ART102 Art History II Unit 5 Lecture Age of Enlightenment 1750-1793 Age of Romanticism 1793-1848 David’s painting is the quintessential example of Neo-Classicism, a style of severe realism, precise details, and subject matter derived from antiquity. The subject is based on a story of betrayal, where three men must fit to the death, and their women react and mourn. It is a powerful image inspired by the Revolutionary atmosphere of France. Age of Enlightenment 1750-1793 The Oath of Horatii Voltaire Cupid and Psyche The Death of Marat The Death of General Wolfe Jaques-Louis David The Oath of Horatii Ca. 1783-1784 Oil on canvas Musee du Louvre, Paris Age of Romanticism 1793-1848 Voltaire, a NeoClassical writer and philosopher, was a key element to the shift in power in France during the French Revolution. These leaders believed in meritocracy over privilege, and rule by democracy instead of aristocracy. Here, Voltaire is portrayed near the end of his life, wearing a ancient Roman-style toga, symbolizing the role models of Ancient philosophers like Socrates and Aristotle. Jean-Antoine Houdon Voltaire Ca. 1781 Terra cotta for marble original Musee Voltaire, Switzerland Age of Enlightenment 1750-1793 The Oath of Horatii Voltaire Cupid and Psyche The Death of Marat The Death of General Wolfe Age of Romanticism 1793-1848 In the Neoclassical tradition, Canova creates a stunning sculpture of Cupid and Psyche in the ancient Roman tradition. The figures are rendered to perfection, and the moment depicted is emotional and powerful. Antonio Canova Cupid and Psyche Ca. 1787-1793 Marble Musee du Louvre, Paris Age of Enlightenment 1750-1793 The Oath of Horatii Voltaire Cupid and Psyche The Death of Marat The Death of General Wolfe Age of Romanticism 1793-1848 David returns and becomes a powerful voice for the Revolution in France. This is an image of a Marat, a Revolutionist murdered in his bathtub. He is no longer using ancient Roman references or styles, but instead leading the way into a new approach to painting. This is considered to be one of the first truly modern paintings, because David is taking the politics of his day and revealing the horror behind it. Jacques Louis David The Death of Marat Ca. 1793 Oil on canvas Royal Museums of Fine Arts, Belgium Age of Enlightenment 1750-1793 The Oath of Horatii Voltaire Cupid and Psyche The Death of Marat The Death of General Wolfe Age of Romanticism 1793-1848 In America, historical paintings were using contemporary events as their subject. Benjamin West, an English painter, shows the people wearing modern clothes instead of ancient costumes, and the public was initially outraged because they aren’t wearing Roman costumes. West defined the contemporary history painting by defying the Neoclassical tradition. Benjamin West The Death of General Wolfe Ca. 1770 Oil on canvas National Gallery of Canada, Ottowa Age ...

1. ART102
Art History II
Unit 5 Lecture
Age of Enlightenment
1750-1793
Age of Romanticism
1793-1848
David’s painting is the quintessential example of
Neo-Classicism, a style of severe realism, precise
details, and subject matter derived from antiquity.
The subject is based on a story of betrayal, where
three men must fit to the death, and their women
react and mourn. It is a powerful image inspired by
the Revolutionary atmosphere of France.
Age of Enlightenment
1750-1793
The Oath of Horatii
Voltaire
Cupid and Psyche
The Death of Marat
The Death of

2. General Wolfe
Jaques-Louis David
The Oath of Horatii
Ca. 1783-1784
Oil on canvas
Musee du Louvre, Paris
Age of Romanticism
1793-1848
Voltaire, a NeoClassical writer and philosopher, was
a key element to the shift in power in France during
the French Revolution.
These leaders believed in meritocracy over privilege,
and rule by democracy instead of aristocracy.
Here, Voltaire is portrayed near the end of his life,
wearing a ancient Roman-style toga, symbolizing the
role models of Ancient philosophers like Socrates
and Aristotle.
Jean-Antoine Houdon
Voltaire
Ca. 1781
Terra cotta for marble original
Musee Voltaire, Switzerland
Age of Enlightenment
1750-1793
The Oath of Horatii

3. Voltaire
Cupid and Psyche
The Death of Marat
The Death of
General Wolfe
Age of Romanticism
1793-1848
In the Neoclassical tradition, Canova creates a
stunning sculpture of Cupid and Psyche in the
ancient Roman tradition. The figures are rendered to
perfection, and the moment depicted is emotional
and powerful.
Antonio Canova
Cupid and Psyche
Ca. 1787-1793
Marble
Musee du Louvre, Paris
Age of Enlightenment
1750-1793
The Oath of Horatii
Voltaire
Cupid and Psyche
The Death of Marat

4. The Death of
General Wolfe
Age of Romanticism
1793-1848
David returns and becomes a powerful voice for the
Revolution in France. This is an image of a Marat, a
Revolutionist murdered in his bathtub.
He is no longer using ancient Roman references
or styles, but instead leading the way into a new
approach to painting.
This is considered to be one of the first truly
modern paintings, because David is taking the
politics of his day and revealing the horror behind it.
Jacques Louis David
The Death of Marat
Ca. 1793
Oil on canvas
Royal Museums of Fine Arts, Belgium
Age of Enlightenment
1750-1793
The Oath of Horatii
Voltaire
Cupid and Psyche

5. The Death of Marat
The Death of
General Wolfe
Age of Romanticism
1793-1848
In America, historical paintings were using
contemporary events as their subject. Benjamin
West, an English painter, shows the people wearing
modern clothes instead of ancient costumes, and
the public was initially outraged because they
aren’t wearing Roman costumes. West defined
the contemporary history painting by defying the
Neoclassical tradition.
Benjamin West
The Death of General Wolfe
Ca. 1770
Oil on canvas
National Gallery of Canada, Ottowa
Age of Enlightenment
1750-1793
The Oath of Horatii
Voltaire
Cupid and Psyche
The Death of Marat

6. The Death of
General Wolfe
Age of Romanticism
1793-1848
In Spain, Goya paints in the style of Romanticism,
which is defined as having powerfully emotional
content. Here, we see the slaughter of innocent
Spaniards by Napoleon’s troops. His paint handling
is very loose and energized, not precise, and this
surface adds to the emotional impact of the image.
Francisco Goya
The Third of May
Ca. 1808
Oil on canvas
Museo del Prado, MadridAge of Enlightenment 1750-1793
Age of Romanticism
1793-1848
The Third of May
The Haywain
The Slave Ship
Abbey in an Oak Forest
The Oxbow
Bonaparte Crossing
the Great St. Bernard

7. The Raft of Medusa
Liberty Leading the
People
Many English painters found emotional power in the
landscape, through its raw beauty. Until this time,
farmland was not considered an acceptable subject
matter because it was too ordinary. Painting the
landscape became a way for artists to explore and
understand the powers of nature.
John Constable
The Haywain
Ca. 1821
Oil on canvas
The National Gallery, LondonAge of Enlightenment 1750-1793
Age of Romanticism
1793-1848
The Third of May
The Haywain
The Slave Ship
Abbey in an Oak Forest
The Oxbow
Bonaparte Crossing
the Great St. Bernard

8. The Raft of Medusa
Liberty Leading the
People
This landscape painting is far from ordinary. Here, we
witness the sinking of a slave ship, and all the chaos
that ensues. In the style of Romanticism, we have a
powerful message, painted with gestural marks to
heighten the aggression of the scene. The paint itself
is becoming a powerful tool to express emotion.
Joseph Mallord William Turner
The Slave Ship
Ca. 1840
Oil on canvas
Museum of Fine Arts, BostonAge of Enlightenment 1750-1793
Age of Romanticism
1793-1848
The Third of May
The Haywain
The Slave Ship
Abbey in an Oak Forest
The Oxbow
Bonaparte Crossing
the Great St. Bernard

9. The Raft of Medusa
Liberty Leading the
People
This landscape is grim and foreboding. We see the
ruins of a Gothic church, elements of an abandoned
cemetery. The colors themselves are ominous, and
the sky is foggy and closed in.
Caspar David Friedrich
Abbey in an Oak Forest
Ca. 1809-1810
Nationalgalerie,
Staatliche Museen zu BerlinAge of Enlightenment
1750-1793
Age of Romanticism
1793-1848
The Third of May
The Haywain
The Slave Ship
Abbey in an Oak Forest
The Oxbow
Bonaparte Crossing
the Great St. Bernard

10. The Raft of Medusa
Liberty Leading the
People
In America, painters were dazzled by the
encompassing landscapes of the New World. Cole
combines farmland and raw wilderness in an epic
piece of art.
Thomas Cole
The Oxbow
Ca. 1836
Oil on canvas
The Metropolitan Museum of Art,
New York
Age of Enlightenment
1750-1793
Age of Romanticism
1793-1848
The Third of May
The Haywain
The Slave Ship
Abbey in an Oak Forest
The Oxbow

11. Bonaparte Crossing
the Great St. Bernard
The Raft of Medusa
Liberty Leading the
People
Jacques Louis David
Bonaparte Crossing the
Great St. Bernard
Ca. 1801
Oil on canvas
Chateaux de Versailles et de Trianon
David returns to create a powerful portrait of
Napoleon. The style is locked in the detailed,
balanced style of the Neoclassical, yet the
emotional energy and emotion has the influence of
Romanticism.
Age of Enlightenment
1750-1793
Age of Romanticism
1793-1848
The Third of May
The Haywain
The Slave Ship
Abbey in an Oak Forest

12. The Oxbow
Bonaparte Crossing
the Great St. Bernard
The Raft of Medusa
Liberty Leading the
People
This larger than life sized painting is based on a
tragic event that occurred at this time. A naval ship
named Medusa sunk and left 400 people in the
open sea. 150 managed to create a raft, but after
days, only 15 survived. They suffered malnutrition,
dehydration, and the practiced cannibalism.
Theodore Gericault
The Raft of Medusa
Ca. 1818-1819
Oil on canvas
Musee du Louvre, ParisAge of Enlightenment 1750-1793
Age of Romanticism
1793-1848
The Third of May
The Haywain
The Slave Ship
Abbey in an Oak Forest

13. The Oxbow
Bonaparte Crossing
the Great St. Bernard
The Raft of Medusa
Liberty Leading the
People
Delacroix is considered one of the greatest painters
in the Age of Romanticism. Here, he creates
a symbolic painting portraying the victorious
French Revolution. The Lady Liberty is a symbol
of freedom, not a specific person. She leads the
Revolutionists over a mound of dead, which acts
as a platform for her. In the distance, you can see
the Notre Dame and the streets of Paris. His paint
handling is also energetic and adds to the emotional
impact of the scene.
Eugene Delacroix
Liberty Leading the People
Ca. 1830
Oil on canvas
Musee du Louvre, ParisAge of Enlightenment 1750-1793
Age of Romanticism
1793-1848
The Third of May
The Haywain

14. The Slave Ship
Abbey in an Oak Forest
The Oxbow
Bonaparte Crossing
the Great St. Bernard
The Raft of Medusa
Liberty Leading the
People
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