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François Boucher, Venus Consoling Love, 1751
comm by madame de pompadour, roccoco, sexy for pleasure palace, teasing leisurly, erotic pleasure and contentment criticized by middle class. |
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Jean-Baptiste Greuze, The Village Bride, 1761
sobriety, middle class values, not religous setting marriage transaction of dowry in front of notary
purchased by marquis/aristocracy non threatening views of the peasants. |
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Joseph Marie Viens, The Selling of Loves, 1763
cult of antiquity, decorative, different from hamilton more ertoic less serious, peasant sells pootie, symbol of love haughty aristocrat examines object , inscense burners legs of tables. |
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Joseph Wright of Derby, Philosopher Giving a Lecture on the Orrery, 1768
planet model, light essential, emanates from where sun would be in model, listen to lecture, everyone caught up in wonders of scientific knowledge
scientific approach to antiquity, secular tenebrism |
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| Jacques-Louis David, Belisarius, 1784 |
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Jacques-Louis David, The Oath of the horatii, 1785
rosseau social contract
3 triplet warriors of rome... |
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David, Lictors Returning to Brutus the Bodies of His Sons, 1789
most radical revolutionary comm. by crown brutus rev. ideas, cult of brutus, voltaire's brutus etc...
over threw monarch set up republic
must kill two sons
dramatic void in center
family torn asunder
david divorced drouais die....
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David, The Oath of the Tennis Court, 1791
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David, Death of Marat, 1793
christian symbolism baroque lighting |
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| Pierre-Narcisse Guérin, The Return of Marcus Sextus, 1799 |
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Anne-Louis Girodet, The Sleep of Endymion, 1793
reign of terror
martyr pictures
escapist
disengaged by political/moon puts spell nocturnal scene irrational she wants to posess him erotic subject matter portrayal of man in nude in female positon
david student, greek form of neo classicism |
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Jacques-Louis David, The Intervention of the Sabine Women, 1799
nudity
period of reconciliation
professional class in power
call for peace
celia entreating father and husband to make peace |
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David, Napoleon at the St. Bernard Pass, 1800
rise of napoleon greatly ignobling napoleon courts david
importance of myth making
cast w/ charlamain and other great leaders that had made pass
disproportional to horse, too large for horse |
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| Antoine-Jean Gros, Napoleon in the Pesthouse at Jaffa, 1804 |
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Jacques-Louis David, The Coronation of Napoleon, 1805-7
important event notre dame cathedral
lavish overdone napoleon
crowns emperess
takes pope pius throne
in order to be like charlamain
no more energy or social change for david
lined up in reverence
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Anne-Louis Girodet, The Deluge, 1806
toll of napoleons exploits begin to take course/effect
family in extremis
escaping torrents of flood waters
heroic male overwhelmed by situation people hang off him
anxieties of the age
moodiness dark colors
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William Blake, Newton, 1793
deeply questioning reason, bent over nude geometric diagram
idyllic heroic nudity
underwater
god symbol compass does not lead to lightness, leads to darkness
questions reason over imagination |
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Joseph Mallord William Turner, Snowstorm: Hannibal and His Army Crossing the Alps, 1812
horrific storm, awe mixed with terror, pulverizing storm event from antiquity.
napoleon storm over alps. |
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Caspar David Friedrich, Cross in the Mountains aka Tetschen Altar, c 1808
nature as religion, christ on cross, god was everywhere planned frame gothic arch eye of god wheat and vine eucharist, critically condemne |
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| Francisco Goya, The Family of the Duque de Osuna, 1788 |
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| Goya, Charles IV and His Family, 1801 |
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| Goya, Naked Maja, c1798-1805 |
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Goya, Third of May, 1808, 1814
style: figures not defined/clear soft edges
not realistic, painterly effects
attention toi bright white yellow clothed figures in center
christ/sacrificial/central figure
traces of romanticism, emotional symbolic, tragic
context: propoganda pieces memoralize what had happened cruelty of this period
disasters of war (guerilla)
goya trans to dark macabre romantic connection to ind. deeling and response.
loss of hope despair emphasize darkness of human condition existence stray from enlightenment |
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| Goya, Session of the Royal Company of the Philippines, 1815 |
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Théodore Géricault, Charging Chasseur, 1812
jaunty officer/bravado twisting on bucking horse
engage with david's napoleon but anonymous figure
painterly energetic approach of paint
dynamic
ist painter of french romantic
emotionalism/despair/eroticism
son of prosperous family
experimenttal no need for commisions
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Géricault, The Raft of the Medusa, 1819
icon of romanticism
theatricality
emotional force
usual for bible/classicism
now for everyday people
dramatic composition
classically ideal
shipwreck off of senegal
medusa aristocratic captain
appointed by king incompetent
only 6 life rafts
makes makeshift raft for remainders
adrift for 12 days mutiny murder suicide cannibalism
dighting of rescue alluded to cannibalism father/son duo could be dante ugolino |
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| Eugène Delacroix, The Massacre at Chios, 1823-24 |
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Delacroix, Liberty Leading the People, 1830
revolution of 1830
citizen king louis phillippe
celebrates 3 day revolution
street figure debated student
middle class hat
not idealized enough for critics
body hair dirty skin
dirty shameless woman |
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Honoré Daumier, Rue Transnonian, 1834
strikes revolt for underpay; national guard comes to push the revolts a worker shoots one of the natl guard; national guard slaughters everyone
figure killed by national guard
work illegalized by authorities
censorship of work and art
facade of constitution revealed major displeasure w/ july monarchy's false outer ideals |
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Thomas Couture, Romans of the Decadence, 1847
story aftermath of wild night alcohol orgy debauchery
classic environment not idealized
grand language and idea
but more risque and interesting rather than moral
denies moral order in typical classic works
signifies end of classical ideas having pertinent influence on contemporary academic world
academic style painting, non threatening syncretic of many styles
popular and brought by govt |
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Ernest Messionier, Souvenir of the Civil War, 1848
revolution in 1848 to overthrow july monarchy outed by revolting middle/working class
2 phases united revolutionthen severeuproar of working class in june throwing up barricades intervention of the ntnl guard
working class an object of fear
not grand like a photograph no heroism symbolism or allegoric figure
realities of revolution/violence |
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Jean-François Millet, The Winnower, c 1848
This painting is a later variation of a work exhibited by Millet at the Salon of 1848, under the same title, and bought by Ledru-Rollin, then Minister of the Interior of the newly formed Second Republic. Millet thus opened a new pathway in his art. He abandoned mythologies and picturesque subjects to concentrate on his new hero: the peasant.
The winnower is here shown hard at work and his movements have been accurately observed. He lifts the winnowing basket with his knee and shakes the grain, sending the chaff into the air in a cloud of dust which fills the barn and casts a golden haze over the painting. All of Millet's art is present here—his broad simplifications, his highly localised tones, the quality of his colours and the relationships between the values and, above all, the presence of great figures conceived as allegories.
The painting attracted much commentary in 1848. Gautier set the tone: "It is impossible," he wrote, "to find anything rougher, wilder, more prickly or uncultivated," but he added, "and yet! This mortar, this plaster thick enough to stop a brush has an excellent local touch, and gives a fine warm tone when you take three steps back. This winnower [...] is bent over in the most masterly way." In this late version, Millet has further accentuated the peasant's strain in the curve of his body. Courbet deeply admired The Winnower and no doubt had it in mind when he started The Rock Breakers the following year (a work destroyed in the bombing of Dresden during the Second World War). |
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Gustave Courbet, The Stonebreakers, 1848
"ill paint an angel when i see an angel"
1840 shift from academic art to realism working class considered threatening
style: huge size every day quality
large sie despite grand historic importance
earth tones connect figures to the land
figures in movement
concept: capture the realities of everyday people doing every day things
lack of facial view symbolic or epic or important moment; no emotion |
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Courbet, The Burial at Ornans, 1849-50 Salon 1850/1851
style: dark colors, austere, mournful tone
uses entire space of landscape, like a photo
idea of space, distance; no central focus eye moves
large size but not a grand scene
realism
every day scene
not elevated
focus in
less interested in elite
truthful representation |
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| Courbet, The Young Ladies of the Village Giving Alms to a Cowherdess in the Valley Near Ornans, 1851 |
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Edouard Manet, Music in the Tuileries, 1862
paint very present, painting accepts what it is-very flat rather than 3d or realistic lack of clear defined lines
landscape of people; sense of entire space, little scenarios, intellectuals gathering together
courbet's embracing life in art
hurried disjunctive fast paced nature of city life
the present
includes himself
no longer beauty of nature, city life
strong sense of fashion
excitement beauty |
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Manet, The Old Musician, 1862
modernization of france, napoleon III reconstructing paris, huge transformation of the city; huge explosion of industry, dense population among small winding streets--implementation of large boulevards, adequate sewage, new elaborate buildings--glamorized rich , fortunate sense of loss and uneasiness among french, displacement of lower/unwealthy classes to the outskirts of city
painting depicts poor and bohemian types who relocated to countryside
children affected different figures, the wanderer, absinthe drinker (present in his other work), child w/ theatrical hat and dress (allusion to french traditional theater) - people who were displaced
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Manet, Luncheon on the Grass, 1863
style: manet explores concept of paint; flooded w/ light, woman gazes to the viewer connection to other works, figures not engaged w/ environment as if sitting against a backdrop
very flat
generalized v specific, ambiguous narrative not clear what situation is
no specific genre, figures too prominent to be a landscape, still life images in the bottom corner
woman acknowledges the role of the viewer, part of her submissiveness (Baudelaire), masogonistic, tones of manet's works, nude female w/ clothed men manets brother and bro in law, elicit sexual fun? |
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Manet, Olympia, 1863
very bright unidealized figure flat painterly effect not realistic accepts notion of being a painting
body shamefully depicte embarrassing uncomfortable
rather than a generalized depiction of beauty viewer forced to situate her within the economy of her life
goes against expectations of female nude
flexed hand, colored skin, harshly lit, uninviting gaze
concept: parody of domestic love, olympia a prostitute, the day after a visit with a satisfied customer, sent flowers
black cat and servant; destroy realities of glorious, mythological, divine beauty |
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