Girodet, Portrait of Jean-Baptiste Belley (1797)

• Belley was the representative for St. Dominque (Hati) in the National Assembly.
• Belley gave credit to Abbe' Raynal, an older priest who influenced his views on slavery ( his bust is in the portrait)
• The position of Belleys head and the bust of Raynal signify that they are equals
• Belleys gaze signifies that he is at that momment recieving some kind of devine inspiration. (this is a big part of romanticism, the idea of being inspired by something untangeble.
  

David, Oath of the Tennis Court (1791)

• The representatives of the three estates (the church, the aristocrates and the common people) were not receievd by the king so they met in an indoor tennis court to begin creating a constitutional monarchy.
• This is a drawing, the painting is never finished because the revolution eventually goes radical and many of the portraits in the drawing are replaced by others.

John Singleton Copley [British Colonial] Death of Major Pierson (1782)

• Takes place on the Island of Jersey, English fighting against the French.
• Two heros: Pierson and Copley's peronal slave who is avenging Peirsons death.
• Intentionally modeled on West's the death of General Wolfe.

• Modern Historical picture

Angelica Kauffmann [Swiss] Cornelia, Mother of the Gracchi (1785)

• Statement about ideal motherhood and enlightened ideas about motherhood.
• This scene comes froma story in which a mother claimes that her children are her Jewles.
• Relates to the portrait of Maria Antoinette

Sir Joshua Reynolds [British] Omai (1776)

• Reynolds was an art teacher/president of the royal academy in England. He stressed that his students work be timeless.
• Omai was a tahitian visiting Longon. Reynolds chooses to show him posed like an anciet  sculpture  (Apollo Belvedere) This emphasis his social importance. and has him dressed in a non-time specific way.
• An obsession with Non-western things, the idea of "Noble Savage"
  

• Modern person shown in a vaguely classical way.

David, Mars Disarmed by Venus and the Three Graces (1824)

• Paintings during David's self exile to Brussells after the fall of Napoleon's regime.
• Likely done for a private collector in Brussells.
• Has no moralizing value, classical subject that has been eroticized.
• David scales down the size of his work and makes it less intellectual ( More erotic) This works well for those who like his style but also like the Rococo style.

Ingres, Napoleon on His Imperial Throne (1806)

• commissioned by Napoleon. Shows Napoleon in full royal outfit. Very close to the picture place.
• This image almost makes Napoleon seem iconic (reference to Byzantine art) Image is very flat.
• This makes him appear as an icon of imperial rule to be worshiped.
• Doesn't work well as propganda for Napoleon because the amoutn of drapery emphasises how small Napoleon is and the regalia makes him appear superficial. Napoleon isn't royal and he is barely French but this image would make it seem other wise.

Ingres, La Grande Odalisque (1814)

• He returns to a more historical genre of art for public display after the fall of the Napoleonic regime/content become more romantic.
  
• Harem woman idealized by what Europeans thought it was like based on literary sources.
  
• Creative representation of Non-Western culture from an erotic view in literature (EXOTIC)
• The painting makes harem life appear "not so bad"
• Still has a neoclassical look, female form is idealized.
• At thsi time it was popular to collect decorative art that was connected to the exotic, Europeans love anything "non-western"

Ingres, Jupiter and Thetis (1811)

• Jupiter is posed exactly like Napoleon in his imperial portrait. This pose was more appropriate for Jupiter than Napoleon.
• Departure from David's style
• Marked contrast between male and female bodies in paintings.

Antoine-Jean Gros [French] Napoleon Visiting the Plague House at Jaffa (1804)

• Grande historical painting, contemporary painting that makes reference to military events.
• highlights a moment in Napoleons military career.
• Romanticism aspect: exotci location where this event has taken place.
• IMportant to the culture of France because it referenced the "healer king" Louis XIV.
• Napoleons pose in the image not only makes it appear that he is a hero but maybe he is also supernatural and able to heal the sick.

Jean-Baptiste Greuze [French] The Paternal Curse (1777)

• French Genre painter (scenes of everyday life)
• narrative scene that conveys a lesson about everyday life.
• the paternal curse shows a middle class father who is clearly angry at his son who is carelessly moving toward the door. we infer the son is joining the french military.

Goya, Family of Carlos IV (1800)

• Begining of the Napoleonic era, so this was an official portrait of the royals "last stand" together so to speak. ( before they lose their thrown to Napoleons brother)
• Goya is in the shadows behind the family painting this. This may be a reference to  Diego Velazquez, an artist with a close relationship to the king whom he painted.

Goya,St. Francis Borgia and the Dying Impenitent (1788)

• commissioned by a spanish duchess for her family chapel. Thsi required a lot of research on Goya's part.
• He focuses on the one rather morbid and grotesque occurence in St. Francis's life.
• Goya has begun painting in a more romatic style. He uses unrealistic color palett, no attention to illusionistic depth, emphasis on showing emotion, very liberal paint application technique.
• Dark subject, not historical or inspirational. stark contrast to other works of this time.

Goya,3rd of May, 1808 (c. 1814)

• The leaders of an uprising against the french in Spain are being exectued.
• Shows France in a negative light and the Spanish as tragic heros. (this is a very romantic notion)
• These paintings were originally for the Spanish Govt, but the king at the time Francisco VII didn't like it because he was raised and taught in France. He liked David's style
• this painting helps defend the idea that Goya was a romantic. Prior to 1814 he was still more into the enlightenment; not quite neoclassical.

Elisabeth-Louise Vigée-Lebrun [French] Marie-Antoinette and Her Children (1787)

• Meant to reconcile her public image by making her seem more maternal and enlightened.
• She wants to be seen as the mother of a nation.
• Goes along with Kauffman's Cornelia
• Reconstruction of personal identity.

David, Napoleon Crossing the Alps at St. Bernard Pass (1800)

• Napoleon asked that this portait be painted in a very specific way: on a horse, lookign calm.
• Napoleon appears to be a national hero, in control and brave.
• All of the names carved into the rock are of people who have also crossed the alps to conquere Rome. This makes Bonaparte seem larger than life.
• This painting worked well as propaganda for Napoleon.

Jacques-Louis David [French] Belisarius (1781)

• David went to the French Royal academy of art. his paintings containe roman historical material but teach moralizing material.

David,Oath of the Horatii (1784-85)

• Most well known painting by David.
• Large painting, subject was historical but the content was relevant to his current audience.
• The ancient subject matter and the careful depiction of the characters as ancient make this very neoclassical. More content more austerity.
• Very different from the Rococo style.

David,Death of Marat (1793)

• Paul Marat was a yellow journalist with a good bit of influence who often named counter revolutionaries. He was a friend of David. Marat was assasinated in 1793.
• David was instructed by the Jacobins ( party in power of France) to orchestrate Marats funeral and paint his death portrait.
• He shows marat as apeaceful and he kind of down plays the violence. Presents morat as a martyr of the revolution.
• David's treatment of the painting is very northern Renaissance.
• The pose of Marats body as well as a few other things hint at Marat being a martyr for the revolution

Jean-Auguste Dominique Ingres [French] Napoleon as First Consul (1801)

• Ingres was a student of Davids.
• He was commissioned byt he govt. to paint this portrait of Napoleon at the treaty of Liege.
• Very close to flemish culture. He paints this portrait to reflect that style.Many stylistic nods to Liege.
• Napoleon is shown in civilian cloths.

Antonio Canova (Italian, Venice) Napoleon as Mars the Peacemaker (1806)

• Canova reluctantly made this sculpture for Napoleon. Canova was a friend to the Pope, and didn't really like Napoleon.
  
• larger than life size sculpture of Napoleon in full nude. Napoleon is embarrassed by this statue and has the statue boxed up and sent away.
• Napoleon is embarrased because the statue emphasizes everything he lacks and the nudity is an added bonus.

David,Coronation of Josephine (1805-08)

• David was asked to paint a scene from the coronation but he chose to paint Josephine over Napoleon because it was a less politically pretensiouse moment int he ceremony. David didn't want to show Napoleon taking the crown from the Pope.

Jean-Baptiste Greuze [French] The Punished Son (1777)

• counter part to the paternal curse. Shows the son returning home injured and his father in his death bed. Sad ending to the story.
• Shows a universal lesson: you should not upset the social order of things.
• Shday military recruting, the struggle of the middle class, and bad father sonr elationships are fairly common in France at this time.

Girodet,Ossian Receiving Napoleonic Officers (1802)

• Another student of David's ( who wanted to blatently opose him)
• Girodet's style changes because of his riff with David. He tries to put as much stuff in his paintings as possible ( complete opposite of David)
• Girodet does this painting on comission for Napoleon. He chooses this subject because Napoleon loved the tales of Ossion.
• This text was the "Homer" of Northern Europeans who were upset over the idea that their culture originated in Greece.
• Girodet was trying to emphasize that these officers were heros in death life and now after life w/ these suedo mythological figures.
• Didn't work well as propaganda for Napoleons image

Neoclassicism and

Elements of Neoclassicism

• Shows up in 1770-1780's in Britian and France. Evokes the ancient past. Historiated (having historical quality) portraits were very common.
• Figures are aranged parallel to the picture plane and occupy shallow space (found in classical sculpture) same readbility and figuartive presence as w/ sculpture.
• Neoclassicism in a sense is related to romanticism because neoclassicism is a romantic desire to return to antiquity.

The Apollo Belvedere

ancient Roman copy of ancient Greek original, which served as a model for many figures in neoclassical art, including Omai.

Time line of the French Revolution

• 1789- revolution begins

• 1792- Revolution becomes radical

• 1793- Louis XVI and Maria Antoinette executed

• 1794-1799: Directory Govt.

• 1799- 1804: Consulate (Napoleonic era)

• 1804-1814/15: Empire (Napoleonic era)