ArtistsrebelledagainstthestrictrulesandtechniquesimposedbyNeoclassicism.

Theybeganastylethatreliedmoreonintenseemotionandartisticindividuality.

�  ThetermRomanticappearstohaveoriginatedfromlate-medievalnarrativesinwhichtheadventuresofalegendaryheroplayedout.

�  Bythemid–18thcentury,RomanticismdepictedimagesofthenaturalEnglishgardenwithwindingwalks,pools,andgroves.StoriesofKingArthur,Merlin,theKnightsoftheRoundTable,etcwerecommonsubjects.

�  Romanticismhasastronginterestinthesublime–meaning“ofthemostdistinguishedbyimpressivequalityastoinspireaweorwonder;abovetheordinary.Thesublimecontainselementsofpain,terror,majesty,andaboveallawebeforetheunknownandtheunknowable–incontrastwithrulesofbeautyfromClassicalidealism.

�  Developedacultofnatureworship.�  ElevatedEmotionaboveIntellect(Neoclassicism);Content(whatit

meant)aboveForm,Design(Howitlooked);ColouraboveLine;Intuition,PassionaboveAnalyticallogic,Judgement.

�  NeoclassicismlookedtoPoussin,RaphaelandantiqueClassicalRomanart.

�  RomanticismpreferredtheBaroque–Rubens,Rembrandt;theMiddleAge;TheEast–Orient;andAfrica–theexotic.

�  OpposedDavid’sandIngres’strictintellectual,cool,analyticalrules.�  Politically,sidedwiththerevolutionarieswhopushedforequalityand

fairness.�  Theywereanti-rich,anti-monarchy,anti-totalitarianism,anti-

Academy,anti-Napoleon,anti-AgeofReason.Theywere“pro-people”,pro-democracy.

�  WasanindividualnotpartoftheAcademy’ssystem.Therearenostylisticsimilaritiesonlysimilaritiesinattitude.

�  Livedintenselynotwisely.

• BegancareerastheappointedportraitpaintertoKingCharlesIV,ofSpain.

• Afterasevereillness,hewasleftdeaf,bitter,isolatedandapessimisticman.

Goya

TheDisastersofWar,1810-14.ShowtheatrocitiescommittedbytheFrenchandSpanisharmiesduringtheinvasionofSpain.

Goya:TheThirdofMay,1808,1814

• CommissionedbythegovernmentaftertheexpulsionoftheFrenchin1814.

• Powerful,emotionalSocialProtestpainting.

• Showstheslaughteringof5000SpanishpeoplebytheFrencharmyfortheirrebellionagainsttheirinvasion.

8’9”x13’7”

• Noallegory–purelyphoto-journalisticfact.

• Thenightsceneislitwithasinglelampontheground,castingdramaticlight

• Thedarkchurchinbackgroundissymbolicofhowthelightofhumanityhadbeenextinguished.

• Bodiesprojecttowardus–Thelineofvictimsstretchoffintodistance.

• Maninwhite–armsoutstretched–recallsthecrucifixion.

• Colouremphasizestheevent’sviolence

• Diagonalmovementleadstobackground.

• Brushworkislooseandferocious

• Laterworksofhorrificimagerydemonstratehismentalandemotionalstate.

Goya:SaturnDevouringHisChildren

FounderofRomanticism

• Acontemporaryevent–shipwreckthatcausedascandal.

• Agovernmentship–“TheMedusa”,carryingFrenchcoloniststoSenegal,Africa,sankoffthewestcoastduetotheincompetenceofthecaptain–apoliticalappointee.Thecaptain&crewwerethefirsttoabandonshiponlifeboats.Theyweretowingamakeshiftraftwith149passengers,thentheycutthetowropeleavingtheimmigrantsadriftfor12dayswithoutfoodordrinkablewater.Only15survived.

Gericault:TheRaftoftheMedusa,1818-19.16’x23.5’

• Heinvestigatedtheeventlikeareporter.

• Heinterviewedsurvivorsandtheirtaleofstarvation,madnessandcannibalism.

• Hestudiedrottingbodiesinthemorgue,sketcheddecapitatedheadsofguillotinevictimsforaccuracy.

• Hebuiltamodelraftinhisstudio.

Gericault:Studiesfor“TheRaft”

Gericault:Studyofseveredheads

• Thepaintingshowshopeanddespairallatonce.

• Strongdiagonalmovementleadstothetopfigurewavingshirtatashipbarelyvisibleonthehorizon.

• Thepainting’sfamebrokethestrangle-holdgripoftheClassicalAcademy.Artwouldnowstressemotionratherthanintellect.

• LikemanyRomanticartistwholivedintensely,Gericaultdiedearly,at32-fromahorseridingaccident.

Gericault:TheRaftoftheMedusa,detail

• LeadershipfellontoDelacroixaftertheearlydeathofGericault.

LibertyLeadingthePeople,1830

• HeusedanallegoricalfigureofLiberty,holdingthetricolouredFrenchflag,leadingrevolutionariesinParis.

• Heglorifiesthecausebutalsodepictsthehorrorandviolenceofthefighting.• Allegoryblendswithrealityintheforegroundaction.

DeathofSardanapalus,1827

• AtriptoAfricachangedhislife.Hebecamefascinatedbythecolourfulcostumesandcharacters.• Afterwards,hisworkwasfulloflushcolours,swirlingcurves,animalssuchaslions,tigers,andalsohorsestwistedinviolentcombat.

MassacreatChios,1822-24

TheLionHunt,1861

TheLionHunt,1616

•  Photographicaccuracy•  Crisp,preciseline•  Portrayalisoneofrationalcontrol

•  Definesformthroughcolour•  Fluidbrushstrokes•  Figurecurveslikeaviolin•  Expressesemotionthroughgesture

Ingres:Paganini

Delacroix:Paganini

• AnEnglishpainterwhowasoneofthefirsttopaintoutdoors–“enplein-air”.Hepaintedbycloseobservationoflightandcolour–astronginfluenceonlaterImpressionistpainterslikeClaudeMonet.• Heestablishedlandscapepaintingasamajorgenre.• Naturewashissubject.Hispaintingswerepeacefulscenesofthecountryside.

Constable:TheHayWain,1821

Monet:Wheatstacks,1890

• Hislandscapesreflectanintenseloveofnature.

• Hesimulatedshimmeringlightonsurfacesbyusingtinydabsofcolour

• Hisworkshowshismysticalfeelingofmanbeingatonewithnature–“thesublime”.

• Hisworkwasconsidered“coarseandrough”byhiscontemporaries.TheHayWain,1821

SunRisingthroughvapour–FishermenCleaningandSellingFish,1807

• BeganpaintinglandscapessimilartoConstable.• Hislaterstyleevolvedandinfluencedfuturegenerationsoflandscapeartists.• Hisearlyworkexploredtheeffectsoflightonobjects.

• Hisworksshowsalovefordramaticsubjectslikestorms,andfires–especiallyrawnature.

• Heaimedatevokingaweintheviewerbyrepresentingthepowerofnatureandman’sstrugglesagainstherelements.

Turner:SnowStorm:SteamboatoffaHarbour’sMouth,1824

• Hislaterstylebecamemoreabstractasheattemptedtomakecoloursinspirefeelings.

• Swirlingcompositionsofcolourandlightwerethefirst“non-representational”painting,althoughhehadasubjectinmind.

• Colour,lightandmovementarethesubject–anideathatwouldinfluenceabstractartistsandImpressionistslikeMonet.

Turner:Rain,SteamandSpeed–TheGreatWesternRailway,1844

• AGermanRomanticpainter.• PaintedpoeticlandscapesofNatureasaCathedraltoexpressthespiritualityoftheforest–trulySublime.

Friedrich:AbbeyGraveyardundersnow,1809-10

�  ThenameRealismappliedtotheartmovementduringthe1840s.ItcoexistedwithNeoclassicismandRomanticism.

�  Asartists,theRealistswereagainstrenderinganycontemporaryevent,militaryorpolitical,inwhichtheartisthadnotactuallytakenpart–forthisthen,historyhadnoartisticimportance.

�  WhatconcernedRealistartistswasthe“now”,the“observable”notfromone’simagination.Hence,thepublicdidnotfavourtheirwork.

�  Realistartistssoughtjusticefortheworkingclass.�  TheirworkwasregularlyrefusedbytheAcademyfordisplayatartexhibitions.They,therefore,organizedanexhibitionoftheirowncalled“SalondesRefusées”(ExhibitionofRefusedArt)inatentnexttotheAcademy.

�  Today,theworkoftheRealistsseemsconservative–greenfoliage,blueskies,brownearthandcommoneverydaysubjects.

Bonheur:TheHorseFair,1853

• “Thepainterofanimals”.

• Herworkreflectsherconstantstudyofanimalsthroughdrawings.

• Everydetailinherworkistreatedequallywithoutembellishment.

Daumier:ThirdClassCarriage,1862

• Portrayedworkingclasspassengersinadignifiedmanner.

• Thepaintingillustrateshowthecommonpeoplewerecrammedintotraincarriageslikesardines.

Daumier:Past,PresentFuture

• Hiscaricaturesofpoliticalleadersandthewealthyillustratedtheirpomposity,arroganceandcorruption.

• Heusedartasaphotojournalistwoulddepicteventstoday.• Thisscenedepictsanincidentafteraninsurrectioninwhichalltheinhabitantsofaworking-classhousewerebutcheredaftershotswerefiredatasoldier. Daumier:RueTransnonain,April15,1834

• Dedicatedhislifetopaintingpeasantswhoseconnectiontothesoilonwhichtheytoiled,hefoundareligiousquality.

• Hispaintingselevatedtheportrayalofthepeasantfromsimpleandstupid,topiousanddivine.

• Thereisnoglorification–justabsoluterealismincolour,formandsimplicityoftheirback-breakinglabour.TheSower,1850

TheAngelus,1857

TheGleaners,1857

• Paintedlandscapesinanaturalandobjectivestyle,capturingthequalityofaparticularplaceataparticularmoment.

• Hiscolourswerenatural,almostmonochromatic.

TheBridgeatNantes,1868

OldBridgeatLimay,1870

• Achampionofworking-classrightsandideas.

TheStoneBreakers,1849

• Historypainting• Asceneheexperiencedhimselfofafriend’sfuneral–simple,dignifiedpeasants.

• Partofthefirstone-manshowatthePavilionofRealism,afterhisworkwasrefusedbytheAcademyforexhibition.• Courbetisshownatworkonalandscapeatcentre–insteadoffromthesideandnotvisible,ashadVelasquezandGoya.• Thenude,representingTruth,looksapprovingly.Totheleft,issociety’sbest,worst,andaverage.Totherightispoet,criticBaudelaire,amongfriendsreadingabook.

Courbet

Goya

Velasquez