Champs Elysees, Paris, celebrating the 14th of July

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Champs Elysees, Paris, celebrating the 14th of
July
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Taking the Bastille, 1789
Jean Pierre L L. Houel, Prise de la Bastille,
Watercolor painting, 1789
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David, sketch of Marie Antoinette on her way to
scaffold, 1793
Execution of Maria Antoinette, 16 Oct. 1793
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Vigée-Lebrun, Portrait of Marie Antoinette, o/c,
1778
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The Enlightenment The Age of Reason Neoclassici
sm (mid 18th cent to early 19th cent)
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followed the discoveries of Greek vases in
Etruscan tombs, as well as the excavations at
Herculaneum and Pompeii.
German art historian Johann J. Winckelmann the
most important elements of classical art are
noble simplicity and calm grandeur Reaction
against the frivolity of the Rococo new cult of
the civic virtues of stoical self-sacrifice,
devotion to duty, honesty, and austerity
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History Painting
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Thomas Jefferson
Rotunda, University of Virginia, Charlottesville,
1817- 1826
Pantheon, Rome, Italy, 1st cent. AD
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Thomas Jefferson, Monticello, Charlottesville,
Virginia, 1770-84, 1796-1806
Monticello, Charlottesville, Virginia. 1770-84,
1796-1806
Andrea Palladio, Villa Rotunda, 1566 to 1571
Parthenon
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west pediment metopes, Parthenon
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Germain Boffrand, Hotel de Soubise, Paris, begun
1732
1770-84
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Osterley Park and House
Robert Adam
original redbrick Tudor house, transformed and
remodeled by Robert Adam between 1760-1780 for a
wealthy banking family, the Childs.
Hercules in the entrance hall
Room view of the Entrance Hall at Osterley Park,
designed by Robert Adam in 1767 and has stucco
decoration by the firm of Joseph Rose and
grisaille paintings by Giovanni Battista
Cipriani.
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Parthenon, East pediment - Phidian drapery, 445
- 440 B.C.
Titian, Venus of Urbino 1538 Oil on canvas 119 x
165 cm
Antonio Canova Maria Paolina Borghese as Venus,
marble (Carrara), 1804-1808
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Horatio Greenough George Washington,
1832-1841, marble, 10-foot-high
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ROMANTICISM 18TH- 19TH Century
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• Romanticism rejected
• the precepts of order, calm, harmony, balance,
  idealization, and rationality that typified
• Classicism in general and late 18th-century
  Neoclassicism in particular
• the Enlightenment and 18th-century rationalism
  and physical materialism in general
• Romanticism emphasized
• the individual / the subjective / the personal
• the irrational / the imaginative
• the emotional / the spontaneous
• the transcendental / the visionary

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Romanticism
a deepened appreciation of the beauties as well
as the awsome force of nature as against human
fragility the Sublime a general exaltation of
emotion over reason and of the senses over
intellect a focus on the self and an interest
in human personality and its moods and mental
potentialities a preoccupation with the genius,
the hero, and the exceptional figure in general,
with a focus on his passions and inner
struggles a new view of the artist as a
supremely individual creator an emphasis on
imagination as a gateway to transcendent
experience and spiritual truth emphasis on the
past (natural v. mechanistic, industrialized,
rural v. urban) an interest in folk culture,
national and ethnic cultural origins, and the
medieval era and a predilection for the exotic,
the remote, the mysterious, the weird, the
occult, the monstrous, the diseased

Movement, dynamism (diagonal), appeal to emotion
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The inner struggles of the hero, the exceptional
person, the genius
Jacques-Louis David, Napoleon Crossing the Saint
Bernard, 1800-01, oil on canvas, 8 1 x 7 7
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Orientalism (the exotic)
John Nash, Royal Pavilion, Brighton, England,
1815-23
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Orientalism
Ingres
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Orientalism Mankinds passions and suffering
Eugène Delacroix The Massacre of Chios 1824, Oil
on canvas, 419 x 354 cm
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Eugène Delacroix. Death of Saradanapalus, 1827,
oil on canvas. 12 ft 1 in x 16 ft 3 in
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The Forces of Nature (The Irrational)
Fuseli
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"The world was to him a secret which he
desired to divine. Curiosity, earnest research to
learn the hidden laws of nature, gladness akin
to rapture, as they were unfolded to him, are
among the earliest sensations he can remember .
. . It was the secrets of heaven and earth that
he desired to learn and whether it was the
outward substance of things or the inner spirit
of nature and the mysterious soul of man that
occupied him, still his inquiries were
directed to the metaphysical, or in it highest
sense, the physical secrets of the world."
Chapter 2, pg. 22-3
"a flash of lightning illuminated the object
and discovered its shape plainly to me its
gigantic stature, and the deformity of its
aspect, more hideous than belongs to humanity,
instantly informed me that it was the wretch,
the filthy demon to whom he had given life."
Chapter 7, pg. 60
. when suddenly I heard a shrill and dreadful
scream. It came from the room into which
Elizabeth had retired. As I heard it, the whole
truth rushed into my mind, my arms dropped, the
motion of every muscle and fibre was suspended
I could feel the blood trickling in my veins and
tingling in the extremities of my limbs. This
state lasted but for an instant the scream was
repeated, and I rushed into the room. Great God!
why did I not then expire! Why am I here to
relate the destruction of the best hope and the
purest creature of earth? She was there, lifeless
and inanimate, thrown across the bed, her head
hanging down, and her pale and distorted features
half covered by her hair. Everywhere I turn I see
the same figure--her bloodless arms and relaxed
form flung by the murderer on its bridal bier.
Could I behold this and live? Chapter 23
Mary Shelly, Frankenstein, 1818
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William Blake
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CRADLE SONG by William Blake (1757-1827)
SLEEP, sleep, beauty bright, Dreaming in the
joys of night Sleep, sleep in thy sleep
Little sorrows sit and weep.   Sweet babe, in
thy face Soft desires I can trace, Secret joys
and secret smiles, Little pretty infant wiles.
  As thy softest limbs I feel, Smiles as of
the morning steal O'er thy cheek, and o'er thy
breast Where thy little heart doth rest.   O
the cunning wiles that creep In thy little heart
asleep! When thy little heart doth wake, Then
the dreadful night shall break.
THE SICK ROSE by William Blake (1757-1827)
     ROSE, thou art sick! The invisible worm,
That flies in the night, In the howling storm,
  Has found out thy bed Of crimson joy And
his dark secret love Does thy life destroy.
HEAR THE VOICE by William Blake
(1757-1827) H EAR the voice of the Bard, Who
present, past, and future, sees Whose ears have
heard The Holy Word That walk'd among the
ancient trees   Calling the lapsèd soul, And
weeping in the evening dew That might control
The starry pole, And fallen, fallen light
renew!  
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Francisco Goya
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Goya, Third of May, 1808, 1814-15, oil on canvas,
9 x 13
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Géricault
The irrational, madness, inner struggle,
uncontrollable nature
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Study
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C. D. Friedrich
"Follow unconditionally the voice of your inner
self because this is the divine in us, and it
does not lead us astray." The Sublime "The
passion caused by the great and sublime in
nature . . . is Astonishment and astonishment
is that state of the soul, in which all its
motions are suspended, with some degree of
horror. In this case the mind is so entirely
filled with its object, that it cannot entertain
any other."
Burke, On the Sublime, 1757
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Caspar David Friedrich
Monk by the Sea, 1809, oil on canvas,
110 x 172 cm
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William Turner
The Sublime
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The natural v. the mechanic, rural v. urban, the
self v. the machine
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Burning of the Houses of Parliament (1834), 36
1/2 x 48 1/2 in
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Thomas Cole
View from Mount Holyoke, Northampton,
Massachusetts, after a Thunderstorm The Oxbow,
1836, oil on canvas 51 1/2 x 76 in
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Frederic Edwin Church
Frederic Edwin Church, Niagara Falls, 1857, oil
on canvas, 42 x 90
Niagara Falls from the American Side, 1867, oil
on canvas, 112 x 91
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Albert Bierstadt