art
TY0496
EuropeanandAmericanArtchapter17.pptxEuropean and American Art 1715-1840
Chapter 17
The Rococo - 1700-1750
“Rococo” derived from rocaille, (pebble or shell) and barocco. Motifs in Rococo art resemble ornate shell or pebble work popular in gardens.
Refined, fanciful, and often playful style fashionable in France at turn of century, spread thru Europe in 18th century
Pastel colors, delicately curving forms, dainty figures, light hearted
Reaction against rigidity and solemnity of 17th century court
GERMAIN BOFFRAND Salon de la Princesse with painting by CHARLES-JOSEPH NATOIRE and sculpture by J. B. LEMOINE Hôtel de Soubise Paris, France 1737–1740.
Rococo Architecture
Exterior: undulating forms in complex curved shapes
Unity with other arts.. Painting and sculpture
Dynamic and moving spatial environment
No empty spaces
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Watteau, The Pilgrimage to Cythera
ca. 1717-19, oil on canvas, 4’3” x 6’4 ½ “
• The popularity of the Rococo style was inspired in part by the works of the celebrated painter Antoine Watteau.
• Watteau's elegant paintings perfectly embody the Rococo ideal of grace & playfulness. In addition, the painter's compositions often were asymmetrical.
This stylish asymmetry in turn became an important characteristic of
Rococo art & design.
JEAN-HONORÉ FRAGONARD The Swing, 1766.
• Fragonard’s works reflect the carefree world enjoyed by France during the Rococo period. The colors are bright and shiny & the brush strokes are very delicate. He had a great imagination, wit & refinement that combined to create poetic canvases.
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Early 18th Century Political Context
Shift of power from French royal court to aristocrats after Louis XIV died
Small middle class of merchants, lawyers, doctors, artisans, etc.
Baroque interest in royalty shifts to aristocratic, Paris townhouses (Rococo style hotels)
Began in architectural style, spread to painting and sculpture-all arts unified in Rococo style
1789 French Revolution Causes
Enlightenment (knowledge & observation)
Economic crisis
Clash between the Third Estate and the First and Second Estates
3rd = peasants, workers, bourgeoisie
1st & 2nd = clergy & nobility
Fought over issue of representation in the legislative body, the Estates-General
Convened to discuss taxation
Scientific Art of the Enlightenment
The motivation of the Enlightenment and the interest in science and the natural world and its effect on artistic expression.
The philosophical concepts of Voltaire as they relate to artistic expression.
The early applications of technology and scientific advancements to art.
The expression of scientific ideas in art , and art as recording observations in the natural world.
An Experiment on a Bird in the Air-Pump
Joseph Wright
oil on canvas 1768
Showed Industrial Revolution in
dramatic and entertaining way,
attempted to popularize science.
Science brings light into a world
of darkness
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Artist: Joseph Wright
Title: An Experiment on a Bird in the Air-Pump
Medium: Oil on canvas
Size: 6 X 8' (1.82 X 2.43 m)
Date: 1768
Source/ Museum: The National Gallery, London
Am I not a Man and
a Brother?
Black & white Jasperware
Political message
Wedgwood supported the
idea of gradual emancipation
of slaves
1787
Enlightenment ideals
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Artist: William Hackwood for Josiah Wedgwood
Title: “Am I not a Man and a Brother?”
Medium: Black and white jasperware
Size: 1⅜ X 1⅜" (3.5 X 3.5 cm)
Date: 1787
Source/ Museum: Trustees of the Wedgwood Museum, Barlaston, Staffordshire, England
Women portraitists break ground in early 18th Century
Rosalba Carriera in Italy leading portrait artist in Venice.
Honorary member of Rome’s St. Luke Academy; eventually admitted to French
Vigee-Lebrun as court painter; fled France afer Revolution but lived abroad for years as portrait painter
Adelaide Labille-Guillard lobbied to allow women painters in the French Academy… joined in 1783
Neoclassical moral history painting
illustrates story of Cornelia showing her children as her precious jewels places her children above material possessions (Enlightenment reaction vs. aristocratic love of finer things in life.)
Angelica Kauffmann
Cornelia, Mother of the Gracchi, Pointing to her Children as Her Treasures
c. 1785 oil on canvas 40 x 50" (Virginia Museum of Fine Arts)
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Artist: Angelica Kauffmann
Title: Cornelia Pointing to her Children as her Treasures
Medium: Oil on canvas
Size: 40 X 50" (101.6 X 127 cm)
Date: c. 1785
Source/ Museum: Virginia Museum of Fine Arts, Richmond, Virginia. The Adolph D. and Wilkins C. Williams Fund
Marie Antoinette with
Her Children
Elisabeth Vigee-Lebrun
Oil on canvas 1787
Allegory of abundance
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Artist: Marie-Louise-Élisabeth Vigée-Lebrun
Title: Portrait of Marie Antoinette with Her Children
Medium: Oil on canvas
Size: 9'½" X 7'⅝" (2.75 X 2.15 m)
Date: 1787
Source/ Museum: Musée National du Château de Versailles
Self-Portrait with Two Pupils
Adelaide Labille-Guiard
1785 7’ x 5’
She was one of 2 women elected to French Academy
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Artist: Adélaïde Labille-Guiard
Title: Self-Portrait with Two Pupils
Medium: Oil on canvas
Size: 6'11" X 4'11½" (2.11 X 1.51 m)
Date: 1785
Source/ Museum: The Metropolitan Museum of Art, New York. Gift of Julia A. Berwind, 1953 (53.225.5)
NEOCLASSICISM
Neoclassicism
developed following the excavation of the ruins of the Italian cities of Herculaneum and Pompeii
noble simplicity and calm grandeur of Greco-Roman art, urging artists to imitate the timeless and ideal forms
Extolling the “noble simplicity and calm grandeur” of Greco-Roman art, this urged artists to study and “imitate” its timeless, ideal forms.
Industrial Revolution
The Industrial Revolution was a period from the 18th to the 19th century where major changes in agriculture, manufacturing, mining, transportation, and technology had a profound effect on the socioeconomic, and cultural conditions of the times. It began in the United Kingdom, then subsequently spread throughout Europe, North America, and eventually the world.
Industrial Revolution
The Industrial Revolution marks a major turning point in human history; almost every aspect of daily life was influenced in some way. Most notably, average income and population began to exhibit unprecedented sustained growth. In the two centuries following 1800, the world's average per capita income increased over 10-fold, while the world's population increased over 6-fold.
Cupid and Psyche, Antonio Canova, 1787. Neoclassic sculpture revived eroticism of mythology
• Sculpture was another area where the Rococo was widely adopted. Étienne-Maurice Falconet is widely considered one of the best representatives of French Rococo.
• In general, this style was best expressed through delicate porcelain sculpture rather than imposing marble statues. The themes of love were reflected in sculpture, as were elements of nature, curving lines & asymmetry.
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Artist: Antonio Canova
Title: Cupid and Psyche
Medium: Marble
Size: 6'1" X 6'8" (1.55 X 1.73 m)
Date: 1787–93
Source/ Museum: Musée du Louvre, Paris
Jacques Louis David
Started as a Rococo painter (relative of Boucher)
Spent time in Italy and turned to academic painting
Declared Rococo “artificial taste”
Exalted classical art as the imitation of nature in the most beautiful and perfect form
Oath of the Horatii, Jacques-Louis David, oil on canvas, 11’ x 14’, Louvre, 1785
Neoclassical drapery and tripartite composition
David was sympathizer with human rights, and did not want education by the Church
Most famous Neoclassical painter
Part of series of Royal commissioned history paintings
Emblem of French revolution
Sacrifices for good of state
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Artist: Jacques-Louis David
Title: Oath of the Horatii
Medium: Oil on canvas
Size: 10'8¼" X 14' (3.26 X 4.27 m)
Date: 1784–85
Source/ Museum: Musée du Louvre, Paris
Jacques Louis David and Napoleon
David’s political agenda was highly successful through the influence of his art
Was imprisoned in 1794 after supporting a regime which fell out of favor
Pulled back from center stage, painted portraits and classical events
Napoleon, upon being crowned emperor in 1804, sought David’s artistic abilities
David enthusiastically accepted, depicted Napoleon as an invincible hero
Napoleon Crossing the Saint Bernard
David 1800
David after being in prison, reestablished dominance in French painting.
Napoleon used David as propagandist as he abolished aristocracy across Europe
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Artist: Jacques-Louis David
Title: Napoleon Crossing The Saint-Bernard
Medium: Oil on canvas
Size: 8'11" X 7'7" (2.7 X 2.3 m)
Date: 1800–1801
Source/ Museum: Musée National du Château de la Malmaison, Rueil-Malmaison
Napoleon and Art
Napoleon used art to help push his ambitious agenda
Arc de Triumph was based on Arch of Titus
His political order combined with the art ushered in the Romantic era of art
Created a model for how modern politicians and leaders could use the power of art and images for political means.
Napoleon in the Plague House at Jaffa 1804
Antoine Gros (Student of David)
https://www.youtube.com/watch?time_continue=81&v=Rx1HtFtc1cM
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Artist: Antoine-Jean Gros
Title: Napoleon In The Plague House At Jaffa
Medium: Oil on canvas
Size: 17'5" X 23'7" (5.32 X 7.2 m)
Date: 1804
Source/ Museum: Musée du Louvre, Paris
Jean August Dominique Ingres
Jean-Auguste-Dominique Ingres Napoleon on his Imperial Throne 1806 oil on canvas
8’6” x 5’4”
David's great successor was Jean-August-Dominique Ingres, whose cool serenity of line and tone and painstaking attention to details became identified with the academic tradition in France.
Jean-Auguste-Dominique Ingres
Granda Odalisque 1814
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Artist: Jean-Auguste-Dominique Ingres
Title: Large Odalisque
Medium: Oil on canvas
Size: 35 X 64" (88.9 X 162.5 m)
Date: 1814
Source/ Museum: Musée du Louvre, Paris
The odalisque here blends Neoclassical lines with Rococo subject.
NEOCLASSIC ARCHITECTURE
Classical architecture is the model to copy
The classic temple and its elements are used in churches, public buildings ect…
Neoclassical buildings have few defining characteristics:
Clean, elegant lines
Uncluttered appearance
Free standing columns
Massive buildings
Anteroom Syon House
Robert Adam (architect to King George III)
Middlesex, England
(Duke of Northumberland’s home)
Developed style of interior decoration based on applied ornament; fit taste of wealthy
Aim: “to transform the beautiful spirit of antiquity with novelty and variety”
Used motifs from Pompeii and rococo
Never accepted by British Royal Academy
Unearthing of Pompeii ruins big influence in Neoclassicism
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Artist: Robert Adam
Title: Anteroom, Syon House
Medium: n/a
Size: n/a
Date: 1760–69
Source/ Museum: Middlesex, England
Monticello 1782 Thomas Jefferson Charlottesville, Virginia
“Little mountain” in Italian
Brick building, octagonal dome, stucco applied to trim to give effect of marble
Tall French doors and windows to ease heat of VA summers
Balustrade hides 2nd floor, inspired by Palladio & Roman ruins
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Artist: Thomas Jefferson
Title: Monticello
Medium: n/a
Size: n/a
Date: 1769–82, 1796–1809
Source/ Museum: Charlottesville, Virginia
Neoclassicism vs. Romanticism
Neoclassicism
Values: Order
Tone: Rational, calm
Subjects: Greek and Roman history, myth
Technique: Stressed use of lines, no trace of brushstrokes
Role: Morally uplifting, inspiring
Key Artist: David
Romanticism
Values: Emotion, imagination
Tone: Spontaneous
Subjects: Legends, exotic, nature, violence
Technique: Quick brushstrokes, chiaroscuro, tenebrism
Genre: Heroic struggle, landscape, wild animals
Key Artists: Gericault, Delacroix
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
Characteristics
Emotional emphasis
Nature can kill you
Current events
we cannot identify romanticism by a single technique but the general characteristics include
The Nightmare John Henry Fuseli
1781 oil on canvas 3′ 4″ x 4′ 2″
Detroit Institute of Arts
The painting was first displayed at the annual Royal Academy exhibition in London in 1782, where it shocked, titillated, and frightened exhibition visitors and critics.
Eugène Delacroix
French Romantic artist regarded from the outset of his career as the leader of the French Romantic school. Delacroix's use of expressive brushstrokes and his study of the optical effects of color profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the symbolists.
Liberty Leading the People
Eugène Delacroix
1830
Oil on canvas
8.5 ft × 10.5 ft
Louvre
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Rue Transnonain, Le 15 Avril, 1834
Honore Daumier
1834 lithograph
11 x 17 ½ inches
Bibliotheque Nationale, Paris
Francisco de Goya
Defines Spanish Romantic movement
Started off painting cartoons for Rococo tapestries
French Revolution (1789) inspired his art
Political enlightenment and the freedom of the individual
Disillusionment sets in as reforms in France were short-lived
The Sleep of Reason Produces Monsters
1797–1799
Landscape painting
Media: Drypoint, Aquatint
Aquatint is a variation of etching. It uses a metal plate that is covered with a waxy, acid-resistant resin. The artist draws directly into the resin with a needle so that the wax is removed exposing the metal plate below. When the scratch drawing is complete, the plate is submerged in an acid bath. The acid eats into the metal where lines have been etched. When the acid has bitten deeply enough, the plate is removed, rinsed and heated so that the remaining resin can be wiped away.
The Sleep of Reason Produces Monsters (1797-1799) is one of a series of etchings by Spanish painter and printmaker Francisco de Goya. The man in this print is believed to be Goya himself, who at that time was feeling a lack of hope in humanity’s ability to rise above misfortune.
The Third of May, 1808 in Madrid Francisco Goya 1808, 1814-15 oil on canvas 8' 9" x 13' 4" Museo del Prado, Madrid
Theodore Gericault
carried further dramatic and coloristic style and shifted to the emphasis of battle paintings from heroism to suffering and endurance
The main figure for French romanticism was Théodore Géricault, who carried further the dramatic, coloristic style and who shifted the emphasis of battle paintings from heroism to suffering and endurance.
Raft of the Medusa Theodore Gericault
16′ 1″ x 23′ 6″
1818-1819
Oil paint on canvas
The Louvre
portrays on a heroic scale the suffering of ordinary humanity
Virgin of Guadalupe
Sebastian Salcedo
Oil on panel and copper
1779
25’ x 19”
portrays on a heroic scale the suffering of ordinary humanity
Romantic Landscapes
Rather than just describing the scene, Romantic artists colored it by mood and used nature as allegory
Artists comment on spiritual, moral, historical, or philosophical issues
Allows the artist to “naturalize” conditions – make them appear normal, acceptable, or inevitable
Caspar David Friedrich 1774-1840 German
The Abbey in Oakwood
Joseph M. W. Turner 1775-1851 English
Joseph Mallord William Turner Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) 1840 oil on canvas Museum of Fine Arts, Boston
Thomas Cole 1801-1848 American
View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow
Thomas Cole
1836
oil on canvas
51 1/2 x 76 inches
