Art and the Enlightenment

Transcript

1. Art  and  Enlightenment:  
   Roman2cism  and  Neoclassicism  
   Reading:  
   Ar,orms,  324-­‐353  
    
   Range:  
   c.  1700-­‐1900  
   Neoclassicism,  Roman4cism  
    
   Key  Terms/Concepts:      
   Enlightenment,  Industrial  
   Revolu2on,  The  Grand  Tour,  
   Ra2onalism,  Scien2fic  
   Revolu2on,      
   Key  Monuments:  
     20.1  Jacques  Louis  David,  
   Oath  of  the  Hora4i,  1784.  
     Angelica  Kauffmann,  Cornelia  
   Poin4ng  to  her  Children  as  her  
   Treasures,  c.  1785.  
     20.4  Fransisco  Goya,  The  Third  
   of  May,  1808,  1814.  
     Theodore  Gericault,  The  RaF  
   of  the  “Medusa,”  1818-­‐1819.  
     20.8  Eugene  Delacroix,  The  
   Death  of  Sardanapalus,  1877.  
    
   

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2. Reminders…
    
   Quiz  5  Due:  Thursday  April  25th  
    
   Abstrac2on  Reac2on  Due:  Thursday  May  2nd  
    
   Responses  Due:  Thursday  May  9th.
    
   

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3. …so  what  is  abstrac2on?
    
   Verb:    
   Oxford  English  Dic2onary:  “to  withdraw,  take  away;  to  separate  in  mental  concep2on;  
   to  consider  apart  from  the  concrete.”  
   Merriam  Webster’s  Collegiate  Dic2onary:  “remove,  separate;  to  consider  apart  from  
   applica2on  or  associa2on  with  a  par2cular  instance;”  
      
   Noun:    
   Oxford  English  Dic2onary:  “the  act  of  abstrac2ng…the  act  of  separa2ng  thought…the  
   result  of  abstrac2ng.”  
   Merriam  Webster’s  Collegiate  Dic2onary:  “the  act  or  process  of  abstrac2ng..the  state  
   of  being  abstracted.”  
      
   Adjec4ve:    
   Oxford  English  Dic2onary:  “separated  from  subject  mader,  prac2ce,  or  par2culars,  
   ideal;  abstruse.”  
   Merriam  Webster’s  Collegiate  Dic2onary:  “disassociated  from  any  specific  instance…
   expressing  a  quality  apart  from  the  object.”  
    
   

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4. Two  Types  of  “Abstrac2on”
    
   Abstrac2ng  From   Non-­‐Representa2onal  
   

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5. Abstrac2ng  From…
    
   Paul  Cezanne,  Views  of  Mont  Sainte  Victoire,  late  19th  
   century-­‐early  20th  century.  
   

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6. Apprecia2ng  Abstrac2on
    
   Abstrac2on  can  be  executed  by:  
   •  Distor2ng  detail  
   •  Removing  detail  
   •  Changing  colors  
   •  Denying  space  
   Any  means  of  denying  our  expecta2ons  of  
   reality.  
   

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10. Achieving  Abstrac2on
     
    1. Blind  Contour  
    2. Detail  Removal  
    3. Abstract  Collage  
    

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11. The  Enlightenment  was  an  intellectual  movement  that  saw  a  shih  
    between  thought  based  on  unques2oned  religious  and  poli2cal  
    jus2fica2ons  to  thought  based  on  reason  and  ques2oning  the  role  of  
    poli2cal  and  religious  ins2tu2on  in  the  life  of  man.  
    

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12. American  Revolu2on:  1776  
    French  Revolu2on:  1789  
    

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13. The  Industrial  Revolu2on  changed  the  human  and  
    physical  landscape  of  Europe.  
    

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14. Ar2st  
    Art   Viewer  
    Context  
    Ar2sts  have  become  independent  agents,  who  either  
    supported  or  undermined  these  intellectual  
    developments.  
    

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15. The  Grand  Tour  
    London  
    Paris  
    Nimes  
    Genoa  
    Florence  
    Rome  
    

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16. Robert  Adam,  Etruscan  Room,  from  Osterley  Park  
    house,  Middlesex,  England,  begun  1761.  
    

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17. House  of  the  Veki,  Pompeii,  Italy,  c.  1st  
    century  CE.  
    Boudoir  of  Marie  Antoinede,  Chateaux  de  
    Fontainebleau,  France,    mid-­‐18th  century.  
    

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18. Gustave  Boulanger,  A  Performance  of  the  Fluteplayer  
    in  the  “Roman”  House  of  Napoleon  III,  1861.    
    

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19. Johann  
    Joachim    
    Winckelmann  
    Giorgio    
    Vasari  
    Word.  
    Sweet!  
    Doryphoros  
    “The  one  way  for  us  to  become  great,  perhaps  
    inimitable,  is  by  imita8ng  the  ancients.”  
    -­‐-­‐Winckelmann  
    

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20. Angelica  Kauffmann,  Cornelia  Poin4ng  to  her  Children  
    as  her  Treasures,  c.  1785.  
    

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21. Angelica  Kauffmann,  Cornelia  Poin4ng  to  her  Children  
    as  her  Treasures,  c.  1785.  
    Cornelia,  plainly  adorned.  
    

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22. Angelica  Kauffmann,  Cornelia  Poin4ng  to  her  Children  
    as  her  Treasures,  c.  1785.  
    Working  with  wool  and  yarn  was  seen  as  a  very  
    proper  domes2c  ac2vity  for  women  of  the  2nd  
    and  18th  centuries.  
    

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23. Gaius  and  Tiberius  Gracchus,  “The  Gracchi”  
    

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24. Angelica  Kauffmann,  Cornelia  
    Poin4ng  to  her  Children  as  her  
    Treasures,  c.  1785.  
    Children  and  Rela2ves,  Ara  
    Pacis  Augustae,  Rome,  c.  19  
    CE.  
    

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25. Bulla  
    Children  and  Rela2ves,  Ara  
    Pacis  Augustae,  Rome,  c.  19  CE.  
    Angelica  Kauffmann,  Cornelia  
    Poin4ng  to  her  Children  as  her  
    Treasures,  c.  1785.  
    

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26. Angelica  Kauffmann,  Cornelia  Poin4ng  to  her  Children  
    as  her  Treasures,  c.  1785.  
    

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29. Augus2n  Challamel,  The  “Sans  Culodes,”  from  a  
    1790s  original.  
    Sa2rical  Depic2on  of  Marie  Antoinede’s  Wig  
    and  Costume,  French,  Late  18th  Century.  
    

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30. Jacques-­‐Louis  David,  Oath  of  the  Hora4i,  1784-­‐1785.  
    

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31. Jacques-­‐Louis  David,  Oath  of  the  Hora4i,  1784-­‐1785.  
    

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32. Jacques-­‐Louis  David,  Oath  of  the  Hora4i,  1784-­‐1785.  
    The  Hora2i  
    

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33. Jacques-­‐Louis  David,  Oath  of  the  Hora4i,  1784-­‐1785.  
    Sabina  
    Camilla  
    

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34. The  Eastern  Grand  Tour  
    London  
    Morocco  
    Cairo  
    Jerusalem  
    Istanbul  
    Athens  
    

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35. Jean-­‐Dominique  Ingres,  The  Odalisque,  c.  1814.  
    

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36. Eugene  Delacroix,  The  Death  of  Sardanapalus,  c.  1827.  
    Then—then—a  chaos  of  all  loathsome  things  
    Thronged  thick  and  shapeless:  I  was  dead,  yet  feeling—  
    Buried,  and  raised  again—consumed  by  worms,  
    Purged  by  the  flames,  and  withered  in  the  air!  
    I  can  fix  nothing  further  of  my  thoughts,  
    Save  that  I  longed  for  thee,  and  sought  for  thee,  
    In  all  these  agonies—and  woke  and  found  thee.    
    -­‐-­‐From  Byron’s  Sardanapalus  
    

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37. Francisco  Goya,  Third  of  May,  1808,  1814-­‐1815.  
    

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38. Francisco  Goya,  Third  of  May,  1808,  1814-­‐1815.  
    

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39. Francisco  Goya,  Third  of  May,  1808,  1814-­‐1815.  
    

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40. Francisco  Goya,  Third  of  May,  1808,  1814-­‐1815.  
    

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