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The three main general styles of art as seen in class. Realism, abstract, and nonobjective. Click on each artist name to go to an outside site and learn more.
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ART HISTORY 132RomanticismRomanticismaim reacti.docxdavezstarr61655
ART HISTORY 132
Romanticism
Romanticismaim: reaction against established order (“status quo”)government religioncult of the artist:assertion of subjective experience & feelingextreme states of emotionas opposed to form & objectivity of Neo-Classicismcult of nature: sublimewild, ever-changing aspectsexotic & supernatural
Fuselli’s The Nightmare
(1781)
Blake’s Ancient of Days
(c. 1800)
Francisco Goya
(1746-1828)biography:denied entry into Royal Academyjourneyed to Rome (1771)court painter to Charles III (1786)court Painter to Charles IV (1789)serious illness left him deaf (1792-93)
media: oils & graphic arts
political context: social revolutionaryopposed to Charles IV’s corrupt & suppressive reignsympathies w/ failed French Revolution & Enlightenmentopposes FR invasion of SP in 1808 lead to Peninsular War (1808–1814)opposes "Intruder king", Joseph I, brother of Napoleon
Goya
“Sleep of Reason Produces Monsters” date: 1798series: Los Caprichosmedium: etching & aquatintsignificance: pro-Enlightenment vs. cultural superstitionnarrative: secular Temptation of St. Anthonymotifs: beasts of the night (e.g., owls, bats & felines)composition: dynamic diagonalrecalls Caravaggio’s Entombmentlight/shadow: modified tenebrism & chiaroscuro effects
(Left) CARAVAGGIO’s Italian Baroque Entombment (c. 1600)
vs.
(right) GOYA’s “Sleep of Reason Produces Monsters” (c. 1800)
Goya’s The Disasters of War
(c. 1800)
Goya’s Third of May, 1808
(1814)
Goya’s Saturn Devouring One of His Sons
(c. 1819-23)
Théodore Géricault
(1791-1824)training: self-taught @ Louvre (1810-15) copied Titian, Rubens, Velazquezrejected prevailing Neoclassicismaesthetic: Baroque revivalnarrow range (browns, flesh tones)dramatic lighting effectsdynamic compositionsnarrative: immediacy & emotional intensitysubjects: contemporary eventsoutrage at French monarchy’s restorationprocess: uncompromising truthInterviews w/ survivorsreconstruction of events
Géricault’s Raft of the Medusa
(1818-19)
Eugène Delacroix
(1798-1863)
significance: “last of great artists of the Renaissance and first modern” (Baudelaire)biography: bastard son of Talleyrandsubjects: contemporary history exotic foreign cultures reclining nudesancient & medieval literatureaesthetic: Baroque revivalcompositions: dynamiccolor: Venetian influence & Rubensbrushwork: painterly
11.psd
Delacroix’s Liberty Leading the People
(1830)
(Left) Delacroix’s Liberty Leading the People (1830)
vs.
(right) photograph of barricade at Maidan Square
during Ukrainian Revolution (2014)
(Left) Detail of Liberty from DELACROIX’S Liberty Leading the People (1830 CE)
vs.
(right) Hellenistic Greek Winged Victory of Samothrace (c. 250 BCE)
(Left) Detail from DELACROIX’s Liberty Leading the People (1830)
vs.
(right) detail from CARAVAGGIO’s Entombment (1603)
(Left) Detail from DELACROIX’s Liber.
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June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
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Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
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A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
2. Romantic Period: Overview
Challenged Neo-Classicism
It focused on Music, Literature and Painting
The Social Background was:
– French Revolution (1789-1799)
– American Revolution (1775-1783)
– Napoleon made Emperor (1803)
Christianity was Replaced by a Love of
Nature
3. Romantic Period: Overview
Painters were concerned with:
The Power of Nature
The Nostalgic and Emotion of Man
Looking Inward
Looking at Nature as it Really is
4. Eugéne Delacroix (1798-1863)
French Painter
Influenced by Raphael, Rubens, Géricualt
and Constable
Painted in Neoclassical Style
Painted Historic Events
Bold Brush Strokes with Vivid Colours
Avoided Black and Studied Colour Theory
6. Théodore Géricault (1791-1824)
French Painter
Studied Classical Figure Painting
Influenced by Rubens, Titian and
Michelangelo
Depicted Epic Historic Events
Studied Portraiture in London
Died Age 33
7. Théodore Géricault
Title: The Raft of the Medusa (1819)
http://www.vangoghgallery.com/artistbios/Theodore_Gericault.html
8. Joesph Mallord William Turner
(1775-1851)
British Painter
Firstly Studied Watercolour Painting
Influenced by Landscape Painters of 1500’s
An Innovator of his Time
Depicted the Ferocity of Nature in Oils
Painted Atmospheric & Fleeting Imagery
Influenced Impressionism
9. J. M. W. Turner
Title: The Fighting Téméraire (1839)
http://www.william-turner.org/The-Fighting-'T%C3%A9m%C3%A9raire'-tugged-to-her-last-Berth-to-be-broken-up.html
10. John Constable (1776-1837)
British Painter
Influenced by Claude Lorrain (Landscape Artist 16th C)
A Passion for looking at Nature
Scenes of Rural Life and Tranquillity
Studied Outdoors
Optical-Mixing, Loose Brush Strokes
and Bold Colour
12. Casper David Friedrich
(1774-1840)
German Painter
Influenced by Painter Jens Juel & Theology
A Style of Mood, Atmosphere & Symbolism
Melancholy Depiction of Man and Nature
Celebrated the Sublime through Complex
Compositions
13. Casper David Friedrich
Title: The Stages of Life
http://silverandexact.com/2012/06/01/the-stages-of-life-caspar-david-friedrich-1835/
14. Other Artists from this Period
Auguste Rodin (1840-1917) French Sculptor
Francisco Goya (1746-1828) Spanish painter
William Blake (1757-1827) English Painter
15. References
Clark, K. (1969), ‘Civilisation’, BBC, London.
Chártaigh, A. N. and O’Sullivan, A. (2011), ‘Appreciating Art for the
Leaving Cert’, Gill and Macmillian, Dublin.
Sheppard, L. (1987), ‘History and Appreciation of Art’, Folens, Dublin 24.
Sharpe, H.J. (1976), ‘Art History and Appreciation’, Gill and Macmillian,
Dublin.
Reference for Images are on side of each slide linked to Web Page
Compiled by Keith O’Rahilly
16. Acknowledgements
Art Associates
Maria Moore
Margaret O’Shea
Local Facilitator Team
Aine Andrews
Joe Caslin
Jane Campbell
Siobhan Campbell
Niamh O’Donoghue
Niamh O’Neill
Keith O’Rahilly
Sheena McKeon
Tony Morrissey
Monica White
Many thanks to the following for their invaluable contribution to the European
Art History and Appreciation series of workshops and resource materials.
PDST Professional Development Service for Teachers
17. PDST Professional Development Service for Teachers
The PDST is funded by the
Department of Education and
Skills under the National
Development Plan 2007 -
2013
Cultural & Environmental Education
Professional Development Service for Teachers (PDST)
Dublin West Education Centre,
Old Blessington Road,
Tallaght,
Dublin 24
National Co-ordinator
Conor Harrison
Mobile: 087 240 5710
E-mail: conorharrison@pdst.ie
Administrator
Angie Grogan
Tel: 014528018 Fax: 014528010
E-mail: angiegrogan@pdst.ie.
Editor's Notes
The Romantic Movement reached its peak in Europe from 1800 to 1840 and it challenged the entrenched values of Neo-Classicism. Its form of expression was found in music, literature and painting. It is said that the composer Beethoven, the poet Byron and painter Turner were the prophets of Romanticism. This period of Art history was influenced by the French Revolution and the Industrial Revolution. Christianity was replaced by an appreciation for nature. The ruins of the age of faith had become part of nature and also a source of inspiration for painters. Painters sought to evoke a nostalgic yearning for rural, pastoral life, the infinite possibilities of man and to accurately portray the power and grandeur of nature. English poets like Wordsworth, Shelley, Keats and Coleridge also celebrated the many facets of nature creating a situation where painting and poetry were an influence for each other.
Born at Charenton France. He began his training in the Neo-Classical style of painting of Jacques-Louis David at Lycée Pierre Corneille. Delacroix accepted the term Romanticism with reservation. He was influenced by Raphael and mainly Ruben’s mastery of colour and movement. His contemporary, Théodore Géricualt’s ‘Raft of Madussa’, had a profound influence on his subsequent painting. He was also influenced by Shakespeare. A dramatic shift came about in his painting from observing Constable’s use of pure colour and complimentary colours. Historic events often inspired his work for example the struggle for independence from the Turkish Empire by the Greeks. This can be seen in ‘Massacre at Scios’ (1824). A key painting of his was ‘Liberty Leading the People’ showing remnants of the neoclassical style and how he developed this in a Romantic depiction of this event.
Born in Rouen France. He studied classical figure painting under Pierre-Narcisse Guérin however soon left to study independently copying great masters. He was influenced by Rubens, Titian Velázquez and Rembrant. He was particularly fascinated by the work of Michelangelo and this influence is obvious in ‘The Raft of the Medusa’ (1819), a depiction of a French national scandal whereby a captain of a ship left his crew to perish on a raft. It shows a man’s struggle with the power of nature and their capacity to overcome it. During his time spent in London he made portraits of insane people. He died at the young age of 33 having sustained injuries from a previous riding accident.
Born in Covent Garden, London, England. Turner began his artistic studies at the age of 14 in the Royal Academy of Arts schools and was accepted the following year. His early interests were painting architecture and watercolours. Influences for Turner’s work were British watercolour paintings, architecture, and Chinese Art. The focus of Turner’s work was the violence of nature and that of light. He was interested in storms at sea and inland, avalanches and great fires. He went to great lengths to experience first-hand these events, from being tied to the mast of a ship during a storm seen in ‘Snowstorm; Steamboat’ (1842). His work is highly atmospheric and centred on capturing the fleeting moment. A notable work by this artist is ‘The Fighting Temeraire’ (1839) depicting a retired ship from the Battle of Trafalgar in 1805. This painting succinctly portrays the time of industrial revolution where the old is being replaced with the new and it also suggest Turner’s own acknowledgment of mortality.
Born in Suffolk England (Known as Constable Country). He studied painting at the Royal Academy in Londan. Constable rejected the standard picturesque concept of landscapes from painters like Gainsborough (although still influenced by them). He believed there was no substitute for really looking and capturing nature accurately. He was influenced by the old masters like Claude Lorrain. Other artists that impacted his work were Rubens and Annibale Carracci. He can be described as a quiet revolutionary of painting, focusing on the English vernacular and depicting peace and simplicity in his work. He often quoted Wordsworth saying “closeness to nature was closeness to God”. In particular he devoted time to studying the sky and the passing of time and its effects on the sky. He sketched a great deal outdoors and painted large scale work in his studio. Breaking with many painting traditions he applied white paint directly to highlight foliage this becoming known by critics as ‘Constable’s white snow’. He painted with loose brush strokes and introduced optical-mixing and was the pre-cursor to Impressionism. ‘The Haywain’ painted in 1821 is a signature painting by this artist.
Born in Greifswald, Germany. Friedrich’s mother died when he was 7 shortly after his sister’s untimely death. A tragic accident occurred where he fell into ice water at the age of 13 and was saved, however his brother died while saving him. Much of this toil underpinned his work as an artist all of his life. He began formal studies with Johann Gottfried Quistrop at the University of Griefswald in 1790. He was influenced by theologian Ludwig Gotthard Koesgarten who taught that ‘nature was a revelation of God’. He also studied in the Academy of Copenhagan where he met and was influenced by artists like Christian August Lorentzen and Jens Juel. These artists taught him the importance of mood and atmosphere in his work. A signature of his work was Rückenfigur(a person seen from behind) and this appeared often in his work. This device encouraged the viewer to enter into his space and begin to appreciate the sublime elements of nature that Friedrich did. This can be seen in ‘Stages of Life’ (1835) showing five ships at varying distances and five figures at varying stages of life; all representing the artist’s own mortality. His paintings contained much symbolism like ‘The Abbey in the Oakwood’ (1809), depicting monks carrying a coffin past an open grave lit by two solitary candles towards a ruin. This could easily be a document of his earlier life.
Born in Greifswald, Germany. Friedrich’s mother died when he was 7 shortly after his sister’s untimely death. A tragic accident occurred where he fell into ice water at the age of 13 and was saved, however his brother died while saving him. Much of this toil underpinned his work as an artist all of his life. He began formal studies with Johann Gottfried Quistrop at the University of Griefswald in 1790. He was influenced by theologian Ludwig Gotthard Koesgarten who taught that ‘nature was a revelation of God’. He also studied in the Academy of Copenhagan where he met and was influenced by artists like Christian August Lorentzen and Jens Juel. These artists taught him the importance of mood and atmosphere in his work. A signature of his work was Rückenfigur(a person seen from behind) and this appeared often in his work. This device encouraged the viewer to enter into his space and begin to appreciate the sublime elements of nature that Friedrich did. This can be seen in ‘Stages of Life’ (1835) showing five ships at varying distances and five figures at varying stages of life; all representing the artist’s own mortality. His paintings contained much symbolism like ‘The Abbey in the Oakwood’ (1809), depicting monks carrying a coffin past an open grave lit by two solitary candles towards a ruin. This could easily be a document of his earlier life.
Auguste Rodin (1840-1917) Born in Paris, France. He was known as the greatest Romantic sculptor. He was largely self-educated and attended Petite École a school for art and mathematics. He failed twice, entry to Grand École which were major setbacks, and having left college he spent two decades as an ornamenter. During his career he reached great heights of realistic interpretation and so much so he was accused of being an imposture. This is testament to the level of accuracy and fluidity that Rodin rendered the figure in 3D and this skill had not been seen in Art History since Bernini during the 16 century. He was influenced greatly by Donatello and Michelangelo this can be seen in ‘Age of Bronze’ (1877), Rodin’s tile for this work was ‘man arising from nature’ displaying his love for nature and its source of inspiration for his work like many of the Romantic artists of this time. Another important work by Rodin was ‘The Thinker’ (1889) which is often seen as a symbol for human emotion and consciousness.Francisco Goya (1746-1828) Born in Fuendetodos, Aragón, Spain. Goya began studying painting at the age of 14 with José Luzán Martínez copying the works of great masters such as Rembrandt. During his career he also visited Rome to further his study of past work. From painting scenes of everyday life he was appointed as a painter to the Royal Court and then received admission to the Royal Academy of San Fernando. In 1792 he became deaf from a severe illness and at this time of recovery his style changed. He often made satirical drawings and etchings depicting scandals and political occurrences of the time. He made large paintings of key events in history for example ‘Shootings of the 3rd of May’ (1814) marking Spanish resistance to the armies of Napolean. This was a highly emotive image of its time, painted with blazing colour, fluid broad brush strokes and dramatic light that could be traced as an influence from the Baroque style of painting.William Blake (1757-1827) Born in Soho, London, England. Blake received little formative education and later became apprentice to the engraver James Basire to later become a student of the Royal Academy. Blake rejecting much of the teachings about artists such as Rubens and was more interested in the art of the imagination and poetry. He was influenced strongly by Greek and Medieval Art, Italian Mannerism and above all Michelangelo. He believed that line was the most important element of art and this was followed by colour. He was a forerunner of the movement, Art Nouveau. Blake’s work is highly spiritualised leading to more questions than answers for example ‘Ancient of Days’ (1794). This is an example of Blake designing his own symbolism and mythology which is reference and expressed in his Prophetic Books that he wrote and illustrated. Blake’s work was and still is visionary, looking inward at man and his relationship to the world and the universe.
