Romanticism emerged in the late 18th and early 19th centuries as a reaction against the rationalism of the Enlightenment and the Industrial Revolution. Key aspects of Romanticism included a focus on emotion, nature, individualism, imagination, exoticism, and revolution. Notable Romantic artists and works included David's Napoleon at Saint-Bernard, Delacroix's Arabs Skirmishing in the Mountains, Blake's Newton as a divine geometer, Turner's Rain, Steam and Speed, and Constable's Flatford Mill. The Impressionists in the late 19th century, such as Monet, Renoir, Pissarro, and Cassatt, painted everyday life and focused on the
How Art Works: Week 1 The ‘unruly discipline’ DeborahJ
This lecture will:
introduce ways to think about art and its history and help you to understand how art historians go about their practice
look at some of the issues and debates that make up the disciple of Art History
offer some reconsiderations of art history
consider the importance of the gallery and museum
How Art Works: Week 5 The Rise of the ismsDeborahJ
This lecture will:
Examine how artists sought to find a language that would adequately express the changes and disruptions associated with modern life
Attempt to capture the dialectical relationship between each movement and its predecessors
Make connections between historical events and art genres
Encouraged you to think of styles as useful tools for exploration and analysis, rather than as hard and fast academic definitions, and to relate to the art itself rather than to a merely conceptual idea
Ism's as an expression of built form and planning.
◦ Mannerism (mid 1500s)
◦ Neo classism (mid 1700s)
◦ Romanticism (late 1700s- early 1800s)
◦ Realism (France, mid 1800s)
◦ Impressionism (late 1800s)
◦ Post Impressionism (very late 1800s and into the turn of the 20th century)
◦ Symbolism (Turn of the twentieth century)
◦ Cubism (first two decades of 1900s)
◦ Surrealism (birth in 1924)
◦ Abstract Expressionism (birth in 1940s)
How Art Works: Week 1 The ‘unruly discipline’ DeborahJ
This lecture will:
introduce ways to think about art and its history and help you to understand how art historians go about their practice
look at some of the issues and debates that make up the disciple of Art History
offer some reconsiderations of art history
consider the importance of the gallery and museum
How Art Works: Week 5 The Rise of the ismsDeborahJ
This lecture will:
Examine how artists sought to find a language that would adequately express the changes and disruptions associated with modern life
Attempt to capture the dialectical relationship between each movement and its predecessors
Make connections between historical events and art genres
Encouraged you to think of styles as useful tools for exploration and analysis, rather than as hard and fast academic definitions, and to relate to the art itself rather than to a merely conceptual idea
Ism's as an expression of built form and planning.
◦ Mannerism (mid 1500s)
◦ Neo classism (mid 1700s)
◦ Romanticism (late 1700s- early 1800s)
◦ Realism (France, mid 1800s)
◦ Impressionism (late 1800s)
◦ Post Impressionism (very late 1800s and into the turn of the 20th century)
◦ Symbolism (Turn of the twentieth century)
◦ Cubism (first two decades of 1900s)
◦ Surrealism (birth in 1924)
◦ Abstract Expressionism (birth in 1940s)
This presentation crutinises how art practitioners are navigating the artworld, which in our contemporary, late capitalist society is arguably, increasingly regulated by free market conditions, managed in the artworld by the same bureaucrats, curators, dealers and gallery owners, roles that have encroached on the career of artists themselves.
This presentation crutinises how art practitioners are navigating the artworld, which in our contemporary, late capitalist society is arguably, increasingly regulated by free market conditions, managed in the artworld by the same bureaucrats, curators, dealers and gallery owners, roles that have encroached on the career of artists themselves.
Debates around the idea that the interrelation or the interaction between artwork and viewers has been modified with the practice of Relational Aesthetics.
This article describes the main problems that science education faces in industrialised countries: a general negative opinion of the sciences, a decline in the number of students choosing to study science and a decline in the number of students signing up for doctorate programmes in science. The article puts forward the hypothesis that all this is the result of a conflicting scenario: students have postmodern identities, while education is modern. To this end, the article reviews the main philosophical and sociological ideas about post-modernity, and the criticism of modern education that has arisen from same. The article then goes on to describe the difficulty that postmodern discourse has in propounding a genuinely postmodern pedagogy. Finally, it proposes the idea that performativity theory could participate in the conflicting scenario of science education.
The Parallax Gap: A Reading from Letters to a Young Therapist - Zizek Confe...Université de Montréal
A reading from my book, "Letters to a Young Therapist: Relational Practices for the Coming Community" (New York: Atropos Press, 2011), illustrating Slavoj Zizek's ideas in his book, "Parallax View." Presented at the Zizek Conference, SUNY College at Brockport, NY, April 2012
Aims of todays lecture:
To analyse the conditions in which contemporary art is produced
To (re) evaluate your function as an artist within a broad context
Address making a living in the current climate of instability and enforced austerity
Consider issues of free labour, particularly internships, in the cultural sector
Is a picture worth 1,000 words? Textual AnalysisDeborahJ
This lecture will introduce semiotics or the semiology of art, a mechanism for deriving meaning that is considered to a more inclusive development of Panofsky’s Iconography
This lecture will be a comprehensive overview of the historic art movement of Romanticism in the 17th Century. The influences and pioneers of this movement have been discussed so students can understand the core concepts of Romanticism,
This presentation is for students of English literature. This presentation contains, History(social, political and economic) and literary features of Romantic age, poets, novelists and prose writers of the age.
The power of the image: Contemporary art, gender, and the politics of perceptionDeborahJ
The relation between visual representations and the identity of the human subject.
The ideas and research that have informed this lecture are grounded in the areas of queer theory, gender studies, critical race theory, and feminist studies.
The global image. from consumer culture to the digital revolution DeborahJ
The Global Image: From Consumer Culture to the Digital Revolution is focused on the way we engage with images in the post-Internet era, when they can be shared, reproduced, altered, and distributed more easily than ever before in human history.
Beyond the visual: The Body in Contemporary ArtDeborahJ
When we think of the Body in Contemporary Art we could consider a number of different and relevant aspects. For instance, the body - the human form - is central in art, traditionally the body was often used to explore allegory, beauty and sexuality and so on. But in the twentieth century there was a significant shift in both how the body was perceived, and how it was used to create art across a range of media, from painting and sculpture to installation, photography, video art, performance and participatory art. By considering the different roles played by the body in art, we can identify that there has been a shift from being the subject, for example, in a portraiture, to becoming an active presence in live and participatory events. Alongside this there has also been a significant transformation of the role of the audience, broadly speaking, from passive viewer to active participant.
Week 10 in jeopardy idealism, authenticity, universality and the avant-garde
How Art Works Week 9: Revolutionism Case Studies: Romanticism Impressionism
1. How Art Works
Week 9:
Revolutionism
Case Studies:
Romanticism
Impressionism
2. Romanticism
• I believe poetry, paintings and literature are valuable ways to express emotion
• All that Enlightenment emphasis on reason goes too far, there needs to be more
emphasis on imagination and emotion
• I find medieval legends and folklore to be more interesting than Greek and Roman
thought
• While the Enlightenment guys might have said “reason is all!”, I believe “Feeling is
all!” (to quote Romantic writer Goethe)
• It is more important to live intensely and guided by feelings than to live wisely and
guided by reason
• I like poems and paintings that glorify nature
• I prefer art and literature that is emotional and fantastical rather than portraying
reality exactly as is
• I am not sure that the Industrial Revolution improved society. In fact, I think it was
overwhelmingly dehumanizing
• I would like to travel/read about exotic lands
• I might even be open to helping people fight for independence in faraway lands
because I feel that it is important (and exciting)
3. David
Napoleon At Saint-Bernard
(1801)
France the formative
stage of romanticism
coincided with the
Napoleonic Wars
(1799-1815), the first
French romantic
painters found their
inspiration in
contemporary events
5. A Revolutionary Movement
• The artist must be separate from
from corrupting society
• The artist must be the Critic of
society, must start Revolution
• The artist as genius
• Support for the French Revolution.
• The Industrial Revolution is affecting
society
• Individuals are important but they feel
alone and isolated
• Industrialization dehumanizes workers
• Maybe violent change is better
9. Dehumanization of industrialization
JMW Turner
The Slave Ship (formerly known as:
Slavers Throwing Overboard the Dead
and Dying: Typhoon Coming On
(1842)
JWM Turner
Rain, Steam, and Speed
(1844)
15. The Impressionist Revolution
The Impressionists: 1870s-
1890s The first group of
artists to organize themselves
to defend a new artistic style.
Based in Paris: the world
capital of art at the time.
Claude Monet
Impression: Sunrise
16. "View from the Window at Le
Gras" (circa 1826)Joseph
Nicéphore Niépce.
It was no longer important to represent a subject realistically
since the invention of photography and cameras becoming
increasingly had made this function of art obsolete
The expression Romantic gained currency during its own time, roughly 1780-1850. However, even within its own period of existence, few Romantics would have agreed on a general meaning. Perhaps this tells us something. To speak of a Romantic era is to identify a period in which certain ideas and attitudes arose, gained currency and in most areas of intellectual endeavor, became dominant. That is, they became the dominant mode of expression. Which tells us something else about the Romantics: expression was perhaps everything to them -- expression in art, music, poetry, drama, literature and philosophy. Just the same, older ideas did not simply wither away. Romantic ideas arose both as implicit and explicit criticisms of 18th century Enlightenment thought. For the most part, these ideas were generated by a sense of inadequacy with the dominant ideals of the Enlightenment and of the society that produced them.
As intellectual and cultural movements, Enlightenment and Romanticism played a crucial role in the creation of the modern world during the long eighteenth century. Traditionally, scholars have tended to view Romanticism as a reaction against Enlightenment, with individuals, for instance, rediscovering the passion apparently attenuated by a growing emphasis on reason, or seeing new value in the past as opposed to the rising celebration of progress.
ROMANTICISM appeared in conflict with the Enlightenment. You could go as far as to say that Romanticism reflected a crisis in Enlightenment thought itself, a crisis which shook the comfortable 18th century philosophe out of his intellectual single-mindedness.
The Romantics attacked the Enlightenment because it blocked the free play of the emotions and creativity. Man must liberate himself from these intellectual chains. The Romantics were rebels and they knew it.
Exemplified by: William Blake, Newton as a divine geometer (1795)
Blake, was critical of reductive scientific thought. In this picture, the straight lines and sharp angles of Newton’s profile suggest that he cannot see beyond the rules of his compass. Behind him, the colourful, textured rock may be seen to represent the creative world, to which he is blind.
The history of the Romantic period is often dominated by the political events that occurred within it
Industrial Revolution and the Enlightment influenced the Romantic period
From 1793 to 1815 was a period of European war and also revolutionary combat
French Revolution, the Terror, and Napoleon
There were a number of key developments that had a big impact on artists working in the 19th century
For instance, the Enlightenment, which was characterised by an impulse towards modernity in matters of government, politics, religion and aesthetics.
The Enlightenment was a cultural movement of intellectuals in 18th-century Europe, that sought to mobilize the power of reason, in order to reform society and advance knowledge. It promoted science and intellectual interchange and opposed superstition.
The transformations and changes happening in Europe between led to demand new ways of looking at, understanding and explaining things and events through the social science. The Enlightenment was a cultural movement of intellectuals in 18th-century Europe, that sought to mobilize the power of reason, in order to reform society and advance knowledge. It promoted science and intellectual interchange and opposed superstition
This preoccupied many great thinkers to theorize on the phenomena of changes. They were motivated by feelings of beneficent humanity, that they were on the side of the future and that the future was on their side. In spite of its allegiance to the classical tradition, the Enlightenment was a modernising force, keen to review and regenerate culture and society.
In its desire to replace outmoded, irrational ways of thinking by the rational, the sensible and the progressive, the Enlightenment was self-consciously modern. A manifestly scientific age and the visible advancement of knowledge in the eighteenth century required, it was felt, an overhaul – or at least a careful critical and radical scrutiny – of culture, society and their institutions.
The Enlightenment project of modernity stressed the importance of truth and abstract reason; universalizing grand narratives that aspire to completeness; the distinction between "high" and "low" or popular culture.
The Industrial Revolution -- in full swing in England since the 1760s -- spread to the Continent in the 1820s, thus adding entirely new social concerns. The Industrial Revolution of the late 18th and early 19th centuries was revolutionary because it changed -- revolutionized -- the productive capacity of England, Europe and United States. But the revolution was something more than just new machines, smoke-belching factories, increased productivity and an increased standard of living. It was a revolution which transformed English, European, and American society down to its very roots. Like the Reformation or the French Revolution, no one was left unaffected. Everyone was touched in one way or another -- peasant and noble, parent and child, artisan and captain of industry. The Industrial Revolution serves as a key to the origins of modern Western society.
The Slave ShipJoseph Mallord William Turner, 1842
Rain, Steam, and SpeedJoseph Mallord William Turner, 1844