Download as PDF, PPTX
Uploaded byJustin Morris
Neoclassicism and romanticism
This document provides an overview of artistic styles and movements between 1750-1850, including Neoclassicism and Romanticism. It discusses key philosophers, artists, and works that exemplified these periods. Neoclassicism was inspired by Enlightenment ideals and emphasized reason, while Romanticism embraced emotion and nature. The document also notes tensions between these styles, and how they varied between countries and evolved over time.
More Related Content
Similar to Neoclassicism and romanticism
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 • Competingtheories: – 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 arthistorian (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. TheVillage 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 ofSocrates. 1787. Oil on canvas, 130 x 196 cm Metropolitan Museum of Art, New York
- 32. Jacques-Louis David. TheDeath 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. TheDeath 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 yourmind 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. LionAttacking a Horse. 1770. Oil on canvas, 102 x 127.6 cm. Yale University Art Gallery, New Haven, Connecticut
- 38. • “For artis only perfect when it looks like nature and nature succeeds only when she conceals laten art. “ – Longinus, “on the Sublime”
- 39. • What isthe 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 thespontaneous 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 isPicturesque? – 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, fromA New Method of Assisting the Invention in Drawing Original Composition of Landscape, 1784-86. Aquatint. The Metropolitan Museum of Art, New York
- 44. • Ideals ofNeoC. 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. GeorgeWashington 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 theEnlightenment 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 forthinto 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 isnot 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 Sleepof 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, TheThird of May, 1808, The Shootings at Mount Principio Outside Madrid, oil on canvas, 1814 (Museo del Prado, Madrid)
- 67. The Incantation 1797-98; Oilon canvas, 16 1/2 x 11 3/4"; Lazaro Galdiano Foundation, Madrid
- 68. The Colossus 1808-12 (120kB); 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 RomanticPainter 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, Raftof the Medusa, oil on canvas, 193 x 282 inches, 1818-19 (Musée du Louvre, Paris)
- 74. • Last ofthe 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, LaGrande Odalisque, 1814, Oil on canvas, 36" x 63" (91 x 162 cm), (Musée du Louvre, Paris)