This document discusses the artistic movements of Neoclassicism, Romanticism, and Realism. Neoclassicism drew inspiration from ancient Greek and Roman art and emphasized rationality and order. Romanticism was an emotional reaction that valued intuition and nature. Realism depicted everyday subjects and social issues in a realistic style. The document provides examples of major artists from each movement like David, Friedrich, and Courbet. It describes how Realism grew out of Romanticism but focused on ordinary people and scenes instead of the idealized.

1. First a review….
Bernini’s examples of the
Baroque.

2. ► “I saw in his hand a long spear of gold, and at the
iron's point there seemed to be a little fire. He
appeared to me to be thrusting it at times into my
heart, and to pierce my very entrails; when he drew it
out, he seemed to draw them out also, and to leave
me all on fire with a great love of God. The pain was
so great, that it made me moan; and yet so surpassing
was the sweetness of this excessive pain, that I could
not wish to be rid of it. The soul is satisfied now with
nothing less than God. The pain is not bodily, but
spiritual; though the body has its share in it. It is a
caressing of love so sweet which now takes place
between the soul and God, that I pray God of His
goodness to make him experience it who may think
that I am lying.” Chapter XXIX; Part 17, Teresa's
Autobiography

3. THINKING QUESTION….
► Around time do you think the three sculptures
were created. Provide a brief rationale.

4. OF
REVOLUTIONS:
FROM
NEOCLASSICAL
TO
ROMANTIC

5. NEOCLASSICAL
► From the mid 18th to the early 19th century
► harkened back to the grandeur of ancient Greece and
Rome (hence “neo” “classical”), many Greek and
Roman references
► was a reaction to the overly emotional and ornate
Baroque
► was restrained, rational, sometimes rigid and severe
► As reason guided the philosophes’ minds, so too
should reason guide artist’s hand
► Major artists: Jacques David & Jean August Ingres
► Coincided with the French and American revolutions

6. Neoclassical
Architecture
•Symmetry
•Balance
•Triangular pediment
•Columns
•Domed roof

7. Pantheon in Rome
(c. 126 AD)
Baltimore
Basilica
(c. 1821 AD)

8. Monticello
(c. 1772)

9. Death of Socrates, Jacques Louis David, 1787

10. Oath of the Horatii, Jacques Louis David, 1784

14. Napoleon I on His
Imperial Throne (1806)
Jean August Ingres,
Musee de l’Armee.

15. Westminster Palace, Parliament, was rebuilt in 1834. Heated
arguments ensued over the style. Planners decided against
neoclassical because of the connotations of revolution. They
settled on Neo Gothic.

16. QUICK COMPARISON
• NEOCLASSICAL
• Pantheon, Paris (1755-1792)
NEOGOTHIC
Neues Rathaus, Munich Germany
(1867)

17. ROMANTICISM
 Was a general reaction to the
Enlightenment emphasis on reason
 Rationalist quest to understand human
nature lost sight of what really makes us
human…
 Emotion and individuality. Romantics
emphasized the importance of intuition,
imagination, feeling and emotions
 Allowed for greater emotion and
expression on the canvas

18.  Often fanciful, sentimental, unreal,
imaginative.
 Often associated with dreams, folklore,
heroics of bygone days.
 Classical : mechanical :: Romantic:
organic
 Romantics questioned the “progress”
promised by society guided by reason.
 Napoleonic Wars? Napoleonic
dictatorship? Materialism?
Exploitation?

19. The Enlightenment’s Impact
on Romanticism
 Romanticism can be traced back to
Rousseau’s idea that European’s needed
to get “back to nature” (i.e. noble savage)
 In its purity, could mean a retreat to wild
places…
 example: British landscape artists such as
Constable and Turner reacted to/against
industrialism’s impact, especially on
nature

20.  We can see Immanuel Kant as
a romantic
 Critique of Pure Reason (1781)
& Critique of Practical Reason
(1788)
 Mind is not tabula rasa; human
beings possess an innate sense
of moral duty: categorical
imperative

21. Romanticism Glorified the
individual
 Individuals portrayed as heroes in art
 Mimicked the intellectual trend of J.G.
Fichte (1762-1814)
 Believed the world is as it is because
strong willed individuals imposed their
wills on the world
 The emotion of Romanticism is strongly
related to Nationalism and Liberalism

22. Romantic Landscapes
 Romantic British landscape artists such as
Turner and Constable
 Reflected new attitudes toward nature
 Rousseau’s idyllic image of natural world
contrasted to the corrupt and artificial
contemporary materialist society
 God’s creative spirit could be seen in nature
 New emphasis on the emotive effects of
landscapes, calming, tranquil or dramatic and
frightening
 THE SUBLIME

23. Romanticism and religion
 Romantics saw religion as basic
to human nature; faith as a
means to knowledge
 Many urged a revival of
Christianity based on the inner
emotions of humankind as the
foundations

24. The Romantics looked back…
 Appreciated the Middle Ages, a time
before...
 the overemphasis on reason, where
religion was still appreciated…
 the materialism of the Renaissance…
 the social ills associated with
industrialization…
 … this was reflected in the architecture
 Neo Gothic

27. Cologne
Cathedral
Construction began in
1248 and was
completed in 1880

28. A photo of the unfinished
cathedral in 1856

31. Napoleon
Crossing
the Alps,
1801
by
Jacques-
Louis
David,
Oil on canvas, 102" x 87" (260
x 221 cm), Chateau de

34. Wanderer
Above the
Sea of Fog
Caspar
David
Friedrich,
1818

36. Solitary Tree
Caspar David Friedrich, 1822

38. Abbey in the Oaks
Caspar David Friedrich , 1809

39. Nightmare (The Incubus)
Henry Fuseli, 1781

40. Massacre at
Chios
Eugene
Delacroix,
1824

41. Compare
and contrast
Vermeer’s
Astronomer
to… (1668)

42. Man and woman contemplating the Moon
Caspar David Friedrich, 1830

43. Compare and contrast the
paintings. Account for the
differences.
Man and woman contemplating the Moon ,
Caspar David Friedrich, 1834
Astronomer, Johannes
Vermeer, 1668

44. Raft of the Medusa
Theodore Gericault, 1819

46. The Bard
John Martin, 1817
On a rock, whose haughty brow
Frowns o'er cold Conway's
foaming flood,
Robed in the sable garb of woe
With haggard eyes the Poet
stood;
Loose his beard and hoary hair
Streamed like a meteor to the
troubled air.
He curses the departing armies:
“Ruin seize thee, ruthless King!
Confusion on thy banners wait!”
~ Excerpt from a popular poem by Thomas Gray (1755),
telling of the conquest of Wales by English King Edward III in
the 13th century

47. Death of Marat
• Death of Marat by Jacques by Jacques-
David
Louis David

48. Explain the ways in which the Romanticism of this
painting is consistent with that of Wordsworth’s poetry
and Chateaubriand’s description of a Gothic Cathedral.

50. THE BIRTH OF REALISM IN ART
• Began during the 1830 and 1848 revolutions in
France and reached its peak during the Second
French Empire (1852-1870)
• Generally, realists shifted away from idealism
of the romantics to a more realistic rendering of
nature, social relationships, and the world at
large
• Realist artists became disillusioned by the
“polished artists” who studied at the Art
Academies, especially in France

51. The Barbizon School in France
• a group of French, realist landscape artists who
rejected the Academic tradition, abandoning theory
in an attempt to achieve a truer representation of
life in the countryside
• Considered to have sown the seeds of Modernism
with their individualism, and were the forerunners
of the Impressionists, who took a similar
philosophical approach to their art
• For the artists such as Theodore Rousseau, nature
became a place of nostalgia and refuge from the
social and political troubles of 1840 and 1848 as
well as the refusal from the Salons
• Considered a “link” between the Romantics and
Realists

52. Theodore Rousseau
Edge Of The Forest, Near The Gorges D'Apremont
Oil On Canvas: (31.67 x 39.58 in)
Signed and dated at lower right: 1866 / TH. Rousseau

53. REALISTS EMPHASIZED THE
ORDINARY
• The subjects of paintings were drawn directly
from observable life, no longer allegorical
and/or mythological
• “Democratization of art”
• In the wake of the 1848 Revolutions and the
release of the Communist Manifesto, realism
reflected a new attitude of social disillusionment
• Workers, the poor, and the homeless were
chosen not only as protest, but also to
document contemporary life

54. • Realists carried on some aspects of
Romanticism such as…
• reverence for natural beauty and attention
to the individual, but…
• Realists did not transform these things
into picturesque, sublime works…
• instead they appreciated these things for
their imperfect, unfinished, ordinary,
sometimes ugly, ordinariness. (i.e. Millet,
Corbet, Daumier)
• Often times people were offended by
this “vulgar” art.

55. Shepherdess with Her Flock, Jean-Francois Millet, 1864, Musee d'Orsay, Paris, Oil on
canvas, 32 x 39 3/4 in. (81 x 101 cm)

56. A Wagon of the Third Class. Honore Daumier. c. 1862-64. Oil on canvas. Museum of Fine
Arts, Ottawa, Canada.

57. Napoleon
Crossing
the Alps,
Hippolyte
Delaroche
(1850)

58. A Burial at Ornans, Gustave Courbet. 1849-50 Oil on canvas Musée d'Orsay, Paris.

59. The Gleaners, Jean Francois Millet, 1857

60. The Gross Clinic
Eakins, Thomas
1875
Oil on canvas
96 x 78 in.
Jefferson Medical College of
Thomas Jefferson University,
Philadelphia

61. The Legislative Belly. Perspective View of the Ministers' Seats of 1834. Honore Daumier.

62. Olympia, Edouard Manet, 1863, Oil on canvas, 51 3/8 x 74 3/4 in. (130.5 x 190 cm),
Musee d'Orsay, Paris

63. The Realists gave rise to the artistic
rebellion of the Impressionists
• Progressive minded realists, like Manet, were
not allowed to show their works at the official
Salon of the Academy
• 1863, Napoleon III called for an alternative
show for the public to decide for themselves…
• Salon des Refusés (Salon of the Refused)