LEARNING OBJECTIVES for NEOCLASSICAL / ROMANTIC

1. LEARNING OBJECTIVES for NEOCLASSICAL / ROMANTIC THE ENLIGHTENMENTThe majority of the art and architecture discussed in this chapter was influenced by Enlightenment philosophy, a major current in Western thought. Neoclassical art in particular showed the influence of the Enlightenment in its choice of subject matter—for example, David's OATH OF THE HORATII or DEATH OF SOCRATES. Later works, such as Goya's THIRD OF MAY, 1808 should be seen as a reaction to the Enlightenment. NEOCLASSICISM VERSUS ROMANTICISMOne theme of this chapter is the contrast between Neoclassicism and Romanticism. By the end of the chapter, students should be able to analyze the differences between these two styles in terms of composition, choice of subject matter, proportion, color, and so on. Understanding the distinction between these two styles is especially important in French painting, where the inheritors of these artistic traditions will become the earliest modernists. INFLUENCE OF NAPOLEONStudents should be aware of the influence of Napoleon on French art by being able to identify which artists worked for Napoleon, which were sympathetic to his regime, and which were opposed to it. They should consider David, Ingres, Delacroix, and Goya. A central question for students to discuss is how important a role Napoleon's patronage played in the art of this period. THE AMERICAN IDENTITYArtists in the new United States of America tried to capture the spirit of their fledgling republic in their art, but comparing the art of the young nation with that of its European antecedents reveals strong influences, as well as new unique forms such as naturalistic painting.

2. KNOW YOUR ARTISTS FRENCH Jacques Louis David Jean-Auguste Dominique Ingres Élisabeth Louise Vigée-Lebrun Adélaïde Labille-Guiard ENGLISH William Hogarth Sir Joshua Reynolds Thomas Gainsborough AMERICAN Benjamin West John Singleton Copley Gilbert Stuart

3. Factors that sparked theNeoclassical movement: Excavations of Pompeii and Herculanueum in 1738 & Lord Elgin Marbles of 1801

4. Factors that sparked theNeoclassical movement: Excavations of Pompeii and Herculanueum in 1738 & Lord Elgin Marbles of 1801 The Age of Enlightenment

5. Factors that sparked theNeoclassical movement: Excavations of Pompeii and Herculanueum in 1738 & Lord Elgin Marbles of 1801 The Age of Enlightenment Rococo was too frilly and shallow

6. Emphasized drawing of line (which appealed to the intellect), rather than color (which appeals to the senses)

7. Emphasized drawing of line (which appealed to the intellect), rather than color (which appeals to the senses) Brushwork was smooth and compositions were simple to avoid Rococo melodrama

8. Emphasized drawing of line (which appealed to the intellect), rather than color (which appeals to the senses) Brushwork was smooth and compositions were simple to avoid Rococo melodrama Neoclassical figures more solid looking than French Classical Baroque

9. Nicolas Poussin,The Rape of the Sabine Women, 1640s. Jacques-Louis David,The Death of Socrates, 1787.

10. Nicolas Poussin,The Rape of the Sabine Women, 1640s. FRENCH BAROQUE

11. David,The Intervention of the Sabine Women, 1796-99.

12. Jacques-Louis David Jacques-Louis DavidSelf-Portrait1794.

13. Jacques-Louis David,The Death of Socrates, 1787.

14. Jacques-Louis David,The Oath of the Horatii, 1787.

15. Jacques-Louis David, The Lictors Bring to Brutus the Bodies of His Sons, 1787.

16. Jacques-Louis DavidDeath of Marat1793.

17. Jacques-Louis David, Coronation of Napoleon & Josephine of 2 Dec 1804, 1806-7.

18. Coronation at the Louvre (Original)

19. Coronation at the Palace of Versailles

20. Coronation at Louvre (Original) Coronation at Palace of Versailles

21. The only difference in the two paintings is the pink dress… Coronation at Louvre (Original) Coronation at Palace of Versailles

23. Jacques-Louis DavidNapoleon CrossingSt. Bernard (the Alps)1801-05. BONAPARTE HANNIBAL KAROLUS MAGNUS

24. Jacques-Louis DavidNapoleon in His Study 1812.

25. Jean-Auguste Dominique Ingres Eugene DelacroixSelf-Portrait, 1837 ROMANTIC Jean-Auguste Dominique Ingres Master of Drawing NEOCLASSICAL

26. Jean-Auguste Dominique Ingres Jean-Auguste Dominique Ingres La Grande Odalisque, 1814.

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29. Jean-Auguste-Dominique Ingres,Apotheosis of Homer, 1827. Michelangelo Nike Plato Aristotle Raphael Socrates Homer Alex. The Great Aesop Aristotle Mozart “Iliad” “Odyssey” Poussin Shakespeare

31. Angelica Kauffmann,Mother of the Gracchi, 1785. The subject of this piece is an informative exemplum virtutis (example or model of virtue) drawn from Greek and Roman history and literature. The moralizing pictures of Hogarth and Grueze already had marked change in taste, but Kauffmann replaced the modern setting and characters of their works. The actors are clothed in Roman garb and posed in classical Roman attitudes within Roman interiors. The theme is the virtue of Cornelia, mother of the future political leaders Tiberius and Gaius Gracchus, who attempted to reform the Roman republic in the second century B.C. Cornelia’s character is revealed in this scene, which takes place after a lady visitor had shown off her fine jewelry and then haughtily requested that Cornelia show hers. Instead of rushing to get them, Cornelia brings her sons forward, presenting them as her jewels.

32. Angelica Kauffmann,Mother of the Gracchi (Cornelia), 1785.

33. Although her mood is lighthearted and the costume’s details echo the serpentine curve beloved by Rococo artists and wealthy patrons, nothing about Vigee-Lebrun pose or her mood speaks of Rococo frivolity. Hers is the self-confident stance of a woman whose art has won her an independent role in her society. Like many of contemparies, Vigee-Lebrun lived a life of extraordinary personal and economic independence, working for the nobility throughout Europe. She was successful during the age of the late monarchy in France was one a few women admitted to the Academy. Élisabeth Louise Vigée-LebrunSelf Portrait Uffizi, Florence, 1790

34. Élisabeth Louise Vigée-LebrunSelf Portrait with Daughter 1789

35. Élisabeth Louise Vigée-LebrunMarie Antoinette at age 12, 1790 FRENCH NEOCLASSICAL

36. Vigee-LebrunPortrait of Marie Antoinette and Her Children,1787. FRENCH NEOCLASSICAL

38. Adélaïde Labille-GuiardSelf-Portrait withTwo Pupils,1785.

39. Antonio Canova Napoleon liked classical models, in paintings as well as sculpture. Napoleon’s favorite sculptor was Antonio Canova, who somewhat reluctantly left a successful art career in Italy to settle in Paris and serve the emperor. This is a sculpture of Napoleon’s sister. She insisted on being portrayed as the goddess of love, or Venus. She appears reclining on a divan and gracefully holding the golden apple, a symbol of the goddess’s triumph in the judgment of Paris. Canova derived the figure from greek art, however the artwork is not a sensuous and idealized as might be expected. Drapery suggests a commitment to naturalism. Antonio Canova,Pauline Borghese as Venus, 1808.

40. Antonio Canova Antonio Canova,Pauline Borghese as Venus, 1808. NEOCLASSICAL

41. Antonio Canova Antonio Canova, Cupid and Psyche, 1786-93. NEOCLASSICAL

42. Antonio Canova Cupid and Psyche at the Louvre in Paris

43. Antonio Canova Antonio Canova Perseus with Head of Medusa 1804.

44. Antonio Canova Perseus with Head of Medusa at the Met Museum (NYC)

45. Antonio Canova Antonio Canova Venus and Mars 1816-1822.

46. Jean-Antoine Houdon Jean-Antoine HoudonNeoclassical Sculptor Houdon was a French neoclassical sculptor. Houdon is famous for his portrait busts and statues of philosophers, inventors and political figures of the Enlightenment. Houdon’s biggest influence was of the Roman bust, often used to revere political figures and statesmen in Ancient Rome. Houdon’s daughter, Sabine Houdon.

47. Jean-Antoine Houdon Houdon,George Washington, 1785. Houdon,Voltaire, 1778.

48. Jean-Antoine Houdon Houdon,Ben Franklin, 1789. Houdon,Thomas Jefferson, 1789.

49. Pierre Vignon, La Madeleine, Paris, France. 1807-1842 La Madeleine is known as the “Temple of Glory”. It was briefly intended as a temple of glory for Napoleon’s armies and a monument to the newly won glories of France. Begun as a church in 1807, at the height of Napoleon’s power and reverted back to a church after his defeat and long before its completion. It was designed by Pierre Vignon in 1763-1828. The temple includes a high podium and a broad flight of stairs leading to a deep porch in the front. These architectural features, along with Corinthian columns mimic Roman imperial temples. La Madeleine is a symbolic link between the Napoleonic and Roman empires. The building has a classical shell… however, the interior is covered by a sequence of 3 domes, a feature found in Byzantine and Aquitanian Romanesque churches. Vignon clothed this Christian church in the costume of pagan Rome.

50. William Hogarth(1697 –1764) was a major English painter, printmaker, pictorial satirist, social critic and editorial cartoonist who has been credited with pioneering western sequential art. His work ranged from excellent realistic portraiture to comic strip-like series of pictures called “modern moral subjects”. Much of his work, though at times vicious, poked fun at contemporary politics and customs. Illustrations in such style are often referred to as Hogarthian. William Hogarth,Self-Portrait with Pug-Dog. 1745.