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Hall of Mirrors
Early 18th century
•French architect: Francois De Cuvilliés (1695-1768)
•In park of Nymphenburg Palace in Munich
•Circular hall
•Silver and blue ensemble of architecture, stucco Relief, silvered bronze mirrors, and crystals.
•Scintillating motifs, forms, figurations
•Light multiplied by mirrors
•Seems organic, growing, and in motion
•Varied medias
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Return from Cythera
1717-1719
Antoine Watteau
•Lovers preparing to depart from an island
•Island = youth + love, sacred to Aphrodite
•Luxuriously costumed
•Amorous cupids and voluptuous statuary
•Grassy slope
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- Flemish painter associated with French Rococo
- Died when he was 37 years old
- Responsible for creating Fete Galante paintings
- Paintings that depict the outdoor amusment of upper class society
- Went to the Royal Academy of painting and sculpting
- Entered the school with Return from Cythera
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The Swing
1766
Jean-Honoré Fragonard (1732 – 1806)
•Typical “intrigue” picture
•Bishop pushing girl while lover, patrons, watches in admiration.
•Young lady flirtatiously kicks off shoe towards cupid
•Cupid holds holds finger to lips
•Landscape like Watteau
•Glowing pastel colors and soft light = sensuality
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| the Royal Academy of painting and sculpting |
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School split into two doctrines
- “Poussinistes”: followed Nicolas Poussin ( ideas of Le Brun) From over color
- “Rubénistes”: followed Peter Paul Rubens. Believed color over form
- Watteau was part of Rubens doctrine
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A Philosopher Giving a Lecture at the Orrery
(in which a lamp is put in place of the sun)
1763 -1765
Joseph Wright of Derby (1712-1778)
•Artist specialized in drama of candlelit and moonlit scenes
•Celebrates the inventions of the industrial revolution
•In tune with doctrine of progress
•In painting scholar uses orrery to demonstrate how universe like gigantic clockwork
•Single light source (lamp) = represents sun
•Light pours in front of the boy, helps create drama
•Arch band symbolizes orbits
•Every one in painting in awe of scientific knowledge
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Self-Portrait
1790
Élisabeth Louise Vigée-Lembrun (1712- 1778)
•One of the few woman admitted to the Royal Academy of Painting and Sculpture
•light hearted moon and costume echoes Rococo
•Pose and her mood nothing like Rococo
•Portrait similar from one done of Marie Antoinette
•Confident in her work that won her independence in society
•Personal and economical independence
•Worked for nobility of Europe
•Famous for her force and grace of her portraits (especially ladies and royalty)
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•Grand Manner Portraiture, was pioneer by Thomas Gainsborough
•Mix b/w Rococo and “naturalistic”
•Depicts individualized people, conveying elegance and refinement
•Communicated through standardized conventions
•Large scale of subject to canvas[image]
•Controlled poses
•Landscape (often Arcadian)
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Mrs. Richard Brinsley Sheridan
1787
Thomas Gainsborough (1727-1788)
•English painter
•Began as a landscape painter but gained fame from portraits
•Contrast b/w “naturalistic” representation and Rococo setting
•Woman dressed informally seated in rustic landscape
•Match nature of subject with landscape
•Rustic setting, soft-hued light, feathery brushwork recalls Watteau
•Didn’t live long enough to complete it completely
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Breakfast scene from Marrige à la Mode
1745
William Hogarth (1697-1764)
•Satirized contemporary life with comic zest
•True English style after years of importation of painters
•Campaigned against English dependence and inferiority to continental artists.
•Favorite device = series of narratives, which follows a group of people in encounters with social evil
•One in a sequence of 6 paintings
•Satirized immoralities within an upper class marriage that is beginning
•Husband and wife tired after a night apart
•Wife = night of cards and music
•Husband = night of suspicious business
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The Death of General Wolfe
1771
Benjamin West (1738-1820)
•Born in Pennsylvania, moved to England after studying art in Europe
•Cofounder of the British Royal Academy of Art and official painter of King George
•Depicts mortally wounded English commander after defecting France in Quebec battle of 1759
•Blends realism of subject and costume with grad tradition of history painting
•The arrangement of figures in a complex and theatrically ordered composition
•So effective that influenced history painters into the 19th century
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Portrait of Paul Revere
1768-1770
John Singleton Copley (1738-1815)
•Started painting career in the Massachusetts Bay Colony later emigrated to England
•Absorbed English portrait style
•Unlike grand manner, conveys sense of directness and faithfulness
•Differentiates between British
•Painted before Revere became a hero
•Setting plain lighting clear and revealing
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- Renewed interest in classical antiquity, which is manifested in painting, sculpture, and architecture, as well as in fashion and home décor.
- The excavations of Herculaneum and Pompeii also stirred public interest in the classical past.
- Johann Joachim Winckelmann, the first modern art historian, characterized Greek sculpture as manifesting a "noble simplicity and quiet grandeur" and who drew attention to distinctions between Greek and Roman art.
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Cornelia Presenting Her Children as Her Treasures or
Mother Of the Gacchi
1785
Angela Kauffmann (1741-1807)
•Born on Switzerland trained in Italy produced in England
•Cofounder of British Royal Academy of Art
•Exemplifies Neoclassical Art
•Subject exemplum virtutis drawn from Roman history and literature
•Cornelia mother of Tiberius and Gaius Gacchus shows her children off after lady asks her to show her jewelry
•Only Rococo elements are charm and grace in the arrangement of figures, soft lighting and tranquil manner
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Oath to the Horatii
1784
Jacqes-Louis David (1748-1825)
•Painter-ideologist of the French Revolution and the Napoleonic Empire
•Studied in Roman, embraced classical art traditions. Rebelled against artificial Rococo
•Subject matter should have a moral
•Depicts story from pre-Republican Rome, shown as a play, shows the Horatii swearing to win or die for Rome.
•Shallow space, statuesque figures and classical architecture
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The Death of Marat
1793
Jacqes-Louis David (1748-1825)
•Painter-ideologist of the French Revolution and the Napoleonic Empire
•Studied in Roman, embraced classical art traditions. Rebelled against artificial Rococo
•Subject matter should have a moral
•Depicts story from pre-Republican Rome, shown as a play, shows the Horatii swearing to win or die for Rome.
•Shallow space, statuesque figures and classical architecture
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Pauline Borghese as Venus
1808
Antonio Canova (1757-1822)
•Napoleon’s Favorite Sculpture, went to Paris to work for emperor after a career in Italy
•Became napoleon’s admirer and made numerous portraits of him and his family
•This Paulina his sister, at her own request as Venus
•Canova to depict her as Diana, goddess of hunting
•Reflected her behavior during marriage
•Holding golden apple = triumph in the eyes of Paris
•Greek: sensuous pose and draping
•Hidden in villa Borghese by Patron and husband, Prince Camillo Borghese.
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Monticello
1770-1806
Thomas Jefferson (1743-1826)
•Scholar, economist, educational theorist, statesman, and gifted amateur architect
•After coming back from serving as minister to France and seeing Neoclassicism at its best
•Tried to make it national architect
•Admired Palladio therefore made his house look like the Villa Rotonda
•Studied Italian architecture from Four Books of Architecture
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Grande Odalisque
1814
Jean-Auguste-Domunuque Ingres (1780-1867)
•Shortly studied with David in 1790 b/c of differences on what thought by each to be true Greek style
•Made figures flat and linear, placed figure in foreground to look like a low relied sculpture.
•Nude figure similar to Titian’s Giorgione and to classical antiquity. Shows admiration for Raphael (head)
•Figure an odalisque or Turkish Harem
•Consistent with new Romantic taste for the exotic (precise classic form with Romantic Theme
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Jean Jacques Rousseau’s summarized the premise of Romanticism when he said “Man is born free, but everywhere in chains!”. From that desire of freedom, as a right and property, did it emerge. Individual freedom was the first principle of Romanticism. It was believed that freedom came from imagination rather than reason
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