napoleonic europe 1800-1815 - 2012-02-20آ  decorative style known as rococo. •understand the...

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  • 1

    Napoleonic Europe 1800-1815

  • 2

    Goals

    • Understand the origins and spread of the luxurious and decorative style known as Rococo.

    • Understand the main styles of Neoclassicism and Romanticism in the early 19th century Europe and America.

    • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history.

    • Discuss initial reaction by artists and the public to the new art medium known as photography

  • 3

    28.1 Rococo: The French Taste

    • Examine the luxurious artistic expressions of salon culture which culminated in the style known as Rococo.

    • Understand the completeness of the style, in decorations, accessories, paintings and sculpture, interiors, and architecture.

    • Examine the extreme development of the Rococo style in Germany.

    • Examine the development of the Rococo style, its materials, colors, and design elements.

  • 4

    GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de

    Soubise, Paris, France, 1737–1740.

  • Mansart and LeBrun, Hall of Mirrors, Palace of Versailles, c 1680

  • Johann Balthasar Neumann,

    Kaisersaal (Imperial Hall), Residenz,

    Wurzburg, Bavaria, Germany, 1719-1744

  • The Marriage of the

    Emperor Frederick and

    Beatrice of Burgandy,

    1751-52

    Tiepolo

    http://upload.wikimedia.org/wikipedia/commons/d/d0/Hochzeit_friedrich_I._tiepolo.jpg

  • 9

    FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century.

  • 10

    Art of the French Salons

    • Examine the artistic expressions of salon cultural style known as Rococo.

  • 11

    ANTOINE WATTEAU,

    L’Indifférent, ca. 1716. Oil on

    canvas, approx. 10” x 7”. Louvre, Paris.

  • 12

    Louis XIV, 1701, English Baroque,

    9’ x 6’

    French Rococo, 10” x 7”

  • 13

    ANTOINE WATTEAU, Return from Cythera, 1717–1719. Oil on canvas, approx. 4’ 3” x 6’ 4”. Louvre, Paris.

  • Rubens, The Garden of Love, Flemish Baroque 1633

  • FRANÇOIS BOUCHER, Triumph of Venus, 1740

  • 17

    FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on canvas, approx.

    5’ 6” x 2’ 10”. The Wallace Collection,

    London.

  • 18

    JEAN-HONORÉ FRAGONARD,

    The Swing, 1766. Oil on

    canvas, approx.

    2’ 11” x 2’ 8”. The Wallace Collection,

    London.

  • JEAN-HONORÉ

    FRAGONARD

    The Meeting,

    1771-73

  • 20

    Satyr Crowning

    a Bacchante, 1770

    CLODION

  • Giovanni da Bologna(Giambologna),

    Rape of the Sabine Women

    Bernini, Rape of Persephone

    Italian Baroque

  • 23

    Scientific Art of the Enlightenment

    • Understand the motivation of the Enlightenment and the interest in science and the natural world and its effect on artistic expression.

    • Understand the philosophical concepts of Voltaire as they relate to artistic expression.

    • Examine the early applications of technology and scientific advancements to art.

    • Understand the expression of scientific ideas in art and art as recording observations in the natural world.

  • 24

    WILLIAM HUNTER, Child in Womb, drawing from dissection

    of a woman who died in the ninth

    month of pregnancy, from Anatomy of the Human Gravid Uterus, 1774.

  • 25

    JOSEPH WRIGHT OF DERBY, A Philosopher Giving a Lecture at the Orrery (in which a lamp is put in place of the sun), ca. 1763–1765. Oil

    on canvas, 4’ 10” x 6’ 8”. Derby, Derbyshire.

  • 27

    ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England (first cast-iron bridge over the Severn River),

    1776–1779. 100’ span.

  • 28

    The Taste for the Natural

    • Examine the philosophy of Jean-Jacques Rousseau, in contrast to Voltaire, his interest in the ‘natural’ as opposed to the ‘artificial,’ and artistic expression of these ideas.

    • Understand the different styles of the “natural” in France, England, the United States, and in Italy.

    • Examine choices of ‘ordinary’ life, the natural world, and sentimentality as subjects in art.

  • 29

    The Natural Taste in France

    • Examine the subject matter and formal elements in the “natural taste” in France.

  • 30

    Grace at Table, 1740

    JEAN-BAPTISTE-SIMÉON CHARDIN,

    The Governess, 1739

    http://upload.wikimedia.org/wikipedia/commons/0/0e/The_governess.jpg

  • 31 JEAN-BAPTISTE GREUZE, The Village Bride, 1761.

    Oil on canvas, 3’ x 3’ 10 1/2”. Louvre, Paris.

  • JEAN-BAPTISTE GREUZE, The Drunken Cobbler, 1780-85

  • 33 Self-Portrait, 1790

    ÉLISABETH LOUISE VIGÉE-LEBRUN

    Portrait of Marie Antoinette with Her Children, 1788

  • 35

    The Natural Taste in England

    • Examine the issues of morality, satire, and narration in visual art in England.

  • 37 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca.

    1745. Oil on canvas, approx. 2’ 4” x 3’. National Gallery, London.

  • 38

    The English Grand Manner Portrait

    • Examine the English Grand Manner portrait as an expression of the natural taste in Rococo form.

  • 39

    THOMAS GAINSBOROUGH, Mrs. Richard

    Brinsley Sheridan, 1787. Oil on canvas,

    approx. 7’ 2 5/8” x 5’ 5/8”. National Gallery of Art,

    Washington

  • 40

    Lord Heathfield,

    1787.

  • 41

    Natural Taste in the United States

    • Examine the American taste for “downrightness” and plainness in art.

  • 42

    BENJAMIN WEST, The Death of General Wolfe, 1771. Oil on canvas, approx. 5’ x 7’ National Gallery of Canada, Ottawa

  • 43

    JOHN SINGLETON COPLEY, Portrait of Paul Revere,

    ca. 1768–1770. Oil on canvas,

    2’ 11 1/8” x 2’ 4”. Museum of Fine Arts,

    Boston

  • 45

    Italian Natural Taste and Tourism

    • Understand the concept of the “Grand Tour” and the expression of the “picturesque” in art.

  • 46 ANTONIO CANALETTO, Riva degli Schiavoni, Venice, ca. 1735-40.

  • 48

    Revival of Classicism

    • Understand how the discovery of Herculaneum and Pompeii create an interest in classical art.

    • Understand the formal elements of classical art and their revival in 19th century art and architecture.

    • Examine Neoclassical art and architecture in France, England, and in the United States.

    • Examine the adaptation of classical and mythological subject matter in Neoclassical art.

  • 49

    Neoclassical Art in France

    • Understand the formal elements of classical art and their revival in 19th century.

    • Examine the adaptation of classical and mythological subject matter.

  • 50

    Angelica Kauffmann, Cornelia Presenting Her Children as Her Treasures, or Mother of the Gracchi, ca. 1785. Oil on canvas, 3’ 4” x 4’ 2”.

  • 51 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas,

    approx. 11’ x 14’. Louvre, Paris.

  • 52

    JACQUES-LOUIS DAVID, The Death of Marat,

    1793. Oil on canvas,

    approx. 5’ 3” x 4’ 1”.

  • 54

    JACQUES-LOUIS DAVID, The Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris.

  • 55

    French Neoclassical Architecture

    • Examine classical revival in architecture as an expression of French power and glory.

  • 56

    JACQUES-GERMAIN SOUFFLOT, the Panthéon (Sainte-Geneviève), Paris,

    France, 1755–1792.

  • 57

    PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842.

  • Neoclassical Art in Italy

  • 59

    ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, life-size. Galleria Borghese, Rome.

  • 61

    Neoclassical Art and Architecture in England

    • Understand classical elements of art and architecture, Palladian influence, and their revival in 19th century England.

  • 62

    RICHARD BOYLE (earl of Burlington) and WILLIAM KENT, Chiswick House, near London, England, begun 1725.

  • 63

    Alternate View Principal Facade with entrance gate

    © 2005 Saskia Cultural Documentation, Ltd.

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