Chapters

1
Chapters

• 26-27

2
Rococo

• Delight
• Pleasure
• Materialism

• Graceful // elegant
• Sensual // sensuous // erotic // indulgent //
  voluptuous // hedonic
• Intimate // trivial // frivolous

3
Antoine Watteau, Departure from the Island of
Cythera, 1717
http//vr.theatre.ntu.edu.tw/hlee/course/th9_1000/
painter-wt/watteau/watteau-01x.jpg
4
Antoine Watteau, Embarkation for Cythera, 1719
5
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6
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7
Neoclassicism

• The Grand Manner
• (Joshua Reynolds)
• Reason // clarity // order // restraint
• Goodness // virtue // truth

• Moral
• Simple // austere // monumental
• Balanced // symmetric // geometric

8
Causes

• The new archeology excavations of Greek and
  Roman sites, such as Pompeii
• As expression of Enlightenment ideals

9
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10
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11
Mt. Vesuvius (AD 79) and Amphitheater
12
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13
Street in Herculaneumhttp//www.coco.cc.az.us/ape
tersen/_ART201/pompeii.htm
14
Herculaneum
http//www.photoatlas.com/pics01/pictures_of_italy
_07.html
15

• Neoclassical Painting

16
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17
Poussinists

• David
• Ingres

18
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19
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20
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21

• Neoclassical Architecture

22

• It expresses a reaction of the bourgeoisie
  against Rococo -the reaction of virtue against
  decadence- and intends to simplify. It carries
  along some of the basic ideas of the French
  revolution, glorifying the great virtues of
  antiquity and accepting paganism, adding science
  to emotion. During the empire, the values of the
  roman civilization are promoted.
• Neoclassicism does not only adopt antic ideals
  due to the contemporary development of
  archeology, it also tries to reproduce Greek and
  Roman forms with a precision the artists of the
  Renaissance had not looked for.

http//www.tam.itesm.mx/art/neoclas/ineocl01.htm
23
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24
SOUFFLOT, Panthéon, 1755-91, Paris,
France http//www.readliterature.com/dumaspere_sub
.htm
25
SOUFFLOT, Panthéon, 1755-91, Paris,
France http//www.readliterature.com/dumaspere_sub
.htm
26
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27
SOUFFLOT, Panthéon, 1755-91, Paris,
France http//www.readliterature.com/dumaspere_sub
.htm
http//www.readliterature.com/dumaspere_sub.htm
28
Claude-Nicholas Ledoux, Royal Saltworks,
1774-79 Directors House
29

• In the late eighteenth and early nineteenth
  centuries, the United States, in search of
  foundational models to replace its former
  reliance on Great Britain, turned to examples
  from the ancient world, particularly the Roman
  republic, and, to a lesser extent, ancient
  Greece. Americans associated classical Greece and
  Rome with the virtuous, anti-aristocratic
  political and cultural ideals they hoped would
  prevail in the United States. Ancient Romans
  founded the first republic--a representational
  government in which power is held by the people
  and representatives are charged with the common
  welfare of all the people in the country--and
  Americans were anxious to emulate this model.
  Their growing interest in the art and culture of
  the ancient world was part of an aesthetic
  movement known as neoclassicism.
  http//www.learner.org/amerpass/unit04/context_act
  iv-2.html

30

• Neoclassical ideals also permeated American art
  and architecture. Artists eagerly adopted Roman
  models, creating statues of political and
  military leaders like George Washington wearing
  togas and crowned with laurel wreaths. . . . But
  it was in architecture that the American
  neoclassical aesthetic achieved its best
  expression, a fact that was largely the result of
  Thomas Jefferson's commitment to infusing
  American buildings with classical principles of
  order and reason.
• http//www.learner.org/amerpass/unit04/context_act
  iv-2.html

31
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32
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33
Thomas Jefferson, University of Virginia,
Charlottesville, VA, 1819-26
http//www.bc.edu/bc_org/avp/cas/fnart/fa267/Jeffe
rsn.html
34
Thomas Jefferson, Virginia State Capitol,
Richmond, VA, 1785-89 http//www.bc.edu/bc_org/avp
/cas/fnart/fa267/Jeffersn.html
35

• Washington, D.C., was conceived of as a grand
  neoclassical city made up of orderly avenues and
  imposing government buildings.
• Because the city was built from scratch on a
  rural landscape, Jefferson and the other planners
  were able to plan it as a carefully designed
  exercise in neoclassical order and harmony.
• http//www.learner.org/amerpass/unit04/context_act
  iv-2.html

36

• Neoclassical Gardens

37
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38
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39
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40
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41
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42

• The overriding impression of such gardens is of
  man's tyranny over nature.

43
Romanticism

• Nature
• Emotion sentimentality // nostalgia //
  melancholy
• Imagination exotic // ecstatic // fantastic //
  gothic

• the sublime
• Subjectivity
• Spontaneity
• Mysticism

44

• Sweet is the lore which Nature brings
• Our meddling intellect
• Mis-shapes the beauteous forms of things
• We murder to dissect
• --William Wordsworth
• Tables Turned

45
Romanticism

• "Romantic" relates to the French word, "Roman,"
  meaning novel (as in a book). Art and
  Architecture tells a story in a captivating way.
  Grabs and holds your attention.
• http//www.bitdegree.ca/intranet/courses/IMD1000/C
  ourseNotes03-7.html

46
Tintern Abbey
47
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48
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49
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50
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51
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52
Romantic Painting

• Great Britian
• --John Constable (1776-1837)
• --J. M. W. Turner (1775-1851)
• France
• --Théodore Géricault (1791-1824)
• --Eugène Delacroix (1799-1863)
• Germany
• --Caspar David Friedrich (1774-1840)

53

• Romantic Landscape Painting

54

• Constable

55
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56
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57
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58
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59
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60

• Turner

61
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62
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63
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64
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65

• Friedrich

66
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67
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68
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69
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70
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71
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72
The Sublime

• Edmund Burke, Philosophical Enquiry into the
  Origin of Our Ideas of the Beautiful and the
  Sublime (1757).

73

• Burke divided all aesthetic responses into two
  categories, the beautiful and the sublime.

74

• The beautiful includes all that is smooth,
  regular, delicate, and harmonious the sublime,
  all that is rough, gloomy, violent, and gigantic.
   

75

• Sublimity among objects of nature includes all
  that is untamed and uncivilized, such as the
  wilder parts of the countryside, mountains,
  cataracts, volcanoes, and scenes that are savage
  and primitive as opposed to "cultivated.
• http//www.faculty.de.gcsu.edu/rviau/ids/Artworks
  /gardenhistory.html

76

• American Romanticist Painting

77

• Thomas Cole, 1801-1848
• --The Hudson River School (1830s-1840s)

78

• Thomas Cole was the leader of the Hudson River
  School, named after the Hudson River region of
  New York State, which we recognize as creating
  the first American style of painting. Cole found
  nature awe inspiring he interpreted it as
  reflecting the hand of God and was therefore
  reverential toward the wilderness.
• http//www.ncmoa.org/artnc/object.php?themeid3ob
  jectid29

79
Thomas Cole, "The Oxbow," 1836http//faculty.evan
sville.edu/rl29/art105/img/cole_oxbow.jpg
80

• Cole relies heavily on European conventions of
  landscape painting to convey the visual
  representation of the struggle between wilderness
  and civilization. Cronon points out that the
  diagonal of the tree to the left that directs the
  view of the scene down the valley toward the
  farmland is a trademark of celebrated French
  landscapist Claude Lorrain. The dramatic storm
  clouds over the wilderness speak of the
  uncontrolled power of nature, but also of the
  sublimity of this power. Cole shows no remorse
  for the recession of the wilderness from the
  scene. The soft greens and yellows and the gentle
  rolling landscape of the farms suggest that the
  pastoral civilization that replaces the
  wilderness is as beautiful in its order as nature
  is in its sublimity.
  Thomas Cole, "The Oxbow," 1836http//xroads.virgi
  nia.edu/cap/NATURE/oxbow.html

81
Thomas Cole, 1842. Part of a series of paintings
called "The Voyage of Life," which takes a person
from childhood to youth to manhood to old age.
This painting symbolizes manhood.
http//www.cep.unt.edu/show/034.htm
82
Thomas Cole, Romantic Landscape, 1826 Look
closely at the upper left corner, above the
mountain peak. You may be able to see faintly
painted rays of light that give the scene a
spiritual feeling.http//www.ncmoa.org/artnc/obje
ct.php?themeid3objectid29
83
Thomas Cole, Landscape Scene from the Last of the
Mohicans, 1827 The people in the landscape are
so small compared to the whole scene. And they
are American Indians, the first inhabitants of
the New York and New England wilderness already
being developed by European Americans in Cole's
time. Their presence confirms this is an America
landscape, not European.http//www.swarthmore.edu
/Humanities/kjohnso1/pictures/mohicanscole.jpg
84

• Bierstadt, 1830-1902
• the Western frontier as an American Garden of
  Eden

85
Bierstadt, The Rocky Mountains, Landers Peak, 1863
http//www.artunframed.com/images/artistsusaa/bier
stadt1.gif
86
Albert Bierstadt, Bridal Veil Falls, Yosemite,
1871-73 Bierstadts vast panoramas of the
Rockies and Sierra Nevada, their skies often
turbulent and shot through with sunlight,
introduced Americans to a majestic wilderness,
awesome but unthreatening, and well worth
possessing. In a sense, the artist staked claim
to the land by painting it, then passed the
ownership on to the viewer. His many paintings
of Yosemite are indeed biblical in grandeur,
imbued with the sense that divinity dwelled
within the wilderness. http//www.ncmoa.org/artnc/
artifact.php?artifactid16
87
Albert Bierstadt, Hetch Hetchy Canyon,
1875http//www.mtholyoke.edu/offices/artmuseum/ge
neral_info.html
88
Albert Bierstadt, Yosemite, 1866,
http//www.isu.edu/wattron/OLBierstadt.html
Although the valley was still very much in a
wild, primitive state, in this painting,
Bierstadt portrays the valley as orderly and
park-like.  He has eliminated clutter, keeping
the elements of the painting to only the
essentials. 
89

• Frederic Edwin Church, 1826-1901
• invested his vistas with a heroic and
  quasi-religious spirit

90

• In the 1850s, influenced by the great explorer
  Alexander von Humboldt, Church traveled to South
  America and made sketches that were the basis of
  a great Andean panorama. Church painted nature
  with uncanny fidelity and an abiding sense of
  awe. His landscapes embodied America's belief
  that the opening of frontiers and territorial
  expansion were the nation's destiny.
• http//www.wga.hu/frames-e.html?/html/c/church/

91
Church, Heart of the Andes, 1859
http//www.artchive.com/artchive/C/church/heart_of
_andes.jpg.html
92
Church, The Natural Bridge, Virginia, 1852
93
Church, "Niagara Falls from the American Side,
1867 http//www.thecityreview.com/fechurch.html
94
Church, Rainy Season in the Tropics, 1866
http//www.theorderoftime.com/art/timegallery/hall
2/rainyseason.html
95
Romanticism in England

• Wordsworth (1770-1850)
• P. B. Shelley (1792-1822)
• John Keats (1795-1821)

96
Romanticism in America

• Transcendentalism
• Emerson
• Thoreau
• Walt Whitman

97

• Charles Darwin
• (1809-1882)

98
Theory of Natural Selection

• Origin of Species (1859)
• The Descent of Man (1871)
• Survival of the fittest Competition leads to
  adaptation and if adaptation is successful, to
  survival.

99
Theory of Natural Selection

• The governing principles of the world are not
  order and harmony but constant and undirected
  struggle.
• Chance, not a divine plan, ruled the universe.
• Good and bad were defined only in terms of an
  ability to survive.
• 
  (Norton, 906)

100
Social Darwinism

• Class laissez faire capitalism
• Nation nationalism, imperialism
• Race racial superiority
• (Norton 907)

101

• The End