APAH TEST STUDY

English Palladian Style

An architectural style that applied classical principles to a country manor house design - first used by Palladio - inspired Jefferson to design Monticello

jean-auguste dominique ingress grande odalisque oil on canvas, 1814.

her surrounding is romantic. - he learned the neo-classical style, but it is romantic. - can lso be mannerist. - an odalis is a member of the turkish. - peacock fan. - turban. - exotic elements were fascinated by romantics. - reclining woman. - may do a comparison. important points: - mannerist tendency - bridges between neo-classicism & romanticism (interest in the exotic and fantasy) - battle with delacroix between color and line - imperial attituds to justify colonialism? - Ingres has created a cool aloof eroticism accentuated by its exotic context. The peacock fan, the turban, the enormous pearls, the hookah (a pipe for hashish or perhaps opium), and of course, the title of the painting, all refer us to the French conception of the Orient. Careful—the word "Orient" does not refer here to the Far East so much as the Near East or even North Africa. - ort of person for whom this image was made, the odalisque would have conjured up not just a harem slave—itself a misconception—but a set of fears and desires linked to the long history of aggression between Christian Europe and Islamic Asia (see the essay on Orientalism). Indeed, Ingres' porcelain sexuality is made acceptable even to an increasingly prudish French culture because of the subject's geographic distance. Where, for instance, the Renaissance painter Titian had veiled his eroticism in myth (Venus), Ingres covered his object of desire in a misty, distant exoticism.

jean-antonie houdon george washington marble, 1788-1792. neoclassicism

how is this neoclassical? - standing in contropossto. - made out of marble. - erect, upright, idealished. the artist: a frenchman named houdon. why? - us was too young a country to have skilled sculptors. - jefferson was a francophile who selected houdon. - houdon was famous and a neoclassical sculptor. houdon traveled to measure washington and make a face mask. - washington insisted on contemporary attire. - houdon perfectly captured washington's likeness. - he also captured the man's duality: private citizen nd public soldier. - the 13 rods symbolize the 13 states. - the sword is removed from him, but he uses only if its important. symbolizes putting away the sword. - fatherly image. - military uniform. - stanc similar to doryphoros. - plows behind washington- reference to roman story in which a roman dictator resigned power when his leadership were not longer needed and returned to his farm and a peaceful, civilian life. - sword: symbol of military might and authority. - badge of society of cincinnati- founded for officers who resumed peacetime roles.

Salons

-gathering of Enlightenment thinkers and philosophers, particularly in France

1789AD - 1815AD

- Neoclassical Art - Reaction to Rococo - 1815 is defeat of Napoleon at Waterloo

jacques-louis david oath of the horatii 1784. neoclassicism

- old roman story, two tribes, instead of having a war, they choose to have a lottery, picking three people. the three brothers were chosen. they vow to fight till the death for their country. - father is in the middle. - you should die for what you believe in. he story of the oath, David created a rigorously organized painting with a scene set in what might be a Roman atrium dominated by three arches at the back that keep our attention focused on the main action in the foreground. There we see a group of three young men framed by the first arch, the Horatii brothers, bound together with their muscled arms raised in a rigid salute toward their father framed by the central arch. He holds three swords aloft in his left hand and raises his right hand signifying a promise or sacrifice. The male figures create tense, geometric forms that contrast markedly with the softly curved, flowing poses of the women seated behind the father. David lit the figures with a stark, clinical light that contrasts sharply with the heightened drama of the scene as if he were requiring the viewer to respond to the scene with a mixture of passion and rationality. example of Neoclassical history painting. It tells a story derived from the Classical world that provides an example of virtuous behavior (exemplum vertutis). The dramatic, rhetorical gestures of the male figures easily convey the idea of oath-taking and the clear, even light makes every aspect of the story legible. Instead of creating an illusionistic extension of space into a deep background, David radically cuts off the space with the arches and pushes the action to the foreground in the manner of Roman relief sculpture. his stage direction as well as other contemporary productions and images related to the story of Horatii in particular—and oath-taking in general—may provide the background for David's decision to paint the moment when the brothers take their oath to defend Rome—an act of personal sacrifice for a political ideal- we can understand how one might read Oath of the Horatii as a painting designed to rally republicans (those who believed in the ideals of a republic, and not a monarchy, for France) by telling them that their cause will require the dedication and sacrifice of the Horatii. Those who support this view cite some of the rousing lines from Corneille's tragedy such as, "Before I am yours, I belong to my country," as well as the response of contemporary left-wing writers who praised David's republican sentiments. Those who disagree with this interpretation argue that David was enmeshed in the system of royal patronage, that the painting was accepted into the Salon with no negative response from official quarters and later royal commissions followed..

Exemplum Virtutis

- "example of virtue" seen in every neo-classical art - presents classic, subject matter in a classical style

A Philosopher Giving a Lecture at the Orrery. Joseph Wright of Derby. 1763-1765 C.E. Oil on canvas. *enlightenment art in England*

- An expression of the Enlightenment idea that empirical observation grounded in science and reason could best advance society - Artist influenced by the Lunar Society of Birmingham, which met to discuss scientific topics of the day - Content: • Orrery = model of the planets & their orbits • Lecturer in red = Isaac Newton(?) • Student taking notes • Listener captivated by lecture • Kids in quiet contemplation - work's influences: • mimics history paintings (considered by the art academies as the highest genre) that taught moral lessons >> but here, the moral is the pursuit of scientific knowledge • Mimics religious art in its use of tenebroso and its "sacred arrangement" of people around Jesus/Mary >> but here, the central figure is the orrery not Jesus, and we are being converted to science, not Christianity >> figures are "enlightened" by science

Liberty Leading the People. Eugene Delacroix. 1830 C.E. Oil on canvas. *romanticism*

- By Delacroix, a French Romantic painter - *Memorializes the July Revolution of 1830 and its overthrow of France's King Charles X* - Glorifies the fight for "liberty, fraternity, and equality" against 19th century conservatism in post-Napoleonic France: • *Unity amidst diversity*. Symbols: — Woman = Lady Liberty who: -- leads revels to victory over gov't soldiers -- Wears a Phrygian cap worn by freed slaves in antiquity -- Holds the tricolor flag (blues, reds, and whites echo its colors throughout) — child w/guns = young v. old — Man w/top hat = French upper class — Man w/sword at far left = French lower class & acceptance of diversity (African) — Men and women = men v. women • Notre Dame in background -> real setting mixed with allegory and symbols. Work is true to the spirit of the event but does not literally depict what happened >> Purchased by Ling Louis-Philippe "the Citizen King" in 1835 BUT not shown for 25 years for fear it might encourage more revolution

The Swing. Jean-Honore Fragonard. 1767 C.E. Oil on canvas. *rococo*

- By Fragonard who was among the French court's favorite artists (and whose career died after the French Revolution) - Setting is typically Rococo: nature is verdant and wild but not dangerous - Man (perhaps the patron) hides behind bushes, hat in hand, suggesting sexual openness - Woman swings before him, kicking off her shoe, suggesting sexual openness - Statue of cupid urges couple to be discreet - Another man pushes her but is oblivious to the implied affair (patron wanted him to be a bishop but Fragonard made him a layman instead) - Commission originally offered to another painter who refused on the grounds that it was immoral >> an example of fete galante

Y no hai remedio (And There is Nothing to be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15. Francisco de Goya. 1810-1823 C.E. (published 1863). Drypoint etching. *romanticism*

- By Francisco Goya, the court painter to Spain, social critic, and chronicler of his times - One of 82 Disasters of War etching, the first half of which critique the French occupation of Spain by Napoleon - Goya initially supported Napoleon - A war of Spanish resistance ensues after Spain's king is deposed and replaced by Napoleon - Spanish resort to guerrilla tactics, the French retaliate with brutal reprisals targeting even civilians Content: - prisoners blindfolded and tied to stakes - Some already short by firing squad, contorted and grotesque - Prisoner in left foreground = Christ figure, stands and emits light despite impending doom - Rifles appear abruptly from extreme right - Multiple firing squads suggest large number of innocents to be killed in violence - Repetition of anonymous faceless, nameless executioners suggest dehumanization • even war conducted with the best intentions dehumanize us, turn us into machines - Emotional impact heightened by technique = drypoint etching • process like making an etching + needle used to create fine lines and thus subtle shading - 2nd half of etchings chronicle a famine and, finally, Goya's and the rebel's disappointment that when Napoleon is defeated, the old monarchy is restored and hopes for liberal reform are crushed - These are published so long after intaglios out of fear for getting in trouble - Similar to Goya's more famous painting called Third of May >> Goya had been called "the last of the great masters and the first of the moderns" • He was modern through his imaginative mind • Fluid brushwork • Art meant to challenge and critique the way things are (subversiveness)

The Tete a Tete from Marriage a la Mode. William Hogarth. 1743 CE. Oil on canvas. *enlightenment art in England*

- By Hogarth, famous for his works of satire that promoted middle-class virtues (hard-work, thrift, etc.) >> note: his paintings often made into etchings in order to spread message - Scene 2 of 6 in a series called Marriage a la Mode ("in the fashion") critiquing the aristocracy and the practice of marrying for title or for money - Tete a tete = private conversation >> ironic because there is no conversation happening couple is at the breakfast table - Their dysfunctional marriage conveyed by artist's portrayal of the: • Husband, son of the bankrupt Lord Squanderfield - posture suggests that he was hungover from a party the night before - Dog = loyalty (ironic because its sniffing the bonnet) - Broken sword = reference to a drunken fight - Bonnet in a pocket = he is cheating (prostitute from party) - Black mark on neck = acquired STD - syphilis • Wife, daughter of a rich but miserly merchant - posture suggests a priming (also having an affair) •The steward (left) - papers in hand = living beyond their means (bills that he doesn't know how to pay) >> *message: marry for love, be thrifty, keep it in your pants*

La Grand Odalisque. Jean-Auguste-Dominique Ingres. 1814 C.E. Oil on canvas. *romanticism*

- By Ingres, who, after David, was the most influential painter of the 19th century - Depicts a traditional Greco-Roman nude reclining nude in a Turkish harem - Turkish elements = peacock fan, hashish pipe, turban - Form exaggerated for sexual effect: • Curves • Elongated back • Right arm longer than left • Softened edges (elbow, ankle) - sensuality further heighten by contrast of cool blue of bed with warm reddish tint of skin YET - Psychologically complex: her expression expressed her being high or reluctant to be a concubine • compare with Venus of Urbino • Reflects a growing male interest in artistic depictions of harems because: • Helps inspire the rise of Orientalism, a European movement fascinated with the exotic world of the Middle East but also inclined to stereotype its inhabitants

The Oxbow (View from Mt. Holyoke, Northampton, Massachusetts, after a Thunderstorm). Thomas Cole. 1863 C.E. Oil on canvas. *romanticism*

- By Thomas Cole, who evaluated the status of landscape painting to that of history paintings - Cole the leading member of the Hudson River School • Influenced by European Romantic landscape painters, esp. Friedrich • Depict nature as a sublime manifestation of the divine, detailed & idealized - NOT just an interesting view of the Connecticut River by an expression of Manifest Destiny that held that Americans possess a God-given destiny to expand west - The left half represents the Frontier • Nature is sublime, transcendent • Wild, virginal landscape is untouched by man • Storm-blasted tree suggests the raw power of nature - The right half represents Civilization • Man has mastered nature • Tamed, cultivated land subject to human settlement • Clear sky, sunlight, grazing animals, rich fields >> combined, the two halves speak to the *success of man's westward expansion and reflect the belief in Manifest Destiny* >> note: the self-portrait within the painting. Cole did not actually travel but painted in studio

George Washington. Jean-Antoine Houdon. 1788-1792 C.E. Marble. *neo-classical*

- Commissioned by the Virginia General Assembly to commemorate the USA's newly won independence from GB and GW's role in winning it - Sculpted by Houdon - famous for his sculptural portraits of important statesmen, philisohpes, etc. - who: • was chosen on advice of Thomas Jefferson • Originally planned to based the work on a drawing of GW • Travelled to USA to take actual measurements of GW & make a plaster mask of his face • Planned to dress GW in a toga, but GW insisted on being in contemporary dress (atypical for Neoclassical sculpture) - result: "nothing...could be a more perfect image than this stature of the living Washington" - Stands in contrapposto stance reminiscent of the spear bearer - Not only captures his likeness but also his dual role as a private citizen and public soldier • in military uniform • Holds a gentleman's walking an, stands in front of a plow (general, common farmer | "beating swords into plowshares") • Sword hands by his side • Leans on a fasces, a bundle or rods that: — represented power and the rule of law in Ancient Rome — Total of 13 rods refers to the 13 states of the USA >> *Overall effect: GE is a modern day Cincinnatus who resigned his power and returned to a peaceful, civilian life on the farm*

Self-Portrait. Elisabeth Luise Vigee Le Brun. 1790 C.E. Oil on canvas. *rococo*

- Le Brun was the most important female artist if the 18th century; • she specializes in aristocratic portraiture BUT • is hard to categorize b/c her career was long, interests varied • Success reflects the emergence of a women's rights movement based on Enlightenment principles (among 1st women allowed into a French Academy/painter's guild) - one of 40~ idealized self-portraits - Unlike most Rococo portraits, work is informal and spontaneous, like portraits in Netherlands - The background painting is of Marie Antoinette, a former patroness, who she paints from memory as the French Revolution was already underway >> compare w/Madam Bourgeret by Boucher

Monticello. Virginia, U.S. Thomas Jefferson (architect). 1768-1809 C.E. Brick, glass, stone, and wood. *neo-classical*

- Monticello = "Little mountain" - Designed by Thomas Jefferson to serve as his home - TJ had no formal training but read about Ren and classical design Version 1: - Begun during colonial period - Based on English Palladian style - Palladio = influential late Ren. architect who 1st applied classical principles to country manor house design • E.g., on a hill not next to a river, unlike most plantation • 2 porticos (outside patio) + 2 terraces provide multiple views of estate Version 2: - begin after independence and TJ's stint as a diplomat in Paris - Based on French and Roman architecture - 2x bigger than before - 2 stories appear as one from outside façade (balustrade = railing hides second story) - Octagonal dome (3rd floor) - Portico with doric columns - Brick - Stucco lends the appearance of marble - Symmetrical interior - Central axis = space for entertainment - Wings = private space for study, sleep - Narrow spiral staircases, beds on alcoves -> maximize space in home - Brick, nails, etc. made on site >> TJ embraced (French) Neo-classicism so as to *promote the classical ideals of democracy, education, rationalism, and civic responsibility in the USA* >> *TJ popularized the neo-classical style on the USA (replacing the Dutch baroque style)*

Portrait of Sor Juana Indes de la Cruz. Migual Cabrera. 1750 C.E. Oil on canvas. *art of the Americas*

- Painting of a scholarly nun of St. Jerome regarded as the 1st feminist of the Americas - Posthumous -> artists based her image on other portraits - Seated at desk w/book by St. Jerome, the namesake of her religious order >> inspired by traditional depictions of St. Jerome himself - Like traditional nun portraits: • she is dressed in a habit • She wears an escuda de monja or "nun's badge" around neck (w/image of annunciation) • She holds a rosary - unlike traditional nun portraits: • she gazes directly at the viewer -> she is confident and assertive • She is surrounded by books on philosophy, biology, etc. reflecting here interests in scholarly pursuits • Quills and ink well testify to her own scholarly writings >> Note: Becoming a nun was one of the few avenues women in the Americas had to pursue a life of scholarship and influence

Characteristics of Neoclassicism

- Presents classical subject matter (historical or mythological) in a classical style for the purpose of conveying an exemplum virtutis ("example of virtue") - arose in reaction against the frivolity of the Rococo - popular due in part to: * the Grand Tour * the excavation of Pompeii * Reflections on the Imitation of Greek Works by the first modern art historian Johan Joachim Winckelmann Characteristics: - subject matter: heroic, mythological - themes: patriotism, self-sacrifice, honor, courage, duty etc. - style: linear (clean lines, clear outline, distinct forms, no brushstrokes) - stable composition w/horizontals and verticals - severe, simple, masculine

Characteristics of 18th century English Art

- Reacts against the social basis for the Rococo (power and privilege based on mere tradition) arises due to: * the continued growth of a middle-class or bourgeoisie * the Enlightenment's emphasis on reason and merit as a basis for progress >>Thus arose a desire to create a new society is coupled with a desire for a new kind of art promoting morality - Even when the Rococo was at its height, bourgeoisie patrons were instead supporting artists who chose: * to depict the respectable, dignified, hard-working people of the middle class, * to return to painting actual places and the real appearance of nature * to use a more spontaneous, natural (less artificial, less posed) mode of presentation, and * to use a darker, more "sensible" somber color palette.

1715AD - 1789AD

- Rococo in upper class - Enlightenment Art in middle class - 1715 is King Louis XV - 1789 is French Revolution

Characteristics of The Rococo

- Rococo is from the French word rocaille, a reference to the "pebbles" and small shells that ornamented interiors - associated with the reign of King Louis XVth of France(1715-1760) but falls out of favor with the advent of the French Revolution - the style reflects the re-emergence of aristocratic power and privilege in France following the death of the Sun King, Louis XIV. Characteristics: Style 1) light, pastel colors 2) painterly, Rubeniste style (loose brushwork) 3) beautiful people pursuing pleasureful things in beautiful outdoor settings = fetes galantes Mood 1) light-hearted 2) sensual 3) playful 4) self-indulgent 5) frivolous 6) erotic >> all the things nobles aspired to be >> How different from the Baroque?

1815AD - 1848AD

- Romantic Art - reaction to Neo-Classicism - 1848 = year of Revolutions

Orrery

- a model of the universe used by professors and lecturers in the 1700 - 1800s

enlightenment the age of reason! (18th century)

- a new age relying on individual experience and reason.. rather than on authority and tradition - educated men and women everywhere strove to be enlightened. - reason is the solution to all problems. - all men are equal - all men have natural rights: the right to life, liberty and a happy life. - but we don't enjoy these rights, because of bad institutions. - the church was viewed as a source of superstition, ignorance, and subservience. - deism: god as a walkmaker. - john locke, thomas jefferson. - order, reason, balance, restraint

william hogarth the breakfast scene oil on canvas, satire. 1745 (enlightenment)

- a satire of the upper-class. - the breakfast scene is portraying the marital immoralities of the moneyed class in england. - there is buddha statues, and a christian figures, signifies that they have no religious values. - dog sniffing a woman's bonnet in his pocket. - his wife, her bodice is undone, she looks flirtatious as though her lovers just left. - chair is overturned, music, love making has taken place here and has just ended when the husband came home. - music: symbol of pleasure. - images of saints, commenting on the immoralities. - third figure, cant get this young couple to take their finances seriously. - bought expensive things, but they're values that don't reflect the reality of their lives. - love is ruined, a disaster, - a painting of cupid, canvas called the inspection, have classical sculptures

the 18th century roccoco and neoclassical 19th century romanticism

- age of reason(enlightenment) - age of classicism: has classical style and architecture. - age of elegance: people tended to dress elegantly. men dressed in laces, big wigs. - age of satire: type of art or literature that makes fun of human beings. - deism: he created this universal, and it's up to us to save our own problem. god does not intervene with the universal. it is up to us! - many believed that democracy was the right way.

jean-honore fragonard the swing oil on canvas 1766. rococo

- bishop pushing the girls on the swing. - down below her fiance is looking up her dress. - there is no deep message. - upperclass life. - the trees are fluffy. - she's kicking off her shoes, symbolic of her willingness to spend intimate time with him. - his arm has a hat in his hand. - arm is fallic, has sexual overtone. - cupid, with him whispering. - all about lust. - - In The Swing, a young gentle- man has convinced an unsuspecting old bishop to swing the young man's pretty sweetheart higher and higher, while her lover (and the work's patron), in the lower left corner, stretches out to admire her from a strategic position on the ground. The young lady flirtatiously kicks off her shoe toward the little statue of Cupid. The infant love god holds his finger to his lips. The landscape emulates Watteau's— a luxuriant perfumed bower in a park that very much resembles a stage scene for comic opera. The glowing pastel colors and soft light convey, almost by themselves, the theme's sensuality. - Fragonard's The Swing reflects the indulgence that characterized the French aristocracy in the years before the Revolution. - fragonard depicts a scene of scandal and flirtation, suggesting a secret love affair between the woman and the young man hidden in the bushes. - the surrounding sculptures allude to secret love and the amorous playfulness of the scene. - the frilly luxury of the woman's clothes and her mischievous and playful demeanor are the central focus that pull our eyes into the image. - Diderot and other Enlightenment thinkers rebelled against the frivolous lifestyle and pleasure-seeking of the ruling classes, which is depicted in Rococo art.

eugene delacroix liberty leading the people 1830. romantic (french)

- women can represents liberty. - the little boy. - every class is represented. - designed with a purposely plan. has a triangle. - people who have died, liberty is able to progress. - women can represents nourishment with her open breast. - mother liberty. - liberty gives us the freedom. - flag of france. - the color of the flag is represented in the entire painting. - organized chaos. - odalisque: member of a turkish harem - Delacroix depicts an event from the July Revolution of 1830, - at first seems to be overpowered by chaos, but on closer inspection, it is a composition filled with subtle order. The first thing a viewer may notice is the monumental—and nude to the waist—female figure. Her yellow dress has fallen from her shoulders, as she holds a bayonetted musket in her left hand and raises the tricolor—the French national flag—with her right. This red, white, and blue arrangement of the flag is mimicked by the attire worn by the man looking up at her. She powerfully strides forward and looks back over her right shoulder as if to ensure those who she leads are following. Her head is shown in profile—like a ruler on a classical coin—and she wears atop her head a Phrygian cap, a classical signifier of freedom. This is an important bit of costuming—in ancient Rome, freed slaves were given one to wear to indicate their newly liberated status, and this headwear became a symbol of freedom and liberty on both sides of the Atlantic Ocean during the eighteenth and nineteenth centuries. - he serves as an allegory—in this instance, a pictorial device intended to reveal a moral or political idea—of Liberty. In this, she is similar to an example familiar to those in the United States, Frédéric Auguste Bartholdi's Statue of Liberty (1886). Clearly, this monumental statue is not a portrait of a woman named Liberty who wears a Roman toga, carries a torch, and an inscribed tablet. Instead, she represents an idea. The same is true of Delacroix's painted Liberty. - But if the female figure represents an allegory, those who surround her represent different types of people. The man on the far left holds a briquet (an infantry saber commonly used during the Napoleonic Wars). His clothing—apron, working shirt, and sailor's trousers—identify him as a factory worker, a person in the lower end of the economic ladder. His other attire identifies his revolutionary leanings. The handkerchief around his waist, that secures a pistol, has a pattern similar to that of the Cholet handkerchief, a symbol used by François Athannase de Charette de la Contrie, a Royalist solider who led an ill-fated uprising against the First Republic, the government established as a result of the French Revolution. The white cockade and red ribbon secured to his beret also identify his revolutionary sensibilities. - This factory worker provides a counterpoint to the younger man beside him who is clearly of a different economic status. He wears a black top hat, an open-collared white shirt and cravat, and an elegantly tailored black coat. Rather than hold a military weapon like his older brother-in-arms, he instead grasps a hunting shotgun. These two figures make clear that this revolution is not just for the economically downtrodden, but for those of affluence, too. - This revolution is not only for the adults—two young boys can be identified among the insurgents. On the left, a fallen adolescent who wears a light infantry bicorne and holds a short saber, struggles to regain his footing amongst the piled cobblestones that make up a barricade. The more famous of the pair, however, is on the right side of the painting (image, right). Often thought to be the visual inspiration for Hugo's character of Gavroche in Les Misérables, this boy wildly wields two pistols. He wears a faluche—a black velvet beret common to students—and carries what appears to be a school or cartridge satchel (with a crest that may be embroidered) across his body. - Although not everyone can pick up a weapon and stand a post in a war, Delacroix would have us believe that everyone can be a revolutionary. When corresponding with his brother on 28 October 1830—less than three months after the July Revolution, Delacroix wrote, "I have undertaken a modern subject, a barricade, and although I may not have fought for my country, at least I shall have painted for her. It has restored my good spirits." In doing so, Delacroix completed what has become both a defining image of French romanticism and one of the most enduring modern images of revolution.

jose maria Velasco the valley of Mexico from the hillside of Santa Isabel 1882, oil on canvas, romantic (mexico)

- can see Mexico city and Guadalupe. - important volcanoes in the history of Mexico. - the ancient Aztec capital of Tenochtitlan was founded - individuals in indigenous garments travel from city to country - romanticism was an international movement. - valley represented much more than a mere opportunity to practice this newly established genre of painting. This imagery offered an opportunity to highlight symbols of patriotism valuable to a newly independent society. - Velasco's compositions united pre-Hispanic symbols and contemporary national sentiments. For example, the white peaks that predominate his vistas are the Popocatepetl and Iztacchihuatl volcanoes. - two volcanoes were the main characters of a legendary ill-fated love between an Aztec princess (Iztacchihuatl, or "white woman") and a courageous warrior (Popocatepetl, or "smoking mountain"). - can be viewed as a re-interpretation of the common late eighteenth-century German subject, "pastoral idylls," where a sense of poetic harmony and daily life were united. - he composition's poetics. Similar to his German predecessors, Velasco explored the romantic relationship between human figures and the scenery they inhabit. Two indigenous individuals are presented in transit from the city to the country, reflecting a romantic, yet difficult socio-economic relationship between people and their ancestral land. The figures' indigenous garments intrinsically relate to the national iconography displayed throughout the image. In the words of the German poet Johann Christoph Friedrich von Schiller, the figures in a landscape must represent "a humanity reconciled with itself...nature purified, raised to its highest moral dignity...the ideal beauty applied to real life."[1] Velasco has produced an image where national pride, romantic poetry, and daily life blend to transform the Valley of Mexico into a Romantic masterpiece.

Pompeii

- city buried under ash by Mount Vesuvius erupting and was uncovered to influence neo-classicism - where most of out hints at what Roman life was like come from

Characteristics of Romanticism

- flourished between 1800 and 1848 - arose in reaction against the extreme rationalism of the Enlightenment & Neoclassicism Characteristics/themes - feeling > reason - imagination > reality - transcendental landscapes (represent union of soul & nature) - exotic settings - erotic - the sublime (terror + awe) - nationalistic Style - loose, fluid brushwork - strong chiaroscuro - strong colors - expressive poses and gestures

charles barry and A.W.N Pugin houses of parliament london, England, designed 1835 romantic

- gothic style architecture - can see tracery, lots of decoration. - they loved the middle ages. - because of the industrial revolution, they wanted an architecture that had integrity, and this is a government building. - a church is associated with truth and purity, but this building is where the government officials were. - if you were a member of the government officials, you were seeking for the right and true for the individual. sacred of the individual - the gothic elements of the house of parliament are based on the perpendicular style of the chapel of Henry vii at Westminster Abbey, which emphasizes verticality and elaborate tracery. - the houses of parliament are classical in the balance and rhythm of the facade. its gothic appearance is based more on decorative features. - the house of parliament is in part an expression of Victorian England's rejection of th apparent ugliness and greed of th modern era and an embracing of what they saw as the medieval values of faith and individual craftsmanship.

Thomas Jefferson Monticello("little mountain") charlottesville, virginia 1770-1806, neoclassicism

- has a dome, pediment, ballistrades, made out of brick. - uses imagery from greece and rome but with american material. - Jefferson fundamentally changed the proportions of Monticello. If the early construction gave the impression of a Palladian two-story pavilion, Jefferson's later remodeling, based in part on the Hôtel de Salm (1782-87) in Paris, gives the impression of a symmetrical single-story brick home under an austere Doric entablature. The west garden façade—the view that is once again featured on the American nickel—shows Monticello's most recognized architectural features. The two-column deep extended portico contains Doric columns that support a triangular pediment that is decorated by a semicircular window. Although the short octagonal drum and shallow dome provide Monticello a sense of verticality, the wooden balustrade that circles the roofline provides a powerful sense of horizontality. From the bottom of the building to its top, Monticello is a striking example of French Neoclassical architecture in the United States. - Jefferson intended to reinforce the ideals behind the classical past: democracy, education, rationality, civic responsibility. Because he detested the English, Jefferson continually rejected British architectural precedents for those from France. In doing so, Jefferson reinforced the symbolic nature of architecture. Jefferson did not just design a building; he designed a building that eloquently spoke to the democratic ideals of the United States. This is clearly seen in the Virginia State Capitol, in the Rotunda at the University of Virginia, and especially in his own home, Monticello.

Elisabeth Vigee-Lebrun Self-Portrait, 1790 rome, oil on canvas

- lebrun grew up to be intelligent, beautiful, rich, talented displayed on the self-portrait. - queen marie-antoinette liked lebrun. - example of the rococo style. - Rococo epitomized a fashionable ideal, wherein perpetual youth was libertine and pleasure-loving, its sexual gratification taken without guilt or consequence - artist sits in a relaxed pose at her easel and is positioned slightly off center. wears a white turban and a dark dress—in the free-flowing style that Marie-Antoinette had made popular at the French court—with a soft, white, ruffled collar of the same material as her headdress. belt is a wide red ribbon. Vigée-LeBrun holds a brush to a partially finished work; the subject is probably Marie-Antoinette—perhaps intended as a tribute to her favorite sitter. Slightly used brushes are at the ready along with a palette, she has everything cradled in her arm close to the viewer. - painting expresses an alert intelligence, vibrancy, and freedom from care.Queen was being driven from power by revolutionaries who hated the profligate lifestyle of the nobility and would later execute both Marie-Antoinette and her husband, King Louis XVI. Vigée-LeBrun—a working painter, wife, and mother—displays an extraordinarily sanguine persona.

neo-classicial

- masculine - restrained - sculpturesque - stark - inspired by art of greece and rome - cool - clear - idealized - simple - calm - balanced - ordered - controlled - rational

thomas cole the oxbow 1836, oil on canvas romantic painting (US)

- member of the Hudson River school. - called the Oxbow because the river looks like an oxbow. - this is the Connecticut River in Massachusetts - what direction is American going into? - the American wilderness, on the left side. - the artist painted himself, looking at us. - this all has to do with civilization. - The Oxbow. At first glance this painting may seem to be nothing more than an interesting view of a recognizable bend in the Connecticut River. But when viewed through the lens of nineteenth-century political ideology, this painting eloquently speaks about the widely discussed topic of westward expansion. The Oxbow, the viewer can clearly see that Cole used a diagonal line from the lower right to the upper left to divide the composition into two unequal halves. The left-hand side of the painting depicts a sublime view of the land, a perspective that elicits feelings of danger and even fear. This is enhanced by the gloomy storm clouds that seem to pummel the not-too-distant middle ground with rain. This part of the painting depicts a virginal landscape, nature created by God and untouched by man. It is wild, unruly, and untamed. left side of this painting is sublime in tenor, on the right side of the composition we can observe a peaceful, pastoral landscape that humankind has subjugated to their will. The land, which was once as disorderly as that on the left side of the painting, has now been overtaken by the order and regulation of agriculture. Animals graze. Crops grow. Smoke billows from chimneys. Boats sail upon the river. What was once wild has been tamed. The thunderstorm, which threatens the left side of the painting, has left the land on the right refreshed and no worse for the wear. The sun shines brightly, filling the right side of the painting with the golden glow of a fresh afternoon. viewed together, the right side of the painting—the view to the east—and that of the left—the west—clearly speak to the ideology of Manifest Destiny. During the nineteenth century, discussions of westward expansion dominated political discourse. The Louisiana Purchase of 1804 essentially doubled the size of the United States, and many believed that it was a divinely ordained obligation of Americans to settle this westward territory. In The Oxbow, Cole visually shows the benefits of this process. The land to the east is ordered, productive, and useful. In contrast, the land to the west remains unbridled. Further westward expansion—a change that is destined to happen—is shown to positively alter the land. The Oxbow, reveals an easily overlooked self-portrait in the lower part of the painting. Cole wears a coat and hat and stands before a stretched canvas placed on an easel, paintbrush in hand. The artist pauses, as if in the middle of the brushstroke, to engage the viewer.

Bourgeoisie

- people of the middle class

romanticism

- reaction against neo-classicism - emphasis on the individual than social issues. - 1960s was a romantic age, 19th century. emphasis on emotion over intellect. - love of the fantastic and exotic. - love of nature. - idealistic and rebellious.

joseph wright of derby a philosopher giving a lecture on the orrery oil on canvas. c. 1765 (enlightenment)

- science is being proved as revealing truths. - the light is the symbol of truth! - truth.. but scientifc truth. - the children are captivated by what they're wacthing: an orrey. - orrery: a mechnical model of the solar system. - children seeing the truth to ways. - use of tennebrism, mostly used in religious painting. - this painting almost treats science as religion. - the light of god replaced by the light of the orrery. - the enlightenment emphasizes scientific views over relgiious views of the universe. - like a religious conversion.. - the light creates dramam and gives the painting a religious feel. - the new religion is an enlightened view of the world. - A Philosopher Lecturing at the Orrery does depict a moment of religious epiphany. Much like the central figure in Caravaggio's Calling of Saint Matthew (below), the figures listening to the philosopher's lecture in Wright's painting are experiencing conversion...to science. - he events depicted, although exciting, do not give A Philosopher Lecturing at the Orrery its high dramatic impact. That responsibility falls on the paintings strong internal light source, the lamp that takes the role of the sun. Wright mimics Baroque artists like Caravaggio, who inserted strong light sources in otherwise dark compositions to create dramatic effect. Most of these earlier works were Christian subjects, and the light sources were often simple candles. Wright flips the script with his scientific subject matter. The gas lamp which acts as the sun pulls double duty in the painting. It illuminates the scene, allowing the viewer to clearly see the figures within, and it symbolizes the active enlightenment in which those figures are participating.

goya third of may 1808 oil on canvas 1814 (spanish) romanticism.

- spanish freedom fighters were massacred by the french. - "worlds first modern painting" - french soldiers aiming their guns at a spanish man, who stretchs out his arms both to the men and to his fate. - even a monk, bowed in prayr, will soon be among the dead. - christian iconography, portrayal of man's inhumanity to the man. - central figure: poor laborer, takes the place of crucified christ; sacrificing himself for the good of his nation. - lantern that sits between him and the firing squad is the only source of light in the painting, and dazzlingly illuminates his body, bathing him in what can be perceived as spiritual light - expressive face, which shows an emotion of anguish that is more sad than terrified, echoes Christ's prayer on the cross - victim's right hand, reference mark of christ's crucifixion. - not only equates him with Christ, but also acts as an assertion of his humanity. The French soldiers, by contrast, become mechanical or insect-like. They merge into one faceless, many-legged creature incapable of feeling human emotion. Nothing is going to stop them from murdering this man. The deep recession into space seems to imply that this type of brutality will never end

goya disasters of war "and there's nothing to be done" etching, romantic(spanish) 1810-23

- three rifles sticking out. - french soldiers. - dead person on the ground. - black and white contrast. - A man, blind-folded, head downcast, stands bound to a wooden pole. His white clothes, despite tears and rips, seem to emit light; although the man's off-kilter posture signifies defeat, he is yet heroic, an Alter Christus—another Christ. On the ground in front of him is a corpse, contorted, the spine twisted, arms and legs sprawled in opposite directions. His grotesque face looks out at us through obscured eyes as blood and brain matter ooze out of his skull and pool around his head. Seconds ago this man was alive. Further off, to our hero's left, other men, doubled-over and on their knees, are similarly secured to wooden stakes. To his right we see the cause of the carnage: a neat line of soldiers aim rifles at the men, the muzzle of their weapons disappearing behind our hero's hip. But the rest of the gun is not left to our imagination. Suddenly—and in such an obvious position that we wonder how we did not see them before—the barrel of three rifles appear from the right edge of the picture, aimed at our messianic hero. Not only is he about to die, but his executioners are everywhere. As the caption of the picture tells us, "Y no hay remedio" (And there's nothing to be done). - he eighty-two images add up to a visual indictment of and protest against the French occupation of Spain by Napoleon Bonaparte. The French Emperor had seized control of the country in 1807 after he tricked the king of Spain, Charles IV, into allowing Napoleon's troops to pass its border, under the pretext of helping Charles invade Portugal. He did not. Instead, he usurped the throne and installed his brother, Joseph Bonaparte, as ruler of Spain. Soon, a bloody uprising, occurred, in which countless Spaniards were slaughtered in Spain's cities and countryside. Although Spain eventually expelled the French in 1814 following the Peninsular War (1807-1814), the military conflict was a long and gruesome ordeal for both nations. Throughout the entire time, Goya worked as a court artist for Joseph Bonaparte, though he would later deny any involvement with the French "intruder king." - using the techniques of etching and drypoint. Goya was able to use this technique to create nuanced shades of light and dark that capture the powerful emotional intensity of the horrific scenes in the Disasters of War. - the Disasters of War, that war, even if justified, brings out the inhumane in man, and causes us to act like beasts. And for both artists, the consumer, who examines the dismembered corpses of the aquatints or reads the gruesome descriptions of murder but does nothing to stop the assassin, is complicit in the violence with the murderer. - Although "And There's Nothing to Be Done" may have crystallized the theme of The Disasters of War, it is not the most gruesome. This honor may belong to the print " Esto es peor (This is Worse)," which captures the real-life massacre of Spanish civilians by the French army in 1808. In the macabre image, Goya copied a famous Hellenistic Greek fragment, the Belvedere Torso (left), to create the body of the dead victim. Like the ancient fragment, he is armless, but this is because the French have mutilated his body, which is impaled on a tree through his anus and shoulder. As in "There is Nothing to be Done," the corpse face stares out at the viewer, who must confront his own culpability in allowing the massacre to take place. "There is Nothing to be Done," can also be compared to the plate "No se puede mirar (One cannot look)," in which the same faceless line of executioners points their weapons at a group of women and men, who are about to die. - The Disasters of War were Goya's second series, made after his earlier Los Caprichos. This set of images was also a critique of the contemporary world, satirizing the socio-economic system in Spain that caused most people to live in poverty and forced them to act immorally just to survive. Goya condemned all levels of society, from prostitutes to clergy.

joseph turner the slave ship 1840, oil on canvas. romantic. (england)

- throws over people who are alive by their captain. - inhuman, injustice. - idealistic. - believes every iindividual is important. - exotic, emotional, the way he slaps the paint on. the love of nature. - hazy, lucid. - - The Slave Ship depicts a 1781 incident reported in the widely read History of the Abolition of the Slave Trade. incident involved the slave ship Zong, en route from Africa to Liverpool. The ship's captain, on realizing that his insurance would reimburse him only for slaves lost at sea but not for those who died en route, ordered more than 50 sick and dying slaves to be thrown overboard. - The essence of Turner's innovative style is the emotive power of color. He released color from any defining outlines to express both the forces of nature and the painter's emotional response to them. in his paintings, the reality of color is at one with the reality of feeling.

History Painting

A genre of painting considered by the art academies of Europe to be the highest genre. They often depicted historical events to convey a moral lesson (ex: the death of General Wolfe)

Hudson River School

An art school in the U.S. led by Thomas Cole, the painter of The Oxbow

The Acadamy

An elite group of artists in any country

Grand Tour

An intelectual tour through the great classical cities of Europe, particularly Athens and Rome, that greatly inspired artists to begin the Neoclassical movement.

Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On). Joseph Mallord William Turner. 1840 C.E. Oil on canvas. *romanticism*

By J.M. Turner, whose extreme painterly style and interest in dramatic light effects influenced the rise of impressionism Story? (A British slaver named the Zong was off the coast of Jamaica after a successful routine trip to Africa, and suddenly several slaves began to die at an unusual rate. Seeing he had a business problem on his hands, he selected slaves to throw overboard to account for the losses in hopes of getting insurance. 132 African men, women, and children were thrown overboard, their hands and feet fettered, and drowned in the shark-infested waters. This incident caused countless British people to begin campaigning against the slave trade in Britain.) How was it critically received? (At first people ridiculed Turner for his style, title, and subject matter) Of what historic significance is the story? (It marks the beginning of a massive movement against the slave trade in Great Britain) How nature depicted? (Powerful, feverish, apocalyptic) How "true?" (Depicts the massacre of over 100 innocent slaves; sharks were present when slaves thrown over) Source of optimism/redemption? (The incident of the Zong would be remembered and used to fuel backlash against the slave trade; God seems to intervene with beam of light in the center in order to make sure that the slaves' death would mean something) How does form match the message? (Turner uses loose brushstrokes and lots of colors to communicate that because of the Zong incident, slavery would ultimately end.)

Palace of Westminster (House of Parliament). London, England. Charles Barry and Augustus W. N. Pugin (architects). 1840-1870 C.E. Limestone masonry and glass. *romanticism*

Designed by Pugin and Barry who won a design competition after the original building burned down in 1834 Seat of England's parliament Style: - plan is classical (Barry) - its symmetry suggests balance/equality between the House of Lords and the House of Commons - decoration is Gothic (Pugin) Based on the severe version of Gothic architecture popular in medieval England called the perpendicular style Visually coordinated with Westminster Abbey, where kings were crowned and buried Suggests Parliament is legitimate because of its ancient heritage (1st met in 1295) Recalls the spirituality, community, and hand craftsmanship of the Middle Ages versus the materialism, individualism, and machine-driven economy of the Industrial Age One of the many 19th century examples of the popularity of revival architecture ---> new buildings based on past designs that typify the nationalistic spirit of the age Big: 1,100 rooms, 100 staircases, 2 miles of hallways Exterior typical of Gothic architecture: triangular pointed roofs, lancets, etc. Interior: lancets, rib vaulting Westminster Hall: Where joint meetings of Parliament are held All that is left of original structure Central Lobby Between HOC and HOL; 4 mosaics over doorways represent different regions of the UK (England = St. George, Scotland = St. Andrew, Wales = St. David, North Ireland = St. Patrick

Neoclassicism vs. Romanticism

Neoclassicism vs. Romanticism The Society / The Individual Classicism / Nature Rational / Emotional Ideological / The sublime & picturesque Linear/sculpturesque / Painterly The Historic / The Exotic

Odalisque

Prostitue from the Middle East

Orientalism

Western obsession with the exotic Far East

The Oath of the Horatii. Jacques-Louis David. 1784 C.E. Oil on canvas. *neo-classical*

When exhibited? (1785) What ancient story does it tell? (Warfare between Rome and Alba) What oath do the brothers take? (They will fight to the death for their city) What is the source? (Livy and other Roman historical sources) What exemplum virtutis is on display? (Willingness to die for one's country) How is the event tragic for the women, in particular for one of the sisters? (One woman will lose either her husband, who is one of the Curiatii, or her brother) How a commentary on issues in France? (It asserts that sacrifice is needed for change in France) How different from the Rococo/how Neo-classical? (Displays an exemplum virtutis and portrays figures based on Roman sculpture and friezes) * Is it linear or painterly? (Linear) * Is it rational or emotional in its effect? (Rational) Where is the focal point? (Where the hands and the swords meet) How are males contrasted with females? (Males are angular forms; females are curved and soft forms) Who commissioned it? (King Louis XVI) Where first shown? (A salon in France during the Enlightenment) >> note how style of painting contributes to the message

socrates

dies by drinking poison.

the romantic view of nature

pantheism: the theological view that all of nature is invested with the divine. - go to nature to find god.

art of the beginning of the century. this is what the rich people liked. ends when the french revolution came.

rococo - feminine, luxurious, frivolous, delicate, sensual, decorative, pleasure-loving, frothy. - pastel colors(easter egg) - art for the aristocracy. - pursuit of pleasure. - appeals to men. the age of louis XV - 18th century