AP Art History Unit Sheet Chapter 27: Romanticism, Realism, and Photography Works of Art 27‐1: Napoleon at the Plague House at Jaffa 27‐2: Coronation of Napoleon 27‐4: Pauline Borghese as Venus 27‐7: Grande Odalisque 27‐8: The Nightmare 27‐9: Ancient of Days 27‐10: The Sleep of Reason Produces Monsters 27‐11: Third of May, 1808 27‐13: The Raft of the Medusa 27‐16: Liberty Leading the People 27‐19: Abbey in the Oak Forest 27‐21: The Haywain 27‐22: The Slave Ship 27‐23: The Oxbow 27‐26: The Stone Breakers 27‐27: Burial at Ornans 27‐28: The Gleaners 27‐30: Third Class Carriage 27‐31: The Horse Fair 27‐32: Le Dejeauner sure l’herbe 27‐33: Olympia 27‐35: Veteran in a New Field 27‐36: The Gross Clinic 27‐37: The Daughters of Edward Darley Boit 27‐38: The Thankful Poor 27‐40: Ophelia 27‐43: House of Parliament, London 27‐44: Royal Pavilion, Brighton 27‐45: Paris Opera 27‐48: Still Life in Studio 27‐51: Nadar Raising Photography to the Height of Art
27‐53: A Harvest of Death, Gettysburg, Pennsylvania
27‐54: Horse Galloping 27‐40: Ophelia 27‐43: House of Parliament, London 27‐44: Royal Pavilion, Brighton 27‐45: Paris Opera 27‐48: Still Life in Studio 27‐51: Nadar Raising Photography to the Height of Art
27‐53: A Harvest of Death, Gettysburg, Pennsylvania
27‐54: Horse Galloping Artist Medium Date Page # Gros
David
Canova
Ingres
Fuseli
Blake
Goya
Goya
Gericault
Delacrois
Friedrich
Constable
Turner
Cole
Courbet
Courbet
Millet
Daumier
Bonheur
Manet
Manet
Homer
Eakins
Sargent
Tanner
Millais
Pugin/ Barry
Nash
Garnier
Daguerre
Daumier
O’Sullivan
Muybridge
Millais
Pugin/ Barry
Nash
Garnier
Daguerre
Daumier
O’Sullivan
Muybridge
Painting
Painting
Sculpture
Painting
Painting
Painting
Painting
Painting
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Painting
Painting
Painting
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Painting
Painting
Painting
Painting
Painting
Painting
Painting
Painting
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Painting
Architecture Architecture Architecture Photography Lithograph
Photography Calotype
Painting
Architecture Architecture Architecture Photography Lithograph
Photography Calotype
1804 1805‐1808
1808 1814 1781 1794 1798 1814‐1815
1819 1830 1810 1821 1840 1836 1849 1849 1857 1862 1853‐1855
1863 1863 1865 1875 1882 1894 1852 1835 1815‐1818
1861‐1874
1837 1862 1863 1878 1852 1835 1815‐1818
1861‐1874
1837 1862 1863 1878 754
757
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Preview: Napoleon Bonaparte was an important patron of the arts in France at the turn of the 19th century, appointing the Neoclassicist Jacques‐Louis David as First Painter of the Empire. But early in the 19th century, Neoclassicism gave way to Romanticism as the dominant art form in Europe. Delacroix and Gericault became the leading Romantic painters in France, favoring exotic subject matter and employing bold, loose brushstrokes and vibrant color. In England, Germany, and America, Romantic landscape painters took on transcendental themes. Photography was invented simultaneously in France and England, and by the middle of the century it was a burgeoning new artistic and documentary medium. The American Civil War was one of the first major conflicts to be thoroughly documented in photographs. In the mid‐19th century, Realism emerged as the dominant AP Art History Unit Sheet Chapter 27: Romanticism, Realism, and Photography painting style, with artists such as Gustave Courbet in France and Thomas Eakins rejecting revivalist styles and historical themes in favor of depicting the people and events of their own times. Edouard Manet’s shocking contemporary subject matter and nonillusionistic painting style established the terms of early Modern art. CONTEXT ­ Europe and France 1. Revolution – and social unrest of the 19th century (in France in particular): “We don’t need to borrow riches from the past – our own times are riches enough.” – Gericult a. Greek War of Independence cause celebre for Europeans, particularly the English poet Byron b. Napoleon’s invasion of Spain the atrocities of war (Goya) c. July Revolution of 1830 (France) overthrowing of the Bourbon monarchy. Louis Philippe – constitutional monarch d. 1848 September Revolution (France) overthrow of Louis Philippe’s government 2. Nature – Rousseau’s writings – “back to nature” – the soul in union with the natural world 3. Strum and Drang – Goethe’s writings – “Feeling is all!” – emotional reality trumps the intellect “Without daring – extreme daring – there is no beauty. I do not love reasonable painting.” ­ Delacroix 4. Exoticism Gothick novels and writings of Poe, Hugo, and Scott ‐
For the romantics, the Gothick sensibility was something mystical, weird, and fantastic 5. English Romantic poets: Byron, Shelley, Keats, and Shakespeare’s tragedies (play) Manifestations of Romanticism 1. Historical paintings of disasters, revolutions, Greek liberation – romantic realism Rafta of Medusa – Gericult Executions of the Third of May 1815 – Goya 2. Pluralism and exoticism – interest in other cultures and time periods ‐
Medieval (Gothic) revival (architecture) ‐
Chinoiserie – “Chinese inspires” designs, objects and architecture 3. Fantasy and the imagination ‐
Goa’s late work 4. English landscape painting ‐
Burke’s A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful ‐
For many artists and writer of the early 19th century, nature replaced Christianity as a religious concept and source of inspiration – the divinity of nature – “a religion of Nature” ‐
Melancholy was often the emotional response to nature “The artist should paint not only what he sees before him, but also what be sees within him.” – Friedrich Romanticism – Landscape Painting “The artist was no longer a mere beholder of the landscape but a participant in its spirit, no longer a painter of mere things but the translator of nature’s transcendent meanings, arrived at through feelings inspired by the landscape.” – Gardner As Short History of Landscape in Western European Painting Roman wall painting illusionism/ decorative interiors Garden Scene in Villa of Livia at Primaporta Early Renaissance (Italy) experiments in illusionary space Massaccio’s Tribute Money Northern Renaissance Garden of Eden, metaphor for innocence Bosch’s Garden of Earthly… Late Renaissance first real landscape for landscape’s sake (possibly) Gorgione’s Tempest Mannerism helps capture the religious experience of the artist El Greco’s View of Toledo landscape emerges as a subject matter of painting in Rusidael Dutch landscape school Northern Baroque Baroque “Classicalism” escapist to another time (Arcadian), academic exercises Poussin’s Arcadian fantasies Rococo escapist to ideal for a segment of society in denial Watteau’s Return from Cythera Landscape for the Romantic Artist ‐
Landscape becomes a metaphor for the internal emotional life of the artist ‐
Nature replaced Christianity as a structuring concept and source of inspiration “The experience of the supernatural has… been transposed from traditional religious imagery to nature.” – Rosenblum ‐
The writers Rousseau and Goethe were seen as “Fathers” of the Romantic movement ‐
The concept of the “noble savage” as a Romantic concept Constable the picturesque in art: “Clouds are the chief organs of the sentiment”. – Constable Turner the concept of the sublime in art: uncontrolled forces of nature The belief that contact with nature can heal and restore one’s soul Friedrich nature a metaphor for the artist’s interior emotional and spiritual life AP Art History Unit Sheet Chapter 27: Romanticism, Realism, and Photography “The artist should paint not only what he sees before him, but also what he sees within him.” Nature (nature = truth, innocence, beauty, and virtue) ‐
The divinity of nature – “a religion of Nature” – the worship of nature equated to morality ‐
Nature was not created by man and was something received through the senses ‐
Melancholy was often the emotional response to nature Rousseau – believed that when a person became completely “at one” with nature, they lost everything except the sense of being the concept that nature was a mystical experience Goethe – “Nature was the living garment of God” – the soul in union with the natural world Burke – A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful the most intense human emotions are evoked by pain and fear (including the great “events” in nature such as extreme weather and the sea) American Landscape Painting Hudson River School – landscape as the new Eden, escape from European “Civilization” Realism & Photography CONTEXT – Late 19th century Europe: Industrial Revolution, urbanization – massive movement to cities and resulting in social unrest, Marx Franco‐Prussian war (1870) – France at war and in turmoil Science = progress – new materials, new knowledge, Darwin and dramatic medical advancements Invention of photography (1839) by Daguerre/Talbot – by 1850 well known, Maybridge exhibition 1881 Lithography (beginning in 1850’s) resulted in wider distribution of art and other printing techniques Great Exhibition of all Nations (England) 1851 – cast iron a new building material for architects results in mass production of complicated decorative devices and prefabrication of building units off site 7. Colonization by European powers continues/ Admiral Perry opens Japan 1853 – forced trade with Europe – influx on Japanese prints/ other objects 8. Art for art’s sake – examination of the definition of art and the role of art – art that is done for the sake of doing, without historicism or histrionics, without symbolism and metaphor Concepts/ Ideas: 1. What were photography’s and Japanese print’s influence on painting? 2. What does the new concept “art for art’s sake” mean? 3. Outline the impact of new building materials and construction techniques on 19th Century architecture. 4. List the characteristics of Realist painting. 5. What is the significance of the work of Rodin in the history of sculpture? 6. What was the new role of lithography in the art of the Realists? 1.
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Realism “The heroism of modern life” –Baudelaire “Show me an angel and I’ll paint one!” –Courbet Definitions: “A mid­19th century style of painting and sculpture based upon the belief that the subject matter of art and the methods of representation should be true to life without stylization or idealization” –Fleming “The representation of things according to their appearance in visible nature (without idealization). In the 19th century, an approach that supported the representation of the subject matter of everyday life in a realistic mode. Iconographically, 19th century Realism is the subject matter of everyday life as seen by the artist.” –Garnder “… art in painting can only consist of the representation of objects that are visible and tangible to the artist. No age can be depicted by its own artists… I also belive that painting is essential CONCRETE art and can only consist of the representation of REAL and EXISTING objects… Beauty is in nature, and reality is encountered under the most diverse forms.” –Gustave Courbet “M. Manet’s temperament is dry, trenchant. He catches his figures vividly, is not afraid of the brusqueness of nature and renders in all their vigor the different objects which stand out against each other. His whole being causes him to see things in splotches, in simple and forceful pieces… Don’t bother looking at the neighboring pictures. Look at the living persons in the room. Study the AP Art History Unit Sheet Chapter 27: Romanticism, Realism, and Photography way their bodies look against the floors and walls. Then look at M. Manet’s paintings: you will see that there lies truth and strength.” –Emile Zola (Author and Critic) Realism – Context: 1. Realism as a rejection of Romanticism and the Salon ‐
Common day occurrences and subjects of humble origins doing mundane activities ‐
Shocked the public and the Salon by rejecting traditional “history paintings” and mythological subjects 2. Artist’s alliance with radical politics of the time – socialism and the working (under‐class) laborers 3. “art of art’s sake” – art that is done for the sake of doing, without historicism or histrionics, without symbolism and metaphor ‐
Direct and “honest” (Objective) presentation of subject matter – example: the female nude presented in a new way out of context to traditional myth or metaphor – naked, self‐assured and not self‐conscious 4. The invention of photography (Daguerre/ Talbot) in 1839 ‐
By 1850 process becomes well known – implications for the art of painting ‐
New approach to “realism” – Maybridge exhibition 1881 5. Painting begins to move away from being a “window to another world” and starts to become an object on the wall 6. Cast iron – a new building material for architects ‐
Results in mass production of complicated decorative devices – prefabrication of building units off site 7. International Exhibitions – new exchange of ideas/ exposure to non­European cultures ‐
Great Exhibition of all Nation (England) 1851 – La Grand Exposition Universelle (Paris) 1889 8. Franco­Prussian war of 1870 – French society remains in flux – social upheavals Realism – Concepts: ‐
Realism a reaction to Romanticism (which was seen as an escape from the realities of modern life) ‐
Often an alliance with radical politics of the time (Courbet) ‐
Subject matter of art drawn from real life ‐
Genre scenes (the “ordinary”) elevated to position of history painting ‐
Simple, direct observation and recording of reality ‐
Objective: a sense of detachment in regard to the representation of the subject matter ‐
An “optical” approach to the visible world and art making: “everything that does not appear upon the retina is outside the domain of painting” –Courbet ‐
painting as object: paint surface often textural – paint applied in impasto ‐
seen by contemporary critics of the time as “crude” and “primitive”