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Chapter Seventeen Romanticism, Realism, and Photography

Chapter Seventeen Romanticism, Realism, and Photography. Culture and Values, 8 th Ed. Cunningham and Reich and Fichner-Rathus. 17.2 A panoramic view of London , ca. 1858. The Intellectual Background. Immanuel Kant (1724-1804) Transcendental idealism Critique of Judgment (1790)

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Chapter Seventeen Romanticism, Realism, and Photography

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  1. Chapter SeventeenRomanticism, Realism, and Photography Culture and Values, 8th Ed. Cunningham and Reich and Fichner-Rathus

  2. 17.2 A panoramic view of London, ca. 1858

  3. The Intellectual Background • Immanuel Kant (1724-1804) • Transcendental idealism • Critique of Judgment(1790) • Art reconciles opposites • Friedrich Hegel (1770-1831) • Synthesis of thesis, antithesis • Optimistic “World Spirit”

  4. The Intellectual Background • Arthur Schopenhauer (1788-1860) • Dominating world power is evil • The World as Will and Idea (1819) • Despondency, pessimism, gloom • Karl Marx (1818-1883) • Communist Manifesto (1848) • Universal proletariat, revolution • Artistic realism: social and political • Anti-capitalism

  5. Other Industrial Developments • Charles Robert Darwin (1809-1882) • Theory of evolution, natural selection • “Social Darwinism” • Physics, chemistry • Louis Pasteur (1822-1895) • Railroads, factories • “a wilderness of human beings”

  6. Art Under Napoleon • Jacques-Louis David (1748-1825) • Neo-Classical style • Conceptual vs. personal emotion • Ingres’ defense of Classicism • Inspired by Greek art • Waged a war against Romantic painting • Anne-Louis Girodet-Trioson • Combines Neo-Classical and Romantic motifs

  7. 17.6 Jacques-Louis David, The Consecration of Emperor Napoleon I and Coronation of Empress Josephine in the Cathedral of Notre-Dame de Paris, 2 December 1804, 1806-1807

  8. 17.7 Anne-Louis Girodet-Trioson, The Entombment of Atala, 1808

  9. Ingres's Portrait of Madame Rivière

  10. 17.8 Jean-Auguste-Dominique Ingres, La Grande Odalisque, 1814

  11. Apotheosis of HomerInges

  12. The Concerns of Romanticism • Expression of personal feelings • Emotionality, subjectivity • Individual creative imagination • Mystical attachment to nature • Love of the fantastic and the exotic

  13. 17.12 Francisco de Goya, The Sleep of Reason Produces Monsters, 1797-1798

  14. Romantic Art in Spain and France • Francisco de Goya (1746-1828) • Execution of the Madrileños (1814) • No idealization • Persuasive emotionality • Personal commitment, vision

  15. 17.12 Francisco de Goya, The Sleep of Reason Produces Monsters, 1797-1798

  16. Francisco de Goya, The Family of Charles IV, 1800. Oil on canvas, 110″ × 132″ (280 × 336 cm). Museo del Prado, Madrid, Spain.

  17. 17.14 Francisco Goya, The Third of May, 1808, 1814

  18. Goya's Saturn Devouring One of His Sons

  19. Romantic Art in Spain and France • Géricault’s Raft of the Medusa(1818) • Intended as a direct indictment of the government • Romantic art of Delacroix (1798-1863) • Use of color to create form • Violent, emotional scenes • The Death of Sardanapalus (1826)

  20. 17.16 Jean Louis André-Théodore Géricault, Raft of the Medusa, 1818

  21. Jean Louis André-Théodore Géricault, Portraits of the Insane

  22. Théodore Géricault, Portait of a Child Snatcher, 1822, oil on canvas, 65 x 54 cm (Museum of Fine Arts, Springfield, Massachusets)

  23. 17.18 Eugène Delacroix, The Death of Sardanapalus, 1826

  24. Ferdinand-Eugène-Victor Delacroix, Liberty Leading Her People

  25. Ferdinand-Eugène-Victor Delacroix, The Massacre at Chios, 1824. Oil on canvas, 13′7″ × 11′10″ (419 × 354 cm). Musée du Louvre, Paris, France.

  26. Romantic Art in the United Kingdom and Germany • William Blake (1757-1827) • Landscape as Romantic device • Constable’s Hay Wain (1821) • Turner’s Slave Ship (1840) • Friedrich’s Wanderer Above a Sea of Mist (1817-1818)

  27. William Blake, The spiritual form of Nelson guiding Leviathan, in whose wreathings are infolded the Nations of the Earth, c. 1805-9, tempera on canvas 30" x 24" (76.2 x 62.5cm), Tate Britain, London

  28. William Blake, Black Slave on Gallows, 1796. Copper engraving, original coloring, 7 ⅝″ × 10″ (19.5 × 25.4 cm). British Library, London, United Kingdom.

  29. 17.20 John Constable, The Hay Wain, 1821

  30. Constable's Salisbury Cathedral from the Meadows

  31. 17.21 Joseph Mallord William Turner, The Slave Ship, 1840

  32. Turner's The Harbour of Dieppe

  33. Joseph Mallord William Turner, Transept of Tintern Abbey, 1794. Watercolor, 12 ⅝″ × 9 ⅞″ (32.2 × 25.1 cm). Victoria and Albert Museum, London, United Kingdom.

  34. John Martin, The Great Day of His Wrath, 1851-53, oil on canvas, 197 x 303 cm (Tate Britain)

  35. 17.22 Caspar David Friedrich, Wanderer Above a Sea of Mist, 1817-1818

  36. Monk by the Sea 1809

  37. Cross on the Mountain

  38. The polar sea

  39. Romantic Poetry • William Blake (1757-1827) • Accomplished in both literature and the visual arts; “The Tyger” (1794) • William Wordsworth (1770-1850) • Founded Romantic movement • “Emotion recollected in tranquility” • Samuel Taylor Coleridge • The Rime of the Ancient Mariner • Illustrates humankind’s powerlessness in the face of the majesty of nature

  40. William Blake 1757-1827 • Engraver by trade • A Swedenborg—mysticism • Married but no children • Printshop • “I must create a system or be enslaved by another Man’s” • Poetic Sketches, Songs of Innocence, The Book of Thel, Songs of Heaven and Hell, Songs of Experience, America: A Prophecy, • Wrote and engraved/illustrated own works

  41. Blake • Aimed to be prophet and visionary—meant work to be taken literally • Creates own mythic world but mixes real historic figures • Vivid description, mood imagination • Making everyday events mythic inspires people and raises awareness of social and political issues. • Imagery and symbolism • Crazy?

  42. Romantic Period 1798-1870 • Rejects the imitation of classical work from Neoclassical, rejects rationality • Freedom of individual self-expression: spontaneity, originality, sincerity, emotional, personal experience • Emotional intensity: rapture, nostalgia, horror, melancholy, sentimentality, exotic, dreams • Values of revolution, democracy, and nationalism • Nature primary inspiration and subject • Crosses all disciplines involves philosophy, political revolutions, and lifestyle • Poetry: Romantic lyric: 3 stanzas with 8 lines each • Repetition, Sensory imagery

  43. William Wordsworth 1770-1850 • Parents died by 13 • St. John’s College, Cambridge • Walking tour of France, Alps, Italy • Inspired by French revolution • Began publishing poetry • Settled down with his sister Dorothy • Lyrical Ballads, The Prelude, • 1802 married, 5 children • Deaths of brother and 2 children & Coleridge’s illness • 1813 Stamp distributor, • 1843 Poet Laureate

  44. Wordsworth • “Poetry is the spontaneous overflow of powerful feeling as recollected in moments of tranquility” • Imagination fuses with memory and real life situations—requires quiet reflection • Nature more real, pure, simple, noble, more essentially human • Stresses importance of the feelings of the poet over the subject matter • Preface to Lyrical Ballads—language of the common man, rejects fancy language of pre- • Nature is the muse –shepherd, peasant, beggar • Return to true nature not picturesque

  45. Samuel Taylor Coleridge 1772-1834 • Jesus College, Cambridge • French revolutionary politics, drinking • Southey—Pantisocracy • 1797 met Wordsworths lived and worked together-- blank verse conversation poems • Left for Germany to study • 1800 Lake District—unhappy marriage and love affair with Wordsworth’s sister-in-law • Crippling opium addiction-notebooks dreams meditations • Travelled, separated from wife, Wordsworths, lectures—”organic form” • Addiction and ending of friendships lead to suicide—rebirth/recovery • After poetry collections and a series of essays on criticism: imagination, reason, symbolism, organic form…

  46. Romantic Poetry • Lord Byron (1788-1824) • Tormented Romantic hero, Byronic • Commitment to struggles for liberty • Percy Bysshe Shelley (1792-1822) • Atheism, anarchy • Perfectability of humanity • Unification of extreme emotions • John Keats (1795-1821) • Tragedy of existence, peace of death

  47. 2nd Generation Romantics • Thought Wordsworth was simple and dull and egotistical sublime • Importance of nature, feelings, imagination and self-consciousness but twisted • Take Wordsworth and then branch out

  48. Lord George Gordon Byron 1788-1824 • Aristocrats w/ money issues, father died young • 10 years old title and estates of 5th Baron Byron • Trinity College, Cambridge—debt & affair w/ young man • Travelled & published • Seat in House of Lords—Grand Tour-publishing • Weight issues/clubfoot • 1816 Run out of English due to affairs, legal separation from his wife and alleged incest w/sister other sexual exploits--Italy • 1824 Died defending the Greeks from Ottoman empire

  49. Byron • —”Byronic hero” Villainous heroes, satiric barbs, melancholy, reclusive, seductive, rakish behavor • Favored classical forms-Spenserian stanzas, ottava rima (8 lines stanzas), satire • Radical politics, orientalism, critical of earlier Romanantics • Celebrity poet • Fugitive Pieces Hours of Idleness English Bards and Scotch Reviewers, Childe Harold’s Pilgrimage, Beppo, The Vision of Judgment, Don Juan

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