3. Figure 20-2 PETER PAUL RUBENS, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood, 15’ 1
7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing). Antwerp Cathedral, Antwerp.
3
4. Figure 20-3 PETER PAUL RUBENS, Arrival
of Marie de’ Medici at Marseilles, 1622–1625. Oil
on canvas, 12’ 11 1/2” x 9’ 7”. Louvre, Paris.
4
5. Figure 20-4 PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti,
Florence..
5
6. Figure 20-7 HENDRICK TER BRUGGHEN, Calling of Saint Matthew, 1621. Oil on canvas, 3’ 4” x 4’ 6”. The Hague.
6
7. Figure 20-8 GERRIT VAN HONTHORST, Supper Party, 1620. Oil on canvas, 4’ 8” x 7’. Galleria degli Uffizi, Florence.
7
8. Figure 20-9 FRANS HALS, Archers of Saint Hadrian, ca. 1633. Oil on canvas, approx. 6’ 9” x 11’. Frans Halsmuseum,
Haarlem.
8
9. Figure 20-10 FRANS HALS, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil on canvas, 5’ 7” x 8’ 2”. Frans
Halsmuseum, Haarlem.
9
10. Figure 20-11 JUDITH LEYSTER, Self-Portrait, ca. 1630. Oil on canvas, 2’ 5 3/8” x 2’ 1 5/8”. National Gallery of Art,
Washington, D.C. (gift of Mr. and Mrs. Robert Woods Bliss).
10
11. Figure 20-12 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”.
Mauritshuis, The Hague.
11
12. Figure 20-13 REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas
(cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam.
12
13. Figure 20-14 REMBRANDT VAN RIJN,
Return of the Prodigal Son, ca. 1665. Oil on
canvas, approx. 8’ 8” x 6’ 9”. Hermitage
Museum, Saint Petersburg.
13
14. Figure 20-15 REMBRANDT VAN
RIJN, Self-Portrait, ca. 1659–1660. Oil on
canvas, approx. 3’ 8 3/4” x 3’ 1”.
Kenwood House, London (Iveagh
Bequest).
14
15. 20-15A REMBRANDT VAN RIJN, Self-Portrait, 1658. Oil on canvas, 4’ 4 5/8” X 3’ 4 7/8”. Frick Collection, New York.
15
16. Figure 20-16 REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca.
1649. Etching, 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.
16
17. Figure 20-20 JAN VERMEER, Allegory
of the Art of Painting, 1670–1675. Oil on
canvas, 4’ 4” x 3’ 8”. Kunsthistorisches
Museum, Vienna.
17
18. Figure 20-20A JAN VERMEER,
The Letter, 1666. Oil on canvas, 1’ 5
1/4” x 1’ 3 1/4”. Rijksmuseum,
Amsterdam.
18
19. 20-18B JAN VERMEER, View of Delft, ca. 1661. Oil on canvas, 3’ 2 1/2” X 3’ 10 1/4”. Mauritshuis, The Hague.
19
20. 20-19 JAN VERMEER, Woman Holding a
Balance, ca. 1664. Oil on canvas, 1’ 3 7/8” X 1’
2”. National Gallery of Art, Washington, D.C.
(Widener Collection).
20
23. Figure 20-21 JAN STEEN, The Feast
of Saint Nicholas, ca. 1660–1665. Oil
on canvas, 2’ 8 1/4” x 2’ 3 3/4”.
Rijksmuseum, Amsterdam.
23
24. Figure 20-24 HYACINTHE RIGAUD, Louis XIV,
1701. Oil on canvas, 9’ 2” x 6’ 3”. Louvre, Paris.
24
25. Figure 20-26 Aerial view (looking west) of the palace and gardens, Versailles, France, begun 1669.
25
26. Figure 20-27 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of
Louis XIV, Versailles, France, ca. 1680.
26
27. Figure 20-29 JULES HARDOUIN-
MANSART, Royal Chapel, with ceiling
decorations by Antoine Coypel, palace of
Louis XIV, Versailles, France, 1698–1710.
27
28. Figure 20-28 FRANÇOIS GIRARDON and THOMAS REGNAUDIN, Apollo Attended by the Nymphs, Grotto of Thetis,
Versailles, France, ca. 1666–1672. Marble, life-size.
28
29. Gardner’s Art Through the Ages,
14e
Chapter 21
Rococo to Neoclassicism: The 18th Century
in Europe and America
29
30. Columbus 1492
Pilgrims 1620
Colonial America becomes
The Independent United States 1776
30
31. Figure 21-2 GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and
sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740.
31
32. Figure 21-3 FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich,
Germany, early 18th century.
32
33. Figure 21-4 & 215 BALTHASAR NEUMANN, interior (left) and plan (right) of the pilgrimage church of
Vierzehnheiligen, near Staffelstein, Germany, 1743-1772.
33
34. Figure 21-8 FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on
canvas, 5’ 6” x 2’ 10”. The Wallace Collection, London.
34
36. Figure 21-12 ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England, 1776–
1779.
36
37. 21.3 The Taste for the Natural
• Examine the philosophy of Jean-Jacques Rousseau, in
contrast to Voltaire, his interest in the ‘natural’ as opposed to
the ‘artificial,’ and artistic expression of these ideas.
• Understand the different styles of the “natural” in France,
England, the United States, and in Italy.
• Examine choices of ‘ordinary’ life, the natural world, and
sentimentality as subjects in art.
37
39. Figure 21-14 JEAN-BAPTISTE GREUZE, Village Bride, 1761. Oil on canvas, 3’ x 3’ 10 1/2”. Louvre, Paris.
39
40. The Natural Taste in France
• Examine the subject matter and formal elements in the
“natural taste” in France.
40
41. Figure 21-15 ÉLISABETH LOUISE
VIGÉE-LEBRUN, Self-Portrait, 1790. Oil on
canvas, 8’ 4” x 6’ 9”. Galleria degli Uffizi,
Florence.
41
42. 21-15A ÉLISABETH-LOUISE VIGÉE-
LEBRUN, Marie Antoinette and Her Children,
1787. Oil on canvas, 9’ 1/2” X 7’ 5/8”.
Musée National du Château de Versailles,
Versailles.
42
43. 21-16 ADÉLAÏDE LABILLE-GUIARD, Self-
Portrait with Two Pupils, 1785. Oil on canvas, 6’
11” X 4’ 11 1/2”. Metropolitan Museum of Art,
New York (gift of Julia A. Berwind, 1953).
43
44. Natural Taste in the United States
• Examine the American taste for “downrightness” and
plainness in art.
44
45. Figure 21-20 BENJAMIN WEST, Death of General Wolfe, 1771. Oil on canvas, approx. 4’ 11” x 7’ National Gallery of
Canada, Ottawa (gift of the Duke of Westminster, 1918).
45
46. Figure 21-21 JOHN SINGLETON
COPLEY, Portrait of Paul Revere, ca. 1768–
1770. Oil on canvas, 2’ 11 1/8” x 2’ 4”.
Museum of Fine Arts, Boston (gift of
Joseph W., William B., and Edward H. R.
Revere). 46
47. Italian Natural Taste and Tourism
• Understand the concept of the “Grand Tour” and the
expression of the “picturesque” in art.
The British Grand Tour in the 18th Century
Eighteenth-century British Grand Tourists to Italy generally followed a standardized
itinerary from London to Rome and Naples. From London, travelers crossed the
English Channel to Calais, and continued across France, usually with a lengthy stop in
Paris. There were two options for crossing into Italy. One could either cross the Alps
or book a sea voyage from southern France to Leghorn (today’s Livorno). On their
return to England, tourists often traveled through Germany and the Low Countries.
European tours of this sort typically lasted a year or more. The eighteenth-century
itinerary remained popular well into the nineteenth century, and was also the model
for later nineteenth-century American to
47
49. Figure 21-22 ANTONIO CANALETTO, Riva degli Schiavoni, Venice, ca. 1735-1740. Oil on canvas, 1’ 6 ½”
X 2’ 7/8”. Toledo Museum of Art, Toledo.
49
50. 21.4 Neoclassicism
• Understand how the discovery of Herculaneum and Pompeii
create an interest in classical art.
• Understand the formal elements of classical art and their
revival in 19th century art and architecture.
• Examine Neoclassical art and architecture in France,
England, and in the United States.
• Examine the adaptation of classical and mythological subject
matter in Neoclassical art.
50
51. Figure 21-23 ROBERT ADAM, Etruscan Room, Osterley Park House, Middlesex, England, begun 1761. Victoria and Albert
Museum, London.
51
52. Figure 21-24 ANGELICA KAUFFMANN, Cornelia Presenting Her Children as Her Treasures, or Mother of the Gracchi, ca. 1785.
Oil on canvas, 3’ 4” x 4’ 2”. Virginia Museum of Fine Arts, Richmond (the Adolph D. and Wilkins C. Williams Fund).
52
53. Figure 21-25 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris.
53
54. Figure 21-26 JACQUES-LOUIS DAVID,
The Death of Marat, 1793. Oil on canvas,. 5’ 5”
x 4’ 2 1/2”. Musées Royaux des Beaux-Arts de
Belgique, Brussels.
54
55. Figure 21-32 JEAN-ANTOINE HOUDON, George
Washington, 1788-1792. Marble, 6’ 2” high. State
Capitol, Richmond.
55
56. Figure 21-33 HORATIO GREENOUGH,
George Washington, 1840. Marble, 11’ 4” high.
Smithsonian American Art Museum,
Washington, D.C.
56
57. The Neoclassical in the United States
a.k.a. Federal Style
• Examine Neoclassical or Federal Style as the national style of
architecture in the United States in the early 19th century.
57
58. Figure 21-30 THOMAS JEFFERSON, Monticello, Charlottesville, United States, 1770–1806.
58
59. Figure 21-31 THOMAS JEFFERSON, Rotunda and Lawn, University of Virginia, Charlottesville, Virginia, 1819-1826.
59
60. Gardner’s Art Through the Ages,
14e
Chapter 22
Romanticism, Realism, Photography:
Europe and America, 1800 to 1870
60
63. Figure 22-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”.
Louvre, Paris.
63
64. 22-1A JACQUES-LOUIS
DAVID, Napoleon Crossing the
Saint-Bernard Pass, 1800–1801. Oil
on canvas, 8’ 11" X 7’ 11”.
Musée National du Château de
Versailles, Versailles.
64
66. Foreshadowing Romanticism
• Notice how David’s students retained Neoclassical features in
their paintings
• Realize that some of David’s students began to include subject
matter and stylistic features that foreshadowed Romanticism
66
67. Figure 22-1 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. Oil on canvas, 17’ 5” x 23’ 7”. Louvre, Paris.
67
71. Features of Romanticism : P. I. N. E.
• P. I. N. E.
– Past – longing for the medieval past, pre-industrial Europe
(Gothic architecture will be revived)
– Irrational/ Inner mind / Insanity – Romantic artists depict
the human psyche and topics that transcend the use of
reason. One Romantic artist, Gericault chose to do portraits
of people in an insane asylum.
– Nature – longing for the purity of nature, which defies
human rationality
– Emotion/ Exotic – Romantics favored emotion and passion
over reason. Exotic themes and locales were also popular
because they did not adhere to European emphasis on
rationality.
71
72. Figure 22-8 HENRY FUSELI, The Nightmare, 1781. Oil on canvas, 3’ 4 3/4” x 4’ 1 1/2”. The Detroit Institute of the Arts
(Founders Society Purchase with funds from Mr. and Mrs. Bert L. Smokler and Mr. and Mrs. Lawrence A. Fleishman).
72
73. Figure 22-9 WILLIAM BLAKE, Ancient of Days,
frontispiece of Europe: A Prophecy, 1794. Metal
relief etching, hand colored, 9 1/2” x 6 3/4”. The
Whitworth Art Gallery, Pierpont Morgan Library,
New York.
73
74. Figure 22-10 FRANCISCO GOYA, The Sleep of Reason
Produces Monsters, from Los Caprichos, ca. 1798. Etching
and aquatint, 8 1/2” x 5 7/8”. Metropolitan Museum of
Art, New York (gift of M. Knoedler & Co., 1918).
74
75. Figure 22-10A FRANCISCO GOYA, The Family of Charles IV, 1800. Oil on canvas, approx. 9’ 2” x 11’. Museo del Prado,
Madrid.
75
76. Figure 22-11 FRANCISCO GOYA, Third of May, 1808, 1814. Oil on canvas, 8’ 9” x 13’ 4”. Museo del Prado, Madrid.
76
77. Two Old People Eating
Figure 22-12 FRANCISCO GOYA, Saturn Devouring One of His
Children, 1819–1823. Detached fresco mounted on canvas, 4’ 9
1/8” x 2’ 8 5/8”. Museo del Prado, Madrid.
77
78. Figure 22-13 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas, 16’ 1” x 23’ 6”. Louvre, Paris.
78
81. Figure 22-15 EUGÈNE DELACROIX, Death of Sardanapalus, 1827. Oil on canvas, 12’ 1 1/2” x 16’ 2 7/8”. Louvre, Paris.
81
82. Figure 22-16 EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, 8’ 6” x 10’ 8”. Louvre, Paris.
82
83. Figure 22-17 EUGÈNE DELACROIX, Tiger Hunt, 1854. Oil on canvas, 2’ 5” x 3’. Musée d’Orsay, Paris.
83
84. Figure 22-19 CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on canvas, 3' 7 1/2" X 5' 7 1/4".
Nationalgalerie, Staatliche Museen zu Berlin, Berlin.
84
85. 22-20 CASPAR DAVID FRIEDRICH,
Wanderer above a Sea of Mist, 1817–1818.
Oil on canvas, 3’ 1 3/4" X 2’ 5 3/8”.
Hamburger Kunsthalle, Hamburg.
85
86. Romantic Landscape Painting
• Understand the romantic interest in the landscape as an
independent and respected genre in Germany, England, and
the United States.
86
87. Figure 22-22 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 (Henry Lillie Pierce
Fund). 87
88. Figure 22-23 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 (gift of Mrs. Russell Sage, 1908).
88
89. Figure 22-24 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6’ x 10’. National
Museum of American Art, Smithsonian Institution, Washington, D.C.
89
90. Figure 22-25 FREDERIC EDWIN CHURCH, Twilight In the Wilderness, 1860s. Oil on canvas, 3’ 4” x 5’ 4”. Cleveland
Museum of Art, Cleveland (Mr. and Mrs. William H. Marlatt Fund, 1965.233).
90
91. 22.3 Modernism and Realism
• Examine the meanings of “Modernism” and “Realism” and
the rejection of Renaissance illusionistic space.
• Understand the changes in Realist art in form, style, and
content.
• Examine the use of art – especially photography and
printmaking -- to provide social commentary.
91
92. Figure 22-26 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5’ 3” x 8’ 6”. Formerly at Gemäldegalerie,
Dresden (destroyed in 1945).
92
93. Figure 22-27 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, 10’ 3 1/2” x 22’ 9 1/2”. Musée d’Orsay,
Paris.
93
