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Home , Albert Bierstadt, Barbizon school, Frederic Edwin Church, Gustave Courbet, Hudson River School, Painting

ROMANTICISM &

ROMANTICISM & REALISM Romanticism

Jose Maria Velasco (MEXICAN) Eugene Delacroix (FRENCH) Theodore Gericault (FRENCH) (SPANISH) (ENGLISH) Joseph Turner (ENGLISH)

Hudson River School

Thomas Cole Frederick Edwin Church Asher B. Durand Robert Duncanson

ROMANTICISM & REALISM Romanticism

Jean-Auguste Dominique Ingres Eugene Delacroix Master of NEOCLASSICAL Self-, 1837 ROMANTIC

ROMANTICISM & REALISM Romanticism

Jose Maria Velasco, The Valley of from the Hillside of the Santa Isabel. 1882, on .

The first school in the Americas was established in Mexico City in the late 18th century. A school modeled after the Art of San Fernando in was established ( Academia de San Carlos), and consequently, a new chapter of 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 became 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 in the . 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 of national identity through his . 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 , The , 1781.

The woman lies asleep, draped across the bed. An incubus, a 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 liked to depict the dark terrain of the subconscious. In their of the and terrible, artists often used something of dynamism with natural details in their quest for moving visions.

This contrasted the more , 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, , 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 . The Sleep of Reason Produces Monsters is an etching and aquatint from Los Caprichos, a series.

This shows Goya asleep, resting on a table or stand, surrounded by menacing creatures who seem ready to attack. The owls symbolize , and the bats symbolize ignorance.

ROMANTICISM & REALISM Romanticism

Francisco Goya Y no hai remedio (And There’s Nothing to Be Done), from , 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 created a series of prints, such as this one, which reveals the devastating side of war—the agony, irony, and bitter . 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 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 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, , 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 “ 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 , 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 present the psychic facts with astonishing authenticity, especially in contrast to earlier idealized commissioned portraiture.

The more the Romantics became involved with , sane or mad, the more they hoped to reach the .

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 . A woman personifying the and the goddess of Liberty leads the people forward over the bodies of the fallen, holding the flag of the – the tricolor flag which is still France's flag today – in one hand and brandishing a bayonetted musket with the . 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 , 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) & (architects), 1840-1870. Limestone masonry and .

In 1835, a Royal was appointed to the rebuilding of the Palace and a heated public debate over the proposed styles ensued. The -classical , similar to that of the in the , was popular at that time. However, as the 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 is the meeting place of the House of Commons and the House of Lords, the two houses of the Parliament of the .

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 -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.

ROMANTICISM & REALISM Romanticism Houses of Parliament, Westminster Hall,1840-1870.

ROMANTICISM & REALISM Romanticism John Constable, The Haywain, 1821.

ROMANTICISM & REALISM Romanticism Joseph Mallord William Turner, , 1840.

ROMANTICISM & REALISM Romanticism Joseph M. W. Turner, The Snowstorm, 1842.

ROMANTICISM & REALISM School , , 1836.

The was a mid-19th century American by a group of painters whose aesthetic vision was influenced by romanticism. Their paintings depict the Hudson River Valley and the surrounding area, as well as the , , and White Mountains of New Hampshire. Note that "school" in this sense refers to a group of people whose outlook, inspiration, output, or style demonstrates a common thread, rather than a learning institution.

ROMANTICISM & REALISM Hudson River School Thomas Cole, The Oxbow, 1836.

Some of the artists included in this ‘school’ or group are:

Thomas Cole Frederick Edwin Church Asher B. Durand Albert Bierstadt

ROMANTICISM & REALISM Hudson River School Thomas Cole, The Oxbow, 1836.

ROMANTICISM & REALISM Hudson River School

ROMANTICISM & REALISM Hudson River School Albert Bierstadt, The : Lander's Peak, 1863.

ROMANTICISM & REALISM Hudson River School , Twilight in the Wilderness, 1860.

ROMANTICISM & REALISM Hudson River School Asher B. Durand, Kindred Spirits, 1849.

Kindred Spirits is perhaps the best known painting of Hudson River School painter Asher Durand. It depicts the recently deceased painter Thomas Cole and his friend the in the Catskill Mountains. The landscape is not a literal record of a particular site but an idealized memory of Thomas Cole's discovery of the region.

Bryant's daughter Julia donated the painting to the Public Library in 1904. In 2005, it was sold at auction to Walmart heiress Alice Walton for $35 million, a record for a painting by an American artist.

ROMANTICISM & REALISM Hudson River School Albert Bierstadt, Among the Sierra Nevada Mountains, California, 1868.

ROMANTICISM & REALISM Hudson River School Albert Bierstadt, Among the Sierra Nevada Mountains, California, 1868.

ROMANTICISM & REALISM Realism The School

The (circa 1830 – 1870) of painters is named after the village of Barbizon (France) where the artists gathered. The Barbizon painters were part of a movement towards realism in art which arose in the context of the dominant Romantic Movement of the time.

Millet, , 1857. REALISM

ROMANTICISM & REALISM The Barbizon School Realism

In 1824 the de exhibited works of John Constable. His rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events. During the Revolutions of 1848 artists gathered at Barbizon to follow Constable's ideas, making nature the subject of their paintings.

One of them, Jean-François Millet, extended the idea from landscape to figures — peasant figures, scenes of peasant life, and work in the fields. In The Gleaners (1857), Millet portrays three peasant women working at the harvest. There is no and no story told, merely three peasant women in a field. Millet, The Gleaners, 1857. REALISM

ROMANTICISM & REALISM Realism Jean-François Millet, The Gleaners, 1857. REALISM

ROMANTICISM & REALISM Realism

Jean-François Millet, The Angelus, 1857-59. REALISM

ROMANTICISM & REALISM Realism

Gustave Courbet, . 1849 (Destroyed in 1945), Oil on canvas.

This painting shows two peasants, a boy and a grown man, in tatters, slaving away on boulders with mallets. At a glance, we immediately realize the depth and sharpness of the canvas; the painting is rigidly detailed to the point where it is devoid of any romanticism or drama, a that is unique to realism. The painting was first exhibited at the Paris Salon of 1850. It was destroyed during World War II, along with 154 other pictures, when a transport vehicle moving the pictures to the of Königstein, near Dresden, was bombed by Allied forces in February 1945.

ROMANTICISM & REALISM Realism

Gustave Courbet, The Stone Breakers. 1849 (Destroyed in 1945), Oil on canvas.

ROMANTICISM & REALISM Realism

Gustave Courbet, , 1849. REALISM

ROMANTICISM & REALISM Realism Great names in

Joseph-Nicéphore Niepcé Created 1st known image in 1826

Louis-Jacques Daguerre Worked with Niepcé. After Niepcé’s death, added a lens and a positive metal image (Daguerrotype)

Henry Fox Talbot Discovered light-sensitive , Negative image on metal for countless reproductions

Frederick Scott Archer Discovered using silver nitrate on glass made for clearer pictures in just a few seconds

ROMANTICISM & REALISM Realism

Camera Obscura, 1671 (In use since the )

ROMANTICISM & REALISM Realism

Portable Camera Obscura, Late 18th Century (Popular accessory to sketching)

ROMANTICISM & REALISM Realism Niepcé, View from Window, 1826.

ROMANTICISM & REALISM Realism Niepce’s First Kept , Framed.

ROMANTICISM & REALISM Realism

Louis-Jacques Daguerre, in , Daguerreotype, 1837.

L' de l'artiste, an 1837 daguerreotype by Daguerre, presented by Daguerre to the assistant of the in 1837. It remains the earliest extant example of a daguerreotype. At the time, inanimate objects were a wiser choice for subject matter, since the exposure time was a little over 10 minutes (using natural lighting), so people had to sit completely still for that long, making it extremely difficult. (Any type of movement would cause a blur – see Boulevard du Temple!)

ROMANTICISM & REALISM Realism Louis-Jacques Daguerre, Still Life in Studio, Daguerreotype, 1837.

ROMANTICISM & REALISM Realism Louis-Jacques Daguerre, Boulevard du Temple, 1838.

ROMANTICISM & REALISM Realism

Louis-Jacques Daguerre, Self-Portrait, 1844.

ROMANTICISM & REALISM Realism

Louis-Jacques Daguerre, , 1848.

ROMANTICISM & REALISM Realism

Eugene Durieu and Eugéne Delacroix, Draped , 1854.

The collaborative efforts of Delacroix and Eugene Durieu as seen in this photograph demonstrate the symbiotic relationship between painters and photographers.

This photograph provided Delacroix with a permanent image of the posed female model, photographers sometimes also attempted to create the mood through careful lighting and the draping of the cloth.

ROMANTICISM & REALISM Realism Capturing an Artist’s Likeness

Nadar, Eugene Delacroix, 1855.

This portrait shows the painter at the height of his career. In the photograph, the artist appears with remarkable presence. His and expression create a revealing mood that seems to tell viewers much about him.

The new photographic materials made possible the rich range of tones in ’s images. Glass negatives and albumen printing paper could record finer detail and wider range of light and shadow.

ROMANTICISM & REALISM Realism

In 1858, Gaspar-Felix Tournachon, known as "Nadar," rose 80 meters above the French village of Petit-Becetre in a tethered balloon to produce the first aerial photograph. It was an astounding feat, considering what taking a photo entailed back then. Photography had progressed since Nicéphore Niépce produced the first lasting image in 1826, but Nadar couldn’t simply snap a roll of and drop it off at a drug store to be developed. In fact, the then state-of-the-art collodion wet- plate process involved applying onto glass plates just before exposure and developing them quickly afterwards. He had to carry a complete darkroom in the basket of the balloon.

ROMANTICISM & REALISM Realism

Nadar, Aerial view of Paris, 1858.

ROMANTICISM & REALISM Realism

Nadar Raising Photography to the Height of Art, Honoré Daumier, 1862. Lithograph

The caption beneath this 1862 lithograph by French caricature artist Honoré Daumier reads “Nadar elevating Photography to the height of Art.” The print comically typecasts Gaspard- Félix Tournachon (known as Nadar) as a mad scientist or absent-minded professor figure who—in his excitement to capture the perfect shot—is unwittingly about to lose his top hat. Below him, inscribed on every building in Paris, is the word “Photographie.” In many ways, this satirical of one of the most prominent photographers in Paris works to capture the essence of the 19th century debate over whether or not this new medium of photography could be considered “art.”

ROMANTICISM & REALISM Realism

Henry Fox Talbot Discovered light-sensitive paper, Negative image on metal for countless reproductions

ROMANTICISM & REALISM Realism Henry Fox Talbot, Photogenic drawing of a fern leaf, c.1835-40.

ROMANTICISM & REALISM Realism

ROMANTICISM & REALISM Realism Timothy O’Sullivan, A Harvest of Death, Gettysburg, PA, July 1863.

ROMANTICISM & REALISM