CHAPTER TWENTY-FOUR ART IN THE AGE OF ROMANTICISM, 1789–1848
Painting
Key Images Francisco Goya, The Sleep of Reason Produces Monsters, from Los Caprichos, p. 825, 24.1 Francisco Goya, The Family of Charles IV, p. 826, 24.2 Francisco Goya, The Third of May, 1808, p. 826, 24.3 Francisco Goya, Untitled (Saturn Devouring One of His Children), p. 828, 24.4 William Blake, The Lazar House (The House of Death), p. 829, 24.5 John Constable, The Haywain (Landscape: Noon), p. 830, 24.6 John Constable, Salisbury Cathedral from the Meadows, p. 831, 24.7 Joseph Mallord William Turner, Snowstorm: Hannibal and His Army Crossing the Alps, p. 832, 24.8 Joseph Mallord William Turner, The Slave Ship or Slavers Throwing Overboard the Dead and Dying—Typhoon Coming On, p. 833, 24.9 Caspar David Friedrich, Monk by the Sea, p. 834, 24.10 Caspar David Friedrich, Abbey in an Oak Forest, p. 835, 24.11 Thomas Cole, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), p. 836, 24.12 William Sidney Mount, The Power of Music, p. 837, 24.13 Anne-Louis Girodet, The Sleep of Endymion, p. 838, 24.14 Jean-Auguste-Dominique Ingres, Portrait of Napoleon on His Imperial Throne, p. 839, 24.15 Jean-Auguste-Dominique Ingres, Grand Odalisque, p. 840, 24.16 Jean-Auguste-Dominique Ingres, Portrait of Madame Inès Moitessier, p. 841, 24.17 Antoine-Jean Gros, Napoleon in the Pesthouse at Jaffa, p. 842, 24.18 Théodore Géricault, Charging Chasseur, p. 843, 24.19 Théodore Géricault, The Raft of the Medusa, p. 844, 24.20 Théodore Géricault, Portrait of an Insane Man (Man Suffering from Delusions of Military Rank), p. 845, 24.21 Eugène Delacroix, Scenes from the Massacre at Chios, p. 846, 24.22 Eugène Delacroix, The Death of Sardanapalus, p. 847, 24.23 Eugène Delacroix, Women of Algiers, p. 848, 24.24 Jean-Baptiste-Camille Corot, View of Rome: The Bridge and the Castel Sant’ Angelo with the Cupola of St. Peter’s, p. 849, 24.25 Jean-Baptiste-Camille Corot, Morning: Dance of the Nymphs, p. 849, 24.26 Pierre-Étienne-Théodore Rousseau, Under the Birches, p. 850, 24.27
• In Spain, Francesco Goya embodied the Romantic style with his portraiture and contemporary history paintings. In The Family of Charles IV the subjects are portrayed realistically, showing their discomfort with being the subjects of the painting.
• This same realism can be seen in Goya′s The Third of May as the rioters in the painting are confronted with their impending deaths, which in turn reminded the viewer of his/her own mortality.
• Goya’s ″Black Paintings″ series (from which Untitled: Saturn Devouring One of His Children comes) could reflect Goya′s state of mind as he recovered from an illness, although their meaning is not known. The expressive brushstroke in these paintings contributes to the intensity of the paintings.
• In England, William Blake′s imagery was influenced by the art of Michelangelo, the Mannerists, and medieval manuscript illumination.
• John Constable′s landscape paintings were more realistic views than the idealized Classical landscapes of the Neoclassical period, while Joseph Mallord William Turner′s paintings were more idealized, focusing on the sublime or infinite.
• In his landscape paintings Constable tried to convey a scientific accuracy in which atmospheric effects were documented, while Turner’s landscapes were symbolic.
• In Germany, David Caspar Friedrich′s landscapes were deeply metaphorical with humans reduced to almost insignificant scale.
• By the 1820s the landscape became the national painting style in America with the wilderness signifying the Garden of Eden.
• The Hudson River School was the first art movement in America. Dating to the 1820s, it was landscape based, taking as its name the location of the artists all based in the Hudson River Valley region.
• In France Jean-Auguste-Dominique Ingres continued the tradition of David′s classical forms, combining that style with Romantic themes. This merging of styles can be seen in his Portrait of Napoleon on His Imperial Throne. His interest in Romanticism can also be seen in his themes of odalisques and exotic locations as the subjects of his paintings.
• In The Raft of the Medusa, Théodore Géricault explores the theme of man versus nature.
• Delacroix′s work epitomizes the Romantic style, with an emphasis on exotic locations and an undercurrent of tension in his work.
Sculpture
Key Images Antonio Canova, Cupid and Psyche, p. 851, 24.28 Antoine-Louis Barye, Tiger Devouring a Gavial of the Ganges, p. 852, 24.29 François Rude, The Departure of the Volunteers of 1792 (La Marseillaise), p. 853, 24.30
• The sculptures of Antonio Canova are a blending of Classical form and the emotional expressiveness of the Romantic style.
Romantic Revivals in Architecture
Key Images James Wyatt, Fonthill Abbey, Fonthill Gifford, Wiltshire, p. 854, 24.31 Sir Charles Barry and A. W. N. Welby Pugin, The Houses of Parliament, London, p. 855, 24.32 Sir John Soane, Consols Office, Bank of England, London, p. 855, 24.33 John Nash, The Royal Pavilion, Brighton, England, p. 856, 24.34 Thomas Jefferson, University of Virginia, Charlottesville, p. 856, 24.35 Benjamin Latrobe, Interior of Baltimore Cathedral (Basilica of the Assumption), Baltimore, p. 857, 24.36 François-Honoré Jacob-Desmalter (after a design by Charles Percier and Pierre-François Fontaine), Bedroom of Empress Josephine Bonaparte, p. 857, 24.37 Karl Friedrich Schinkel, Altes Museum, Berlin, p. 858, 24.38 Leo van Klenze, Walhalla, near Regensburg, Germany, p. 858, 24.39
• In England, Romantic revival styles were strongly felt in architecture with the Gothic revival, the Classical revival, and Eclecticism.
• In America, the Classical revival was widespread, with the White House and many local and national government buildings being Classical in design.
• In France, the Classical revival (or ″Empire Style″) was determined by Napoleon Bonaparte who commissioned several structures to be built in the Classical style to reflect his status as emperor.
• In Germany, the Classical revival took a variety of forms, including the Rungbogen.
Key Terms/Places/Names Hudson River School the Primitives Napoleon odalisque horror vacuii plein-air pochades the Barbizon School Gothic revival Classical revival Eclecticism Empire Style Rundbogen
Discussion Questions
1. Compare and contrast Francisco Goya′s The Family of Charles IV (p. 826, 24.2) and Diego Velázquez′ The Maids of Honor (p. 693, 19.38).
2. In what ways do Jean-Auguste-Dominique Ingres and Eugène Delacroix seemingly represent the opposing forces of early nineteenth-century French painting? What specific works by these artists exemplify their attitudes and artistic philosophies?
3. Discuss the varied ways in which French, English, German, and American nineteenth-century artists expressed Romantic attitudes through their landscape paintings. In your opinion, what accounts for these differences?
4. How does Goya′s Untitled: Saturn Devouring One of His Children (p. 828, 24.4) differ from his The Third of May (p. 826, 24.3)?
5. What sorts of messages are encoded in Gros′ Napoleon in the Pesthouse at Jaffa (p. 842, 24.18)? How does the historical reality of that event belie the propaganda embedded in the work?
Resources
Books
Abrams, Ann Uhry. The Valiant Hero: Benjamin West and Grand-Style History Painting. Washington, D.C.: Smithsonian Institution, 1985.
Bindman, David. William Blake: His Art and Time. New Haven: Yale Center for British Art, 1992.
Bryson, Norman. Tradition and Desire: From David to Delacroix. New York: Cambridge University Press, 1984.
Cooper, Wendy A. Classical Taste in America 1800–1846. Baltimore: Baltimore Museum of Art, 1993.
Powell, Earl A. Thomas Cole. New York: Harry Abrams, 1990.
Roberts, Warren E. Jacques-Louis David, Revolutionary Artist: Art, Politics, and the French Revolution. Chapel Hill: University of North Carolina Press, 1989.
Roworth,Wendy Wassyng. Angelica Kauffman: A Continental Artist in Georgian England. London: Reaktion, 1992.
Walker, John, John Constable. New York: Harry Abrams, 1991.
DVDs
Landmarks of Western Art: Romanticism—A Journey of Art History Across the Ages. (2006). Kultur Video. 50 min.
CHAPTER TWENTY-FOUR
ReplyDeleteART IN THE AGE OF ROMANTICISM, 1789–1848
Painting
Key Images
Francisco Goya, The Sleep of Reason Produces Monsters, from Los Caprichos, p. 825, 24.1
Francisco Goya, The Family of Charles IV, p. 826, 24.2
Francisco Goya, The Third of May, 1808, p. 826, 24.3
Francisco Goya, Untitled (Saturn Devouring One of His Children), p. 828, 24.4
William Blake, The Lazar House (The House of Death), p. 829, 24.5
John Constable, The Haywain (Landscape: Noon), p. 830, 24.6
John Constable, Salisbury Cathedral from the Meadows, p. 831, 24.7
Joseph Mallord William Turner, Snowstorm: Hannibal and His Army Crossing the Alps, p. 832, 24.8
Joseph Mallord William Turner, The Slave Ship or Slavers Throwing Overboard the Dead and Dying—Typhoon Coming On, p. 833, 24.9
Caspar David Friedrich, Monk by the Sea, p. 834, 24.10
Caspar David Friedrich, Abbey in an Oak Forest, p. 835, 24.11
Thomas Cole, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), p. 836, 24.12
William Sidney Mount, The Power of Music, p. 837, 24.13
Anne-Louis Girodet, The Sleep of Endymion, p. 838, 24.14
Jean-Auguste-Dominique Ingres, Portrait of Napoleon on His Imperial Throne, p. 839, 24.15
Jean-Auguste-Dominique Ingres, Grand Odalisque, p. 840, 24.16
Jean-Auguste-Dominique Ingres, Portrait of Madame Inès Moitessier, p. 841, 24.17
Antoine-Jean Gros, Napoleon in the Pesthouse at Jaffa, p. 842, 24.18
Théodore Géricault, Charging Chasseur, p. 843, 24.19
Théodore Géricault, The Raft of the Medusa, p. 844, 24.20
Théodore Géricault, Portrait of an Insane Man (Man Suffering from Delusions of Military Rank), p. 845, 24.21
Eugène Delacroix, Scenes from the Massacre at Chios, p. 846, 24.22
Eugène Delacroix, The Death of Sardanapalus, p. 847, 24.23
Eugène Delacroix, Women of Algiers, p. 848, 24.24
Jean-Baptiste-Camille Corot, View of Rome: The Bridge and the Castel Sant’ Angelo with the Cupola of St. Peter’s, p. 849, 24.25
Jean-Baptiste-Camille Corot, Morning: Dance of the Nymphs, p. 849, 24.26
Pierre-Étienne-Théodore Rousseau, Under the Birches, p. 850, 24.27
• In Spain, Francesco Goya embodied the Romantic style with his portraiture and contemporary history paintings. In The Family of Charles IV the subjects are portrayed realistically, showing their discomfort with being the subjects of the painting.
• This same realism can be seen in Goya′s The Third of May as the rioters in the painting are confronted with their impending deaths, which in turn reminded the viewer of his/her own mortality.
• Goya’s ″Black Paintings″ series (from which Untitled: Saturn Devouring One of His Children comes) could reflect Goya′s state of mind as he recovered from an illness, although their meaning is not known. The expressive brushstroke in these paintings contributes to the intensity of the paintings.
• In England, William Blake′s imagery was influenced by the art of Michelangelo, the Mannerists, and medieval manuscript illumination.
• John Constable′s landscape paintings were more realistic views than the idealized Classical landscapes of the Neoclassical period, while Joseph Mallord William Turner′s paintings were more idealized, focusing on the sublime or infinite.
• In his landscape paintings Constable tried to convey a scientific accuracy in which atmospheric effects were documented, while Turner’s landscapes were symbolic.
• In Germany, David Caspar Friedrich′s landscapes were deeply metaphorical with humans reduced to almost insignificant scale.
• By the 1820s the landscape became the national painting style in America with the wilderness signifying the Garden of Eden.
• The Hudson River School was the first art movement in America. Dating to the 1820s, it was landscape based, taking as its name the location of the artists all based in the Hudson River Valley region.
• In France Jean-Auguste-Dominique Ingres continued the tradition of David′s classical forms, combining that style with Romantic themes. This merging of styles can be seen in his Portrait of Napoleon on His Imperial Throne. His interest in Romanticism can also be seen in his themes of odalisques and exotic locations as the subjects of his paintings.
• In The Raft of the Medusa, Théodore Géricault explores the theme of man versus nature.
• Delacroix′s work epitomizes the Romantic style, with an emphasis on exotic locations and an undercurrent of tension in his work.
Sculpture
Key Images
Antonio Canova, Cupid and Psyche, p. 851, 24.28
Antoine-Louis Barye, Tiger Devouring a Gavial of the Ganges, p. 852, 24.29
François Rude, The Departure of the Volunteers of 1792 (La Marseillaise), p. 853, 24.30
• The sculptures of Antonio Canova are a blending of Classical form and the emotional expressiveness of the Romantic style.
Romantic Revivals in Architecture
Key Images
James Wyatt, Fonthill Abbey, Fonthill Gifford, Wiltshire, p. 854, 24.31
Sir Charles Barry and A. W. N. Welby Pugin, The Houses of Parliament, London, p. 855, 24.32
Sir John Soane, Consols Office, Bank of England, London, p. 855, 24.33
John Nash, The Royal Pavilion, Brighton, England, p. 856, 24.34
Thomas Jefferson, University of Virginia, Charlottesville, p. 856, 24.35
Benjamin Latrobe, Interior of Baltimore Cathedral (Basilica of the Assumption), Baltimore,
p. 857, 24.36
François-Honoré Jacob-Desmalter (after a design by Charles Percier and Pierre-François Fontaine), Bedroom of Empress Josephine Bonaparte, p. 857, 24.37
Karl Friedrich Schinkel, Altes Museum, Berlin, p. 858, 24.38
Leo van Klenze, Walhalla, near Regensburg, Germany, p. 858, 24.39
• In England, Romantic revival styles were strongly felt in architecture with the Gothic revival, the Classical revival, and Eclecticism.
• In America, the Classical revival was widespread, with the White House and many local and national government buildings being Classical in design.
• In France, the Classical revival (or ″Empire Style″) was determined by Napoleon Bonaparte who commissioned several structures to be built in the Classical style to reflect his status as emperor.
• In Germany, the Classical revival took a variety of forms, including the Rungbogen.
Key Terms/Places/Names
Hudson River School
the Primitives
Napoleon
odalisque
horror vacuii
plein-air
pochades
the Barbizon School
Gothic revival
Classical revival
Eclecticism
Empire Style
Rundbogen
Discussion Questions
1. Compare and contrast Francisco Goya′s The Family of Charles IV (p. 826, 24.2) and Diego
Velázquez′ The Maids of Honor (p. 693, 19.38).
2. In what ways do Jean-Auguste-Dominique Ingres and Eugène Delacroix seemingly represent the opposing forces of early nineteenth-century French painting? What specific works by these artists exemplify their attitudes and artistic philosophies?
3. Discuss the varied ways in which French, English, German, and American nineteenth-century artists expressed Romantic attitudes through their landscape paintings. In your opinion, what accounts for these differences?
4. How does Goya′s Untitled: Saturn Devouring One of His Children (p. 828, 24.4) differ from his The Third of May (p. 826, 24.3)?
5. What sorts of messages are encoded in Gros′ Napoleon in the Pesthouse at Jaffa (p. 842, 24.18)? How does the historical reality of that event belie the propaganda embedded in the work?
Resources
Books
Abrams, Ann Uhry. The Valiant Hero: Benjamin West and Grand-Style History Painting.
Washington, D.C.: Smithsonian Institution, 1985.
Bindman, David. William Blake: His Art and Time. New Haven: Yale Center for British
Art, 1992.
Bryson, Norman. Tradition and Desire: From David to Delacroix. New York: Cambridge
University Press, 1984.
Cooper, Wendy A. Classical Taste in America 1800–1846. Baltimore: Baltimore Museum of
Art, 1993.
Harris, Enriqueta. Goya, revised ed. London: Phaidon, 1994.
Powell, Earl A. Thomas Cole. New York: Harry Abrams, 1990.
Roberts, Warren E. Jacques-Louis David, Revolutionary Artist: Art, Politics, and the
French Revolution. Chapel Hill: University of North Carolina Press, 1989.
Roworth,Wendy Wassyng. Angelica Kauffman: A Continental Artist in Georgian
England. London: Reaktion, 1992.
Walker, John, John Constable. New York: Harry Abrams, 1991.
DVDs
Landmarks of Western Art: Romanticism—A Journey of Art History Across the Ages. (2006). Kultur Video. 50 min.