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

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

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 Henry Fuseli, The Nightmare, 1781.

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 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 Francisco Goya, Y no hai remedio (The Disasters of War), 1810-1823 CE.

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 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 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 Théodore Géricault, The Raft of the Medusa, 1818-1819.

Romanticism

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 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 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 Eugene Delacroix, Liberty Leading the People, 1830.

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 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 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 Houses of Parliament, Westminster Hall,1840-1870.

Romanticism John Constable, The Haywain, 1821.

Romanticism Joseph Mallord William Turner, The Slave Ship, 1840.

Romanticism Joseph M. W. Turner, The Snowstorm, 1842.

Hudson River School Thomas Cole, The Oxbow, 1836. The Hudson River School was a mid-19th century American art movement by a group of landscape painters whose aesthetic vision was influenced by romanticism. Their paintings depict the Hudson River Valley and the surrounding area, as well as the Catskill Mountains, Adirondack Mountains, 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.

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

Hudson River School Thomas Cole, The Oxbow, 1836.

Hudson River School

Hudson River School Albert Bierstadt, The Rocky Mountains: Lander's Peak, 1863.

Hudson River School Frederic Edwin Church, Twilight in the Wilderness, 1860.

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 poet William Cullen Bryant 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 New York 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.

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

Realism The Barbizon School The Barbizon school (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, The Gleaners, 1857. REALISM

Realism The Barbizon School In 1824 the Salon de Paris 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 drama and no story told, merely three peasant women in a field. Millet, The Gleaners, 1857. REALISM

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

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

Realism Gustave Courbet, The Stone Breakers. 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 quality 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 castle of Königstein, near Dresden, was bombed by Allied forces in February 1945.

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

Realism Gustave Courbet, A Burial at Ornans, 1849. REALISM

Realism Great names in Photography Joseph-Nicéphore Niepcé Created 1 st 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 paper, 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

Realism Camera Obscura, 1671 (In use since the Renaissance)

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

Realism Niepcé, View from Window, 1826.

Realism Niepce s First Kept Photograph, Framed.

Realism Louis-Jacques Daguerre, Still Life in Studio, Daguerreotype, 1837. L'Atelier de l'artiste, an 1837 daguerreotype by Daguerre, presented by Daguerre to the assistant curator of the Louvre 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!)

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

Realism Louis-Jacques Daguerre, Boulevard du Temple, 1838.

Realism Louis-Jacques Daguerre, Self-Portrait, 1844.

Realism Louis-Jacques Daguerre, Edgar Allan Poe, 1848.

Realism Eugene Durieu and Eugéne Delacroix, Draped Model, 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 nude female model, photographers sometimes also attempted to create the mood through careful lighting and the draping of the cloth.

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 gesture 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 Nadar s images. Glass negatives and albumen printing paper could record finer detail and wider range of light and shadow.

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 film and drop it off at a drug store to be developed. In fact, the then state-of-the-art collodion wetplate process involved applying emulsion onto glass plates just before exposure and developing them quickly afterwards. He had to carry a complete darkroom in the basket of the balloon.

Realism Nadar, Aerial view of Paris, 1858.

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 depiction of one of the most prominent photographers in Paris works to capture the essence of the 19 th century debate over whether or not this new medium of photography could be considered art.

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

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

Realism

Realism Timothy O Sullivan, A Harvest of Death, Gettysburg, PA, July 1863.