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AP Art History Unit Sheet #21 Romanticism, Realism, and Photography

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AP Art History Unit Sheet #21 Romanticism, Realism, and Photography AP Art History Unit Sheet #21 Romanticism, Realism, and Photography Works of Art Artist Medium Date Page # 27‐1: Napoleon at the Plague House at Jaffa Gros Painting 1804 754 27‐2: Coronation of Napoleon David Painting 1805‐1808 757 27‐4: Pauline Borghese as Venus Canova Sculpture 1808 759 27‐6: Apotheosis of Homer Ingres Painting 1827 761 27‐7: Grande Odalisque Ingres Painting 1814 761 27‐8: The Nightmare Fuseli Painting 1781 762 27‐9: Ancient of Days Blake Painting 1794 763 27‐10: The Sleep of Reason Produces Monsters Goya Painting 1798 763 27‐11: Third of May, 1808 Goya Painting 1814‐1815 764 27‐13: The Raft of the Medusa Gericault Painting 1819 765 27‐16: Liberty Leading the People Delacrois Painting 1830 768 27‐19: Abbey in the Oak Forest Friedrich Painting 1810 771 27‐21: The Haywain Constable Painting 1821 772 27‐22: The Slave Ship Turner Painting 1840 773 27‐23: The Oxbow ColePainting1836 773 27‐26: The Stone Breakers Courbet Painting 1849 775 27‐27: Burial at Ornans Courbet Painting 1849 776 27‐28: The Gleaners Millet Painting 1857 777 27‐30: Third Class Carriage Daumier Painting 1862 779 27‐31: The Horse Fair Bonheur Painting 1853‐1855 780 27‐32: Le Dejeauner sure l’herbe Manet Painting 1863 781 27‐33: Olympia Manet Painting 1863 781 27‐35: Veteran in a New Field Homer Painting 1865 783 27‐36: The Gross Clinic Eakins Painting 1875 783 27‐37: The Daughters of Edward Darley Boit Sargent Painting 1882 784 27‐38: The Thankful Poor Tanner Painting 1894 785 27‐40: Ophelia Millais Painting 1852 786 27‐43: House of Parliament, London Pugin/ Barry Architecture 1835 788 27‐44: Royal Pavilion, Brighton Nash Architecture 1815‐1818 789 27‐45: Paris Opera Garnier Architecture 1861‐1874 789 27‐48: Still Life in Studio Daguerre Photography 1837 792 27‐51: Nadar Raising Photography to the Height of Art Daumier Lithograph 1862 794 27‐53: A Harvest of Death, Gettysburg, Pennsylvania O’Sullivan Photography 1863 795 27‐54: Horse Galloping Muybridge Calotype 1878 796 CONTEXT ­ Europe and France 1. Revolution – and social unrest of the 19th century (in France in particular): “We don’t need to borrow riches from the past – our own times are riches enough.” – Gericult a. Greek War of Independence cause celebre for Europeans, particularly the English poet Byron b. Napoleon’s invasion of Spain the atrocities of war (Goya) c. July Revolution of 1830 (France) overthrowing of the Bourbon monarchy. Louis Philippe – constitutional monarch d. 1848 September Revolution (France) overthrow of Louis Philippe’s government 2. Nature – Rousseau’s writings – “back to nature” – the soul in union with the natural world 3. Strum and Drang – Goethe’s writings – “Feeling is all!” – emotional reality trumps the intellect “Without daring – extreme daring – there is no beauty. I do not love reasonable painting.” ­ Delacroix 4. Exoticism Gothick novels and writings of Poe, Hugo, and Scott ‐ For the romantics, the Gothick sensibility was something mystical, weird, and fantastic 5. English Romantic poets: Byron, Shelley, Keats, and Shakespeare’s tragedies (play) Manifestations of Romanticism 1. Historical paintings of disasters, revolutions, Greek liberation – romantic realism Rafta of Medusa – Gericult Executions of the Third of May 1815 – Goya 2. Pluralism and exoticism – interest in other cultures and time periods ‐ Medieval (Gothic) revival (architecture) ‐ Chinoiserie – “Chinese inspires” designs, objects and architecture AP Art History Unit Sheet #21 Romanticism, Realism, and Photography 3. Fantasy and the imagination ‐ Goa’s late work 4. English landscape painting ‐ Burke’s A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful ‐ For many artists and writer of the early 19th century, nature replaced Christianity as a religious concept and source of inspiration – the divinity of nature – “a religion of Nature” ‐ Melancholy was often the emotional response to nature “The artist should paint not only what he sees before him, but also what be sees within him.” – Friedrich Romanticism – Landscape Painting “The artist was no longer a mere beholder of the landscape but a participant in its spirit, no longer a painter of mere things but the translator of nature’s transcendent meanings, arrived at through feelings inspired by the landscape.” – Gardner As Short History of Landscape in Western European Painting Roman wall painting illusionism/ decorative interiors Garden Scene in Villa of Livia at Primaporta Early Renaissance (Italy) experiments in illusionary space Massaccio’s Tribute Money Northern Renaissance Garden of Eden, metaphor for innocence Bosch’s Garden of Earthly… Late Renaissance first real landscape for landscape’s sake (possibly) Gorgione’s Tempest Mannerism helps capture the religious experience of the artist El Greco’s View of Toledo Northern Baroque landscape emerges as a subject matter of painting in Rusidael Dutch landscape school Baroque “Classicalism” escapist to another time (Arcadian), academic exercises Poussin’s Arcadian fantasies Rococo escapist to ideal for a segment of society in denial Watteau’s Return from Cythera Landscape for the Romantic Artist ‐ Landscape becomes a metaphor for the internal emotional life of the artist ‐ Nature replaced Christianity as a structuring concept and source of inspiration “The experience of the supernatural has… been transposed from traditional religious imagery to nature.” – Rosenblum ‐ The writers Rousseau and Goethe were seen as “Fathers” of the Romantic movement ‐ The concept of the “noble savage” as a Romantic concept Constable the picturesque in art: “Clouds are the chief organs of the sentiment”. – Constable Turner the concept of the sublime in art: uncontrolled forces of nature The belief that contact with nature can heal and restore one’s soul Friedrich nature a metaphor for the artist’s interior emotional and spiritual life “The artist should paint not only what he sees before him, but also what he sees within him.” Nature (nature = truth, innocence, beauty, and virtue) ‐ The divinity of nature – “a religion of Nature” – the worship of nature equated to morality ‐ Nature was not created by man and was something received through the senses ‐ Melancholy was often the emotional response to nature Rousseau – believed that when a person became completely “at one” with nature, they lost everything except the sense of being the concept that nature was a mystical experience Goethe – “Nature was the living garment of God” – the soul in union with the natural world Burke – A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful the most intense human emotions are evoked by pain and fear (including the great “events” in nature such as extreme weather and the sea) American Landscape Painting Hudson River School – landscape as the new Eden, escape from European “Civilization” Realism & Photography CONTEXT – Late 19th century Europe: 1. Industrial Revolution, urbanization – massive movement to cities and resulting in social unrest, Marx 2. Franco‐Prussian war (1870) – France at war and in turmoil 3. Science = progress – new materials, new knowledge, Darwin and dramatic medical advancements 4. Invention of photography (1839) by Daguerre/Talbot – by 1850 well known, Maybridge exhibition 1881 5. Lithography (beginning in 1850’s) resulted in wider distribution of art and other printing techniques 6. Great Exhibition of all Nations (England) 1851 – cast iron a new building material for architects results in mass production of complicated decorative devices and prefabrication of building units off site 7. Colonization by European powers continues/ Admiral Perry opens Japan 1853 – forced trade with Europe – influx on Japanese prints/ other objects AP Art History Unit Sheet #21 Romanticism, Realism, and Photography 8. Art for art’s sake – examination of the definition of art and the role of art – art that is done for the sake of doing, without historicism or histrionics, without symbolism and metaphor Concepts/ Ideas: 1. What were photography’s and Japanese print’s influence on painting? 2. What does the new concept “art for art’s sake” mean? 3. Outline the impact of new building materials and construction techniques on 19th Century architecture. 4. List the characteristics of Realist painting. 5. What is the significance of the work of Rodin in the history of sculpture? 6. What was the new role of lithography in the art of the Realists? Realism “The heroism of modern life” –Baudelaire “Show me an angel and I’ll paint one!” –Courbet Definitions: “A mid­19th century style of painting and sculpture based upon the belief that the subject matter of art and the methods of representation should be true to life without stylization or idealization” –Fleming “The representation of things according to their appearance in visible nature (without idealization). In the 19th century, an approach that supported the representation of the subject matter of everyday life in a realistic mode. Iconographically, 19th century Realism is the subject matter of everyday life as seen by the artist.” –Garnder “… art in painting can only consist of the representation of objects that are visible and tangible to the artist. No age can be depicted by its own artists… I also belive that painting is essential CONCRETE art and can only consist of the representation of REAL and EXISTING objects… Beauty is in nature, and reality is encountered under the most diverse forms.” –Gustave Courbet “M. Manet’s temperament is dry, trenchant. He catches his figures vividly, is not afraid of the brusqueness of nature and renders in all their vigor the different objects which stand out against each other. His whole being causes him to see things in splotches, in simple and forceful pieces… Don’t bother looking at the neighboring pictures. Look at the living persons in the room. Study the way their bodies look against the floors and walls. Then look at M. Manet’s paintings: you will see that there lies truth and strength.” –Emile Zola (Author and Critic) Realism – Context: 1.
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