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Romanticism & Realism ROMANTICISM & REALISM ROMANTICISM & REALISM Romanticism Jose Maria Velasco (MEXICAN) Eugene Delacroix (FRENCH) Theodore Gericault (FRENCH) Francisco Goya (SPANISH) John Constable (ENGLISH) Joseph Turner (ENGLISH) Hudson River School Thomas Cole Frederick Edwin Church Asher B. Durand Albert Bierstadt Robert Duncanson ROMANTICISM & REALISM Romanticism Jean-Auguste Dominique Ingres Eugene Delacroix Master of Drawing NEOCLASSICAL Self-Portrait, 1837 ROMANTIC ROMANTICISM & REALISM Romanticism Jose Maria Velasco, The Valley of Mexico from the Hillside of the Santa Isabel. 1882, Oil on canvas. The first art school in the Americas was established in Mexico City in the late 18th century. A school modeled after the Art Academy of San Fernando in Madrid was established (the Real Academia de San Carlos), and consequently, a new chapter of Mexican art history began. The Valley of Mexico from the Hillside of Santa Isabel represents an important period in the development of Mexico’s national identity and an important chapter in the history of Mexican art. Velasco’s landscapes became symbols of the nation as they represented Mexico in several World Fairs. ROMANTICISM & REALISM Romanticism Jose Maria Velasco, The Valley of Mexico from the Hillside of the Santa Isabel. 1882, Oil on canvas. Velasco was the most representative figure of Mexican academic painting in the 19th century. In his work the main theme was the spectacular natural scenery of his own country, specially the Valley of Mexico. He first painted the view of the "Valley of Mexico" from the hill of Santa Isabel and painted repeatedly the same subject throughout his life (9 times in total). He made Mexican geography a symbol of national identity through his paintings. His painting "El Valle de México" is considered Velasco's masterpiece. ROMANTICISM & REALISM Romanticism Jose Maria Velasco, The Valley of Mexico from the Hillside of the Santa Isabel. 1882, Oil on canvas. ROMANTICISM & REALISM Romanticism Henry Fuseli, The Nightmare, 1781. The woman lies asleep, draped across the bed. An incubus, a demon believed in medieval times to prey, often sexually, on sleeping women, sits on the woman. In the background, a ghostly horse with flaming eyes bursts into the scene from beyond the curtain. Romantic artists liked to depict the dark terrain of the human subconscious. In their images of the sublime and terrible, artists often used something of Baroque dynamism with natural details in their quest for moving visions. This contrasted the more intellectual, rational Neoclassical themes and presentations. These were not exclusive traits however. The word nightmare is actually derived from the words night and mara. Mara was a spirit in northern mythology that was thought to torment and suffocate sleepers. ROMANTICISM & REALISM Romanticism Henry Fuseli, The Nightmare, 1781. ROMANTICISM & REALISM Romanticism Francisco Goya, The Sleep of Reason Produces Monsters, 1798 Goya reflected on the Enlightenment and Neoclassical eras’ penchant for rationality and order in order to come to the ultimate decision to dismiss Neoclassicism. The Sleep of Reason Produces Monsters is an etching and aquatint from Los Caprichos, a series. This image shows Goya asleep, resting on a table or writing stand, surrounded by menacing creatures who seem ready to attack. The owls symbolize folly, and the bats symbolize ignorance. ROMANTICISM & REALISM Romanticism Francisco Goya Y no hai remedio (And There’s Nothing to Be Done), from The Disasters of War, 1810-1823 CE. Drypoint etching. Goya's great series of etchings, The Disasters of War, came about as a consequence of the Spanish War of Independence. Between 1810 and 1823, the artist created a series of prints, such as this one, which reveals the devastating side of war—the agony, irony, and bitter pessimism. Goya's prints had an indelible impact on Ernest Hemingway, who shared the artist's antiwar sentiment and ability to portray human suffering. In his novel For Whom the Bell Tolls (1940), Hemingway gives excruciating accounts of the devastation suffered on both sides during the Spanish Civil War (1936–39). Some of the writer's passages read much like the images depicted by Goya in The Disasters of War. ROMANTICISM & REALISM Romanticism Francisco Goya, Y no hai remedio (The Disasters of War), 1810-1823 CE. ROMANTICISM & REALISM Romanticism Francisco Goya, The Family of Charles IV, 1800. Goya was recognized for his skill fairly early in life and appointed as the Pintor del Rey (Painter to the King) in 1786. He was later appointed to First Court Painter in 1799, and produced works such as this. The Family of Charles IV shows King Charles IV and Queen Marie Luisa surrounded by their children. Goya used his predecessor Diego Velazquez’s Las Meninas as inspiration for the work. The royal family appears facing viewers in an interior space. Goya includes himself in the rear left of the painting in the act of painting on a large canvas. ROMANTICISM & REALISM Romanticism Francisco Goya, The Third of May 1808, 1814. The Spanish people, finally recognizing the French as invaders, sought a way to expel the foreign troops. On May 2, 1808, in frustration, the Spanish attacked the Napoleonic soldiers in a chaotic and violent clash. In retaliation and as a show of force, the French responded the next day by executing numerous Spanish citizens. This tragic event is the subject of Goya’s most famous painting, The Third of May 1808. ROMANTICISM & REALISM Romanticism Francisco Goya, Saturn Devouring One of His Children, 1819. Goya’s later works were called the “Black Paintings.” His declining heath only contributed to his state of mind. His works became increasingly disillusioned and pessimistic. This painting depicts the raw carnage and violence of Saturn, wild eyed and monstrous, as he consumes one of his children. Because of the similarity of Kronos and Khronos (the Greek word for time), Saturn has come to be associated with time. This has led to an interpretation of Goya’s painting about the artist’s despair over the passage of time. Despite the image’s simplicity, it conveys a wildness, boldness, and brutality that cannot help but evoke and elemental response from any viewer. ROMANTICISM & REALISM Romanticism Théodore Géricault, The Raft of the Medusa, 1818-1819. ROMANTICISM & REALISM Romanticism ROMANTICISM & REALISM Romanticism Gericault examined the influence of mental states on the human face and believed, as others did, that a face accurately revealed character, especially in madness and at the instance of death. He made many studies of the inmates at hospitals and institutions for the criminally insane, and he studied the severed heads of guillotine victims. These portraits present the psychic facts with astonishing authenticity, especially in contrast to earlier idealized commissioned portraiture. The more the Romantics became involved with nature, sane or mad, the more they hoped to reach the truth. Théodore Géricault Insane Woman, 1822-1823. ROMANTICISM & REALISM Romanticism Eugene Delacroix Liberty Leading the People, 1830. This is a painting commemorating the July Revolution of 1830, which toppled King Charles X of France. A woman personifying the concept and the goddess of Liberty leads the people forward over the bodies of the fallen, holding the flag of the French Revolution – the tricolor flag which is still France's flag today – in one hand and brandishing a bayonetted musket with the other. Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people ROMANTICISM & REALISM Romanticism Eugene Delacroix Liberty Leading the People, 1830. With Notre Dame in the background, the mound of corpses acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas and into the space of the viewer. The Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789–94. The painting has been seen as a marker to the end of the Age of Enlightenment, as many scholars see the end of the French Revolution as the start of the romantic era. ROMANTICISM & REALISM Romanticism Eugene Delacroix, Liberty Leading the People, 1830. ROMANTICISM & REALISM Romanticism Eugene Delacroix, Liberty Leading the People, 1830. ROMANTICISM & REALISM Romanticism Palace of Westminster (Houses of Parliament) Charles Barry & Augustus Pugin (architects), 1840-1870. Limestone masonry and glass. In 1835, a Royal Commission was appointed to study the rebuilding of the Palace and a heated public debate over the proposed styles ensued. The neo-classical style, similar to that of the White House in the United States, was popular at that time. However, as the design was associated with revolution and republicanism while the Gothic style was felt to embody conservative values, the commission announced in June 1835 that the style of the buildings should either be Gothic or Elizabethan. The Palace of Westminster is the meeting place of the House of Commons and the House of Lords, the two houses of the Parliament of the United Kingdom. ROMANTICISM & REALISM Romanticism Palace of Westminster (Houses of Parliament) Central Lobby,1840-1870. Central Lobby is the core of the Palace of Westminster and was designed by Charles Barry as a meeting place for Members of both Houses, and where MPs can meet their constituents. It is a lofty stone octagon with an intricately tiled floor, and a rich mosaic-covered vault. The very distinctive Central Tower is built over the Central Lobby, which forms the crossroads of the Palace: the spot where corridors from the Lords, Commons, and Westminster Hall meet. ROMANTICISM & REALISM Romanticism Houses of Parliament, Westminster Hall,1840-1870. Westminster Hall is the oldest building on the Parliamentary estate. What makes it such an astonishing building is not simply its great size and the magnificence of its roof, but its central role in British history. In and around the Hall, grew up the major institutions of the British state: Parliament, the law courts and various government offices.
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