This document provides an overview of artistic styles and movements between 1750-1850, including Neoclassicism and Romanticism. It discusses key philosophers, artists, and works that exemplified these periods. Neoclassicism was inspired by Enlightenment ideals and emphasized reason, while Romanticism embraced emotion and nature. The document also notes tensions between these styles, and how they varied between countries and evolved over time.

20. • Mon: Pierot, Italian and English Rococo
– Turn in Ch. 19-20 French Baroque and Rococo
– 672-680: Neoclassical Painting
• Tuesday: 681-689 (Skip Neoclassical Theater)
• Neoclassical Sculpture and Architecture
• Wednesday: 690-699
– Romanticism: Goya, Gros, Gericault, Delacroix
• Thursday: 700-711
– Daumier, Rousseau, Millet
– English Romanticism: Constable, Turner
• Friday: 716-721: US and Italian R.
• Saturday: 724-733: Neo-Gothic-Empire Style
• Sunday: 734-737: Intro to Photography

21. • 1750-1850
• Competing theories:
– Movement Counter-Movement
– Regional differences
– Continuation/evolution
– Singular with subtle aspects
• Neoclassicism: Revival of classical
antiquity within its proper context
– Unlike Rococo and other
classicisms
– Based on Enlightenment Ideals
– Main philosopher: Winklemann
• Romanticism: Emphasis on the
swaying emotions of the natural
world, themes of heroism, the heart,
transcendence and nostalgia for the
past.

22. • The Enlightenment (1650-1700)
– Emphasis on reason over
superstition
– Upholds man’s freedom of will
and basic populist rights
– Mechanical arts and sciences
• Turns attention away from
aristocracy and religion “back
to the ancients”

23. • American Revolution (1776-1781)
– 13 British colonies breaking free from
Britain
– Rejection of oligarchies
– Support of republicanism and
democratically-elected government
• French Revolution (1789)
– Radical social upheaval
– The storming of the Bastille and
destruction of monarchy
– Feudal, aristocratic and religious
privileges taken away
– Equality, citizenship, and inalienable
rights

24. •
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•
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25. • German art historian (1717-
1768)
• Hellenist who divided Greek,
Greco-Roman, and Roman art
– Discovering the stylistic
differences of Rome and Greece
• Influential in Archeology and
Art History
– First to practice excavations for
the sake of study
– First to chronicle art back from
Egypt to present day.
• "noble simplicity and quiet
grandeur"

26. • French philosopher, art
critic, and writer (1713-
1784)
– Enlightenment thinker in
the continuation of the
French Academy
– Resurrecting Poussinistes
theory after Rococo
• First to create a
comprehensive
knowledge book known
as the “Encyclopedie”

27. Jean-Baptiste Greuze. The Village Bride. 1761.
Oil on canvas, 91.3 x 118 cm. Musee du Louvre, Paris

28. • Neo-Poussinist Painter
(1748-1825) accomplishes
the standard for
Neoclassicism
– Develops his style in Rome
(find the inspiration)
– Active in the Revolution
– Blends classical themes
with modern
Enlightenment thinking
and repose.
• “To give a body and a
perfect form to one's
thought, this - and only this
- is to be an artist.”

29. The Death of Socrates. 1787. Oil on canvas, 130 x 196 cm
Metropolitan Museum of Art, New York

32. Jacques-Louis David. The Death of
Marat. 1793.
Oil on canvas, 165 x 128.3 cm.
Musees Royaux des Beaux-Arts de
Belgiquc, Brussels
Aidez-moi, ma chère amie

33. Benjamin West. The Death of General Wolfe. 1770.
Oil on canvas, 151 x 213.7 cm. National Gallery of Canada,
Ottawa

34. John Singleton Copley. Watson and the
Shark. 1778.
Oil on canvas, 182.9 x 229.2 cm. Courtesy,
Museum of Fine Arts, Boston

35. • If your mind was a
flower, what would it
look like and why?
Create six analogies
between your mind and
the parts of a flower.
Be Creative!
• Draw the flower and
label it.

37. George Stubbs. Lion Attacking a Horse. 1770.
Oil on canvas, 102 x 127.6 cm.
Yale University Art Gallery, New Haven,
Connecticut

38. • “For art is only
perfect when it looks
like nature and
nature succeeds only
when she conceals
laten art. “
– Longinus, “on the
Sublime”

39. • What is the Sublime?
– That sense of awe you
have when witnessing
the beautiful
OTHERNESS of nature.
– Yet, the lingering sense
BELONGING we innately
have to the natural
world
• Development of the
“English Garden”

40. “Poetry is the spontaneous
overflow of powerful
feelings: it takes its origin
from emotion recollected
in tranquility.”
~Wordsworth
Write a 4 line poem about
the following work. EC for
more lines. Free Associate
and write without thinking.

41. • What is Picturesque?
– The poetic framing of idyllic
landscapes to heighten the
“latent art” of the natural,
untamed world.
– Connected to the sublime as
the outcropping of experience
• Kant compares genius to the
natural teleology of
vegetation (why important?)

43. Alexander Cozens.
Landscape, from A New Method of Assisting
the Invention in
Drawing Original Composition of
Landscape, 1784-86. Aquatint.
The Metropolitan Museum of Art, New York

44. • Ideals of NeoC. Are
represented distinctly in
sculpture. Why?
• Houdin (1741-1828)
– Growing demand for
portrait busts
– Use of Plaster to save on
material costs
– Focus on character
individuality and
Enlightenment grandeur

45. Jean-Antoine Houdon. George Washington
1788-92
Marble
Mount Vernon, Virginia

46. • Palladian Revival (1715)
– Pedimental facades
– Square, simple proportions
– Octagonal domes
– Development of “English
Gardens”
• French Rationalist
Movement (1706-1760s)
– Stolid utility of form
– Stripping away of
unnecessary use of
classical décor
– Reaction against nostalgia
for Louis XIV
Lord Burlington and William
Kent. Chiswick House, near
Lond. Begun 1725

49. Jacques-Germain Soufflot.
The Pantheon, Paris. 1757-
92

55. • With the Enlightenment
of rationality comes a
liberation of what?
– How is this connected to
our ideas of the mind as
flower and “English
Garden”?
• 1790’s fascination with
medieval tales of
adventure
– The “gothic” past becomes
part of the swriling
nostalgia of romantics

56. • Romantics (1800-1860)
acclaimed:
– A “return to nature”
– Unbounded, wild and ever
changing
– The disappearance of evil
through the free reign of
natural impulse
– Liberty, power, love,
violence, classical
civilization, the Middle Ages
– Emotion itself as devotion

57. • Come forth into the light of things,
let nature be your teacher.
• How does the Meadow flower its
bloom unfold? Because the lovely
little flower is free down to its
root, and in that freedom bold.
• Art is Emotion recollected in
tranquility

58. • Spain is not producing
artists of note, and many
reject the Rococo of
France and Rome.
• Goya becomes interested
in Enlightenment values
– Despite being painter to
the king in 1799, he did not
sympathize with the ruling
monarch
– Neo-Baroque style
ushering in the painterly
Romantic movement

59. Francisco Goya.
The Sleep of Reason Produces Monsters, 1798
The Metropolitan Museum of Art, New York

60. • Intaglio printmaking
technique
– Copper or zince plate
that is etched
– Application of acid to
produce the marks
– Rosin is applied to
the background to
develop mid-grey
tonalities

63. Francisco Goya, The Third of May, 1808, The
Shootings at Mount Principio Outside Madrid,
oil on canvas, 1814 (Museo del Prado, Madrid)

67. The Incantation
1797-98; Oil on canvas, 16 1/2 x 11 3/4";
Lazaro Galdiano Foundation, Madrid

68. The Colossus
1808-12 (120 kB); Oil on canvas, 45 3/4 x 41
1/4 in; Museo del Prado, Madrid
Saturn Devouring His Son
Oil on plaster transferred to canvas, 4' 9
1/8" x 2' 8 5/8"; Prado, Madrid

69. • Early Romantic Painter
who develops an intensity
of emotion through man’s
interaction with nature
– Often depicting military
portraits and themes in
early works
– Through action of horses in
Versailles, became
interested in emotion and
anatomy
– Late work is enamored
with subjects including
asylum patients and
history of suffering

70. Théodore Géricault, Raft of the Medusa, oil on canvas, 193 x
282 inches, 1818-19 (Musée du Louvre, Paris)

74. • Last of the neo-classical
painters
– but actually working in a neo-
baroque or “romantic
classical” style
• Poussinistes History painter
– Actually works as a
rubenesque genre painter of
emotion
• Cognitive dissonance?
– The debate of color and
design may be just
hemispheric differences of
art. Remember…MIND
FLOWER

75. Jean-Auguste-Dominique Ingres, La Grande Odalisque,
1814, Oil on canvas,
36" x 63" (91 x 162 cm), (Musée du Louvre, Paris)