1818thth century centuryEighteenth century time of change in Europe- Eighteenth century time of change in Europe- start of start of Industrialization, revolutions in France, America, birth of modern Industrialization, revolutions in France, America, birth of modern DemocracyDemocracyDuring the first part of the century the European aristocracy was still During the first part of the century the European aristocracy was still in power and continue to commission works of art to show their in power and continue to commission works of art to show their wealth and power (let the rest eat cake-Reign of Louis XV and Marie wealth and power (let the rest eat cake-Reign of Louis XV and Marie Antoinette).Antoinette).In In FranceFrance RococoRococo style prominent- light and playful- “Rococo” style prominent- light and playful- “Rococo” comes from the French ‘rocaille’, which means “ a fanciful design comes from the French ‘rocaille’, which means “ a fanciful design derived from the twists and turns of seashells and tiny pebbles”derived from the twists and turns of seashells and tiny pebbles”England, Italy and AmericaEngland, Italy and America did not participate in Rococo but stayed did not participate in Rococo but stayed with the with the BaroqueBaroque style styleEngland-Christopher Wren (architect of St. Paul’s Cathedral), England-Christopher Wren (architect of St. Paul’s Cathedral), William Hogarth (painter narrative paintings with morals), Sir Joshua William Hogarth (painter narrative paintings with morals), Sir Joshua Reynolds (classical portraits), Thomas Gainsborough (portrait artist Reynolds (classical portraits), Thomas Gainsborough (portrait artist with detail landscapes, bit of elongated bodies)with detail landscapes, bit of elongated bodies)View painting-View painting- style in Italy depicting city views with incredible style in Italy depicting city views with incredible accuracy -Artist includes Antonio Canaletto-may have used camera accuracy -Artist includes Antonio Canaletto-may have used camera obscura-painted mostly Veniceobscura-painted mostly Venice

View PaintingsView Paintings

Rococo- Rococo- 1818thth Century CenturyBorn in Paris (1723-74)Born in Paris (1723-74)Mood- playful, superficial, alive with Mood- playful, superficial, alive with energyenergySubject matter – fete galante- outdoor Subject matter – fete galante- outdoor romp peopled with by elegantly romp peopled with by elegantly dressed young loversdressed young loversShapes- Sinuous s and c curves, Shapes- Sinuous s and c curves, arabesque, ribbon-like scrolls- very arabesque, ribbon-like scrolls- very ornate (over the top)ornate (over the top)Style- Light , graceful, delicate.Style- Light , graceful, delicate.

-Decorative and non -Decorative and non functionalfunctionalColours- white, silver, gold, light pinks, Colours- white, silver, gold, light pinks, blues, greensblues, greens

- often pearlized- often pearlizedTarget audience- French aristocracyTarget audience- French aristocracy

Jean-Antoine Watteau Jean-Antoine Watteau (1684-1721) (1684-1721) CountryCountry- France- France

MediaMedia- oil on canvas- oil on canvasMajor Style and Major Style and Contribution to ArtContribution to ArtCreated shimmering Created shimmering surfaces that sparkled surfaces that sparkled with life and gaiety; and with life and gaiety; and depicted elegant depicted elegant entertainmententertainmentHe under painted the He under painted the surface with a pearly surface with a pearly colour made up of white, colour made up of white, pale blue and rosepale blue and roseHe would paint the He would paint the background with thin background with thin washes and the washes and the important figures in important figures in impastos impastos of jewelled of jewelled colour, then he would colour, then he would add glazeadd glaze

Plaisirs d'amour (The Pleasures of Love)

Oil on canvas, 61 x 75 cm

Analyse this.

The Scale of Love (the The Scale of Love (the Gamut of Love)Gamut of Love) 1715-18 1715-18 Oil on canvas 50.8 x Oil on canvas 50.8 x 59.7 cm 59.7 cm The main focus of the The main focus of the compositioncomposition lies in the lies in the relationship of the guitar relationship of the guitar player in his brightly player in his brightly coloured theatrical coloured theatrical costume and the girl costume and the girl seated at his feet. seated at his feet. The design enhances this The design enhances this relationship, with the relationship, with the diagonal separating the diagonal separating the figures crossed by figures crossed by another extending from another extending from the feet of the girl to the the feet of the girl to the top of the guitar, guitar top of the guitar, guitar and music book and music book overlapping in the centre.overlapping in the centre.

Sets up a stages of love: courtship, marriage, childrenSets up a stages of love: courtship, marriage, childrenA marble bust of a bearded philosopher appears above the A marble bust of a bearded philosopher appears above the musician, turned to the right where secondary figures, engaged in musician, turned to the right where secondary figures, engaged in their own pursuits, pay no attention to the two main actors.their own pursuits, pay no attention to the two main actors.Shimmering surfaces, captures sheen of satin and silkShimmering surfaces, captures sheen of satin and silk

From the National Gallery

America- still BaroqueAmerica- still Baroque

Analyse this.

The Death of General Wolfe   1770 oil on canvas 152.6 x 214.5 cm

To depict the death of Wolfe To depict the death of Wolfe at the Battle of the Plains of at the Battle of the Plains of Abraham in 1759, West Abraham in 1759, West grouped the figures around grouped the figures around the fallen general as in a the fallen general as in a Lamentation of Christ. Lamentation of Christ. The artist rejected the The artist rejected the convention of representing convention of representing contemporary heroes in contemporary heroes in antique armour, paying antique armour, paying scrupulous attention to the scrupulous attention to the details of their uniforms, and details of their uniforms, and to the native costumes to the native costumes based on Woodlands based on Woodlands aboriginal artefacts in his aboriginal artefacts in his possession. possession. The picture created a The picture created a sensation at the Royal sensation at the Royal Academy in London, in Academy in London, in 1771. Used Baroque 1771. Used Baroque lighting and pathoslighting and pathos

National Gallery of Canada

Kanata- Houle, Robert Kanata- Houle, Robert 1992 1992 acrylic and conté crayon on canvasacrylic and conté crayon on canvas

•Kanata is an excellent example of Houle's reworking of Western art images. •The two central panels feature an altered reproduction of the American artist Benjamin West's famous painting The Death of General Wolfe (1770). •The work challenges the Eurocentric versions of Canada's history and attempts to change the misconceptions that surround Aboriginal people.•The Aboriginal warrior is the only figure rendered in colour. The viewer therefore focuses on his role in the narrative as a witness during this significant historical moment.• We are prompted to question the whole concept of colonial expansion in the Americas and its repercussions for the Aboriginal people. This idea is further emphasized by the two panels that frame the central scene: the blue symbolizing the French, and the red symbolizing the English.

It is as though the warrior is caught and suspended between the two tensions. As well, the two panels refer to other modernist abstract paintings, like Barnett Newman's Voice of Fire, and thus bring us forward into the present. Houle's title is also an ironic remark on the origins of our country's name - which is derived from the Aboriginal word "kanata", meaning "village."Before 1980 Robert Houle’s artworks were hard-edged, linear abstractions. After 1980 he began to paint loosely woven, abstract colour fields. The change was due in part to his growing involvement with Aboriginal issues and, subsequently, holistic beliefs. Beyond this, each work challenges the Eurocentric versions of Canada's history and attempts to change the misconceptions that surround Aboriginal people. He rejects the stereotypes of the "noble savage" and the "vanishing race" that have dominated Canadian and American history books and institutions to date. Many of Houle's recent compositions approach this task by taking historical images from the repertoire of Western art and altering them to emphasize another way of looking at the events depicted.

Neoclassicism (1775-1815)Neoclassicism (1775-1815)

None of this frilly stuff….let’s get seriousNone of this frilly stuff….let’s get serious

Bit of History and BackgroundBit of History and Backgrounddiscoveries of science-discoveries of science- steadily increased human steadily increased human understanding as well as control of the natural worldunderstanding as well as control of the natural worldAge of Enlightenment- Age of Enlightenment- philosophers preached the philosophers preached the gospel ofgospel of reason and The human intellect reason and The human intellect was was considered more important thanconsidered more important than faith faith as the guiding as the guiding force of civilisation.force of civilisation. Social and political problems began to weaken the Social and political problems began to weaken the political structure of Europe. political structure of Europe. While the nobility and the aristocracy maintained their While the nobility and the aristocracy maintained their claim to rule by inherited rightclaim to rule by inherited right, their power was challenged , their power was challenged and their and their authority was erodedauthority was eroded by an increasingly by an increasingly educated population. educated population.

REVOLUTIONREVOLUTION (you say you want a revolution, well now you (you say you want a revolution, well now you know.. you all want to change the world)know.. you all want to change the world)

American Revolution- American Revolution- In 1776 the American colonies In 1776 the American colonies revolted against British dominationrevolted against British domination French RevolutionFrench Revolution-In 1789 the French rose up -In 1789 the French rose up against their against their King Louis XVI (and Marie AntoinetteKing Louis XVI (and Marie Antoinette beheadedbeheaded 1793). 1793).The 17th century examined physical reality, while the The 17th century examined physical reality, while the 18th 18th century examined the mindcentury examined the mind..

“OFF WITH THEIR HEADS”

Based in Based in FranceFranceA serious reaction to the A serious reaction to the frivolous Rococofrivolous RococoFaith inFaith in reason and logic reason and logic led toled to orderliness orderliness andand “ennobling” “ennobling” virtues ofvirtues of Neoclassical art Neoclassical artGreek and Roman art Greek and Roman art were used to inspire the newwere used to inspire the new French RepublicFrench RepublicGerman writer Goethe “the demand now is for heroism German writer Goethe “the demand now is for heroism and civic virtues”and civic virtues”Neo-classicismNeo-classicism may be defined as a may be defined as a controlled academic controlled academic approach to art.approach to art.Revival of austere Classicism Revival of austere Classicism in painting sculpture, in painting sculpture, architecture and furniture.architecture and furniture. (austere-(austere-Having no adornment or Having no adornment or ornamentation; bare)ornamentation; bare)

Art had to follow restricted guideline on principles (the work of Art had to follow restricted guideline on principles (the work of RaphaelRaphael was frequently used as the yardstick by which was frequently used as the yardstick by which students would be measured) This was more importance than students would be measured) This was more importance than individuality of expression.individuality of expression.They were looking for: They were looking for: clear and precise form, balanced clear and precise form, balanced compositions, and idealised beauty. compositions, and idealised beauty.

Neoclassicism (1775-1815)Neoclassicism (1775-1815)

In comes Napoleon……In comes Napoleon……

and his painter,and his painter, Jacques-Louis David

Jacques-Louis David (1748-Jacques-Louis David (1748-1825):1825):Country-Country- France France

MediaMedia- oil on canvas- oil on canvasMajor Style and Contribution to Major Style and Contribution to

ArtArthead artist during the French head artist during the French revolution (napoleon’s revolution (napoleon’s portraits)portraits)allegorical allegorical paintings-paintings- symbolic symbolic of truths or generalizations of truths or generalizations about human natureabout human naturesubject matter illustrated and subject matter illustrated and glorified heroic, patriotic glorified heroic, patriotic subject mattersubject matteridealized, felt realism ridiculed idealized, felt realism ridiculed the human racethe human racenever let his brushwork shownever let his brushwork show

Interesting Fact: When he was nine, his father was Interesting Fact: When he was nine, his father was killed in a duel. His guardian took him from school killed in a duel. His guardian took him from school and installed him in the studio of the Rococo painter. and installed him in the studio of the Rococo painter. However, just across the street, was the studio of However, just across the street, was the studio of one of the founders of the Classical school. It was one of the founders of the Classical school. It was here young Jacques found his home. David became here young Jacques found his home. David became the the director of art during the French Revolution and director of art during the French Revolution and the Napoleonic Empire that followedthe Napoleonic Empire that followed

David's impact upon the period David's impact upon the period extended even to designing extended even to designing classical (read Greco-Roman) classical (read Greco-Roman) garments for the politically correct garments for the politically correct French citizens of the time. The French citizens of the time. The women loved his gauzy, empire women loved his gauzy, empire style outfits (as did the men, no style outfits (as did the men, no doubt), but these same men balked doubt), but these same men balked at wearing his silly togas.at wearing his silly togas.

Empress Josephine

Jacques-Louis David - Consecration of the Emperor Napoleon I and Coronation of the Empress Josephine

For a time he was even chairman For a time he was even chairman of this kangarooish courtof this kangarooish court. . He was He was one of 361 members who voted one of 361 members who voted in favour of the decapitation of in favour of the decapitation of Louis XVILouis XVI..The matter was decided by a The matter was decided by a single vote, he in effect (not quite single vote, he in effect (not quite single-handedly, of course), single-handedly, of course), brought the monarchy crashing brought the monarchy crashing down in the flames of the French down in the flames of the French Revolution. Revolution. and historians have identified and historians have identified more than 300 victims for whom more than 300 victims for whom David signed execution orders. David signed execution orders.

However, with the fall of Napoleon (for whom he was However, with the fall of Napoleon (for whom he was thethe court court painter) the royalists never forgave him his part in the "legal painter) the royalists never forgave him his part in the "legal murder" of their king. He was forced to flee Paris for his life. He murder" of their king. He was forced to flee Paris for his life. He died in exile in Brussels in 1825. Artists, just remember this the died in exile in Brussels in 1825. Artists, just remember this the next time the prime minister calls wanting you to paint his portrait.next time the prime minister calls wanting you to paint his portrait.

subject mattersubject matter

For David, the only worthy subject matter in painting For David, the only worthy subject matter in painting was that which illustrated and glorified heroic, was that which illustrated and glorified heroic, patriotic, classical allusions and allegories. patriotic, classical allusions and allegories. He hated Dutch and Flemish painting of the time He hated Dutch and Flemish painting of the time because he felt their realism ridiculed the human because he felt their realism ridiculed the human race. He proposed that they not only be removed race. He proposed that they not only be removed from sight but destroyed. from sight but destroyed. He wanted a law passed forbidding all artists to He wanted a law passed forbidding all artists to paint anything except patriotic subjects. Inpaint anything except patriotic subjects. In 1792, his 1792, his longing to be a sort of "art dictator" led him to longing to be a sort of "art dictator" led him to be elected a member of be elected a member of The ConventionThe Convention. .

Oath of the Horatii, 1786, oil on canvas, 1.7 m W x Oath of the Horatii, 1786, oil on canvas, 1.7 m W x 1.3 m H, Toledo Museum, Toledo, Spain.1.3 m H, Toledo Museum, Toledo, Spain. Analyse this.

•Shapes-•Space- depth•Line-

•Emphasis-

•Balance-

•Movement-

Oath of the Horatii, 1786, oil on canvas, 1.7 m W x Oath of the Horatii, 1786, oil on canvas, 1.7 m W x 1.3 m H, Toledo Museum, Toledo, Spain.1.3 m H, Toledo Museum, Toledo, Spain.

We are in the period of the wars between We are in the period of the wars between Rome and Alba, in 669 B.C. It has been Rome and Alba, in 669 B.C. It has been decided that the dispute between the two decided that the dispute between the two cities must be settled by an unusual form cities must be settled by an unusual form of combat to be fought by two groups of of combat to be fought by two groups of three champions each. The two groups three champions each. The two groups are the three Horatii brothers and the are the three Horatii brothers and the three Curiatii brothers. The drama lay in three Curiatii brothers. The drama lay in the fact that one of the sisters of the the fact that one of the sisters of the Curiatii, Sabina, is married to one of the Curiatii, Sabina, is married to one of the Horatii, while one of the sisters of the Horatii, while one of the sisters of the Horatii, Camilla, is betrothed to one of the Horatii, Camilla, is betrothed to one of the Curiatii. Despite the ties between the two Curiatii. Despite the ties between the two families, the Horatii's father demands that families, the Horatii's father demands that his sons to fight the Curiatii and they his sons to fight the Curiatii and they obey, despite the lamentations of the obey, despite the lamentations of the women. ,women. ,

self sacrificeself sacrifice and and

patriotism over lovepatriotism over love•Shapes-Arches- tie in composition and add touch of Rome•Space- shallow depth•Line-emphasized the strong line of the men with the gentle line of the woman (to express emphasized the strong line of the men with the gentle line of the woman (to express determination and suffering)determination and suffering)•Emphasis- spot lighting, colour, central, framed by arch, focus on swords in father’s hand

•Balance-father helps balance the strong image of the sons

•Movement- arms reaching for swords

The Oath of the Horatii is The Oath of the Horatii is revolutionary propagandarevolutionary propaganda, as at , as at represents self sacrifice for the represents self sacrifice for the sake of idealssake of ideals. . It advocates a return to the austere It advocates a return to the austere virtues of the early Roman republic, virtues of the early Roman republic, as opposed to the decadence of as opposed to the decadence of those who ruled pre-Revolutionary those who ruled pre-Revolutionary FranceFrance. . The symbolic meaning of this painting, The symbolic meaning of this painting, inciting the people to overthrow inciting the people to overthrow oppression, was well understoodoppression, was well understood.. It It thus helped ignite the Frenchthus helped ignite the French RevolutionRevolution which began four years which began four years laterlater. . The subject heralded the The subject heralded the examples of examples of virtue and patriotism virtue and patriotism dear to the Revolutiondear to the Revolution..

Style- smooth brushwork, surface of the painting appears ploishedStyle- smooth brushwork, surface of the painting appears ploished- severely precise drawn figures in the foreground- severely precise drawn figures in the foreground-Shallow depth- almost like a bas relief sculpture (Lord Elgin had just -Shallow depth- almost like a bas relief sculpture (Lord Elgin had just

brought back the Elgin marbles taken off the Parthenon)brought back the Elgin marbles taken off the Parthenon)-Simple compositions not fussy like Rococo-Simple compositions not fussy like Rococo-Backgrounds usually contain Roman touches-Backgrounds usually contain Roman touches

The Death of The Death of MaratMarat

Marat, deputy to the Marat, deputy to the Convention (official gov’t Convention (official gov’t body after the revolution), body after the revolution), and editor-in-chief of L'Ami and editor-in-chief of L'Ami du Peuple, was a fiery du Peuple, was a fiery orator; he was also a orator; he was also a violent man, quick to take violent man, quick to take offence. Some saw him as offence. Some saw him as an inflexible patriot; for an inflexible patriot; for others he was merely a others he was merely a hateful demagogue On hateful demagogue On July 13, 1793, a young July 13, 1793, a young Royalist, Charlotte Corday, Royalist, Charlotte Corday, managed, by a clever managed, by a clever subterfuge, to gain entry subterfuge, to gain entry into his apartment. When into his apartment. When Marat agreed to receive Marat agreed to receive her, she stabbed him in his her, she stabbed him in his bathtub, where he was bathtub, where he was accustomed to sit hour accustomed to sit hour after hour treating the after hour treating the disfiguring skin disease disfiguring skin disease from which he suffered.from which he suffered.

The Death of SocratesThe Death of Socrates Analyze this-

National Gallery

Jean-Auguste-Dominique IngresJean-Auguste-Dominique Ingres (1780-1867) (1780-1867)

Drawing of Louis Bertin. Drawing of Louis Bertin. 1832. pencil drawing, Louvre, Paris. 1832. pencil drawing, Louvre, Paris.

Country-Country- France FranceMediaMedia- oil on canvas- oil on canvasMajor Style and Major Style and Contribution to ArtContribution to Art

style softer than David’sstyle softer than David’smost of his income was on most of his income was on portraits and nudes, drew his portraits and nudes, drew his figures in the nude then added figures in the nude then added clothesclothesIngres was a true Classicist who Ingres was a true Classicist who did not share the Romantics' did not share the Romantics' enthusiasm for colour and enthusiasm for colour and spontaneity. Instead he felt that spontaneity. Instead he felt that drawing and line were the drawing and line were the foundation of painting. "A thing well foundation of painting. "A thing well drawn", he said, "is always well drawn", he said, "is always well enough painted.“enough painted.“Interesting Fact: didn’t approve of Interesting Fact: didn’t approve of Napoleon when he crowned Napoleon when he crowned himself emperor and left France himself emperor and left France until Napoleon died.until Napoleon died.child prodigy, pupil of Davidchild prodigy, pupil of David

"Le Grande Odalisque" "Le Grande Odalisque"

What do you think of the proportions?

Neoclassicism- Review of Key Neoclassicism- Review of Key PointsPoints

Values- Order, solemnValues- Order, solemnTone- Calm, RationalTone- Calm, RationalSubjects-. Politically correct, serious Subjects-. Politically correct, serious illustrating tales from ancient Greek and illustrating tales from ancient Greek and Roman history and mythologyRoman history and mythologyRole of Art- Morally uplifting, inspirationalRole of Art- Morally uplifting, inspirationalTechnique- Stresses drawing with lines, Technique- Stresses drawing with lines, not colour, no trace of brushstrokesnot colour, no trace of brushstrokesFounder- DavidFounder- David

Romanticism Romanticism (1800-1850)(1800-1850)An art movement and style that flourished in the early An art movement and style that flourished in the early nineteenth century. nineteenth century. It emphasized the emotions painted in a bold, dramatic It emphasized the emotions painted in a bold, dramatic manner. manner. “Feeling is All”-Goethe“Feeling is All”-Goethe Romantic artists rejected the cool academic reasoning Romantic artists rejected the cool academic reasoning of classicismof classicism -- -- the established art of the times -- to paint the established art of the times -- to paint pictures of nature in its untamed state, or other exotic pictures of nature in its untamed state, or other exotic settings filled with dramatic action, often with an settings filled with dramatic action, often with an emphasis on the past. emphasis on the past. Name based on a revival of interest in medieval stories Name based on a revival of interest in medieval stories known as ‘romances’-stories involving fictional hero’s known as ‘romances’-stories involving fictional hero’s and great adventures of individual heroism and emotion. and great adventures of individual heroism and emotion. Also “Gothic” Horror stories were popular (Frankestein)Also “Gothic” Horror stories were popular (Frankestein)Classicism was nostalgic too, but Romantics were Classicism was nostalgic too, but Romantics were more more emotionalemotional, usually melancholic, even melodramatically , usually melancholic, even melodramatically tragic.tragic.

Francesco Goya (1746-1828)Francesco Goya (1746-1828)Country-Country- Spain SpainMediaMedia- oil on canvas- oil on canvasMajor Style and Contribution to ArtMajor Style and Contribution to Art

Goya, was one of the earliest Goya, was one of the earliest artists to see beneath the façade artists to see beneath the façade of rationality and expose the mind of rationality and expose the mind as the seat of irrationality.as the seat of irrationality.Goya was one of the first artists to Goya was one of the first artists to make human madness a major make human madness a major theme in his work.theme in his work.Goya looked penetratingly at the Goya looked penetratingly at the characters of the decaying characters of the decaying monarchy who employed him, monarchy who employed him, experienced the brutality of experienced the brutality of Napoleon's forces on the Spanish Napoleon's forces on the Spanish people, and distilled from these people, and distilled from these and other events a view of and other events a view of humanity as often bestial (animal-humanity as often bestial (animal-like). like). ““Man as victim”Man as victim” was another of was another of Goya's great themes Goya's great themes

Interesting Fact: In 1819 he Interesting Fact: In 1819 he bought a house that he bought a house that he decorated with his "black decorated with his "black paintings", which paintings", which concentrated on themes of concentrated on themes of death, destruction, and death, destruction, and cruelty, and included his cruelty, and included his horrifying depiction of the horrifying depiction of the god Saturn devouring his god Saturn devouring his own children. In Goya's own children. In Goya's world, the illumination of world, the illumination of the Enlightenment had the Enlightenment had been dimmed by the been dimmed by the atrocities of his age. When atrocities of his age. When the liberal Spanish the liberal Spanish government he supported government he supported was overthrown in 1823, he was overthrown in 1823, he sought refuge in France, sought refuge in France, settling in Bordeaux in settling in Bordeaux in 1824. His last years were 1824. His last years were spent in isolation and spent in isolation and anguish, and he poured his anguish, and he poured his torment into his work. torment into his work.

Third of MayThird of May

Goya's emotional style of painting strongly contrasts with the cold, correct Goya's emotional style of painting strongly contrasts with the cold, correct presentation of Neo-Classical painters such as David.presentation of Neo-Classical painters such as David.French troops are shown lined up at the right, efficiently and remorselessly French troops are shown lined up at the right, efficiently and remorselessly (faceless) dispatching their prisoners. Goya exposed these victim's hideous (faceless) dispatching their prisoners. Goya exposed these victim's hideous plight, illuminating their desperation, fear, and helplessness by the lamplight plight, illuminating their desperation, fear, and helplessness by the lamplight needed in the early dawn for the soldiers to hit their marks. needed in the early dawn for the soldiers to hit their marks.

Goya documented his Goya documented his horror and rage at the horror and rage at the capacity of man's capacity of man's ignorance and brutality ignorance and brutality in The Third of May.in The Third of May.

This event was an act This event was an act of revenge by of revenge by occupying Napoleonic occupying Napoleonic soldiers on patriots of soldiers on patriots of Madrid who, the Madrid who, the previous day, had been previous day, had been involved in a violent involved in a violent uprising against their uprising against their oppressors.oppressors.

Theodore Theodore

GericaultGericault

Raft of the Raft of the MedusaMedusa

1818-19, oil on 1818-19, oil on canvas, 7.2m W x canvas, 7.2m W x 4.9 m H, Louvre, 4.9 m H, Louvre,

ParisParis

The Raft depicts an incident which became a political scandal. Fifteen out of The Raft depicts an incident which became a political scandal. Fifteen out of one hundred and forty-nine passengers of the shipwrecked "Medusa" one hundred and forty-nine passengers of the shipwrecked "Medusa" survived a terrifying ordeal off the West coast of Africa after being survived a terrifying ordeal off the West coast of Africa after being abandoned by the ship's captain and senior officers abandoned by the ship's captain and senior officers To illustrate it he chose the moment on July 17, 1816 when the 15 survivors To illustrate it he chose the moment on July 17, 1816 when the 15 survivors were overcome with despair as the "Argus", the ship that eventually was to were overcome with despair as the "Argus", the ship that eventually was to rescue them, sailed off. This was the first time a contemporary news item rescue them, sailed off. This was the first time a contemporary news item had been made the subject for a painting on a large scale. had been made the subject for a painting on a large scale.

Géricault interviewed survivors, had a model of the raft built, and Géricault interviewed survivors, had a model of the raft built, and even studied corpses in the morgue to create this dynamic even studied corpses in the morgue to create this dynamic composition. composition. The dark subject, matched by the colouring and the macabre though The dark subject, matched by the colouring and the macabre though realistic depiction of the corpses, make what was a controversial realistic depiction of the corpses, make what was a controversial exhibit of the 1819 Salon, the first epic example of Romanticism.exhibit of the 1819 Salon, the first epic example of Romanticism.

This work depicts the allegorical figure of Liberty leading the common people of Paris This work depicts the allegorical figure of Liberty leading the common people of Paris in the overthrow of the Bourbon monarchy. Inspired by a five-day French uprising in the overthrow of the Bourbon monarchy. Inspired by a five-day French uprising reminiscent of the French Revolution almost forty years before (Les Mis). Here we reminiscent of the French Revolution almost forty years before (Les Mis). Here we see the tremendous release of energy sought by the Romanticists, heightened by the see the tremendous release of energy sought by the Romanticists, heightened by the use of colour to express emotion.use of colour to express emotion.

Liberty leading the People-Liberty leading the People-

Delacroix

• The allegorical figure of Liberty waves the tricolour flag and storms the corpse-ridden barricades with a young combatant at her side. Realism and epic vision work together. Reviled by conservatives, the work was bought by Louis-Philippe at the 1831 Salon. Soon after, it was hidden for fear of inciting public unrest.

Liberty leading the PeopleLiberty leading the People •Delacroix's painting emphasized emotion, imagination, the mysterious and the exotic, as opposed to the reasoned order of the Neo-Classic period

•Delacroix was not actively involved in the three days of July 1830

•But liberal and romantic as he was, he was keen to celebrate the 28 July, when Parisians took up arms in the vain hope of restoring the Republic.

The scene in this painting is from a play by Lord Byron called Sardanapalus, which tells the story of an Assyrian king who orders his entire city burned and all its inhabitants killed rather than turning it over to an invading army. At the end of the play, Sardanapalus sets himself on fire. Sardanapalus may or may not have actually existed.

Inspired by Delacroix’s trip tp Morocco in 1832 where he infultrated a harem and made 100’s of sketches. Itm alos shows Delacroix attraction to violence

Romanticism- ReviewRomanticism- ReviewValues- Intuition, Emotion, ImaginationValues- Intuition, Emotion, ImaginationInspiration- Medieval and Baroque eras, Middle Inspiration- Medieval and Baroque eras, Middle

and Far Eastand Far EastTone- Subjective, Spontaneous, NonconformistTone- Subjective, Spontaneous, NonconformistColour- Unrestrained, deep rich shadesColour- Unrestrained, deep rich shadesSubjects- Legends, exotica, nature, violenceSubjects- Legends, exotica, nature, violenceGenres- narratives of heroic struggle, landscapes, Genres- narratives of heroic struggle, landscapes,

wild animalswild animalsTechnique- Quick brush strokes, strong light and Technique- Quick brush strokes, strong light and

shade, contrastsshade, contrastsCompositon- Use of diagonalCompositon- Use of diagonal

Ingres, “PaganiniDelacroix, “Paganini

For 25 years Delacroix and ingres led rival schools whose squabbles dominated the Paris scene. The two paintings of violinist Paganini demonstrated the different styles of the two schools. Ingres- Formal, photographic accuracy, a rational man totally in control; Delacroix0 defines the musicians form through colour and energetic fluid brushwork, as opposed to lines. Delacroix’s Paganini is curved like a violin, carried away by the ecstasy of his music. Eyes close, foot almost tapping, passionate abandon, a inner man in the throes of emotion.

  Pre-Raphaelite MovementPre-Raphaelite Movement(1848 - 1854)(1848 - 1854)

The Pre-Raphaelites, a group of 19th century English The Pre-Raphaelites, a group of 19th century English painters, poets, and critics who reacted against Victorian painters, poets, and critics who reacted against Victorian materialism and the outworn neo-classical conventions materialism and the outworn neo-classical conventions of academic art by producing earnest quasi-religious of academic art by producing earnest quasi-religious works inspired by medieval and early Renaissance works inspired by medieval and early Renaissance painters up to the time of the Italian painter and architect painters up to the time of the Italian painter and architect Raphael. They were also influenced by the Nazarenes, Raphael. They were also influenced by the Nazarenes, young German artists who formed a brotherhood in young German artists who formed a brotherhood in Rome in 1810 to restore Christian art to its medieval Rome in 1810 to restore Christian art to its medieval purity. purity. They found their inspiration in the comparatively sincere They found their inspiration in the comparatively sincere and religious, and scrupulously detailed, art of the Middle and religious, and scrupulously detailed, art of the Middle Ages. Pre-Raphaelite art became distinctive for its blend Ages. Pre-Raphaelite art became distinctive for its blend of archaic, romantic, and materialistic qualities, but much of archaic, romantic, and materialistic qualities, but much of it has been criticised as superficial and sentimental, if of it has been criticised as superficial and sentimental, if not artificial not artificial

Millais spent four months painting the background vegetation for this recreation of Ophelia. The exquisite flowers floating on the surface of the water are not simply decorative and naturalistic; they were carefully chosen for their traditional symbolic meanings: Poppies: Death Daisies: Innocence Roses: Youth Violets: Early death Pansies: love in vain Fritillaries: Sorrow

Waterhouse's The Lady of Shalott

John William Waterhouse - Ophelia

Woodsworth-Hylas and the Nymphs