19Th Century Art:Romanticism Romanticism Objectives
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Network Map of Knowledge And
Humphry Davy George Grosz Patrick Galvin August Wilhelm von Hofmann Mervyn Gotsman Peter Blake Willa Cather Norman Vincent Peale Hans Holbein the Elder David Bomberg Hans Lewy Mark Ryden Juan Gris Ian Stevenson Charles Coleman (English painter) Mauritz de Haas David Drake Donald E. Westlake John Morton Blum Yehuda Amichai Stephen Smale Bernd and Hilla Becher Vitsentzos Kornaros Maxfield Parrish L. Sprague de Camp Derek Jarman Baron Carl von Rokitansky John LaFarge Richard Francis Burton Jamie Hewlett George Sterling Sergei Winogradsky Federico Halbherr Jean-Léon Gérôme William M. Bass Roy Lichtenstein Jacob Isaakszoon van Ruisdael Tony Cliff Julia Margaret Cameron Arnold Sommerfeld Adrian Willaert Olga Arsenievna Oleinik LeMoine Fitzgerald Christian Krohg Wilfred Thesiger Jean-Joseph Benjamin-Constant Eva Hesse `Abd Allah ibn `Abbas Him Mark Lai Clark Ashton Smith Clint Eastwood Therkel Mathiassen Bettie Page Frank DuMond Peter Whittle Salvador Espriu Gaetano Fichera William Cubley Jean Tinguely Amado Nervo Sarat Chandra Chattopadhyay Ferdinand Hodler Françoise Sagan Dave Meltzer Anton Julius Carlson Bela Cikoš Sesija John Cleese Kan Nyunt Charlotte Lamb Benjamin Silliman Howard Hendricks Jim Russell (cartoonist) Kate Chopin Gary Becker Harvey Kurtzman Michel Tapié John C. Maxwell Stan Pitt Henry Lawson Gustave Boulanger Wayne Shorter Irshad Kamil Joseph Greenberg Dungeons & Dragons Serbian epic poetry Adrian Ludwig Richter Eliseu Visconti Albert Maignan Syed Nazeer Husain Hakushu Kitahara Lim Cheng Hoe David Brin Bernard Ogilvie Dodge Star Wars Karel Capek Hudson River School Alfred Hitchcock Vladimir Colin Robert Kroetsch Shah Abdul Latif Bhittai Stephen Sondheim Robert Ludlum Frank Frazetta Walter Tevis Sax Rohmer Rafael Sabatini Ralph Nader Manon Gropius Aristide Maillol Ed Roth Jonathan Dordick Abdur Razzaq (Professor) John W. -
2007 Newsletter
Spring 2007 Collecting China Interdisciplinary symposium expands dialog on Chinese art objects The Newsletter of the University of Delaware Department of Art History 1 Contents Spring 2007 Editor in Chief and Photo Editor: From the Chair From the Chair | 3 Undergraduate Student Linda Pellecchia News | 15 Titles Editor: David M. Stone No doubt, you’ve noticed that the Art History newsletter has changed its Art History Club | 15 Art Director: Don Shenkle look and now has a name, Insight. The department, launched more than Undergraduate Awards | 15 Editorial Coordinator: forty years ago, has fl ourished and Insight allows us to spread the news Connee McKinney of our extraordinary record of accomplishments. Some news builds on Secretarial Assistance: Eileen Larson, traditional strengths. Other items refl ect exciting new directions. Our Deb Morris, Tina Trimble focus on American art will expand next year with the arrival of a new Graduate Student News | 16 “Collecting ‘China’” — Insight is produced by the Department colleague in the history of African American art and another in the 19th An International Gem | 4 Graduate Awards | 16 of Art History as a service to alumni and 20th-century art of the United States. Our curriculum has, on the Graduate Student News | 16 and friends of the Department. We are other hand, expanded globally beyond America and Europe. We now Graduate Degrees Granted | 17 always pleased to receive your opin- teach the arts and architecture of Africa, Asia, and Latin America. Art News from Alumni | 18 ions and ideas. Please contact Eileen History undergraduate and graduate students have garnered prestigious Larson, Old College 318, University of grants and awards. -
The Dark Romanticism of Francisco De Goya
The University of Notre Dame Australia ResearchOnline@ND Theses 2018 The shadow in the light: The dark romanticism of Francisco de Goya Elizabeth Burns-Dans The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Burns-Dans, E. (2018). The shadow in the light: The dark romanticism of Francisco de Goya (Master of Philosophy (School of Arts and Sciences)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/214 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. i DECLARATION I declare that this Research Project is my own account of my research and contains as its main content work which had not previously been submitted for a degree at any tertiary education institution. Elizabeth Burns-Dans 25 June 2018 This work is licenced under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence. i ii iii ACKNOWLEDGMENTS This thesis would not have been possible without the enduring support of those around me. Foremost, I would like to thank my supervisor Professor Deborah Gare for her continuous, invaluable and guiding support. -
Jacques-Louis David
Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Dorothy Johnson GETTY MUSEUM STUDIES ON ART Los ANGELES For my parents, Alice and John Winter, and for Johnny Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jacques-Louis David (French, 1748 — 1825). The Farewell of Telemachus and Eucharis, 1818 Benedicte Gilman, Editor (detail). Oil on canvas, 87.2 x 103 cm (34% x 40/2 in.). Elizabeth Burke Kahn, Production Coordinator Los Angeles, The J. Paul Getty Museum (87.PA.27). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: (Getty objects, 87.PA.27, 86.PA.740) Jacques-Louis David. Self-Portrait, 1794. Oil on canvas, 81 x 64 cm (31/8 x 25/4 in.). Paris, © 1997 The J. Paul Getty Museum Musee du Louvre (3705). © Photo R.M.N. 17985 Pacific Coast Highway Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners, unless otherwise P.O. Box 2112 indicated. Santa Monica, California 90407-2112 Typography by G&S Typesetters, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by C & C Offset Printing Co., Ltd., Hong Kong Johnson, Dorothy. Jacques-Louis David, the Farewell of Telemachus and Eucharis / Dorothy Johnson, p. cm.—(Getty Museum studies on art) Includes bibliographical references (p. — ). ISBN 0-89236-236-7 i. David, Jacques Louis, 1748 — 1825. Farewell of Telemachus and Eucharis. 2. David, Jacques Louis, 1748-1825 Criticism and interpretation. 3. Telemachus (Greek mythology)—Art. 4. Eucharis (Greek mythology)—Art. I. Title. -
Francisco Goya
Francisco Goya Biography Returning to Spain in 1772, Goya would become Aragonʼs most famous painter as a result of several fresco projects. He worked in the Cathedral of our Lady of El Pilar in Zaragosa, in a chapel in the palace of the Count of Sobradiel, and completed a series of large frescos for the charterhouse of Aula Dei, near Zaragosa. By 1774, Goya had one of the best artistic jobs in Spain, with steady work, good pay, and a direct connection to the royal court in Madrid. He was hired by his brother-in-law, Francisco Bayeu, to produce tapestries for the royal palaces. Goyaʼs job was to create paintings (called cartoons) which the weavers could copy in silk and wool. His tapestry cartoons were highly praised for their candid views of every day Spanish life, and he painted more than 60 in 16 years. During this time Goya created etchings of some of the works by Velázquez found in the kingʼs art Francisco José de Goya y Lucientes was an collection. As he copied Velázquezʼs works, he innovative Spanish painter and etcher, and one of was influenced by the way Velázquez composed the triumvirate—including El Greco and Diego his pictures, and by his way of capturing the Velázquez—of great Spanish masters. He was emotions and personality of his subjects. Goya born in the small Aragonese town of Fuendetodos began to attract a steady clientele with his talent (near Saragossa) on March 30, 1746. His father as a draftsman, printmaker and painter. was a painter and a gilder of altarpieces, and his mother was descended from a family of minor Goyaʼs career steadily advanced during this time. -
All at Sea: Romanticism in Géricault's Raft of the Medusa
All at Sea: Romanticism in Géricault's Raft of the Medusa Galven Keng Yue Lee All at sea. We – receptacles, tentacles Of ingestion and Assemblage. A mass of ever-dying, ever-living Vapid waves. All at sea. ~ Galven Keng Yue Lee Plate 1: Théodore Géricault, Raft of the Medusa, 1819, oil on canvas, 491 x 716 cm. Source: Musée du Louvre, Paris. Fair use is claimed for not-for-profit educational & scholarship purposes. Abstract Théodore Géricault’s painting, Raft of the Medusa, has long been regarded as a quintessentially Romantic painting. Yet it was unprecedented when it was exhibited at the 1819 Salon by its raw and direct appeal to the viewer’s 1 The ANU Undergraduate Research Journal emotions, and represented an early stage in French Romantic painting. In this paper, I argue that the painting was an original, logical outcome of the social and political turbulence that plagued French society in the early nineteenth century and which also impinged itself on the personal circumstances of Géricault’s life. It is through this general malaise and sense of crisis that the painting can not only be seen as an authentic product of its time, but also one that reflected the distinctly personal nature of the Romantic painting, through the intense personal involvement and identification of Géricault with its creation and subsequent legacy. Romanticism in Géricault’s Raft of the Medusa Théodore Géricault’s Raft of the Medusa is a stunning piece that strikes the viewer with its intense, emotional representations of hope and hopelessness. The pointless suffering of the denizens of the raft eradicate any pretensions to heroic achievement or tragic sacrifice; only the surging waves of the ocean respond without sympathy to their cries for salvation from a suffering which has only brought them to the pits of unheroic despair—drawing us within the vacant expression of the older man in the left foreground clutching onto the limp body of a younger male, possibly his son. -
Through Gendered Lenses Enough to Ensure Its Continued Success
An Undergraduate Academic Journal of Gender Research & Scholarship ThroughThrough genderedgendered LensesLenses Edited By The Gender Studies Honors Society Gender Studies Program—University of Notre Dame 2011 Table of Contents Acknowledgements Letter from the Editors The Problem of the Woman Artist: How Eva Gonzales Was “Seen” in Late Nineteenth-Century France / 9 Brigid Mangano A Written but Unpracticed Intolerance: Same-Sex Sexuality and Public Order in Colonial America / 47 Joseph VanderZee Fairy Tale Fascinations with Victorian Governesses: The Seduction of Sympathizing with the Governess Figure in Nineteenth-Century Novels / 63 Kelly McGauley “A Life in Words”: Domestic Objects and Gertrude Stein / 105 Rachel Roseberry Singing in the Dead of Night, Seeking an Inclusive Community / 119 Mary Herber About Triota: The Gender Studies Honors Society / 132 About the Gender Studies Program / 134 Acknowledgments In its second edition, the Gender Studies Honor Society would like to recognize those who valued Through Gendered Lenses enough to ensure its continued success. This volume would be nothing but an aspiration without the foresight of former editors Amanda Lewis and Miriam Olsen, whose wise advice guided this year’s editorial board. We owe them our sincere gratitude for their work on the first volume and their undeniable influence on the second. Additionally, the Honor Society recognizes Linnie Caye, Program Coordinator for the Gender Studies Program and unremitting cheerleader of this year’s journal. We also thank Dr. Pamela Wojcik, Program Director, and Dr. Abigail Palko, Director of Undergraduate Studies, for their input in the publishing process. This year’s editors have realized that publishing a journal not only requires endless planning but also funding from multiple sources. -
The Raft of the Medusa the Story of a Painting, the Painting of a Story
The Raft of the Medusa The story of a painting, the painting of a story Scheme of Work Suitable for KS4 pupils Written and Designed by David Herbert Drama and Education Consultant [email protected] [Image of The Raft of the Medusa available at <www.louvre.fr/en/oeuvre-notices/raft-medusa>] [For copyright reasons some visual images included in the original Resource Pack have been omitted here.] Contents Introduction..................................................................................p.3 Aims of the Scheme.....................................................................p.4 Tasks............................................................................................p.4 • The word “trapped” • Outline of story • Stages of Degeneration • Props • Lyrics to the song • News report Evaluation....................................................................................p.8 The Written Portfolio....................................................................p.9 Sources......................................................................................p.10 • The Raft of the Medusa story • Stages of Degeneration Portfolio Worksheets..................................................................p.13 • Drama Coursework – Stages of Degeneration • Storyboarding • Trapped evaluation Skills to allow students to explore in more depth.......................p.17 Reading List...............................................................................p.18 2 Introduction This scheme of work has been written and designed -
Humanities (World Focus) Course Outline
Guiding Document: Humanities Course Outline Humanities (World Focus) Course Outline The Humanities To study humanities is to look at humankind’s cultural legacy-the sum total of the significant ideas and achievements handed down from generation to generation. They are not frivolous social ornaments, but rather integral forms of a culture’s values, ambitions and beliefs. UNIT ONE-ENLIGHTENMENT AND COMPARATIVE GOVERNMENTS (18th Century) HISTORY: Types of Governments/Economies, Scientific Revolution, The Philosophes, The Enlightenment and Enlightenment Thinkers (Hobbes, Locke, Montesquieu, Voltaire, Jefferson, Smith, Beccaria, Rousseau, Franklin, Wollstonecraft, Hidalgo, Bolivar), Comparing Documents (English Bill of Rights, A Declaration of the Rights of Man, Declaration of Independence, US Bill of Rights), French Revolution, French Revolution Film, Congress of Vienna, American Revolution, Latin American Revolutions, Napoleonic Wars, Waterloo Film LITERATURE: Lord of the Flies by William Golding (summer readng), Julius Caesar by Shakespeare (thematic connection), Julius Caesar Film, Neoclassicism (Denis Diderot’s Encyclopedie excerpt, Alexander Pope’s “Essay on Man”), Satire (Oliver Goldsmith’s Citizen of the World excerpt, Jonathan Swift’s Gulliver’s Travels excerpt), Birth of Modern Novel (Daniel Defoe’s Robinson Crusoe excerpt), Musician Bios PHILOSOPHY: Rene Descartes (father of philosophy--prior to time period), Philosophes ARCHITECTURE: Rococo, Neoclassical (Jacques-Germain Soufflot’s Pantheon, Jean- Francois Chalgrin’s Arch de Triomphe) -
Goya's Fantastic Vision of Madness
Michel Foucault (1926-1984) Francisco de Goya, Citadel on a Rock, oil on canvas, unknown date. Romanticism vs. Classicism Madness vs. Reason Passion>>>Madness Goya. A Man Mocked, Disparates, etching, 1815-1817 Goya. Plague Hospital, oil on canvas, 1798-1800 Henry Fuseli, Odysseus Between Scylla and Charybdis, Theodore Gericault, Insane Woman, oil on canvas, 1794-96 oil on canvas, 1822. Grotesque vs. Fantastical Goya, Saturn Devouring One of His Children, mural, 1819-1823 Fantastical 1. Transcending nature 1. Conflating confinement and refuge 3. Blending imaginary and real Goya. Fantastic Vision, mural, 1819-1823 Goya, The St. Isidore Pilgrimage (Quinto del Sordo), mural, 1820-1823 Layout of Black Paintings Goya, Half-Submerged Dog, mural, 1819- 1823 (x-ray version on left.) Compare: Bibliography Athanassoglou-Kallmyer, Nina. "Romanticism: Breaking the Cannon." Art Journal 52, no. 2 (1993): 18-21. Bozal, Valeriano. Goya: Black Paintings. 2nd ed. Madrid: Fundación Amigos del Museo del Prado, 1999. Canton, Francisco Javier Sanchez. Goya and the Black Paintings. Paolo Lecaldano, 76-98. Milan: Faber & Faber, 1963. Ciofalo, John J. "Goya's Enlightenment Protagonist: A Quixotic Dreamer of Reason." Eighteenth-Century Studies 30, no. 4 (1997): 421-436. Doctor, Asunción Fernández, and Antonio Seva Díaz. Goya y la locura. Zaragosa, Spain: Janssen-Cilagn, 2000. Fingesten, Peter. "Delimitating the Concept of the Grotesque." The Journal of Aesthetics and Art Criticism 42, no. 4 (1984): 419-426. Foucault, Michel. Madness and Civilization: A History of Insanity in the Age of Reason. Translated by Richard Howard. New York: Vintage Books, 1988. Francisco, Samantha. Francisco Goya and the Economy of Madness. New York: State University of New York at Binghamton, 1998. -
Goya Sü Tiempo, So Vida, Sus Obras
MUSEO NACIONAL DE ARTE CONTEMPORÁNEO Ml/sSE O NACIONAL DE ARTE CONTEMPORÁNEO BIBLIOTECA JBÍ0804N COYA SU TIEMPO, Sü VIDA, SUS OBRAS POR EL CONDE DE LA VINAZA Correspondiente de las Reales Academias de Bellas Artes de San Fernando y de la Historia MADRID TIPOGRAFÍA DE MANUEL G. HERNÁNDEZ IMPRESOR DE LA REAL CASA Libertad, 16 duplicado 1887 GOYA SU TIEMPO, SU VIDA, SUS OBRAS GOYA Sü TIEMPO, SO VIDA, SUS OBRAS POR EL CONDE DE LA VINAZA Correspondiente de las Reales Academias de Bellas Artes de San Fernando y de la Historia Doctor en Filosofía y Letras MADRID TIPOGRAFÍA DE MANUEL G. HERNÁNDEZ IMPRESOR DE LA REAL CASA Libertad, 16 duplicado -,1887 í LA REAL ACADEMIA DE BELLAS ARTES DE SAI LUIS DE ZARAGOZA Su individuo de numere Q,. 3t ©Otéele de- t& ^WUXKCb PREFACIO RÍTICOS ilustres y eruditos de selecta y profundísima lectura han narrado la vida y estudiado las obras de D. Francisco Goya." Desde los elogios que le tributó Ceáñ Bermúdez hasta la ilustración al re• trato de Munarriz, debida á la docta pluma del Sr. Tubino, es considerable el número de páginas á que ha servido de asunto el pintor de Fuendetodos. Francia inauguró en el "Magassín pittores- que" (i) la serie de artículos y de libros que han (i) 1834, pág. 324. (Artículo ilustrado con la reproducción grabada malamente en madera del retrato de Goya, que va al frante de los c Capri• chos,} y dos láminas de esta colección.) / 2 motivado las creaciones del pintor aragonés. Los grabados han sido el objeto de preferente estudio al otro lado del Pirineo, y la extensa monografía que en 1877 publicó Mr. -
Wreck: Gericault and the Body in Pieces
Art Appreciation Lecture Series 2019 Being human: The figure in art Géricault’s The Raft of the Medusa Mark Ledbury 12 / 13 June 2019 Lecture summary: This lecture examines one of the great works of nineteenth-century Art, Géricault’s Raft of the Medusa, 200 years after the painting was first seen. It explores Gericault’s fascination with bodies, but also the political and cultural impact of a painting in its time and beyond. The wreck of the Medusa through incompetence and fear , the subsequent appalling suffering of the occupants of the Raft, caused scandal in the France of the recently restored Monarchy , and Gericault used both his fascination with human and animal bodies and his training in neo-classical studios to very powerful effect in a painting of enormous scale, ambition and effort. Slide list: 1. Théodore Géricault, The Raft of the Medusa, (Oil on canvas, 1817-19, 4,91 m. x 7,16 m, Paris: Louvre) 2. Horace Vernet, Portrait of Géricault, (Oil on Canvas, 1822 or 3, New York, Metropolitan Museum) 3. J-A-D Ingres, Grande Odalisque (1812-18, Oil on Canvas, Paris: Louvre) 4. A-L Girodet, Pygmalion (1818-19, Oil on Canvas, Paris: Louvre) 5. Achille Etna Michallon, The Death of Roland (oil on canvas, 1818, Paris: Louvre) 6. Géricault, Horse Studies,(Graphite on Paper, c.1812-14, Getty Museum, Los Angeles) 7. Géricault, Charging Chasseur, or An Officer of the Imperial Horse Guards Charging 1812, Oil on Canvas, Paris, Louvre 8. Géricault, Wounded Cuirassier leaving the Battle (1814, Oil on Canvas, Paris: Louvre) 9.