Art History IIInstructor Dustin M Price

What did we cover last time?

-Exam 2

- Shogun

- Muromachi period

- Zen Buddhism

- bushi or samurai

- Shubun, Bunsei , and Sesshu

- Zen rock gardens, or karesansui

- the Ryoanji garden

- Japanese tea ceremony/chanoyu

- Tearoom

- Sen no Rikyu

Early 19th century Art: Neoclassicism and Romanticism

-Remember that Neoclassicism and Romanticism existed side by side well into the 19th century both in American and European art

- It is important to note that Neoclassicism survived in both architecture and sculpture beyond the middle of the century

- (Neoclassicism was used to promote democracy)

- Romanticism didn’t just die out it continued on in a number of fantastic forms during the first part of the 19th century (painting, architecture, sculpture)

- One of the most important artistic areas in Europe during this time was Paris, France

Early 19th century Art: Neoclassicism and Romanticism

- Students/Artists from all over Europe and America were attracted to the Ecole des Beaux Arts

- Ecole des Beaux Arts is a French term meaning school of fine arts

- The original Ecole des Beaux Arts emerged from the teaching function of the French Académie Royale de Peinture et de Sculpture, established in Paris in 1648

- In 1816 the Académie Royale school moved to a separate building and in 1863 was renamed the Ecole des Beaux Arts. The basis of the teaching was Neoclassicism (left)

- But anatomy, geometry, perspective and study from the nude were also part of the curriculum

Early 19th century Art: Neoclassicism and Romanticism

- In 1663 the Académie founded the Prix de Rome, a hugely prestigious prize that gave winners a prolonged visit to Rome to study classical art on the spot.

-In 1666 the Académie also founded a branch in Rome to provide teaching and a base for these students

-Subsequently most major French cities established their own Ecole des Beaux Arts

- By the end of the nineteenth century the Ecole des Beaux Arts had become deeply conservative and independent, rival schools sprang up in Paris, such as the Académie Julian and the Académie Colarossi

- The Ecole remained the basic model for an art school until the foundation of the Bauhaus in 1919

In the Académie Julian in Parisby Marie Bashkirtseff

The Anatomy Class at the Ecole des Beaux Arts‘François Sallé, 1888

Early 19th century Art: Neoclassicism and Romanticism

- The Académie Julian was an art school in Paris, France, established in 1868 by Rodolphe Julian

-It became a major alternative training centre to the official Ecole des beaux arts, especially for women who were not admitted to the Beaux arts until 1897

- At the Julian women were also permitted to draw from the nude male model

- The Académie Julian was popular with foreign art students and many leading modern artists spent time there

-Académie Colarossi was an art school in Paris, France, established in the nineteenth century as an alternative to the official Ecole des Beaux Arts

Early 19th century Art: Neoclassicism and Romanticism

- Comparable to and slightly less famous rival of the Académie Julian. Like the Julian, the Colarossi admitted women and allowed them to draw from the nude male model

- Other Parisian elements also attracted artists and students alike such as the ateliers

- Atelier: an artist's or designer's studio or workroom

-Many artists could find private instruction at these individual artist studios

- The Paris Salon also attracted a great number of people and fierce competition

-Paris Salon (French: Salon de Paris), was the official art exhibition of the Académie des Beaux-Arts in Paris, France

Early 19th century Art: Neoclassicism and Romanticism

- let me say something very important about the European art academy's and the Paris Salon

- “such institutions had a virtual monopoly on public taste and official patronage. Academic art, whose standard was ancient classical art, the European tradition, and historical subjects rendered predominantly in painting and sculpture, retained sway through the nineteenth century”

The Salon and The Royal Academy | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art

- So lets discuss the Grand Manner or Grand Style of painting in the late 18th and 19th century

Early 19th century Art: Neoclassicism and Romanticism

- The terms "Grand Manner" or "Great Style" are used to describe paintings that utilized visual metaphors and were meant to be appreciated only by elite wealthy, educated men

-By extension, the Grand Manner came to include portraiture—especially at full length and in life size—accompanied by settings and accessories that conveyed the dignified status of the sitters

-Classical architecture, for instance, signified one's civilized demeanor, whole woodland glens implied natural sincerity

-The postures and gestures in Grand Manner portraits were often derived from ancient Roman sculpture or Italian Renaissance paintings

Jacques-Louis David’s Napoleon Crossing the Saint-Bernard 1800-1801

Lets watch a 12 minute video/discussion on Romanticism and three works of art, the last of which “The Raft of ‘Medusa’” will

be one of your Exam images.

Early 19th century Art: Neoclassicism and Romanticism

- Delacroix (1798-1863)

- In 1815 Delacroix, aged seventeen, began to take painting lessons from Pierre Guérin but in every essential respect he was, like many of his contemporaries, a self-taught artist, whose real school was the Louvre

- Delacroix' student work did not show extraordinary promise, but in 1822 his Salon debut, the Bark of Dante (Louvre) left, attracted some attention

- Though it has a deserved place in the history of art, as the start of a great career, it is still an immature effort

- 2 years later his Massacres of Chios (next slide) burst upon the Salon and increased his fame

Early 19th century Art: Neoclassicism and Romanticism

- The Revolution of 1830 inspired his one truly vastly popular work, Liberty Leading the People

- Early in his career, Delacroix had been hailed by the young French romantics as their leader

-During the 1830s he outgrew this affiliation, not because he had changed his course, but because his fellow romantics were failing to keep up with him

-The "romantic battle" had been won too easily. After 1830 French romanticism became popular and (many feel) died. Its followers, agreeable but minor talents for the most part, rapidly declined into picturesqueness and mannerism

Early 19th century Art: Neoclassicism and Romanticism

- The Universal Exposition in 1855 showed thirty-six of his paintings, a tribute to him (together with Ingres) as one of France's two preeminent living artists

- Having long been denied admission to the Academy, of which he privately took a coolly realistic view, he was at last admitted to this body in 1857

- Frequently ill with bronchial infections and economizing his physical strength, he lived a frugal bachelor's life but worked with unabated energy until the end

-He died, on 13 August 1863

-Lets discuss his most famous work Liberty Leading the People 1830

Early 19th century Art: Neoclassicism and Romanticism

- Widely regarded as the greatest portrait painter of the nineteenth century and one of the most brilliant draftsmen of all time, Jean-Auguste-Dominique Ingres (1780–1867) dominated French painting for over half a century and left an enduring legacy, inspiring artists such as Cézanne, Degas, Matisse, and Picasso

-He served as the Director of the French Academy in Rome

- Again, as a theorist and a teacher his influence was enormous… ENORMOUS

- He wanted to be remembered as a history painter, but it was his paintings of female nudes and women that made him famous

Early 19th century Art: Neoclassicism and Romanticism

- He painted (and was famous for) numerous versions of the odalisque

- Odalisque: an exoticized version of a female slave or concubine in a sultan’s harem

- In one of his most famous works Large Odalisque (next slide) we see just this

- Why the interest in female slaves? During Napoleon’s campaigns in North Africa, the French discovered the exotic near east. Upper –middle-class European men were particularly attracted to the institution of the harem, partly as a reaction against the egalitarian demands of women in their own class

-(remember the French Revolution had also driven women to want more freedom)

Exam III:

Vocab:

Ecole des Beaux Arts Atelier Paris Salon Grand Manner OdalisqueSublime (pg 955)

Artists:

Eugène DelacroixJean-Auguste-Dominique Ingres

Artwork:

Liberty Leading the People 29-49 Large Odalisque 29-51Thomas Cole The Oxbow 29-57

Read Pages 961 – 981 by Wednesday