sayre2e ch26 integrated_lecture_pp_ts-150667

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Paul Revere, after Henry Pelham. The Bloody Massacre. 1770.8-15/16" × 10-3/16”.


Map: America in 1763.


John Trumbull. The Declaration of Independence, 4 July 1776. 1786-97.21-1/8" × 31-1/8”.

The American and French RevolutionsWhat do the American and French Revolutions have in common?

How do they differ?

• The Road to Revolt in America: War and Taxation — After the Seven Years’ War, Britain taxed the colonies to an intolerable degree resulting in the Boston Tea Party which, in turn, led to the Intolerable Acts. The First Continental Congress met in Philadelphia. Shots fired at Lexington and Concord led to the Second Continental Congress created the Continental Army. Thomas Paine published Common Sense and the Declaration of Independence was ratified.

• The Declaration of Independence — Thomas Jefferson was the chief drafter of the document and he was influenced by Locke’s Two Treatises on Government, Rousseau’s Social Contract, and his colleagues. The Articles of Confederation were adopted a year after the Declaration of Independence.

• The Declaration of Rights of Man and Citizen — The national debt had tripled by 1774 and King Louis XVI levied a uniform tax on all landed property. The Estates General was composed of the clergy, the nobility, and the rest of the population who demanded greater clout. The National Assembly passed the Declaration of the Rights of Man Citizen that same year. The Jacobins supported the elimination of the monarchy; the Constitutional Convention declared France a republic. Enemies of the republic were executed by the Revolutionary Tribunal. Reforms were instituted. Jean-Paul Marat was assassinated. The Reign of Terror ended in 1794 and a constitution was passed in 1795


Jacques-Louis David. The Tennis Court Oath. 1789-91.26" × 42”.


To Versailles, to Versailles, 5 October 1789. 1789.


Anne-Louis Girodet-Trioson. Portrait of Jean-Baptiste Bellay, Deputy from Santo Domingo. 1797.

63" × 45”.


Jacques-Louis David. The Death of Marat. 1793.65" × 50-1/2”.

The Rights of Woman

How did women respond to the promise of revolution?

• Olympe de Gouges: The Call of Universal Rights — She was part of a group that called for more liberal divorce laws and a revision of inheritance laws. Her essays Declaration of the Rights of Woman and the Female Citizen and Social Contract were modeled on pamphlets written by men. She was guillotined as a counterrevolutionary.

• Mary Wollstonecraft: An Englishwoman’s Response to the French Revolution — She published A Vindication of the Rights of Woman and History and Moral View of the origin and Progress of the French Revolution where she defended de Gouges. Wollstonecraft fashioned the main points of what would later become the liberal feminist movement.

• Discussion Question: Why do you think that women’s rights have to be declared separately from those of men? What specifically are those rights?

The Neoclassical SpiritWhat is Neoclassicism?

• Neoclassicism in Britain and America — America modeled their republic on classical precedents. The Federalist argued for ratification of the new constitution. Architecture embraced the simplicity and grandeur of the Neoclassical style creating the Federal style and sculpture was commissioned from Canova and Houdon.

• The British Influence: Robert Adam and Josiah Wedgwood — Adam interpreted classical architectural styles and decorative motifs in innovative new ways. Adam decorated interiors with the ceramics of Wedgwood, jasperware.

• Jacques-Louis David and the Neoclassical Style in France — Both the Oath of the Horatii and The Lictors Returning to Brutus the Bodies of his Sons epitomize the Neoclassical style in France exhibiting highlighted detail an emotional complexity in a balanced and ordered way. Angelica Kauffman depicted Neoclassical motherhood in Cornelia Pointing to Her Children as Her Treasures.


Robert Adam. Kedleston Hall, Derbyshire, England: South front. ca. 1765-70.

67' × 42’.


Robert Adam. Kedleston Hall, Derbyshire, England: Interior, Marble Hall. ca. 1765-70.


John Flaxman. Wedgwood Vase, made by Josiah Wedgwood and Sons, Etruria/Staffordshire, England. ca. 1780-1800.

Height: 6-1/2" Diameter: 5-1/8”.


Thomas Jefferson. Monticello, Charlottesville, Virginia: Entrance façade, with colonnade. 1770-84; 1796-1806.

Video: Welcome to the Monticello Explorer

MyArtsLabChapter 26 – The Rights of Man: Revolution and Neoclassical Style

http://explorer.monticello.org/index.html

http://www.learn.columbia.edu/ha/html/ancient_athens_parthExSw.htm

http://www.learn.columbia.edu/ha/related_sites/acropolis_360_public/html/1_5/1.3_01.html

http://www.learn.columbia.edu/ha/html/ancient_athens_parthExW2.htm

http://www.learn.columbia.edu/ha/html/ancient_athens_parthExW.htm

http://www.myartslab.com/


Thomas Jefferson. Monticello, Charlottesville, Virginia: Dining room, with Wedgwood reliefs decorating mantel. 1770-84; 1796-1806.


Benjamin Henry Latrobe. View of Richmond showing Jefferson’s Capitol from Washington Island. 1796.

7" × 10-3/8”.


Roman. Maison Carrée, Nîmes, France. Early second century CE.


Pierre-Charles L’Enfant. Plan for Washington, D.C. (detail), published in the Gazette of the United States, Philadelphia, January 4, 1792. 1791.


Benjamin Henry Latrobe. Tobacco leaf capital for the U.S. Capitol, Washington, D.C., Senate wing. ca. 1815.


Jean-Antoine Houdon. Standing portrait of George Washington. 1788.Lifesize.


Jacques-Louis David. The Oath of the Horatii. 1784-85.10’ 10" × 13’ 11-1/2”.


Angelica Kauffmann. Cornelia Pointing to Her Children as Her Treasures. Signed on base of column at right: Angelika Kauffmann pinx. ca. 1785.

40" × 50”.


Jacques-Louis David. Closer Look: David's The Lictors Returning to Brutus the Bodies of His Sons. Detail: Feet of Brutus. 1789.

10’ 7-1/4" × 13’ 10-1/4”.


Jacques-Louis David. Closer Look: David's The Lictors Returning to Brutus the Bodies of His Sons. Detail. 1789.

10’ 7-1/4" × 13’ 10-1/4”.

Closer Look: Jacques-Louis David, The Lictors Returning to Brutus the Bodies of His Sons.

MyArtsLabChapter 26 – The Rights of Man: Revolution and Neoclassical Style

http://wps.prenhall.com/hss_sayre_thehumanities2_myartslab_Vol_2/190/48873/12511499.cw/index.html



http://www.learn.columbia.edu/ha/html/ancient_athens_parthExSw.htm

http://www.learn.columbia.edu/ha/related_sites/acropolis_360_public/html/1_5/1.3_01.html

http://www.learn.columbia.edu/ha/html/ancient_athens_parthExW2.htm

http://www.learn.columbia.edu/ha/html/ancient_athens_parthExW.htm

http://www.myartslab.com/


Jacques-Louis David. Closer Look: David's The Lictors Returning to Brutus the Bodies of His Sons. 1789.

10’ 7-1/4" × 13’ 10-1/4”.


Map: Napoleonic Europe in 1807.

Napoleon and Neoclassical ParisWhat values shaped Napoleonic France?

• The Consulate and the Napoleonic Empire: 1799-1814 — Napoleon was declared First Consul of the French Republic for life and then declared himself emperor. Napoleon attempted to establish stability across Europe by force and attempted to invade England, though he never defeated the British navy.

• Art as Propaganda: Painting, Architecture, Sculpture — Napoleon celebrated major events by commissioning paintings, sculpture, and architecture. David was the chronicler of Napoleon’s career, Ingres glorified the emperor, and Vignon’s Neoclassical architectural designs were extraordinary. Canova modeled larger-than-life-size statues.

• Discussion Question: What do you think makes a work of art “propaganda,” as opposed to a depiction of a public event or a prominent leader? Does the propaganda function lessen the value or interest of a work?


Jacques-Louis David. Napoleon crossing the Saint-Bernard Pass. 1800-01.8’ 11" × 7’ 7”.


Jean-Auguste-Dominique Ingres. Napoleon on his Imperial Throne. 1806.102" × 64”.


Pierre-Alexandre Vignon. La Madeleine, Paris. 1806-42.Length: 350' Width: 147' Podium Height: 23' Column height: 63’.


Antonio Canova. Napoleon as Mars the Peacemaker. 1802-06.Height: 10'8”.


Antonio Canova. Paolina Borghese as Venus. 1808.Lifesize.

The Issue of Slavery

How did the issue of slavery undermine the idealism of the era?

• Autobiographical and Fictional Accounts of Slavery — Accounts include those by Equiano, Stedman, and Philis Wheatley who was the first black American to publish a book. One of the earliest accounts of slavery is Oroonoko by Aphra Behn.

• The Economic Argument for Slavery and Revolution: Free Trade — Slavery pitted abolitionist sentiments against freethinking economic theory.

• The Abolitionist Movement in Britain and America — Abolitionist opposition to slavery in both England and the American colonies gained strength in 1771 after an escaped American slave was set fr4ee in England. Copley’s Watson and the Shark commissioned by a merchant deeply opposed to slavery.

• The African Diaspora — About 14 million Africans survived the Atlantic crossing, the largest forced scattering of a people in history. Music was the cultural form that most thoroughly survived the diaspora.

• Discussion Question: Explain how Copley’s Watson and the Shark (Fig. 26.28) indirectly expresses abolitionist sentiments.


Map: The slave trade triangle.


Stowage of the British Slave Ship “Brookes” under the Regulated Slave Trade (Act of 1788).


William Blake. Negro Hung Alive by the Ribs to a Gallows, from John Gabriel Stedman’s Narrative of a Five Years’ Expedition against the

Revolted Slaves of Surinam. 1796.


William Blake. A Surinam Planter in his Morning Dress, from John Gabriel Stedman’s Narrative of a Five Years’ Expedition against the Revolted

Slaves of Surinam. 1796.


William Hackwood, for Josiah Wedgwood. “Am I Not a Man and a Brother?”. 1787.1-3/8" × 1-3/8”.


John Singleton Copley. Watson and the Shark. 1778.71-3/4" × 90-1/2”.


Thomas Coram. View of Mulberry House and Street. ca. 1800.


Antoine-Jean Gros. Napoleon at Eylau. 1808.17’ 5-1/2" × 26’ 3”.

sayre2e ch26 integrated_lecture_pp_ts-150667

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