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The Generation of 1830 and the Crisis in the Public Sphere

The Generation of 1830 and the Crisis in the Public Sphere. John Constable , The Hay Wain (Landscape, Noon), 1821, oil on canvas, 51 x 73 in. What was the “ideological burden” of this “six-footer”? How is it a “vehicle of thought” (Ruskin) relevant to its time and place?.

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The Generation of 1830 and the Crisis in the Public Sphere

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  1. The Generation of 1830 and theCrisis in the Public Sphere

  2. John Constable, The Hay Wain (Landscape, Noon), 1821, oil on canvas, 51 x 73 in. What was the “ideological burden” of this “six-footer”? How is it a “vehicle of thought” (Ruskin) relevant to its time and place?

  3. EUGÈNE DELACROIX, Liberty Leading the People, 1830, oil on canvas, approx. 8’ 6” x 10’ 8”. Louvre, Paris. How was this painting received at the Salon of 1831? Why?

  4. Paul Delaroche (French, 1797-1856) Artists of All Ages (enthroned figures are the creators of the Parthenon, Phidias, Ictinus, and Apelles), 1836-41, oil & encaustic, 12’x 82’, the hemicycle of the award theater of the École des Beaux Arts, Paris. How is this “Juste Milieu” mural like a Cecil B DeMille movie?

  5. Honoré Daumier (French, 1808–1879), Rue Transnonain April 15, 1834, lithograph, 11 x 17” How is this work a sign of “working class dissent” that fractured the unity of the “bourgeois public sphere” in the 1830s? What was Daumier’s moral position as a “modern” artist? What risk did he take?

  6. Ary Scheffer (Dutch-French, 1795-1858), Saint Augustine and Saint Monica, 1854, oil on canvas, 33x41. Why is this historical “costume” Catholicism conservative?

  7. Antoine-Louis Barye (France, 1796 - 1875), Lion Crushing a Serpent, 1832-33, bronze, 70” long, Louvre, Paris. Commissioned for the Tuileries Gardens in Paris by King Louis-Philippe and was on display there from 1836 to 1911. This copy is in Rittenhouse Square, Philadelphia. Close study of nature and appeal to the powers that be: lion crushing Republican anarchy (snake).

  8. http://www.high.org/main.taf?p=3,1,1,9,6

  9. Jean-Auguste-Dominique Ingres, M. Louis-Francois Bertin, 1832, oil on canvas, 46 x 37in. Louis-François Bertin founded the Journal des Débats and backed Louis-Philippe. Bertin as represented by Ingres is considered the archetype of the triumphant bourgeoisie of the 1830s.

  10. Pierre-Jean David D’Angers, Pediment of the Pantheon, Paris, 1830-37. How is D’Angers’ sculpture like Delacroix’s Liberty Leading the People of the same year? To whom is the Pantheon dedicated? Synthesis of diverse styles. Military heroes with “History” Cultural & civic leaders with “Liberty”

  11. Jacques-Germain Soufflot, The Pantheon, Paris, begun 1744, finished 1789. Baroque neoclassicism. Among those buried in it are Voltaire, Rousseau, Victor Hugo, Émile Zola, Jean Moulin, Marie Skłodowska-Curie, and Louis Braille.

  12. FRANÇOIS RUDE, La Marseillaise, Arc de Triomphe, Paris, France, 1833–1836. Approx. 42’ x 26’. Idealism + realistic anecdotalism and humor

  13. Antoine-Augustin Préault, Slaughter, 1833-4, bronze, 43 x 55 in. How is this relief experimental (“almost cubist”) in form?

  14. Thomas Couture, Romans of the Decadence, 1847, oil on canvas, 15’6” x 25’10” 40 figures in Roman costume – genre historique: “Classicism and Romanticism, eroticism and sexual repression, political criticism and Orléanist ingratiation.” (Eisenman)

  15. Eugene Delacroix, Women of Algiers, 1834, oil on canvas, 71 x 91”A critique of “advanced” Western civilization and a response to the feminist movement, like Couture’s Romans

  16. Dominique Papety (French , 1815-1849),The Dream of Happiness, 1843, oil on canvas, 12’2” x 20’8”. Fourierism: “Unité universelle” How is this painting “a kind of juste milieu nudist colony, at once ascetic and libertine…a model marriage of conformism and liberalism” (Eisenman)

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