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Chapter 28

Chapter 28. Encountering the Enlightenment: Philosophy, Science & Society. Artistic developments in the 17th century . Baroque    – Grandiose scale    – Dramatic theatricality    – Elaborate ornateness Art of absolute monarchs    – Louis XIV    – Charles I

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Chapter 28

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  1. Chapter 28 Encountering the Enlightenment:Philosophy, Science & Society

  2. Artistic developments in the 17th century • Baroque   – Grandiose scale   – Dramatic theatricality   – Elaborate ornateness • Art of absolute monarchs   – Louis XIV   – Charles I • Rococo   –    Court style   –    Graceful, delicate   –    Emphasis onlightness    and curvilinearforms • Reaction against Baroqueart of Louis XIV • Began in France, popularin Germany

  3. Beginnings and Endings:co-existent artistic styles • Artistic movements do not “begin” and “end” on specificdates • Renaissance style continues into 16th century in parts ofEurope, especially England. • Mannerism does not eliminate Renaissance art. • Baroque art does not end with the introduction of Rococo. • The “Enlightenment” does not end the Rococo. • Older styles continue to be popular long after theintroduction of a new style. • Some styles compete during the same time period -e.g.classicism vs. romanticism in the early 19th century.

  4. What happened in the 17th century? • Increase in scientific investigation. • Establishment of ideas about individualrights and responsibilities. • Autocratic monarchs and governmentscriticized by writers and theorists. • Rise of social philosophical investigationinto how humans learn, reason, act, andbelieve.

  5. Changes in Ideas • Medieval and Renaissance thought relied on belief in an all-powerful designing and controlling deity. • All aspects of life were controlled by God, angels, saints, and demons • Explanations for events centred on divine will. • The “Enlightenment” sought empirical explanations for events. • Individual actions or natural causes (not related to God), were seen to shape the world. • Scientific investigation eliminated much belief inspirits, demons, angels, etc.

  6. John Locke (1632-1704) • Empiricism –the experience of the senses in pursuit of knowledge rather than intuitive speculation or deduction. • Mind at birth is a tabula rasa, a blank slate upon which experience imprints knowledge. • Revolution was a right, often an obligation, in the face of tyranny. All persons are born good, independent, and equal. • Attacked the theory of divine right of kings. Natural right of individuals to life, liberty and property. • Duty of the government to protect these rights. Believed in the rule of the majority.

  7. Individual rights: some people are more equal than others • Locke’s ideas of rights belonged to men, not towomen. • Locke’s ideas did not apply to non-Europeans(such as Native Americans or Black slaves). • Locke’s ideas did not apply to Catholics. • Locke’s ideas helped to fuel the American andFrench Revolutions. • Locke’s ideas contradicted Christian (bothProtestant and Catholic) dogma -no original sin.

  8. Other important Enlightenment figures • Voltaire (1694-1778): attacked the power and corruption of monarchs and church leaders. • Jean-Jacques Rousseau (1712-1778): author of The Social Contract and Emile, influences constitutions and education. • Denis Diderot (1713- 1784): creator of the Encyclopaedia.Knowledge and reason are the basis for progress. • Adam Smith (1723-1790): Author of The Wealth of Nations, inspires modern liberalism and free-market capitalism. • Thomas Paine (1723- 1809): author of The Rights of Man.

  9. Mary Wollstonecraft, 1759-1797 • Author of A Vindication of the Rights of Women(1792). • Friend of William Blake, Henry Fuseli, andThomas Paine. • First feminist author and thinker of the 18thcentury. • Obvious debts to Locke and Paine – she went onestep further in advocating equal rights for womenunder the law (equality of education andopportunity).

  10. Individual Rights • Individual rights for men advocated by Locke in17th century. • Individual rights for women advocated byWollstonecraft in 18th century. • Revolution for rights in America 1776-1785. • Revolution for rights in France 1789-1796. • In the end, only free, white men got the rights theysought. • Ideas about world, rights, and God did not changeovernight!

  11. The shift from theocratic to empirical reasoning • Medieval & Renaissance society was theocratic or God-based. • Locke’s ideas advocated empirical knowledge of the world • The 1700s saw the rise of experimental science based onhypothesis, test and verification. • Myth, superstition and tradition were not eliminated, butthe middle classes and some members of the aristocracychanged their ways of thinking. • These changes are reflected in the art of the time - both inneoclassicism and in romanticism – in radically differentways.

  12. 28-1 Houdon, Bust of Voltaire • Marble, life-size portrait ofVoltaire in old age. • Sense of “realism.” • Link to ancient Romanworks-the portrait bust. • Voltaire worked tirelesslyagainst the “ancien régime”in France. • One of several busts andsculptures of Voltaire byHoudon, who also sculpteda bust of Benjamin Franklin.

  13. 28-3 Joseph Wright of Derby (1763-65)Philosopher giving a lecture at the Orrery • Orrery – a mechanical device used to demonstrate the workings of thesolar system with a lamp as the sun. • Dramatic lighting - invests science with intensity of  Baroque religiousor historical painting.

  14. 28-4 Coalbrookdale Bridge • Built 1776-1779 by Abraham Darby III and Thomas F. Pritchard. • First iron bridge, but it is built using wood-working techniques. • Its cast iron armature creates an arch over the Severn River.

  15. Coalbrookdale

  16. 28-5 Antonio CanalettoBasin of San Marco from San Giorgio Maggiore • Represents Venice,1740 • Views of the citywere popular assouvenirs • No mass-producedprints yet, socityscapes andlandscapes becamepopular for tourists –a new phenomenonof the era.

  17. 28-6 Greuze The Village Bride 1761 • Peasantsromanticized aspure and good. • Rise inpopularity of the“roman” (novel)spurssentimentalsubject matter

  18. 28-7 Chardin Grace at Table (1740) • Chardin-same generationas Watteau. • Investigated the “poetryof the commonplace” • Related to Voltaire’sideas about the innategoodness and piety of thepoor • Marks the establishmentof tropes or standardcharacters and themes.

  19. 28-8 Elisabeth Vigée-Lebrun Self Portrait 1790 • Most famous for portraitsof Marie-Antoinette andher children. • Portrays herself here inpost-revolutionaryclothing, simpler and morehumble. • Self-portrait represents thevirtuosity of  this artist,shows many brushes andher palette. • She was a member of theAcadémie Française.

  20. 28-9 William Hogarth Marriage à la Mode • Satirist of 18thcentury society inEngland, who usedcartoon-like images. • Critique here ofmarriage. • Obvious reference to • current ideas – e.g.the decadence of thearistocracy.

  21. William Hogarth(1697-1764) • Gin Lane and Beer Street Etching and Engraving, 1751.

  22. 28-10 GainsboroughMrs. Richard Brinsley Sheridan • The wife of a famousplaywright of theRestoration. • Set in a landscape similarto those used by Watteau. • Note the simplicity of  herdress, hair, pose, etc. • She represents the “good”woman, the loyal wife.

  23. 28-12 Benjamin WestThe Death of General Wolfe • Painted 1771, 12 yearsafter the event in whichthe defeat of the Frenchin 1759 transfersCanada to Britain. • The hero’s death inguise of classicalpainting of death ofCaesar. • Wolfe died in battle,but not so cleanly orheroically as this imagerepresents.

  24. 28-13 John Singleton CopleyPortrait of Paul Revere (1768-1770) • Interest in depictingthe skilled workingman, validation ofindividual effort. • Emphasis on eyes,thoughtfulness. • Note the reflection intable top, also inteapot.

  25. 28-14 Angelica KauffmannCornelia Presenting Her Children As Her Treasures (1785) • Kauffmann was afounding member ofthe British RoyalAcademy of Fine Arts. • The Neoclassicalstyle. • Moral and civicpurpose: women asmothers serve state asmakers and trainers offuture leaders.

  26. Jacques-Louis David (1748-1825) • Neoclassical style: the “new classicism” thatemphasized ancient texts, events, subject matterfor paining. • Studied in Rome. • Rejected Rococo “artificiality.” • He first allied himself with the French Revolution(1789-1798), but later became court painter forNapoleon Bonaparte. • Very effective propagandist in his art.

  27. Jacques-Louis DavidOath of the Horatii (1784) • Stage setting • Story of conflict andsacrifice • Note the triangularcomposition • Based on mythicbinary oppositions:–men and women,–strong and weak,–active and passive

  28. 28-16 David, The Tennis Court Oath 1791 • Records an event during the French Revolution (1789-1796), establishmentof the National Assembly. (Jefferson watches it from the balcony) • Study for larger work not completed because of instability of government.

  29. 28-17 David, Death of Marat 1793 • Marat was a leader inthe Revolution • Assassinated byCharlotte Corday in1793. • Part of propagandacampaign of Jacobinparty (David was amember of theJacobins) against thoseopposed toRevolution.

  30. 28-18 David, The Coronation of Napoleon

  31. 28-18 David, The Coronation of Napoleon • Painted 1805-1808, followingthe event in 1804. • David had been imprisonedfor his political alliances. • After his release, Davidbecame the • first painter of the Empireunder Bonaparte, who seizedpower after the fall of theJacobin party • Napoleon saw himself as anew Charlemagne.

  32. 28-19 The Panthéon, Paris (1755-1792) • Also known as the Churchof Sainte Geneviève. • Architect: Soufflot. • Begun 1 under Louis XVI;completed during theFrench Revolution. • Inspired by Roman ruinsin Syria. • Dome recalls that of St.Peter’s, Rome; façademimics Pantheon inRome.

  33. 28-21 Antonio CanovaPauline Borghese as Venus (Completed 1808) • Villa Borghese, Rome. • Practically unknown topublic, kept in privateapartments of Pauline’shusband • Depiction of her as“Venus” was a scandal;however, the goddess ofLove was how Paulinesaw herself. • Note how the fabric ofthe couch stretches withher body weight.

  34. Excavation of Herculaneum and Pompeii • Begun 1748, reveals two ancient Roman cities buried by eruption of Mount Vesuvius, 79 CE. • Preservation of intact painting, sculpture, architecture leads to romanticisation of ancient Rome • Publication of books of engravings and drawings showing ruins. • Inspiration for painters from buildings and frescoes on walls • Inspiration for sculpture, furniture, silver, pottery and interior design. • Export of ancient treasures to Britain and France. • Starts a mania for all things reek or Roman!

  35. 28-26 Thomas Jefferson, Monticello • Made of brick and wood,designed by Jeffersonafter his return fromFrance and completed in1806. • Jefferson read all of • Palladio; visitedRomantemple MaisonCarrée, in Nîmes, France. • His home has someaffinity with Palladio’sVilla Rotunda (22-56).

  36. 28-28 Horatio Greenough,George Washington,1832-1841 • Completed long after thedeath of Washington. • Neoclassical style; imitationof Zeus by Phidias. • This was a controversialdepiction; seen by many as“over the top” at the time. • Suggested fate: throwing itin the Potomac. • Collision of Ideology andReality.

  37. Neoclassicism and Romanticism • Romanticism. • Rejection of “reason” infavour of emotion • Age of Sensibility 1750-1780 started trend towardinterest in emotion ratherthan intellect • Re-awakening interest inMiddle Ages and Gothicart and architecture -“Gothic revival.” Neoclassicism • Reliance on ancientmodels. • Importance of Pompeiiand Herculaneum. • Emphasis on historypainting, especiallyancient history. • Fueled by Englightenmentinterest in rationalism.

  38. Neoclassicism and Romanticism Romanticism.•Passion•Emotion•Sensibility•Natural Humansympathy•Subjectivity andIntuition•Middle Ages and Gothic Neoclassicism • Reason • Intellect • Rationality • Calculation of courtlysocieties • Objectivity • Ancient Greece andRome

  39. 28-29 Antoine-Jean GrosNapoleon in Pesthouse at Jaffa 1804 • Stylistically differentfrom David! • Romanticism notNeoclassicism! • Fascination with theNear East • Napoleon’s attemptat damage controlafter trying to kill alldisease-strickenFrench soldiers.

  40. 28-30 Girodet-Trioson Burial of Atala, 1808 • Based on a novel byChateaubriand. • Views of NativeAmerican life - thenoble savage. • Influence ofChristianity. • Tragic love. • Romanticism.

  41. Jean-Auguste-Dominique Ingres • 1780-1867 • Studied in David’s studio • Rejected David’s style, believing he wascloser to a true Greek style of painting, onethat was purer than David’s. • Adapted the flatness and linearity found inGreek vase painting to painting in oils. • He was a master of the controlled line,precise definition of shapes and forms.

  42. 28-32 Ingres, Grande Odalisque • Neoclassical ideal: Combination of exotic, erotic and classical -Orientalism in full force. • This painting was completed in 1814- holds no hint of Napoleonic Wars.

  43. 28-33 Ingres, Sketch of Paganini • Virtuoso violinist • Line is key • Strong outlinecreatessense ofstability • Accurate rendering ofthe features of theviolinist

  44. Two Sketches of Paganini • Left: Ingres, Neoclassical; Right: Delacroix, Romantic

  45. 28-35 Henry Fuseli, The Nightmare 1781 • Fuseli was a Swissartist who workedin England. • Member of RoyalAcademy of Art(founded 1768). • Illustrates theRomantic attitudetoward night, sex,and myth.

  46. 28-36 William Blake, Ancient of Days, 1794 • Hand-coloured etching. • Blake believed he wasinspired by visions of spiritssent by God. • Representation of God theFather. • Imposition of architecture/geometry on the world. • Note the depiction ofenergy/force in the swirlingcolours used by Blake.

  47. 28-38 Francisco GoyaThe Family of Charles IV • Contemporary of Davidwho rejected rationalNeoclassicism in favourof an appeal to emotion. • Portrait of the SpanishRoyal Family. • Inspired by Velazquez butfar less flattering; theyappear satirized as acollection of halfwits,adulterers andauthoritarian rulers.

  48. 28-39 Goya, The Third of May 1808, 1814 • Napoleon invadedSpain and Portugal,aided by Ferdinand VII,son of Charles IV. • Goya shows the resultof resistance toNapoleon’s forces, themassacre of Spanishcitizens, both rebels andthe innocent.

  49. 28-41 Géricault Raft of the Medusa 1818-1819

  50. 28-44 Delacroix, The Death of Sardanapalus,1826 • Orientalism • Narrative: story of ancientKing who ordered all of his“possessions” destroyedafter loss in battle. • He set fire to his palaceand went up in flames withit • Delacroix depicts thedespotism and crueltyof the “orient,” not itsexotic beauty.

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