Romanticism From Rococo chapter (pg 726): Romanticism rejected established beliefs, styles and...
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Romanticism From Rococo chapter (pg 726): Romanticism rejected established beliefs, styles and tastes – particularly the Classical ideals of clarity and
Romanticism From Rococo chapter (pg 726): Romanticism rejected
established beliefs, styles and tastes particularly the Classical
ideals of clarity and perfection of form. It fostered the dominance
of imagination over reason. Romantic aesthetic of long ago and far
away The Romantics believed in emotional expression and sentiment;
instead of encouraging heroism on behalf of and abstract ideal, the
Romantics were often partisan supporters of contemporary causes,
such as the individuals struggle against abuses of the state.
Dreams and nightmares are depicted for the first time, states of
mind interest artists (insanity)
Slide 2
Sir Charles Barry and Augustus W.N. Pugin, House of Parliament,
London, 1836-1870 videovideo
Slide 3
Richard Upjohn, Trinity Church, New York, 1841-1852
Slide 4
Richard Upjohn, designs for rural gothic churches made of wood;
Carpenters Gothic
Slide 5
John Nash, Royal Pavilion, Brighton England, 1815-1818
Slide 6
Francois Rude, Departure of the Volunteers if 1792, 1833-1836,
Limestone
Slide 7
William Blake, God Creating the Universe, Frontispiece of
Europe: A Prophecy, 1794, metal etching, hand-colored with
watercolor and gouache
Slide 8
Theodore Gericault, Mounted Officer of the Imperial Guard,
1812, oil on canvas
Slide 9
Theodore Gericault, Madwoman with a Mania of Envy, 1822-1823,
oil on canvas
Slide 10
Theodore Gericault, Raft of the Medusa, 1819, oil on canvas
videovideo
Slide 11
Delacroix was the most prominent figure in French Romantic
painting because he outlived Gericault by 40 years. He was
contemporary to and rivals with Ingres who championed the concept
of line in the aesthetic quarrel between colorito and disegno while
Delacroix stood for color. The Rubenists vs. the Poussunists The
Moderns vs. the Ancients The Romantics vs. the Classicists
Delacroixs paintings contain broad sweeps of color, lively
patterns, and energetic figural groups. Thick brushstrokes
contribute to the character of the image. They are in direct
contrast with precise edges and smooth surfaces of Neoclassical
painting.
Slide 12
Eugene Delacroix, Bark of Dante, 1822, oil on canvas, Salon of
1822 (Salon was an annual event that started in 1737, jury
selection began in 1748)
Slide 13
Eugene Delacroix, Massacre at Chios, 1822-1824, oil on
canvas
Slide 14
Eugene Delacroix, Death of Sardanapalus, 1827-1828, oil on
canvas, inspired by Byrons play of the same subject.
Slide 15
Eugene Delacroix, Liberty Leading the People, 1830, oil on
canvas videovideo
Slide 16
Slide 17
Eugene Delacroix, Women of Algiers, 1834, oil on canvas
Slide 18
Eugene Delacroix, Medea, 1862, oil on canvas
Slide 19
Francisco de Goya y Lucientes, The Bogeyman is Coming Los
Caprichos, 1799, etching and aquatint
Slide 20
Francisco de Goya y Lucientes, Witches Sabbath, 1798-1799, oil
on canvas
Slide 21
Francisco de Goya y Lucientes, Family of Charles IV, 1800, oil
on canvas
Slide 22
Francisco de Goya y Lucientes, Executions of the Third of May,
1808, 1814, oil on canvas
Slide 23
Francisco de Goya, Y no hai remedio (And Theres Nothing to Be
Done), from Los Desastres de la Guerra (The Disasters of War),
plate 15. 1810-1823 CE (published 1863). Drypoint etching
Slide 24
Francisco de Goya y Lucientes, Chronos Devouring One of His
Children, 1820-1822, oil on canvas The 14 'Black Paintings'
paintings (now in the Museo del Prado), so called because of the
dark tones and predominance of black, originally decorated the
Quinta del Sordo (House of the Deaf Man). They were painted in oils
on the walls of two rooms, on the ground floor and first floor, and
transferred to canvas in 1873. Goya acquired the house in September
1819, but probably did not begin the paintings before the following
year, after his recovery from serious illness. When Goya recovered,
his deafness remained, and this changed his character in a way that
is reflected in his work. The constant fear of a relapse made him
impatient, and this is also evident in his technique. As his
monstrous imagining found expression, he darkened the walls in two
rooms with terrible scenes of witches and visions of evil spirits.
A fantastic horde of cynically grimacing hags and ghosts fill these
rooms. The paintings must have been finished by 17 September 1823,
when he donated the property to his 17-year-old grandson, shortly
before he went into hiding. Though it is possible to reconstruct
the arrangement of the paintings in the two rooms, many of their
subjects defy description and the meaning of these somber, horrific
inventions is as difficult to decipher as their appearance is
sinister and forbidding. 'The Sleep of Reason Produces Monsters',
Goya's title to what was possibly his first design for the
frontispiece of Los Caprichos, would have been even more fitting as
a title to this array of nightmare visions, created by the artist
in his mid-seventies.
Slide 25
Caspar David Friedrich, Moonrise over the Sea, 1817, oil on
canvas
Slide 26
Caspar David Friedrich, Moonrise over the Sea II, 1817, oil on
canvas
Slide 27
Caspar David Friedrich, Two Men by the Sea at Moonrise, 1817,
oil on canvas
Slide 28
John Constable, Salisbury Cathedral from the Bishops Garden,
1820, oil on canvas
Slide 29
Joseph Mallord William Turner, Burning of the Houses of Lords
and Commons, October 16, 1834, 1835,oil on canvas
Slide 30
Joseph Mallord William Turner, Slave Ship (Slavers Throwing
Overboard the Dead and Dying, Typhoon Coming On), 1840 CE, Oil on
canvas videovideo
Slide 31
Thomas Cole, View from Holyoke, Northampton, Massachusetts,
after a Thunderstorm (The Oxbow), 1836, oil on canvas
videovideo
Slide 32
George Caleb Bingham, Squatters, 1850, oil on canvas
Slide 33
Edward Hicks, Peaceable Kingdom, 1834, oil on canvas, Folk Art,
The wolf also shall dwell with the lamb, and the leopard shall lie
down with the kid; and the calf and the young lion and the fatling
together; and a little child shall lead them Isaiah (11:6-9)