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NEOCLASSICISM&
ROMANTICISM
NEOCLASSICISM
XVIII changes: Population growth. Industrial Revolution. Middle classes growth.
Enlightment (Age of Reason)and its ideas.
Enlightment : Science and intellectual interchange
vs Superstition, intolerance and abuses by church and
state
Art must have a social and moral purpose.
Against the excess of Baroque (art for the church and
royalty)
The Enlightment and the Classic art: Greece and Rome
(again)
Pompei and Herculaneum are rediscoverd.
First archaeological works in Greece
.
NEOCLASSIC ARCHITECTURE
Classical architecture is the model to copy
Geometric volumes and floor plants. It’s a new Renaissance.
The classic temple and its elements are used in
churches, public buildings…
Public buildings Museums Libraries. Theaters. Political buildings: Parliaments, Arches of
Triumph
ROMANTICISM
Partly a reaction to the Industrial Revolution Also a revolt against aristocratic social and political
norms of the Age of Enlightenment and a reaction against the scientific rationalization of
nature aprox. 1800 - 1840
ROMANTICISM
EMOTION the authentic source of aesthetic experience. Untamed nature Classical ruins A revived medievalism gothic Landscape paintings
Francisco de Goya y Lucientes
• Spanish Romantic painter.
• The last of the Old Masters and the first of the modern ones.
• Court painter to the Spanish Crown.
• His works are a mirror of his era.
• His revolutionary and imaginative art and his bold handling of paint,
provided a model for the work of later generations of artists.
Francisco de Goya y Lucientes
• Was born in Aragón in 1746
•At age 14, Goya entered apprenticeship with the painter José Luzán in Zaragoza
• in Madrid where he studied with Anton Raphael Mengs, a painter who was popular with Spanish royalty.
• Back in Zaragoza and painted parts of the cupolas of the Basilica of the Pillar and the frescoes of San Antonio de la Florida
Early life
In his first paintings displays the stereotypes of Late Baroque Catholic religious art
The Frescoes in the Cartuja de Aula Dei (1774) are a cycle of frescoes or mural paintings on the Life of the Virgin, realised in secco (i.e., painted in oils directly onto the wall surface)
He studied with Francisco Bayeu and married his daugther
member of the Royal Academy of Fine Art
helped Goya to procure work as a painter of designs to be woven by Royal Tapestry Factory
• He designed about 42 patterns; many of them were used to decorate and insulate the stone walls of El Escorial and the Palacio Real del Pardo.
Tapestries
El quitasol
In these first works:•Color and light•Armonic compositions
El pelele
La boda
El cacharrero
La nevada
La gallina ciega
El columpio
La vendimia
El bebedor
Baile en el Manzanares
La maja y los embozados
La cometa
El verano
Las lavanderas
Los zancos
Las floreras
La novillada
El ciego de la guitarra
La merienda
Jugadores de naipes
La ermita de San Isidro
Muchachos cogiendo fruta
La feria de Madrid
Las mozas del cántaro
1783. The Count of Floridablanca, a favorite of King Carlos III, commissioned Goya to paint his portrait.
He also became friends with Crown Prince Don Luis, and spent two summers with him, painting portraits of
both the Infante and his family.
During the 1780s, his circle of patrons grew to include the King and other notable people of the kingdom.
1786. Goya was given a salaried position as painter to Carlos III.
1789. Goya became a court painter to Charles IV.
1799. Goya was appointed First Court Painter.
Goya’s deafness
Between 1792 and 1793, a serious illness, which exact nature is not known, left Goya deaf, and he became withdrawn and
introspective. Gestures and facial expressions became vivid and images stayed
in his mind
PORTRAITS
Fast brushstrokeQuasi - Impressionism
María Luisa de Parma.
La marquesa de Pontejos
La duquesa de Alba
His portraits are notable because he did not worry to flatter, and in the case of Carlos IV of Spain and His Family, the lack of visual diplomacy is
remarkable
GOYA
CarlosMaríaIsidro
Fernando, the heir
King’s sisterdoña María Josefa.
Fernando’s future bride
Infanta MaríaIsabel
Queen MaríaLuisa
Infante Francisco de
Paula
kingCarlos IV
King’s brotherdon Antonio
King’s sisterdoña Carlota
Joaquina
Don Luis. Prince ofParma.
Infanta MaríaLuisa
CarlosLuis
Queen María Luisa was thought to have had the real power, which is why she is placed at the center of the group portrait
Gaspar Melchor de Jovellanos
The Duchess of Alba
The Duchess of Alba
Francisco BayeuCount Fernán Núñez
Don Luis’ family
Duke of Osuna’s family
Goya. La Maja Desnuda1799-1800
óleo sobre lienzo, 97 x 190 cmMuseo del Prado, Madrid
(La Maja Vestida)1800-03
óleo sobre lienzo, 97 x 190 cmMuseo del Prado, Madrid
PATRIOTIC PAINTINGS
El dos de Mayo
1808
In historic paintings action is more important than detail
Los fusilamientos del 3 de mayo
Picasso. Massacre in Korea 1951.
Manet. Execution of Emperor Maximilian. 1867.
("Deaf Man's House")
El coloso 1808-1812.
116 x 105 cm. óleo sobre lienzo.
Museo del Prado, Madrid.
BLACK PAINTINGS
Saturn eating his children
Aquelarre (1821-1823).
La romería de San Isidro (1821-1823)
Black and grey paint
La pradera de San Isidro (1788).
La romería de San Isidro (1821-1823)
El sueño de la razón produce monstruos.
DRAWINGS AND ENGRAVINGS
Hasta su abuelo. Tu que no puedes.
Disasters of War (1810-1820)
Esto es peor.
¡Qué coraje!
Tampoco
Bullfighting
La tauromaquia (1816)
Foolishness 1815-1823
