason Produces Monsters, from Los Caprichos, ca.
1798. Etching and aquatint, 8 1/2” x 6”. Metropolitan
Museum of Art, New York (gift of M. Knoedler & Co.,
1918).
65

66. Figure 28-42 FRANCISCO GOYA, The Family of Charles IV, 1800. Oil on canvas, approx. 9‟ 2” x 11‟. Museo del
Prado, Madrid.
66

67. Figure 28-43 FRANCISCO GOYA, The Third of May 1808, 1814. Oil on canvas, approx. 8‟ 8” x 11‟ 3”. Museo del
Prado, Madrid.
67

68. Figure 28-44 FRANCISCO GOYA, Saturn Devouring One of
His Children, 1819–1823. Detail of a detached fresco on canvas,
full size approx. 4‟ 9” x 2‟ 8”. Museo del Prado, Madrid.
68

69. 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.
69

70. Figure 28-45 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas, approx. 16‟ x 23‟. Louvre,
Paris.
70

71. Figure 28-46 THÉODORE
GÉRICAULT, Insane Woman (Envy),
1822–1823. Oil on canvas, approx. 2‟ 4” x
1‟ 9”. Musée des Beaux-Arts, Lyon.
71

72. Figure 28-47 EUGÈNE DELACROIX, Death of Sardanapalus, 1826. Oil on canvas, approx. 12‟ 1” x 16‟ 3”. Louvre,
Paris.
72

73. Figure 28-48 EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, approx. 8‟ 6” x 10‟ 8”.
Louvre, Paris.
73

74. Figure 28-49 EUGÈNE DELACROIX, Tiger Hunt, 1854. Oil on canvas, approx. 2‟ 5” x 3‟. Louvre, Paris.
74

75. Figure 28-50 FRANÇOIS RUDE, La
Marseillaise, Arc de Triomphe, Paris,
France, 1833–1836. Approx. 42‟ x 26‟.
75

76. Figure 28-51 ANTOINE-LOUIS BARYE, Jaguar Devouring a Hare, 1850–1851. Bronze, approx. 1‟ 4” x 3‟ 1”. Louvre,
Paris.
76

77. Figure 28-52 CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on canvas, 3' 7 1/2" X 5' 7 1/4".
Stiftung Preussischer Kulturbesitz, Staatliche Museen, Berlin.
77

78. Figure 28-53 JOHN CONSTABLE, The Haywain, 1821. Oil on canvas, 4‟ 3” x 6‟ 2”. National Gallery, London.
78

79. Romantic Landscape Painting
• Understand the romantic interest in the landscape as an
independent and respected genre in Germany, England, and
the United States.
79

80. Figure 28-54 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). 80

81. Figure 28-55 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). 81

82. Figure 28-56 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6‟ x 10‟.
National Museum of American Art, Smithsonian Institution, Washington.
82

83. Figure 28-57 FREDERIC EDWIN CHURCH, Twilight In the Wilderness, 1860s. Oil on canvas, 3‟ 4” x 5‟ 4”. Cleveland
Museum of Art, Cleveland, Ohio (Mr. and Mrs. William H. Marlatt Fund, 1965.233).
83

84. Romantic Revivalist Styles in Architecture
• Examine the variety of revivalist styles in architecture, the
origins of the designs and their impact.
84

85. Figure 28-58 CHARLES BARRY and A. W. N. PUGIN, Houses of Parliament, London, England, designed 1835.
85

86. Figure 28-59 JOHN NASH, Royal Pavilion, Brighton, England, 1815–1818.
86

87. Figure 28-60 J. L. CHARLES GARNIER, the Opéra, Paris, France, 1861–1874.
87

88. Figure 28-61 HENRI LABROUSTE, reading room of the Bibliothèque Sainte-Geneviève, Paris, France, 1843–1850.
88

89. Figure 28-62 JOSEPH PAXTON, Crystal Palace, London, England, 1850–1851. Photo from Victoria and Albert Museum,
London.
89

90. 28.7 Photography
• Examine the origins of photography and its impact in visual
art.
• Discuss initial uses of the new art medium known as
photography.
• Recognize the artists and the works of early photography.
90

91. The Art of Photography
• Examine artist‟s use and response to the technology of
photography.
91

92. Figure 28-63 EUGÈNE DURIEU and EUGÈNE
DELACROIX, Draped Model (back view), ca. 1854.
Albumen print, 7 5/ 16” x 5 1/8”. J. Paul Getty
Museum, Los Angeles.
92

93. Figure 28-64 LOUIS-JACQUES-MANDÉ DAGUERRE, Still Life in Studio, 1837. Daguerreotype. Collection Société
Française de Photographie, Paris.
93

94. Figure 28-65 JOSIAH JOHNSON HAWES and ALBERT SANDS SOUTHWORTH, Early Operation under Ether,
Massachusetts General Hospital, ca. 1847. Daguerreotype. Massachusetts General Hospital Archives and Special
Collections, Boston. 94

95. Figure 28-66 NADAR, Eugène Delacroix, ca.
1855. Modern print from original negative in
the Bibliothèque Nationale, Paris.
95

96. Figure 28-67 JULIA MARGARET
CAMERON, Ophelia, Study no. 2,
1867. Albumen print, 1' 11" x 10 2/3".
George Eastman House, Rochester,
New York. Gift of Eastman Kodak
Company: ex-collection Gabriel
Cromer. 96

97. Figure 28-68 TIMOTHY O‟SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania, July 1863. Negative by Timothy
O‟Sullivan. Original print by ALEXANDER GARDNER, 6 3/8" x 8 3/4". The New York Public Library (Astor, Lenox
and Tilden Foundations, Rare Books and Manuscript Division), New York.
97

98. Discussion Questions
 Identify the formal artistic differences between
Neoclassicism and Romanticism.
 Why did Neoclassicism appeal to political leaders in the
19th century?
 Describe the debate over 19th century aesthetic theory, as
characterized by the Poussinistes vs. the Rubenistes.
 What was the impact of photography in terms of the
public‟s image of reality?
98