Neoclassicism and romanticism

20. • Mon: Pierot, Italian and English Rococo
– Turn in Ch. 19-20 French Baroque and Rococo
– 672-680: Neoclassical Painting
• Tuesday: 681-689 (Skip Neoclassical Theater)
• Neoclassical Sculpture and Architecture
• Wednesday: 690-699
– Romanticism: Goya, Gros, Gericault, Delacroix
• Thursday: 700-711
– Daumier, Rousseau, Millet
– English Romanticism: Constable, Turner
• Friday: 716-721: US and Italian R.
• Saturday: 724-733: Neo-Gothic-Empire Style
• Sunday: 734-737: Intro to Photography

21. • 1750-1850
• Competing theories:
– Movement Counter-Movement
– Regional differences
– Continuation/evolution
– Singular with subtle aspects
• Neoclassicism: Revival of classical
antiquity within its proper context
– Unlike Rococo and other
classicisms
– Based on Enlightenment Ideals
– Main philosopher: Winklemann
• Romanticism: Emphasis on the
swaying emotions of the natural
world, themes of heroism, the heart,
transcendence and nostalgia for the
past.

22. • The Enlightenment (1650-1700)
– Emphasis on reason over
superstition
– Upholds man’s freedom of will
and basic populist rights
– Mechanical arts and sciences
• Turns attention away from
aristocracy and religion “back
to the ancients”

23. • American Revolution (1776-1781)
– 13 British colonies breaking free from
Britain
– Rejection of oligarchies
– Support of republicanism and
democratically-elected government
• French Revolution (1789)
– Radical social upheaval
– The storming of the Bastille and
destruction of monarchy
– Feudal, aristocratic and religious
privileges taken away
– Equality, citizenship, and inalienable
rights

24. •
–
•
–

25. • German art historian (1717-
1768)
• Hellenist who divided Greek,
Greco-Roman, and Roman art
– Discovering the stylistic
differences of Rome and Greece
• Influential in Archeology and
Art History
– First to practice excavations for
the sake of study
– First to chronicle art back from
Egypt to present day.
• "noble simplicity and quiet
grandeur"

26. • French philosopher, art
critic, and writer (1713-
1784)
– Enlightenment thinker in
the continuation of the
French Academy
– Resurrecting Poussinistes
theory after Rococo
• First to create a
comprehensive
knowledge book known
as the “Encyclopedie”

27. Jean-Baptiste Greuze. The Village Bride. 1761.
Oil on canvas, 91.3 x 118 cm. Musee du Louvre, Paris

28. • Neo-Poussinist Painter
(1748-1825) accomplishes
the standard for
Neoclassicism
– Develops his style in Rome
(find the inspiration)
– Active in the Revolution
– Blends classical themes
with modern
Enlightenment thinking
and repose.
• “To give a body and a
perfect form to one's
thought, this - and only this
- is to be an artist.”

29. The Death of Socrates. 1787. Oil on canvas, 130 x 196 cm
Metropolitan Museum of Art, New York

32. Jacques-Louis David. The Death of
Marat. 1793.
Oil on canvas, 165 x 128.3 cm.
Musees Royaux des Beaux-Arts de
Belgiquc, Brussels
Aidez-moi, ma chère amie

33. Benjamin West. The Death of General Wolfe. 1770.
Oil on canvas, 151 x 213.7 cm. National Gallery of Canada,
Ottawa

34. John Singleton Copley. Watson and the
Shark. 1778.
Oil on canvas, 182.9 x 229.2 cm. Courtesy,
Museum of Fine Arts, Boston

35. • If your mind was a
flower, what would it
look like and why?
Create six analogies
between your mind and
the parts of a flower.
Be Creative!
• Draw the flower and
label it.

37. George Stubbs. Lion Attacking a Horse. 1770.
Oil on canvas, 102 x 127.6 cm.
Yale University Art Gallery, New Haven,
Connecticut

38. • “For art is only
perfect when it looks
like nature and
nature succeeds only
when she conceals
laten art. “
– Longinus, “on the
Sublime”

39. • What is the Sublime?
– That sense of awe you
have when witnessing
the beautiful
OTHERNESS of nature.
– Yet, the lingering sense
BELONGING we innately
have to the natural
world
• Development of the
“English Garden”

40. “Poetry is the spontaneous
overflow of powerful
feelings: it takes its origin
from emotion recollected
in tranquility.”
~Wordsworth
Write a 4 line poem about
the following work. EC for
more lines. Free Associate
and write without thinking.

41. • What is Picturesque?
– The poetic framing of idyllic
landscapes to heighten the
“latent art” of the natural,
untamed world.
– Connected to the sublime as
the outcropping of experience
• Kant compares genius to the
natural teleology of
vegetation (why important?)

43. Alexander Cozens.
Landscape, from A New Method of Assisting
the Invention in
Drawing Original Composition of
Landscape, 1784-86. Aquatint.
The Metropolitan Museum of Art, New York

44. • Ideals of NeoC. Are
represented distinctly in
sculpture. Why?
• Houdin (1741-1828)
– Growing demand for
portrait busts
– Use of Plaster to save on
material costs
– Focus on character
individuality and
Enlightenment grandeur

45. Jean-Antoine Houdon. George Washington
1788-92
Marble
Mount Vernon, Virginia

46. • Palladian Revival (1715)
– Pedimental facades
– Square, simple proportions
– Octagonal domes
– Development of “English
Gardens”
• French Rationalist
Movement (1706-1760s)
– Stolid utility of form
– Stripping away of
unnecessary use of
classical décor
– Reaction against nostalgia
for Louis XIV
Lord Burlington and William
Kent. Chiswick House, near
Lond. Begun 1725

49. Jacques-Germain Soufflot.
The Pantheon, Paris. 1757-
92

55. • With the Enlightenment
of rationality comes a
liberation of what?
– How is this connected to
our ideas of the mind as
flower and “English
Garden”?
• 1790’s fascination with
medieval tales of
adventure
– The “gothic” past becomes
part of the swriling
nostalgia of romantics

56. • Romantics (1800-1860)
acclaimed:
– A “return to nature”
– Unbounded, wild and ever
changing
– The disappearance of evil
through the free reign of
natural impulse
– Liberty, power, love,
violence, classical
civilization, the Middle Ages
– Emotion itself as devotion

57. • Come forth into the light of things,
let nature be your teacher.
• How does the Meadow flower its
bloom unfold? Because the lovely
little flower is free down to its
root, and in that freedom bold.
• Art is Emotion recollected in
tranquility

58. • Spain is not producing
artists of note, and many
reject the Rococo of
France and Rome.
• Goya becomes interested
in Enlightenment values
– Despite being painter to
the king in 1799, he did not
sympathize with the ruling
monarch
– Neo-Baroque style
ushering in the painterly
Romantic movement

59. Francisco Goya.
The Sleep of Reason Produces Monsters, 1798
The Metropolitan Museum of Art, New York

60. • Intaglio printmaking
technique
– Copper or zince plate
that is etched
– Application of acid to
produce the marks
– Rosin is applied to
the background to
develop mid-grey
tonalities

63. Francisco Goya, The Third of May, 1808, The
Shootings at Mount Principio Outside Madrid,
oil on canvas, 1814 (Museo del Prado, Madrid)

67. The Incantation
1797-98; Oil on canvas, 16 1/2 x 11 3/4";
Lazaro Galdiano Foundation, Madrid

68. The Colossus
1808-12 (120 kB); Oil on canvas, 45 3/4 x 41
1/4 in; Museo del Prado, Madrid
Saturn Devouring His Son
Oil on plaster transferred to canvas, 4' 9
1/8" x 2' 8 5/8"; Prado, Madrid

69. • Early Romantic Painter
who develops an intensity
of emotion through man’s
interaction with nature
– Often depicting military
portraits and themes in
early works
– Through action of horses in
Versailles, became
interested in emotion and
anatomy
– Late work is enamored
with subjects including
asylum patients and
history of suffering

70. Théodore Géricault, Raft of the Medusa, oil on canvas, 193 x
282 inches, 1818-19 (Musée du Louvre, Paris)

74. • Last of the neo-classical
painters
– but actually working in a neo-
baroque or “romantic
classical” style
• Poussinistes History painter
– Actually works as a
rubenesque genre painter of
emotion
• Cognitive dissonance?
– The debate of color and
design may be just
hemispheric differences of
art. Remember…MIND
FLOWER

75. Jean-Auguste-Dominique Ingres, La Grande Odalisque,
1814, Oil on canvas,
36" x 63" (91 x 162 cm), (Musée du Louvre, Paris)