• 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

• 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.

• 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”

• 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

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• 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"

• 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”

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

• 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.”

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

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

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

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

• 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.

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

• “For art is only perfect when it looks like nature and nature succeeds only when she conceals laten art. “

– Longinus, “on the Sublime”

• 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”

“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.

• 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?)

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

• 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

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

• 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

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

• 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

• 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

• 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

• 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

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

• 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

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

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

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

• 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

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

• 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

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