History Unit 4 Assignment Time Line
Chapter 27
ROMANTICISM, REALISM, PHOTOGRAPHY: EUROPE AND AMERICA, 1800 TO 1870
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Learning Objectives
Discuss the role Neoclassicism played in art and architecture under Napoleon.
Describe the differences between Neoclassicism and Romanticism.
Explain how and why architecture of this period revived prior architectural styles.
Analyze the influence of the exotic, erotic, and fantastic in the development of European art in the early 19th century.
Explain how you classify Francisco Goya’s work in terms of “isms.”
Compare and contrast Romanticism in Germany, England, and the United States.
Explain the relationship of the social order of France in the mid-19th century to the popularity of Realism in that society’s painting and printmaking.
Employ two contrasting examples to discuss the role of gender and race in artworks from this period.
List the major Realist painters in France.
Discuss two instances of how architecture of this period responded to social and political forces.
Use an example from this period to show the connection between art and literature.
Explain the influence that early photography had on painting.
Describe how early photography both fit and did not fit definitions of the time of what constituted “fine art.”
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
2
MAP 27.1
MAP 27.1 The Napoleonic Empire in 1812.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
MAP 27.2
MAP 27.2 Europe around 1850.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 27.1
27.1 Antoine-Jean Gros, Napoleon Visiting the Plague-Stricken in Jaffa, 1804. Oil on canvas, 17' 5" 23' 7". Musée du Louvre, Paris.
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Figure 27.2
27.2 Pierre-Alexandre Barthélémy Vignon, La Madeleine, Paris, France, 1807–1842.
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Figure 27.2A
27.2A Jacques-Louis David, Napoleon Crossing the Saint-Bernard Pass, 1800–1801. Oil on canvas, 8' 11" 7' 11". Musée National du Château de Versailles, Versailles.
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Figure 27.3
27.3 Jacques-Louis David, Coronation of Napoleon, 1805–1808. Oil on canvas, 20' 4 1/2" 32' 1 3/4". Musée du Louvre, Paris.
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Figure 27.3A
27.3A Antonio Canova, Cupid and Psyche, 1787–1793. Marble, 5' 1" high. Musée du Louvre, Paris.
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Figure 27.3B
27.3B Jean-Auguste-Dominique Ingres, Napoleon on His Imperial Throne, 1806. Oil on canvas, 8' 8 5/8" 5' 3". Musée de l’Armée, Palais des Invalides, Paris.
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Figure 27.4
27.4 Antonio Canova, Pauline Borghese as Venus Victorious, from the Villa Borghese, Rome, Italy. 1808. Marble, 6' 7" long. Galleria Borghese, Rome.
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Figure 27.5
27.5 Anne-Louis Girodet-Trioson, Burial of Atala, 1808. Oil on canvas, 6' 11" 8' 9". Musée du Louvre, Paris.
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Figure 27.5A
27.5A Anne-Louis Girodet-Trioson, Jean-Baptiste Belley, 1797. Oil on canvas, 5' 2 1/2" 3' 8 1/2". Musée Nationale du Château de Versailles, Versailles.
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Figure 27.6
27.6 Jean-Auguste-Dominique Ingres, Apotheosis of Homer, 1827. Oil on canvas, 12' 8" 16' 10 3/4". Musée du Louvre, Paris.
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Figure 27.7
27.7 Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814. Oil on canvas, 2' 11 7/8" 5' 4". Musée du Louvre, Paris.
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Figure 27.8
27.8 John Henry Fuseli, The Nightmare, 1781. Oil on canvas, 3' 3 3/4" 4' 1 1/2". Detroit Institute of the Arts (Founders Society purchase with funds from Mr. and Mrs. Bert L. Smokler and Mr. and Mrs. Lawrence A. Fleishman).
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Figure 27.9
27.9 William Blake, Ancient of Days, frontispiece of Europe: A Prophecy, 1794. Metal relief etching, hand colored, 9 1/2" 6 3/4". Pierpont Morgan Library, New York.
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Figure 27.10
27.10 Francisco Goya, The Sleep of Reason Produces Monsters, no. 43 from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2" 5 7/8". Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).
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Figure 27.10A
27.10A Francisco Goya, Family of Charles IV, 1800–1801. Oil on canvas, 9' 2" 11'. Museo Nacional del Prado, Madrid.
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Figure 27.11
27.11 Francisco Goya, Third of May, 1808, 1814–1815. Oil on canvas, 8' 9" 13' 4". Museo Nacional del Prado, Madrid.
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Figure 27.12
27.12 Francisco Goya, Saturn Devouring One of His Children, from Goya’s Quinto del Sordo farmhouse, near Madrid, Spain, 1819–1823. Fresco, later detached and mounted on canvas, 4' 9 1/8" 2' 8 5/8". Museo Nacional del Prado, Madrid.
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Figure 27.12A
27.12A Théodore Géricault, Insane Woman, 1822–1823. Oil on canvas, 2' 4" 1' 9". Musée des Beaux-Arts, Lyons.
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Figure 27.13
27.13 Théodore Géricault, Charging Chasseur, 1812. Oil on canvas, 11' 5" 8' 8 3/4". Musée du Louvre, Paris.
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Figure 27.14
27.14 Théodore Géricault, Raft of the Medusa, 1818–1819. Oil on canvas, 16' 1" 23' 6". Musée du Louvre, Paris.
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Figure 27.15
27.15 Eugène Delacroix, Death of Sardanapalus, 1827. Oil on canvas, 12' 1 1/2" 16' 2 7/8". Musée du Louvre, Paris.
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Figure 27.15A
27.15A Eugène Delacroix, Scenes from the Massacre at Chios, 1822–1824. Oil on canvas, 13' 10" 11' 7". Musée du Louvre, Paris.
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Figure 27.16
27.16 Eugène Delacroix, Liberty Leading the People, 1830. Oil on canvas, 8' 6" 10' 8". Musée du Louvre, Paris.
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Figure 27.16A
27.16A Eugène Delacroix, Tiger Hunt, 1854. Oil on canvas, 2' 5" 3'. Musée d’Orsay, Paris.
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Figure 27.17
27.17 Eugène Delacroix, Women of Algiers in Their Apartment, 1834. Oil on canvas, 5' 10 7/8" 7' 6 1/8". Musée du Louvre, Paris.
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Figure 27.18
27.18 François Rude, Departure of the Volunteers of 1792 (La Marseillaise), northeast pier relief of the Arc de Triomphe, Paris, France, 1833–1836. Limestone, 41' 8" high.
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Figure 27.18A
27.18A Jean François Thérèse Chalgrin, Arc de Triomphe (looking southwest), Paris, 1806–1836.
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Figure 27.19
27.19 Caspar David Friedrich, Abbey in the Oak Forest, 1810. Oil on canvas, 4' 5' 8 1/2". Alte Nationalgalerie, Staatliche Museen zu Berlin, Berlin.
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Figure 27.20
27.20 Caspar David Friedrich, Wanderer above a Sea of Mist, 1817–1818. Oil on canvas, 3' 1 3/4" 2' 5 3/8". Hamburger Kunsthalle, Hamburg.
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Figure 27.21
27.21 John Constable, The Hay Wain, 1821. Oil on canvas, 4' 3 1/4" 6' 1". National Gallery, London.
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Figure 27.22
27.22 Joseph Mallord William Turner, The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas, 2' 11 1/4" 4'. Museum of Fine Arts, Boston (Henry Lillie Pierce Fund).
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Figure 27.23
27.23 Thomas Cole, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836. Oil on canvas, 4' 3 1/2" 6' 4". Metropolitan Museum of Art, New York (gift of Mrs. Russell Sage, 1908).
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Figure 27.24
27.24 Albert Bierstadt, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6' 10'. National Museum of American Art, Smithsonian Institution, Washington, D.C.
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Figure 27.25
27.25 Frederic Edwin Church, Twilight in the Wilderness, 1860s. Oil on canvas, 3' 4" 5' 4". Cleveland Museum of Art, Cleveland (Mr. and Mrs. William H. Marlatt Fund).
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Figure 27.26
27.26 Gustave Courbet, The Stone Breakers, 1849. Oil on canvas, 5' 3" 8' 6". Formerly Gemäldegalerie, Dresden (destroyed in 1945).
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Figure 27.27
27.27 Gustave Courbet, Burial at Ornans, 1849. Oil on canvas, 10' 3 1/2" 21' 9 1/2". Musée d’Orsay, Paris.
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Figure 27.28
27.28 Jean-François Millet, The Gleaners, 1857. Oil on canvas, 2' 9" 3' 8". Musée d’Orsay, Paris.
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Figure 27.29
27.29 Honoré Daumier, Rue Transnonain, April 15, 1834, 1834. Lithograph, 1' 1 3/8" 1' 6 1/4". Yale University Art Gallery, New Haven (Everett V. Meeks, B.A. 1901, Fund).
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Figure 27.30
27.30 Honoré Daumier, Third-Class Carriage, ca. 1862. Oil on canvas, 2' 1 3/4" 2' 11 1/2". Metropolitan Museum of Art, New York (H. O. Havemeyer Collection, bequest of Mrs. H. O. Havemeyer, 1929).
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Figure 27.31
27.31 Rosa Bonheur, The Horse Fair, 1853–1855. Oil on canvas, 8' 1/4" 16' 7 1/2". Metropolitan Museum of Art, New York (gift of Cornelius Vanderbilt, 1887).
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Figure 27.32
27.32 Jean-Baptiste Carpeaux, Ugolino and His Children, 1865–1867. Marble, 6' 5" high. Metropolitan Museum of Art, New York (Josephine Bay Paul and C. Michael Paul Foundation, Inc., and the Charles Ulrich and Josephine Bay Foundation, Inc., gifts, 1967).
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Figure 27.32A
27.32A Jean-Baptiste Carpeaux, The Dance, from the Opéra (fig. 27.46), Paris, France, 1867–1869. Limestone, 13' 9 3/8" high. Musée d’Orsay, Paris.
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Figure 27.33
27.33 Édouard Manet, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863. Oil on canvas, 7' 8' 8". Musée d’Orsay, Paris.
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Figure 27.34
27.34 Édouard Manet, Olympia, 1863. Oil on canvas, 4' 3" 6' 2 1/4". Musée d’Orsay, Paris.
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Figure 27.34A
27.34A Adolphe-William Bouguereau, Nymphs and a Satyr, 1873. Oil on canvas, 9' 3/8" 5' 10 7/8". Sterling and Francine Clark Art Institute, Williamstown.
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Figure 27.35
27.35 Wilhelm Leibl, Three Women in a Village Church, 1878–1882. Oil on canvas, 2' 5" 2' 1". Kunsthalle, Hamburg.
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Figure 27.36
27.36 Winslow Homer, Veteran in a New Field, 1865. Oil on canvas, 2' 1/8" 3' 2 1/8'. Metropolitan Museum of Art, New York (bequest of Miss Adelaide Milton de Groot, 1967).
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Figure 27.37
27.37 Thomas Eakins, The Gross Clinic, from Jefferson Medical College, Philadelphia, Pennsylvania, 1875. Oil on canvas, 8' 6' 6". Philadelphia Museum of Art, Philadelphia.
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Figure 27.38
27.38 John Singer Sargent, The Daughters of Edward Darley Boit, 1882. Oil on canvas, 7' 3 3/8" 7' 3 5/8". Museum of Fine Arts, Boston (gift of Mary Louisa Boit, Florence D. Boit, Jane Hubbard Boit, and Julia Overing Boit, in memory of their father, Edward Darley Boit).
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Figure 27.39
27.39 Henry Ossawa Tanner, The Thankful Poor, 1894. Oil on canvas, 2' 11 1/2" 3' 8 1/4". Collection of William H. and Camille Cosby.
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Figure 27.40
27.40 Edmonia Lewis, Forever Free, 1867. Marble, 3' 5 1/4" high. James A. Porter Gallery of Afro-American Art, Howard University, Washington, D.C.
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Figure 27.41
27.41 John Everett Millais, Ophelia, 1852. Oil on canvas, 2' 6" 3' 8". Tate Britain, London.
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Figure 27.42
27.42 Dante Gabriel Rossetti, Beata Beatrix, ca. 1863. Oil on canvas, 2' 10" 2' 2". Tate Gallery, London.
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Figure 27.42A
27.42A Robert Smirke, St. Mary’s (looking north), Bryanston Square, London, England, 1823–1824.
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Figure 27.42B
27.42B John Nash, Marble Arch (looking south), London, England, 1827.
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Figure 27.42C
27.42C Carl Gotthard Langhans, Brandenburg Gate (looking west), Berlin, Germany, 1788–1791.
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Figure 27.43
27.43 Karl Friedrich Schinkel, Altes Museum (looking northwest), Berlin, Germany, 1822–1830.
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Figure 27.44
27.44 Charles Barry and Augustus Welby Northmore Pugin, Houses of Parliament (left: aerial view looking southwest; right: detail of Neo-Gothic stained-glass window), London, England, designed 1835.
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Figure 27.44A
27.44A Richard Upjohn, Trinity Church (looking north), New York, New York, 1841–1852.
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Figure 27.45
27.45 John Nash, Royal Pavilion (looking northwest), Brighton, England, 1815–1818.
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Figure 27.46
27.46 Charles Garnier, Opéra (looking north), Paris, France, 1861–1874.
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Figure 27.47
27.47 Henri Labrouste, exterior (looking northwest; left) and reading room (right) of the Bibliothèque Sainte-Geneviève, Paris, France, 1843–1850.
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Figure 27.47A
27.47A John Augustus Roebling and Washington Roebling, Brooklyn Bridge (looking southeast), Brooklyn, New York, 1867–1883.
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Figure 27.47B
27.47B Decimus Burton and Richard Turner, Palm House (looking southwest), Royal Botanical Gardens, Kew (Richmond), England, 1844–1848.
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Figure 27.48
27.48 Joseph Paxton, Crystal Palace, London, England, 1850–1851; enlarged and relocated at Sydenham, England, 1852–1854. Color lithograph, 8" 11 3/4", by Achille-Louis Martinet, ca. 1862. Private collection.
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Figure 27.49
27.49 Louis-Jacques-Mandé Daguerre, Still Life in Studio, 1837. Daguerreotype, 6 1/4" 8 1/4". Société Française de Photographie, Paris.
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Figure 27.50
27.50 Josiah Johnson Hawes and Albert Sands Southworth, Early Operation under Ether, Massachusetts General Hospital, ca. 1847. Daguerreotype, 6 1/2" 8 1/2". Massachusetts General Hospital Archives and Special Collections, Boston.
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Figure 27.50A
27.50A Honoré Daumier, Nadar Raising Photography to the Height of Art, 1862. Lithograph, 10 3/4" 8 3/4". Museum of Fine Arts, Boston.
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Figure 27.51
27.51 Nadar, Eugène Delacroix, ca. 1855. Modern print, 8 1/2" 6 2/3", from the original negative. Bibliothèque nationale de France, Paris.
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Figure 27.52
27.52 Julia Margaret Cameron, Ophelia, Study No. 2, 1867. Albumen print, 1' 1" 10 2/3". George Eastman House, Rochester (gift of Eastman Kodak Company; formerly Gabriel Cromer Collection).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 27.53
27.53 Timothy O’Sullivan, A Harvest of Death, Gettysburg, Pennsylvania, 1863. Negative by Timothy O’Sullivan. Albumen print by Alexander Gardner, 6 3/4" 8 3/4". New York Public Library (Astor, Lenox and Tilden Foundations, Rare Books and Manuscript Division), New York.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 27.54
27.54 Eadweard Muybridge, Horse Galloping, 1878. Calotype print, 9" 1/2". George Eastman House International Museum of Photography and Film, Rochester.
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Discussion Questions
Was Romanticism an inevitable reaction to the Enlightenment? Which of the two movements do you think has more influence today?
Which debate over aesthetic theory was behind the caricatures of the battling artists Ingres and Delacroix? How does this connect with earlier artistic debates?
Identify the major developments that shaped 19th-century architecture.
How do the artistic aims of early photography coincide with those of painting from the same time? Do you think early photography should be considered “art”?
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.