Chapter 30 19th Century Art In Europe And The United States 1


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  • Upper right, Giorgione “Sleeping Venus” (the Dresden Venus), c. 1510.Lower half, Goya “The Nude Maja”, c. 1796-1798.
  • GoyaSaturn Devouring One of His Childrenc. 1819-1823
  • Chapter 30 19th Century Art In Europe And The United States 1

    1. 1. Chapter 30: 19th Century Art in Europe and the United States<br />Neoclassicism and Romanticism<br />Magister Ricard<br />AP Art History<br />
    2. 2. Consider: Educational Influences<br />What is the Grand Tour?<br />What are the effects of the Grand Tour?<br />How does the excavations at Pompeii and Herculaneum affect social, political, and artistic views?<br />
    3. 3. Influential Literature<br />The History of Ancient Art<br />Published by Johann Joachim Winckelmann<br />“A noble simplicity and calm grandeur…”<br />Greek art is hailed for its beauty and moral character<br />Response to Rococo frivolity <br />Became the focus and agenda for Neoclassical art<br />
    4. 4. Neoclassical Art Theory<br />Tended to continue to dominate academies<br />Teachers stressed the study of ancient sculpture and great artists from the past <br />Raphael, Michelangelo<br />Art was for the universal and the beautiful, meant to shape public thinking towards virtue and taste<br />Art was for cultural indoctrination <br />
    5. 5. Neoclassical Art Training<br />Paris was the center of the cultural world<br />Ecole des Beaux-Arts renowned academy<br />Ateliers – private studios offering instruction<br />Paris Salon was preeminent place to show art<br />Controlled by juries that stressed conservative views of art<br />Gradually alternatives begin to appear to meet needs for different forms of art (see Impressionists)<br />
    6. 6. Jacques Louis David and Napoleon<br />David’s political agenda was highly successful through the influence of his art<br />Was imprisoned in 1794 after supporting a regime which fell out of favor<br />Pulled back from center stage, painted portraits and classical events<br />Napoleon, upon being crowned emperor in 1804, sought David’s artistic abilities<br />David enthusiastically accepted, depicted Napoleon as an invincible hero<br />
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    9. 9. Napoleon and Neoclassical Art<br />Napoleon used Neoclassical art to help push his ambitious agenda<br />Arc de Triomphe was based on Arch of Titus<br />His political order combined with the art ushered in the Romantic era of art<br />Created a model for how modern politicians and leaders could use art<br />
    10. 10. Odalisque<br />Reclining female nude<br />Turkish word for “harem girl”<br />Found throughout Western art<br />
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    12. 12. Neoclassicism vs. Romanticism<br />Neoclassicism<br />Values: Order<br />Tone: Rational, calm<br />Subjects: Greek and Roman history, myth<br />Technique: Stressed use of lines, no trace of brushstrokes<br />Role: Morally uplifting, inspiring<br />Key Artist: David<br />Romanticism<br />Values: Emotion, imagination<br />Tone: Spontaneous<br />Subjects: Legends, exotic, nature, violence<br />Technique: Quick brushstrokes, chiaroscuro, tenebrism<br />Genre: Heroic struggle, landscape, wild animals<br />Key Artists: Gericault, Delacroix<br />
    13. 13. Ingres vs. Delacroix<br />Ingres<br />Brushstrokes should be as smooth “as the skin of an onion”<br />Intellect and craftsmanship<br />Conservative<br />Technical skill<br />Strong, warm colors were “antihistorical”<br />Delacroix<br />“The real man is the savage”<br />“Passionately in love with passion”<br />Exotic images charged with violence<br />Lush colors, swirling curves<br />Animals and human figures swirling, knotted in combat<br />
    14. 14. Ingres vs. Delacroix<br />Ingres<br />Paganini<br />
    15. 15. Romanticism in France<br />Chapter 30<br />
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    19. 19. Romanticism in Spain<br />Chapter 30<br />
    20. 20. Francisco de Goya y Lucientes<br />Defines Spanish Romantic movement<br />Started off painting cartoons for Rococo tapestries<br />French Revolution (1789) inspired his art <br />Political enlightenment and the freedom of the individual<br />Disillusionment sets in as reforms in France were short-lived<br />
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    25. 25. Romantic Landscape Painting<br />Chapter 30<br />
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    30. 30. Orientalism<br />European art patrons wanted landscapes of more exotic, unfamiliar places<br />The lands of the east tended to capture the imagination of Western Europeans<br />Romantic fascination with foreign culture<br />Oriental subjects engaged both Romantic and Neoclassical artists<br />Stressed sex and violence<br />Who is depicting whom?<br />
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    32. 32. Revival Architecture<br />Chapter 30<br />