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Art and the Enlightenment

3700411ae81a5ba151f9946dcb59c386?s=47 nichsara
April 18, 2013

Art and the Enlightenment

3700411ae81a5ba151f9946dcb59c386?s=128

nichsara

April 18, 2013
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  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.    
  2. Reminders…   Quiz  5  Due:  Thursday  April  25th    

    Abstrac2on  Reac2on  Due:  Thursday  May  2nd     Responses  Due:  Thursday  May  9th.  
  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.”    
  4. Two  Types  of  “Abstrac2on”   Abstrac2ng  From   Non-­‐Representa2onal  

  5. Abstrac2ng  From…   Paul  Cezanne,  Views  of  Mont  Sainte  Victoire,

     late  19th   century-­‐early  20th  century.  
  6. Apprecia2ng  Abstrac2on   Abstrac2on  can  be  executed  by:   • 

    Distor2ng  detail   •  Removing  detail   •  Changing  colors   •  Denying  space   Any  means  of  denying  our  expecta2ons  of   reality.  
  7. None
  8. None
  9. None
  10. Achieving  Abstrac2on   1. Blind  Contour   2. Detail  Removal   3. Abstract

     Collage  
  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.  
  12. American  Revolu2on:  1776   French  Revolu2on:  1789  

  13. The  Industrial  Revolu2on  changed  the  human  and   physical  landscape

     of  Europe.  
  14. Ar2st   Art   Viewer   Context   Ar2sts  have

     become  independent  agents,  who  either   supported  or  undermined  these  intellectual   developments.  
  15. The  Grand  Tour   London   Paris   Nimes  

    Genoa   Florence   Rome  
  16. Robert  Adam,  Etruscan  Room,  from  Osterley  Park   house,  Middlesex,

     England,  begun  1761.  
  17. House  of  the  Veki,  Pompeii,  Italy,  c.  1st   century

     CE.   Boudoir  of  Marie  Antoinede,  Chateaux  de   Fontainebleau,  France,    mid-­‐18th  century.  
  18. Gustave  Boulanger,  A  Performance  of  the  Fluteplayer   in  the

     “Roman”  House  of  Napoleon  III,  1861.    
  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  
  20. Angelica  Kauffmann,  Cornelia  Poin4ng  to  her  Children   as  her

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

     Treasures,  c.  1785.   Cornelia,  plainly  adorned.  
  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.  
  23. Gaius  and  Tiberius  Gracchus,  “The  Gracchi”  

  24. Angelica  Kauffmann,  Cornelia   Poin4ng  to  her  Children  as  her

      Treasures,  c.  1785.   Children  and  Rela2ves,  Ara   Pacis  Augustae,  Rome,  c.  19   CE.  
  25. Bulla   Children  and  Rela2ves,  Ara   Pacis  Augustae,  Rome,

     c.  19  CE.   Angelica  Kauffmann,  Cornelia   Poin4ng  to  her  Children  as  her   Treasures,  c.  1785.  
  26. Angelica  Kauffmann,  Cornelia  Poin4ng  to  her  Children   as  her

     Treasures,  c.  1785.  
  27. None
  28. None
  29. Augus2n  Challamel,  The  “Sans  Culodes,”  from  a   1790s  original.

      Sa2rical  Depic2on  of  Marie  Antoinede’s  Wig   and  Costume,  French,  Late  18th  Century.  
  30. Jacques-­‐Louis  David,  Oath  of  the  Hora4i,  1784-­‐1785.  

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

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

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

    Camilla  
  34. The  Eastern  Grand  Tour   London   Morocco   Cairo

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

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

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

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

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