Here are the key points covered in the document:
- The document discusses the transition from Neoclassicism to Romanticism in late 18th-early 19th century art, focusing on developments in architecture, painting, sculpture, and photography.
- It describes characteristics of Neoclassical and Romantic styles, as well as debates between artistic camps favoring line vs. color.
- The emergence of photography in the mid-19th century is covered, exploring its impact on perceptions of reality.
- The works and styles of major artists from this period are analyzed, including Ingres, Delacroix, Goya, Turner, Cole, Church, and early photographers like Daguerre and Cameron.
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
ARH 151 Chapter 19 GuideNeoclassicism· Modern art declared its o.docxjesuslightbody
ARH 151 Chapter 19 GuideNeoclassicism
· Modern art declared its opposition to the whimsy of the late Rococo style with Neoclassical art of the late 18th and early 19th centuries.
· Neoclassical art contained:
· harsh sculptural lines.
· a subdued palette.
· planar recession.
· Classical (especially Roman) subject matter.
· Neoclassical painters, such as Jacques-Louis David, were referred to as Poussinistes, for they embraced the linear, systematic approach of Nicolas Poussin. Jacques-Louis David
1 - Fig. 19.1 Jacques-Louis David, The Oath of the Horatii (1784). Oil on canvas, 11’ x 14’.
· David was the preeminent Neoclassical painter in France.
· This painting, which features a Roman subject, was viewed by the French public as a call for revolution. Ever the opportunist, David joined the fight in 1789.Angelica Kauffman
2 - Fig. 19.2 Angelica Kauffman, The Artist in the Character of Design Listening to the Inspiration of Poetry (1782). Oil on canvas, D: 24”.
· Female artist Angelica Kauffman carried the Neoclassical style to England.
· Notice the Classical columns, costume, and subject matter.Neoclassicism: Art As Propaganda
· Napoleon solidified his rule by commissioning artists, like David, to paint his portrait in a Neoclassical style. (See Fig. 21.44).
· The emperor’s sister (Pauline Borghese) had herself portrayed as the Greco-Roman goddess Venus. Notice the strong contours and the frigid rendering of the reclining female.
3 - Fig. 21.44 Jacques-Louis David, Napoléon Crossing the Alps (1800). Oil on canvas, 8’ 10” x 7’ 7”.
4 - Fig. 19.3 Antonio Canova, Pauline Borghese as Venus (1808). Marble, life-sized. Romanticism
· Both Neoclassicism and Romanticism reflected the revolutionary spirit of the times.
· While Neoclassicism emphasized restraint of emotion, purity of form, and subjects that inspired morality, Romantic artists sought:
· extremes of emotion.
· virtuoso brushwork.
· a brilliant palette.
· Romantic artists, such as Géricault and Delacroix, were dubbed Rubenistes, for they embraced the painterly, emotive art of Peter Paul Rubens. Théodore Géricault & Eugène Delacroix
· Refers to contemporary shipwreck off the African coast (Fig. 19.4)
· Abolitionist sentiment
· Reference to Byron’s poem about ancient Assyrian king Sardanapalus (Fig. 19.5)
5 - Fig. 19.4 Théodore Géricault, Raft of the Medusa (1818-1819). Oil on canvas, 16’ x 23’.
6 - Fig. 19.5 Eugène Delacroix, The Death of Sardanapalus (1826). Oil on canvas, 12’ 11 1/2” x 16’ 3”. Louvre Museum, Paris, France. Francisco Goya
7 - Fig. 19.6 Francisco Goya, The Third of May, 1808 (1814-1815). Oil on canvas, 8’ 9” x 13’ 4”.
· Spanish artist Goya depicts massacre of Spanish civilians by Napoleonic troops in Madrid
· Tragic subject, fluid brushwork, symbolism of color and lineCompare & Contrast: The Odalisques
· Some European artists traveled to Africa and the Middle East in the 19th century. This exposure to and fascination with the East (known as Orientalism) im.
Meet Crazyjamjam - A TikTok Sensation | Blog EternalBlog Eternal
Crazyjamjam, the TikTok star everyone's talking about! Uncover her secrets to success, viral trends, and more in this exclusive feature on Blog Eternal.
Source: https://blogeternal.com/celebrity/crazyjamjam-leaks/
Meet Dinah Mattingly – Larry Bird’s Partner in Life and Loveget joys
Get an intimate look at Dinah Mattingly’s life alongside NBA icon Larry Bird. From their humble beginnings to their life today, discover the love and partnership that have defined their relationship.
Young Tom Selleck: A Journey Through His Early Years and Rise to Stardomgreendigital
Introduction
When one thinks of Hollywood legends, Tom Selleck is a name that comes to mind. Known for his charming smile, rugged good looks. and the iconic mustache that has become synonymous with his persona. Tom Selleck has had a prolific career spanning decades. But, the journey of young Tom Selleck, from his early years to becoming a household name. is a story filled with determination, talent, and a touch of luck. This article delves into young Tom Selleck's life, background, early struggles. and pivotal moments that led to his rise in Hollywood.
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Early Life and Background
Family Roots and Childhood
Thomas William Selleck was born in Detroit, Michigan, on January 29, 1945. He was the second of four children in a close-knit family. His father, Robert Dean Selleck, was a real estate investor and executive. while his mother, Martha Selleck, was a homemaker. The Selleck family relocated to Sherman Oaks, California. when Tom was a child, setting the stage for his future in the entertainment industry.
Education and Early Interests
Growing up, young Tom Selleck was an active and athletic child. He attended Grant High School in Van Nuys, California. where he excelled in sports, particularly basketball. His tall and athletic build made him a standout player, and he earned a basketball scholarship to the University of Southern California (U.S.C.). While at U.S.C., Selleck studied business administration. but his interests shifted toward acting.
Discovery of Acting Passion
Tom Selleck's journey into acting was serendipitous. During his time at U.S.C., a drama coach encouraged him to try acting. This nudge led him to join the Hills Playhouse, where he began honing his craft. Transitioning from an aspiring athlete to an actor took time. but young Tom Selleck became drawn to the performance world.
Early Career Struggles
Breaking Into the Industry
The path to stardom was a challenging one for young Tom Selleck. Like many aspiring actors, he faced many rejections and struggled to find steady work. A series of minor roles and guest appearances on television shows marked his early career. In 1965, he debuted on the syndicated show "The Dating Game." which gave him some exposure but did not lead to immediate success.
The Commercial Breakthrough
During the late 1960s and early 1970s, Selleck began appearing in television commercials. His rugged good looks and charismatic presence made him a popular brand choice. He starred in advertisements for Pepsi-Cola, Revlon, and Close-Up toothpaste. These commercials provided financial stability and helped him gain visibility in the industry.
Struggling Actor in Hollywood
Despite his success in commercials. breaking into large acting roles remained a challenge for young Tom Selleck. He auditioned and took on small parts in T.V. shows and movies. Some of his early television appearances included roles in popular series like Lancer, The F.B.I., and Bracken's World. But, it would take a
From Slave to Scourge: The Existential Choice of Django Unchained. The Philos...Rodney Thomas Jr
#SSAPhilosophy #DjangoUnchained #DjangoFreeman #ExistentialPhilosophy #Freedom #Identity #Justice #Courage #Rebellion #Transformation
Welcome to SSA Philosophy, your ultimate destination for diving deep into the profound philosophies of iconic characters from video games, movies, and TV shows. In this episode, we explore the powerful journey and existential philosophy of Django Freeman from Quentin Tarantino’s masterful film, "Django Unchained," in our video titled, "From Slave to Scourge: The Existential Choice of Django Unchained. The Philosophy of Django Freeman!"
From Slave to Scourge: The Existential Choice of Django Unchained – The Philosophy of Django Freeman!
Join me as we delve into the existential philosophy of Django Freeman, uncovering the profound lessons and timeless wisdom his character offers. Through his story, we find inspiration in the power of choice, the quest for justice, and the courage to defy oppression. Django Freeman’s philosophy is a testament to the human spirit’s unyielding drive for freedom and justice.
Don’t forget to like, comment, and subscribe to SSA Philosophy for more in-depth explorations of the philosophies behind your favorite characters. Hit the notification bell to stay updated on our latest videos. Let’s discover the principles that shape these icons and the profound lessons they offer.
Django Freeman’s story is one of the most compelling narratives of transformation and empowerment in cinema. A former slave turned relentless bounty hunter, Django’s journey is not just a physical liberation but an existential quest for identity, justice, and retribution. This video delves into the core philosophical elements that define Django’s character and the profound choices he makes throughout his journey.
Link to video: https://youtu.be/GszqrXk38qk
Create a Seamless Viewing Experience with Your Own Custom OTT Player.pdfGenny Knight
As the popularity of online streaming continues to rise, the significance of providing outstanding viewing experiences cannot be emphasized enough. Tailored OTT players present a robust solution for service providers aiming to enhance their offerings and engage audiences in a competitive market. Through embracing customization, companies can craft immersive, individualized experiences that effectively hold viewers' attention, entertain them, and encourage repeat usage.
Tom Selleck Net Worth: A Comprehensive Analysisgreendigital
Over several decades, Tom Selleck, a name synonymous with charisma. From his iconic role as Thomas Magnum in the television series "Magnum, P.I." to his enduring presence in "Blue Bloods," Selleck has captivated audiences with his versatility and charm. As a result, "Tom Selleck net worth" has become a topic of great interest among fans. and financial enthusiasts alike. This article delves deep into Tom Selleck's wealth, exploring his career, assets, endorsements. and business ventures that contribute to his impressive economic standing.
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Early Life and Career Beginnings
The Foundation of Tom Selleck's Wealth
Born on January 29, 1945, in Detroit, Michigan, Tom Selleck grew up in Sherman Oaks, California. His journey towards building a large net worth began with humble origins. , Selleck pursued a business administration degree at the University of Southern California (USC) on a basketball scholarship. But, his interest shifted towards acting. leading him to study at the Hills Playhouse under Milton Katselas.
Minor roles in television and films marked Selleck's early career. He appeared in commercials and took on small parts in T.V. series such as "The Dating Game" and "Lancer." These initial steps, although modest. laid the groundwork for his future success and the growth of Tom Selleck net worth. Breakthrough with "Magnum, P.I."
The Role that Defined Tom Selleck's Career
Tom Selleck's breakthrough came with the role of Thomas Magnum in the CBS television series "Magnum, P.I." (1980-1988). This role made him a household name and boosted his net worth. The series' popularity resulted in Selleck earning large salaries. leading to financial stability and increased recognition in Hollywood.
"Magnum P.I." garnered high ratings and critical acclaim during its run. Selleck's portrayal of the charming and resourceful private investigator resonated with audiences. making him one of the most beloved television actors of the 1980s. The success of "Magnum P.I." played a pivotal role in shaping Tom Selleck net worth, establishing him as a major star.
Film Career and Diversification
Expanding Tom Selleck's Financial Portfolio
While "Magnum, P.I." was a cornerstone of Selleck's career, he did not limit himself to television. He ventured into films, further enhancing Tom Selleck net worth. His filmography includes notable movies such as "Three Men and a Baby" (1987). which became the highest-grossing film of the year, and its sequel, "Three Men and a Little Lady" (1990). These box office successes contributed to his wealth.
Selleck's versatility allowed him to transition between genres. from comedies like "Mr. Baseball" (1992) to westerns such as "Quigley Down Under" (1990). This diversification showcased his acting range. and provided many income streams, reinforcing Tom Selleck net worth.
Television Resurgence with "Blue Bloods"
Sustaining Wealth through Consistent Success
In 2010, Tom Selleck began starring as Frank Reagan i
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In the vast landscape of cinema, stories have been told, retold, and reimagined in countless ways. At the heart of this narrative evolution lies the concept of a "remake". A successful remake allows us to revisit cherished tales through a fresh lens, often reflecting a different era's perspective or harnessing the power of advanced technology. Yet, the question remains, what makes a remake successful? Today, we will delve deeper into this subject, identifying the key ingredients that contribute to the success of a remake.
Panchayat Season 3 - Official Trailer.pdfSuleman Rana
The dearest series "Panchayat" is set to make a victorious return with its third season, and the fervor is discernible. The authority trailer, delivered on May 28, guarantees one more enamoring venture through the country heartland of India.
Jitendra Kumar keeps on sparkling as Abhishek Tripathi, the city-reared engineer who ends up functioning as the secretary of the Panchayat office in the curious town of Phulera. His nuanced depiction of a young fellow exploring the difficulties of country life while endeavoring to adjust to his new environmental factors has earned far and wide recognition.
Neena Gupta and Raghubir Yadav return as Manju Devi and Brij Bhushan Dubey, separately. Their dynamic science and immaculate acting rejuvenate the hardships of town administration. Gupta's depiction of the town Pradhan with an ever-evolving outlook, matched with Yadav's carefully prepared exhibition, adds profundity and credibility to the story.
New Difficulties and Experiences
The trailer indicates new difficulties anticipating the characters, as Abhishek keeps on wrestling with his part in the town and his yearnings for a superior future. The series has reliably offset humor with social editorial, and Season 3 looks ready to dig much more profound into the intricacies of rustic organization and self-awareness.
Watchers can hope to see a greater amount of the enchanting and particular residents who have become fan top picks. Their connections and the one of a kind cut of-life situations give a reviving and interesting portrayal of provincial India, featuring the two its appeal and its difficulties.
A Mix of Humor and Heart
One of the signs of "Panchayat" is its capacity to mix humor with sincere narrating. The trailer features minutes that guarantee to convey giggles, as well as scenes that pull at the heartstrings. This equilibrium has been a critical calculate the show's prosperity, resounding with crowds across different socioeconomics.
Creation Greatness
The creation quality remaining parts first rate, with the beautiful setting of Phulera town filling in as a scenery that upgrades the narrating. The meticulousness in portraying provincial life, joined with sharp composition and solid exhibitions, guarantees that "Panchayat" keeps on hanging out in the packed web series scene.
Expectation and Delivery
As the delivery date draws near, expectation for "Panchayat" Season 3 is at a record-breaking high. The authority trailer has previously created critical buzz, with fans enthusiastically anticipating the continuation of Abhishek Tripathi's excursion and the new undertakings that lie ahead in Phulera.
All in all, the authority trailer for "Panchayat" Season 3 recommends that watchers are in for another drawing in and engaging ride. Yet again with its charming characters, convincing story, and ideal mix of humor and show, the new season is set to enamor crowds. Write in your schedules and prepare to get back to the endearing universe of "Panchayat."
As a film director, I have always been awestruck by the magic of animation. Animation, a medium once considered solely for the amusement of children, has undergone a significant transformation over the years. Its evolution from a rudimentary form of entertainment to a sophisticated form of storytelling has stirred my creativity and expanded my vision, offering limitless possibilities in the realm of cinematic storytelling.
From the Editor's Desk: 115th Father's day Celebration - When we see Father's day in Hindu context, Nanda Baba is the most vivid figure which comes to the mind. Nanda Baba who was the foster father of Lord Krishna is known to provide love, care and affection to Lord Krishna and Balarama along with his wife Yashoda; Letter’s to the Editor: Mother's Day - Mother is a precious life for their children. Mother is life breath for her children. Mother's lap is the world happiness whose debt can never be paid.
240529_Teleprotection Global Market Report 2024.pdfMadhura TBRC
The teleprotection market size has grown
exponentially in recent years. It will grow from
$21.92 billion in 2023 to $28.11 billion in 2024 at a
compound annual growth rate (CAGR) of 28.2%. The
teleprotection market size is expected to see
exponential growth in the next few years. It will grow
to $70.77 billion in 2028 at a compound annual
growth rate (CAGR) of 26.0%.
Scandal! Teasers June 2024 on etv Forum.co.zaIsaac More
Monday, 3 June 2024
Episode 47
A friend is compelled to expose a manipulative scheme to prevent another from making a grave mistake. In a frantic bid to save Jojo, Phakamile agrees to a meeting that unbeknownst to her, will seal her fate.
Tuesday, 4 June 2024
Episode 48
A mother, with her son's best interests at heart, finds him unready to heed her advice. Motshabi finds herself in an unmanageable situation, sinking fast like in quicksand.
Wednesday, 5 June 2024
Episode 49
A woman fabricates a diabolical lie to cover up an indiscretion. Overwhelmed by guilt, she makes a spontaneous confession that could be devastating to another heart.
Thursday, 6 June 2024
Episode 50
Linda unwittingly discloses damning information. Nhlamulo and Vuvu try to guide their friend towards the right decision.
Friday, 7 June 2024
Episode 51
Jojo's life continues to spiral out of control. Dintle weaves a web of lies to conceal that she is not as successful as everyone believes.
Monday, 10 June 2024
Episode 52
A heated confrontation between lovers leads to a devastating admission of guilt. Dintle's desperation takes a new turn, leaving her with dwindling options.
Tuesday, 11 June 2024
Episode 53
Unable to resort to violence, Taps issues a verbal threat, leaving Mdala unsettled. A sister must explain her life choices to regain her brother's trust.
Wednesday, 12 June 2024
Episode 54
Winnie makes a very troubling discovery. Taps follows through on his threat, leaving a woman reeling. Layla, oblivious to the truth, offers an incentive.
Thursday, 13 June 2024
Episode 55
A nosy relative arrives just in time to thwart a man's fatal decision. Dintle manipulates Khanyi to tug at Mo's heartstrings and get what she wants.
Friday, 14 June 2024
Episode 56
Tlhogi is shocked by Mdala's reaction following the revelation of their indiscretion. Jojo is in disbelief when the punishment for his crime is revealed.
Monday, 17 June 2024
Episode 57
A woman reprimands another to stay in her lane, leading to a damning revelation. A man decides to leave his broken life behind.
Tuesday, 18 June 2024
Episode 58
Nhlamulo learns that due to his actions, his worst fears have come true. Caiphus' extravagant promises to suppliers get him into trouble with Ndu.
Wednesday, 19 June 2024
Episode 59
A woman manages to kill two birds with one stone. Business doom looms over Chillax. A sobering incident makes a woman realize how far she's fallen.
Thursday, 20 June 2024
Episode 60
Taps' offer to help Nhlamulo comes with hidden motives. Caiphus' new ideas for Chillax have MaHilda excited. A blast from the past recognizes Dintle, not for her newfound fame.
Friday, 21 June 2024
Episode 61
Taps is hungry for revenge and finds a rope to hang Mdala with. Chillax's new job opportunity elicits mixed reactions from the public. Roommates' initial meeting starts off on the wrong foot.
Monday, 24 June 2024
Episode 62
Taps seizes new information and recruits someone on the inside. Mary's new job
Experience the thrill of Progressive Puzzle Adventures, like Scavenger Hunt Games and Escape Room Activities combined Solve Treasure Hunt Puzzles online.
Skeem Saam in June 2024 available on ForumIsaac More
Monday, June 3, 2024 - Episode 241: Sergeant Rathebe nabs a top scammer in Turfloop. Meikie is furious at her uncle's reaction to the truth about Ntswaki.
Tuesday, June 4, 2024 - Episode 242: Babeile uncovers the truth behind Rathebe’s latest actions. Leeto's announcement shocks his employees, and Ntswaki’s ordeal haunts her family.
Wednesday, June 5, 2024 - Episode 243: Rathebe blocks Babeile from investigating further. Melita warns Eunice to stay clear of Mr. Kgomo.
Thursday, June 6, 2024 - Episode 244: Tbose surrenders to the police while an intruder meddles in his affairs. Rathebe's secret mission faces a setback.
Friday, June 7, 2024 - Episode 245: Rathebe’s antics reach Kganyago. Tbose dodges a bullet, but a nightmare looms. Mr. Kgomo accuses Melita of witchcraft.
Monday, June 10, 2024 - Episode 246: Ntswaki struggles on her first day back at school. Babeile is stunned by Rathebe’s romance with Bullet Mabuza.
Tuesday, June 11, 2024 - Episode 247: An unexpected turn halts Rathebe’s investigation. The press discovers Mr. Kgomo’s affair with a young employee.
Wednesday, June 12, 2024 - Episode 248: Rathebe chases a criminal, resorting to gunfire. Turf High is rife with tension and transfer threats.
Thursday, June 13, 2024 - Episode 249: Rathebe traps Kganyago. John warns Toby to stop harassing Ntswaki.
Friday, June 14, 2024 - Episode 250: Babeile is cleared to investigate Rathebe. Melita gains Mr. Kgomo’s trust, and Jacobeth devises a financial solution.
Monday, June 17, 2024 - Episode 251: Rathebe feels the pressure as Babeile closes in. Mr. Kgomo and Eunice clash. Jacobeth risks her safety in pursuit of Kganyago.
Tuesday, June 18, 2024 - Episode 252: Bullet Mabuza retaliates against Jacobeth. Pitsi inadvertently reveals his parents’ plans. Nkosi is shocked by Khwezi’s decision on LJ’s future.
Wednesday, June 19, 2024 - Episode 253: Jacobeth is ensnared in deceit. Evelyn is stressed over Toby’s case, and Letetswe reveals shocking academic results.
Thursday, June 20, 2024 - Episode 254: Elizabeth learns Jacobeth is in Mpumalanga. Kganyago's past is exposed, and Lehasa discovers his son is in KZN.
Friday, June 21, 2024 - Episode 255: Elizabeth confirms Jacobeth’s dubious activities in Mpumalanga. Rathebe lies about her relationship with Bullet, and Jacobeth faces theft accusations.
Monday, June 24, 2024 - Episode 256: Rathebe spies on Kganyago. Lehasa plans to retrieve his son from KZN, fearing what awaits.
Tuesday, June 25, 2024 - Episode 257: MaNtuli fears for Kwaito’s safety in Mpumalanga. Mr. Kgomo and Melita reconcile.
Wednesday, June 26, 2024 - Episode 258: Kganyago makes a bold escape. Elizabeth receives a shocking message from Kwaito. Mrs. Khoza defends her husband against scam accusations.
Thursday, June 27, 2024 - Episode 259: Babeile's skillful arrest changes the game. Tbose and Kwaito face a hostage crisis.
Friday, June 28, 2024 - Episode 260: Two women face the reality of being scammed. Turf is rocked by breaking
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdfXtreame HDTV
In today’s digital age, streaming services have become an integral part of our entertainment lives. Among the myriad of options available, XCIPTV stands out as a premier choice for those seeking seamless, high-quality streaming. This comprehensive guide will delve into the features, benefits, and user experience of XCIPTV, illustrating why it is a top contender in the IPTV industry.
Maximizing Your Streaming Experience with XCIPTV- Tips for 2024.pdf
18 b pics student
1. Gardner’s Art Through the Ages,
12e
Chapter 28
The Enlightenment and its Legacy:
Art of the Late 18th through the
Mid-19th Century
Romanticism
1
2. Key Ideas
• Enlightenment brought about rejection of roayl and
aristocratic authority. Rococo style was replaced by the
neoclassical which perceived more democratic
• NeoClassicism inspired by the unearthering of ruins at
Pompeii and books of art theorist johann winckelmann
• Even if works of art depict current events of
contemporary portraits there are frequent classical
allusions
• The late 18 cent. Was age of ind rev new tech such as
cast iron were introduced into arch. And for the first
time became more eco to carve from bronze than
marble
2
3. Characteristics of Architecture
1. Clever revision of classical princp. Into a modern
framework
2. Outwardly rojman but effciently laid out for
modern life
3. Classical arch difffused through palladio symmetry,
balance, comp. and order
4. Greek and roman columns
5. Pediments over entrances and windows
6. Domes
7. Symmetrical
8. Themed
3
7. Romanticism
•David attracted many students, very stongly
committed to classicism
•Students gained very thorough classical found. But
were encouraged to explore artistic identities
•Ingres, et al, laid found for Romanticism
•Explored realms of the exotic, erotic, and fiction,
fantastical, landscape
•Ingres- flat linear forms a la greek vase painting
•Delacroix, gericault- great break from neoC, criticized
barbarism
•Rosseau is basis; freedom is central to romantics
•Path to freedom is through imag. And feeling –
opposite of enlightenment idea
7
8. Figure 28-34 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. Oil
on canvas, approx. 17’ 5” x 23’ 7”. Louvre, Paris. 8
9. Figure 28-35 ANNE-LOUIS GIRODET-TRIOSON, The Burial of Atala, 1808. Oil
on canvas, approx. 6’ 11” x 8’ 9”. Louvre, Paris. 9
13. Figure 28-38 GIOVANNI BATTISTA PIRANESI, Carceri 14, ca. 1750. Etching,
second state, approx. 1’ 4” x 1’ 9”. Ashmolean Museum, Oxford. 13
14. Figure 28-39 HENRY FUSELI, The Nightmare, 1781. Oil on canvas, 3’ 4” x 4’ 2”. The
Detroit Institute of the Arts 14
15. Figure 28-40 WILLIAM BLAKE,
Ancient of Days, frontispiece of
Europe: A Prophecy, 1794. Metal
relief etching, hand colored,
approx. 9 1/2” x 6 3/4”. The
Whitworth Art Gallery, The
University of Manchester. 15
16. Drama, Action, and Color in
Spanish Romanticism
• drama, action and color in the art of fran.
Goya
16
17. Figure 28-41 FRANCISCO GOYA,
The Sleep of Reason Produces
Monsters, from Los Caprichos, ca.
1798. Etching and aquatint, 8 1/2” x 6”.
Metropolitan Museum of Art, New
York (gift of M. Knoedler & Co., 1918). 17
18. Figure 28-42 FRANCISCO GOYA, The Family of Charles IV, 1800. Oil on canvas,
approx. 9’ 2” x 11’. Museo del Prado, Madrid. 18
19. Figure 28-43 FRANCISCO GOYA, The Third of May 1808, 1814. Oil on canvas,
approx. 8’ 8” x 11’ 3”. Museo del Prado, Madrid. 19
21. Figure 28-44 FRANCISCO GOYA, Saturn
Devouring One of His Children, 1819–1823.
Detail of a detached fresco on canvas, full size
approx. 4’ 9” x 2’ 8”. Museo del Prado,
Madrid. 21
22. The French Debate: Color vs. Line
• the French debate over theoreies realted to
color (exprsession) vs lines as appro. To artist
expression
22
23. Figure 28-45 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on
canvas, approx. 16’ x 23’. Louvre, Paris. 23
24. Figure 28-46 THÉODORE
GÉRICAULT, Insane
Woman (Envy), 1822–1823.
Oil on canvas, approx. 2’ 4”
x 1’ 9”. Musée des Beaux-
Arts, Lyon. 24
25. Figure 28-47 EUGÈNE DELACROIX, Death of Sardanapalus, 1826. Oil on canvas,
approx. 12’ 1” x 16’ 3”. Louvre, Paris. 25
31. Figure 28-49 EUGÈNE DELACROIX, Tiger Hunt, 1854. Oil on canvas, approx. 2’ 5” x
3’. Louvre, Paris. 31
32. Figure 28-50 FRANÇOIS
RUDE, La Marseillaise, Arc
de Triomphe, Paris, France,
1833–1836. Approx. 42’ x
26’. 32
33. Figure 28-51 ANTOINE-LOUIS BARYE, Jaguar Devouring a Hare, 1850–1851.
Bronze, approx. 1’ 4” x 3’ 1”. Louvre, Paris.
33
34. Romantic Landscape Painting
• interest in the landscape as a independent and
respected genre in Germany, England, and the US
34
35. Figure 28-52 CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on
canvas, 3' 7 1/2" X 5' 7 1/4". Stiftung Preussischer Kulturbesitz, Staatliche Museen,
Berlin. 35
36. Figure 28-53 JOHN CONSTABLE, The Haywain, 1821. Oil on canvas, 4’ 3” x 6’ 2”.
National Gallery, London. 36
37. Figure 28-54 JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers
Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas, 2’
11 11/16” x 4’ 5/16”. Museum of Fine Arts, Boston. 37
38. Figure 28-55 THOMAS COLE, The Oxbow (View from Mount Holyoke,
Northampton, Massachusetts, after a Thunderstorm), 1836. Oil on canvas, 4’ 3 1/2” x 6’
4”. Metropolitan Museum of Art, New York.
38
39. Figure 28-55 THOMAS COLE, The
Oxbow (View from Mount Holyoke,
Northampton, Massachusetts, after a
Thunderstorm), 1836.
39
40. Figure 28-56 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California,
1868. Oil on canvas, 6’ x 10’. National Museum of American Art, Smithsonian Institution,
Washington.
40
41. Figure 28-57 FREDERIC EDWIN CHURCH, Twilight In the Wilderness, 1860s. Oil on
canvas, 3’ 4” x 5’ 4”. Cleveland Museum of Art, Cleveland, Ohio (Mr. and Mrs. William H.
Marlatt Fund, 1965.233).
41
42. Romantic Revivalist Styles in Architecture
1)
variety of revivalist styles in architecture
2)
the origins of the designs
3)
their impact
42
43. Figure 28-58 CHARLES BARRY and A. W. N. PUGIN, Houses of Parliament, London,
England, designed 1835. 43
44. Figure 28-59 JOHN NASH, Royal Pavilion, Brighton, England, 1815–1818.
44
45. Figure 28-60 J. L. CHARLES GARNIER, the Opéra, Paris, France, 1861–1874.
45
46. Figure 28-61 HENRI LABROUSTE, reading room of the Bibliothèque Sainte-
Geneviève, Paris, France, 1843–1850. 46
47. Figure 28-62 JOSEPH PAXTON, Crystal Palace, London, England, 1850–1851. Photo
from Victoria and Albert Museum, London.
47
48. Photography
• the origins of photog and its impact in visual
art
• Initial use of new medium known as photog
• The artist and the works of early photog
48
49. Figure 28-63 EUGÈNE DURIEU
and EUGÈNE DELACROIX,
Draped Model (back view), ca. 1854.
Albumen print, 7 5/ 16” x 5 1/8”. J.
Paul Getty Museum, Los Angeles. 49
50. Figure 28-64 LOUIS-JACQUES-MANDÉ DAGUERRE, Still Life in Studio, 1837.
Daguerreotype. Collection Société Française de Photographie, Paris. 50
51. Figure 28-65 JOSIAH JOHNSON HAWES and ALBERT SANDS SOUTHWORTH,
Early Operation under Ether, Massachusetts General Hospital, ca. 1847. Daguerreotype.
Massachusetts General Hospital Archives and Special Collections, Boston. 51
52. Figure 28-66 NADAR, Eugène
Delacroix, ca. 1855. Modern
print from original negative in
the Bibliothèque Nationale, Paris. 52
53. Figure 28-67 JULIA
MARGARET CAMERON,
Ophelia, Study no. 2, 1867.
Albumen print, 1' 11" x 10
2/3". George Eastman
House, Rochester, New
York. Gift of Eastman
Kodak Company. 53
54. Figure 28-68 TIMOTHY O’SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania,
July 1863. Negative by Timothy O’Sullivan. Original print by ALEXANDER
GARDNER, 6 3/8" x 8 3/4". The New York Public Library, New York.
54
55. Discussion Questions
Identify the formal artistic differences between
Neoclassicism and Romanticism.
Why did Neoclassicism appeal to political leaders
in the 19th century?
Describe the debate over 19th century aesthetic
theory, as characterized by the Poussinistes vs. the
Rubenistes.
What was the impact of photography in terms of
the public’s image of reality?
55
Editor's Notes
This vast scene, full of warmth and lyricism, is a good example of the interest in the Orient instigated by Napoleon's battle campaigns. The subject-matter is actually little more than political propaganda, but its execution and the strong emotional appeal achieved by the simple treatment of the victims' fevered rapture, renders this canvas the first great success of Romanticism in painting.
Mourning and sacrifice are the themes of The Entombment of Atala, the moving picture that David's pupil Girodet showed at the Paris Salon in 1808. The scene is set in America, the Native American brave Chactas mourns, clasping the legs of his lover, the half-Spanish converted Christian Atala, who expires before him, comforted by a friar. He is not virtuous: he has violated her vow to remain a virgin or die, and as she meets her punishment his lithe sexuality and dangerous power can still be felt. With its wild New World setting, intensely realized emotions and almost supernatural lighting, the picture moves outside classical rules to contrast 'civilization' and 'barbarism' in highly ambivalent terms. Girodet took his richly suggestive narrative from a popular story published seven years earlier by Chateaubriand, who had gone to America in 1791 to escape the Revolution.
Ingres attempted in 1827 a historical synopsis in his great composition, the Apotheosis of Homer. This canvas was originally a ceiling decoration in the Salle Clarac in the Louvre. The most famous artists in history are depicted here: Dante and Molière and painters such as Poussin, but Homer reigns above them all. This assembly of great artists and writers of all ages gathered to honor the ancient Greek poet before a classical temple might look the epitome of hierarchical academicism. The painting was intended as the sum of all aesthetic rules. However, it could hardly live up to the expectations. Today it seems stiff and unnatural. The painting's formal composition and pale, sugary colors appear at the opposite extreme to Delacroix's Sardanapalus, shown in the same Salon. Delacroix's picture seems far away from academic orthodoxy, while Ingres's Homer looks like its ultimate endorsement.
The effects in Ingres' paintings largely depend on drawing and linearity, but he also used colour to supremely calculated effect. The cold turquoise of the silk curtain with its decoration of red flowers intensified the warm flesh tone of the Grande Odalisque. This nude was painted in 1814 for Napoleon's sister, Queen Caroline Murat. Unlike the realism of Goya's Maja, Ingres' nude is hardly intimate, the eroticism here emerging slowly from the reserve and the questioning, assessing glance of the naked woman. This is a tradition that goes back to Giorgione and Titian, but Ingres has painted a living woman and not an allegory of Venus. Nevertheless, the realistic intimacy is lessened by setting the scene in the distant world of the Orient. For many in the West, the idea of the harem with its available or exploited women trapped in their own closed world was as much proof of the fallen or primitive state of the East as was its supposed savagery. But it was also infinitely titillating. Ingres's picture is more than this, however. A sense of loss was inevitably embodied in French perceptions of the East after their defeat in Egypt, and it was perhaps because it sublimated unattainable desires that the theme of the Oriental nude, bather or harem girl gained such a haunting appeal. Ingres is remarkable for combining a frank allure with a chilling perfection of flesh. He had picked up his discreet hints of the harem — a turban here, a fan there — from Oriental artefacts and miniatures in the collections of Gros and Denon. They serve to locate his nude, who otherwise could really belong anywhere, in a sensuous Orient of the imagination. Theme or idea of herum girl
Although a native of Venice, Piranesi went to Rome at 20 and spent most of his life in that ancient city that was to inspire most of his nearly one thousand etchings. He studied architecture, engineering, and stage design, and his best known series, Carceri (Prisons), consisted of 14 plates depicting stage prisons that he himself described as "capricious inventions". The spatial and architectural ambiguities, as well as the dramatic use of light and form, are characteristic of this series. Prison num 14 Chlostrophobia More about a feeling then portraying
Fuseli portrayed a young woman on the back of this painting. If it is true that both images are his beloved Anna Landolt, whose parents refused to allow her to marry him, then the Nightmare can be interpreted as an allegory of disappointment. In that case the grisly ape is the man who is ultimately allowed to "possess" the revered lady with his jealous glance. But it is at the price of her life, and Fuseli shows her sunk down and breathing her last.
Trained as an engraver, Blake evolved into a shamanic figure - mystic, philosopher, priest - compelled to set his visions before the world. They took the form of epic, quasi-biblical dramas of spiritual redemption. He increasingly eschewed conventional media and published them in 'Prophetic Books' written and illuminated himself by processes of color printing. In his Prophetic Books, the character of Los exemplifies the artist's roles as seer, mystic and interpreter. Was a poet and artist ETCHING cocept of all powerful being
This is Plate 43 from the series Los Caprichos. Sinister creatures of the night torment the artist - presumably Goya himself - who lies slumped over his table, unable to work. Yet the real clue to Goya's print lies in its subtitle: 'Imagination abandoned by reason produces impossible monsters; united with her, she is the mother of the arts.' The etching of the sleeping artist, threatened by fantastical faces, was originally intended to open the Caprichos series. Goya later decided to replace it with a self-portrait, the picture of a self-assured man dressed in a top and wearing a critical expression. The title of the plate can be read on the stone.
Goya clearly had in mind for this royal group the composition of Velázquez's Meninas, which he had copied in an engraving many years before. Like Velázquez, he has placed himself at an easel in the background, to one side of the canvas. But his is a more formal royal portrait than Velázquez's: the figures are grouped almost crowded together in front of the wall and there is no attempt to create an illusion of space. The eyes of Goya are directed towards the spectator as if he were looking at the whole scene in a mirror. The somewhat awkward arrangement of the figures suggests, however, that he composed the group in his studio from sketches made from life. Goya is known to have made four journeys to Aranjuez in 1800 to paint ten portraits of the royal family. Since there are 12 figures in the group it is likely that the woman seen in profile and the woman whose head is turned away — the only two whose identity is uncertain were not present at the time. Goya's magnificent royal assembly is dominated not by Charles IV but by the central figure of the Queen, María Luisa, whose ugly features are accentuated by her ornate costume and rich jewels. For some unknown reason this was the last occasion that Goya is known to have painted any member of this royal family, except for the future Ferdinand VII, who stands in the foreground on the left. The unusual figure composition on the wall behind the group has been identified as Lot and his Daughters, but no such painting has been identified. Portrays them acc. If your not nice youre not attractive romantic characteristic
Painted at the same time as The Second of May, Goya here represents another of the 'most notable and heroic actions...of our glorious insurrection against the tyrant of Europe' by a dramatic execution scene. The insurrection of the people of Madrid against the Napoleonic army was savagely punished by arrests and executions continuing throughout the night of 2 May and the following morning. There is a legend that Goya witnessed the executions on the hill of Príncipe Pío, on the outskirts of Madrid, from the window of his house and that, enraged by what he had seen, he went to visit the spot immediately afterwards and made sketches of the corpses by the light of a lantern. Whether Goya saw for himself or knew them by hearsay only, the military executions of civilians is a theme that evidently impressed him deeply. He represented it in several etchings of Los Desastres de la Guerra and in some small paintings as well as in this monumental picture. Here the drama is enacted against a barren hill beneath a night sky. The light of an enormous lantern on the ground between the victims and their executioners picks out the white shirt of the terrified kneeling figure with outstretched arms. The postures, gestures and expressions of the madrilenos and the closed impersonal line of the backs of the soldiers facing them with levelled muskets, emphasize the horror of the scene. The dramatic qualities of this composition, with its pity for the execution of the anonymous victims and its celebration of their heroism, inspired Manet's several versions of the Execution of Maximilian. Guy in white is like christ, innocent sacrificed for the good of the people hands are held out the crucifixion Most famous painting, historical painting
This painting (Saturno devorando a un hijo) was originally in the ground floor room of the Quinta del Sordo. Saturn Devouring One of his Children is perhaps the cruellest of the Black Paintings.The nightmare quality is combined with myth to make an epochal statement: this is the madness of truth. Whether this is a reflection of Goya's own mental state, or an allegory on the situation in a country that was consuming its own children in bloody wars and revolutions, or a statement on the human condition generally, may remain open. It could also be a reflection of the situation of the enlightened man who has lost his God and is able to experience only mercilessness on cosmic scale. The 14 'Black Paintings' paintings (now in the Museo del Prado), so called because of the dark tones and predominance of black, originally decorated the Quinta del Sordo (House of the Deaf Man). They were painted in oils on the walls of two rooms, on the ground floor and first floor, and transferred to canvas in 1873. Goya acquired the house in September 1819, but probably did not begin the paintings before the following year, after his recovery from serious illness. When Goya recovered, his deafness remained, and this changed his character in a way that is reflected in his work. The constant fear of a relapse made him impatient, and this is also evident in his technique. As his monstrous imagining found expression, he darkened the walls in two rooms with terrible scenes of witches and visions of evil spirits. A fantastic horde of cynically grimacing hags and ghosts fill these rooms. The paintings must have been finished by 17 September 1823, when he donated the property to his 17-year-old grandson, shortly before he went into hiding. Though it is possible to reconstruct the arrangement of the paintings in the two rooms, many of their subjects defy description and the meaning of these sombre, horrific inventions is as difficult to decipher as their appearance is sinister and forbidding. 'The Sleep of Reason Produces Monsters', Goya's title to what was possibly his first design for the frontispiece of Los Caprichos, would have been even more fitting as a title to this array of nightmare visions, created by the artist in his mid-seventies. Eating his children, his black period, taken from the walls within his home
In expressing the predicament of the shipwrecked everywhere in the world, Géricault had laid the foundations of an aesthetic revolution. The Raft of the Medusa marks the first appearance in painting of 'the ugly' and thereby proclaims its scrupulous respect for the truth, however repulsive the truth might be. This concern for truth is integral to the Romantic temperament. For his Salon picture in 1819, Géricault chose a dramatic episode — the wreck of the frigate Meduse, which had set off with a French fleet on an expedition to Senegal, and had been lost in July 1816. The French admiralty was accused of having put an incompetent officer in charge of the expedition; he was the Comte de Chaumareix, a former emigre who had not commanded a vessel for twenty-five years. The picture was an enormous success, more on account of the scandal than because of an interest in the arts; but Géricault only received a gold medal, and his picture was not bought by the government. One wonders who it was suggested commissioning this painter of horror subjects to do a Sacred Heart. Géricault was mortified, and decided to exhibit his picture in England, where a pamphlet had been published on the wreck of the Meduse. He entrusted the vast canvas to an eccentric character named Bullock (as Lethière had done with his Brutus Condemning his Sons), and it was exhibited in London from 12 June to 31 December 1820, and in Dublin from 5 February to 31 March 1821. Géricault received a third of the takings, and the operation brought him in quite a large sum (probably 20,000 francs). The painting was priced at 6,000 francs at the posthumous sale of the artist's possessions. It was bought by Dedreux-Dorcy, a friend of Géricault, for an additional five francs, and he sold it to the State for the same amount. The most horrifying part of the shipwreck had been the drama of 149 wretches abandoned on a raft with only some casks of wine to live on, and the ensuing drunkenness and abominations. When the frigate Argus found the raft, after many days, she was only able to rescue fifteen survivors, of whom five died after being brought ashore. After some hesitation, Géricault chose this last episode — the sighting of the Argus by the survivors on the raft. With regard to the latter, he set himself to the task of carrying out an inquest as thoroughly as any examining magistrate. He rented a studio opposite the Beaujon hospital, so that he could make anatomical studies of the dying. The picture was painted by Géricault in an extraordinary state of tension; 'the mere sound of a smile prevented him from painting'. History piece
In the Death of Sardanapalus, inspired by the work of another Romantic, the poet Byron, Delacroix painted an apotheosis of cruelty. The composition, all reds and golds, portrays the holocaust of the legendary Assyrian king, destroying his possessions before committing suicide. The insurgents are attacking his castle; all is lost; stretched out on a sumptuous bed at the summit of an immense pyre, Sardanapalus orders eunuchs and palace officers to cut the throats of his women, his pages, and even his favourite dogs and horses; none of the objects that have served his pleasure are to survive him. His women are placed on a level with his horses and dogs. The diagonal rhythms, the fluidity of line, the brilliance of the colours and its profound sensuality make The Death of Sardanapalus a masterpiece of 19th-century art.
The woman writhing at the foot of the royal bed as a dagger is raised to her throat wears an expression of suffering too voluptuous for contemporary taste.
The Liberty Leading the People is a sort of epic narrative of the woman who quits her hearth to espouse a great cause. There is a carpet of bodies beneath her feet as she leads the ravening crowd. Her naked breasts have come to embody the social virtues of Republicanism, a point officially acknowledged by the generous diffusion of the image in the form of French stamps. It is also the first modern political composition. It marks the moment at which Romanticism abandoned its classical sources of inspiration to take up an emphatic role in contemporary life. Delacroix enrolled as a garde national, and in this role he portrayed himself, wearing a top hat, to the left of Liberty. The young drummer brandishing his pistols to the right of Liberty was, perhaps, the inspiration for the character Gavroche, in Victor Hugo's Les Miserables, written thirty years later. Delacroix's influences - Goya, Gros, and, above all, Géricault - are clearly apparent.
Contemporary criticism focused on the eroticism of the bare breasts, the dirty skin and the suggestion of hair at the armpits. These were taken to indicate that the goddess of liberty was a woman of the people, a fishwife, a Venus of the streets and not a countess from the Faubourg Saint-Germain. Thirty years later, Victor Hugo immortalised the urchin as Gavroche, in Les Miserables.
Delacroix enrolled as a 'garde national,' and in this role he portrayed himself, wearing a top hat, to the left of Liberty .
Triumphal arch in paris, ppl on the bottom rep in classical dress, philosopher is in a helmet
Interest in the foreign and exotic, interesting animals from far away places, circle of life its eating a rabbit
The Cross in the Mountains (The Tetschen Altar) brought Friedrich to the attention of a wider public. Probably at no other point in his life did Friedrich enjoy more profound appreciation and greater admiration than in the years around 1810. Two landscapes in particular were responsible for thrusting Friedrich into the limelight. In 1810 they were exhibited as pendants at the Academy exhibition in Berlin, where they were purchased by the Prussian king Frederick William III. These two paintings were The Monk by the Sea and the Abbey in the Oakwood. The Abbey in the Oakwood is an expression of grief at the loss of a great past. The artist has chosen to depict an architectural ruin; it may testify to the sublimity of the past, but it is a monument in a graveyard. The Napoleonic invasion of Germany and the consequent War of Liberation had added a patriotic dimension to Friedrich's subjects of north German ecclesiastical buildings in ruins or, in imagination, raised again. While the essential message of the Abbey in the Oak-wood of 1810 is the passing of the earthly life, its fog-bound ruin and blasted, leafless trees inevitably evoked the contemporary state of Germany. The painting was exhibited with its companion picture, the Monk by the Sea. This suggests the hope of resurrection in its bright sky, in contrast to the dark clouds that loom above the figure on his Baltic shore. NOTES: not common to see a landscape with ruins and dead trees, lanced window with gothic characteristic
John Constable's father was a wealthy Suffolk miller. Constable's truthfulness to nature and devotion to his native scene have passed into legend. Less widely known, however, is his biographer's report that it was seeing Claude's Hagar and the Angel (now in the National Galleery, London) and watercolours by Girtin which first provided him with 'pictures that he could rely on as guides to the study of nature'. Ruisdael, Rubens, Wilson and Annibale Carracci were among other 'reliable guides' whose work he copied as a young man. He also learned from contemporary painters, never forgetting the advice given him by Benjamin West, the President of the Royal Academy: 'Always remember, sir, that light and shadow never stand still...in your skies... always aim at brightness...even in the darkest effects...your darks should look like the darks of silver, not of lead or of slate.' Constable's youthful exclamation, 'There is room enough for a natural painture [i.e. style of painting]', must be understood not as the outpouring of a 'natural painter' but as the proclamation of an aspiring student struggling for proficiency in the language of art, which shaped his deepest feelings before he could give expression to them. The Hay-Wain, exhibited at the Royal Academy in 1821 and at the British Institution in 1822 under the title Landscape: Noon, was one of the big 'six-footers' on which Constable worked in the winters in London from sketches and studies made in the country in summer. The harvest wagon of the modern title was copied from a drawing made by John Dunthorne, Constable's childhood friend and assistant, and sent at Constable's request from Suffolk. The view is of farmer Willy Lott's cottage on a mill stream of the River Stour near Flatford Mill, of which Constable's father had the tenancy. A full-scale sketch for the picture is in the Victoria and Albert Museum. In this final version Constable omitted a figure on horseback at the edge of the stream, substituting a barrel which he later painted out (but which is beginning to show through). In thus 'selecting and combining' from 'some of the forms and evanescent effects of nature' Constable sought an 'unaffected truth of expression' without the loss of poetry. He laboured 'almost fainting by the way' to preserve the sparkle of sketches in these large paintings worked over for many months in the studio. The Hay-Wain, that best-loved icon of the English countryside, was admired by Constable's closest friends but did not meet with success at the London exhibitions. He sold it in 1823 with two other pictures to an Anglo-French dealer who exhibited them in the 1824 Salon in Paris. There at last Constable's achievement was understood. A cast of the gold medal awarded to Constable by King Charles X of France is incorporated in the picture's frame. NOTES: famous landscape artist, from england
Does political messages with landscape, Turner is abolitionist comment on slavery
Known as the father of the Hudson River School of landscape painters, Thomas Cole holds a prominent place in the history of American painting, both for the quality of his own work and for the influence he exerted over a generation of painters. At once a realist and a romantic, Cole infused America's natural scenery with a sense of sublime grandeur. He was fascinated by the oxbow formation of the Connecticut River below Mount Holyoke, Massachusetts, and produced this magnificent panorama of the valley just after a thunderstorm. He depicted himself at work in the foreground. Real location, oxbow,
The artist was fascinated by the oxbow formation of the Connecticut River below Mount Holyoke, Massachusetts, and produced this magnificent panorama of the valley just after a thunderstorm. He depicted himself at work in the foreground.
German artist who painted in America, west word expansionist, dramatic nature scenes were made, propaganda, Sierra Nevada Mounts.
Went out west, painted some of the East, wide vista landscapes
NEO GOTHIC, big ben is neo gothic,
Onion dome, horseshoe shaped arches, LOCATED IN ENGLAND
Paris Opera House, big dome, monumental columns rounded, Renaissance style
Library, romanesque style, the ribs tell you its not romanesque cause its made of iron, columns are cast iron tells you its not romanesque
Made of glass and steal, shape of a basilica, glass campanile, housed modern stuff, indigenousness tribe lived there as in exhibit
Still life, lights and shadows
Anatomy lesson photo,
Nadar FRENCH, experimented greatly with Ariel photography
First documentation of war, the civil war, displayed photo in galleries to show others how horrible the war was, more mild photos