Art and Revolutionary Republicanism in France, 1789- 1799 Definitions Estates General: class of citizen" and 2) the National assembly formed by all three estates. -The National assembly was formed because of popular discontent with Louis XVI Class of Citizen Composed of: First Estate = Clergy 1. Responsibilities of the First Estate included: -
The registration of births, marriages and deaths.
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Collection the taxes aka tithe (d îme, usually 10 percent);
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Serve as moral guides
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Operated schools and hospitals
- Distributed relief to the poor. 2. Owned 10 percent of all the land in France, which was exempt from property tax. Second = French Nobility 1. Divided into "noblesse de robe" ("nobility of the robe"), the magisterial class that administered royal justice and civil government, and "noblesse d'épée " ("nobility of the sword"). 2. The Second Estate constituted approximately 1.5% of France's population 3. Exempt from forced labor on roads and taxes (on land and salt [gabelle]) Third = Commoners 1. Urban: included the bourgeoisie 8% of France's population, as well as wagelaborers (such as craftsmen). 2. Rural: included the peasantry, or the farming class (about 90% of the population). 3. Both groups were forced to pay the highest burden of tax. Jean- Paul Marat 1. Swiss-born physician, political theorist, and scientist better known as a radical journalist and politician from the French Revolution 2. His journalism was renowned for its fiery character and uncompromising stance towards the new government, "enemies of the revolution" and basic reforms for the poorest members of society. 3. Gain entrance into the intellectual scene with essays on philosophy ("A philosophical Essay on Man", published 1773) and political theory ("Chains of Slavery", published 1774)
- Marat reinforced his growing sense of the wide division between the materialists (Voltaire) and their opponent group (Rousseau) 4. Marat was one of the more extreme voices of the French Revolution and he became a vigorous defender of the Parisian sans-culottes; he broadcast his views through impassioned public speaking, essay writing, and newspaper journalism (L'Ami du peuple aka "The Friend of the People"), which carried his message throughout France. 5. His constant persecution of "enemies of the people,"(aka those in power) consistent condemnatory message, and uncanny prophetic powers brought him the trust of the populace and made him their unofficial link to the radical Jacobin group that came to power in June 1793. 6. Marat was elected to the National Convention in September 1792 as one of 26 Paris deputies although he belonged to no party. 7. Renamed his L'Ami du peuple as Le Journal de la République française ("Journal of the French Republic"). 8. His stance during the trial of the deposed king Louis XVI was unique. He declared it unfair to accuse Louis for anything before his acceptance of the French Constitution of 1791, and, although implacably believing that the monarch's death would be good for the people, defended Guillaume-Chrétien de Lamoignon de Malesherbes, the King's counsel, as a "sage et respectable vieillard" ("wise and respected old man") 9. For the two months leading up to the downfall of the Girondin faction in June, he was one of the three most important men in France, alongside Georges Danton and Maximilien Robespierre 10. Published his "favourite work", a Plan de législation criminelle 1780. Inspired by Rousseau and Beccaria, 1. Called for judicial reform 2. Common death penalty for all regardless of social class 3. 12-man jury to ensure fair trials. 11. He was murdered in his bathtub by Charlotte Corday, a Girondin sympathizer. Phrygian Cap 1. The Phrygian cap is a hat named for Phrygia, an ancient kingdom in Anatolia, now known as Turkey. 2. played a role in both Ancient Greek and Roman societies, and many European cultures adopted the cap at some point.
3. During the French Revolution, the Phrygian cap acquired special symbolism, becoming an emblem of liberty and freedom. 4. Greeks: that someone was not from mainland Greece, as these hats were worn primarily in Anatolia. 5. The symbolism of the Phrygian cap was heavily utilized during the French revolution, as the caps appeared on the heads of revolutionaries and in revolutionary art. 6. It reached a pinnacle on the head of Marianne of France, an icon of the French state and values who is typically depicted with a Phrygian cap. Apollo Belvedere 1. Also called the Pythian Apollo— is a celebrated marble sculpture from Classical Antiquity. 2. Rediscovered at Anzio in the late 15th century, during the Renaissance 3. Considered the greatest ancient sculpture by ardent neoclassicists and for centuries epitomized ideals of aesthetic perfection for Europeans and westernized parts of the world. Jacobin 1. Was the most famous political club of the French Revolution 2. So-named because of the Dominican (known as Jacobins in France) convent where they met. 3. The club originated as the Club Benthorn, formed at Versailles from a group of Breton deputies attending the Estates General of 1789. 4. After the fall of Robespierre the club was closed. 5. became notorious for its implementation of the Reign of Terror. To this day, the terms Jacobin and Jacobinism are used as pejoratives for left- wing revolutionary politics. 6. Jacobin Club meetings soon became a place for radical and rousing oratory that pushed for republicanism, widespread education, universal suffrage, separation of church and state, and other reforms. 7. They aimed to I. To discuss in advance questions to be decided by the National Assembly; II. To work for the establishment and strengthening of the constitution in accordance with the spirit of the preamble (that is, of respect for legally constituted authority and the Declaration of the Rights of Man) III. To correspond with other societies of the same kind which should be formed in the realm.
8. Any member who by word or action showed that his principles were contrary to the constitution and the rights of man was to be expelled, a rule which later on facilitated the "purification" of the society by the expulsion of its more moderate elements 9. Membership to well-off men/composed almost entirely of professional men, such as Robespierre, or well-to-do bourgeois,. 10. Whose rough common sense was admired as the oracle of popular wisdom, and whose countryman's waistcoat and plaited hair were later on to become the model for the Jacobin fashion. The club ostensibly supported the monarchy up until the very eve of the republic; it took no part in the petition of 17 July 1791 for the king's dethronement, nor had it any official share even in the insurrections of 10 June and 10 August 1792 11. The Jacobin movement encouraged sentiments of patriotism and liberty amongst the populace. seen as "less selfish, more patriotic, and more sympathetic to the Paris Populace 12. Ultimately, the Jacobins were to control several key political bodies, Committee of Public Safety, National Convention, legislature, executive and judicial functions. 13. The Jacobin Club developed into a bureau for French Republicanism and revolutionary purity, and abandoned its original laissez faire economic views in favor of interventionism. power, they completed the abolition of feudalism 14. The cultural influence of the Jacobin movement during the French Revolution revolved around the creation of the Citizen. 15. The Jacobins saw themselves as constitutionalists, dedicated to the Rights of Man, and, in particular, to the Declaration's principle of "preservation of the natural rights of liberty, property, security, and resistance to oppression" (Article II of the Declaration). The constitution reassured the protection of personal freedom and social progress within French society. 16. Foes of both the Church and of atheism, advocating deliberate governmentorganized terror as a substitute for both the rule of law and the more arbitrary terror of mob violence, inheritors of a war that, at the time of their rise to power, threatened the very existence of the Revolution, the Jacobins in power completed the overthrow of the Ancien Régime and successfully defended the Revolution from military defeat. 17. However, to do so, they brought the Revolution to its bloodiest phase, and the one with least regard for just treatment of individuals. 18. Responsible for drafting The Constitution of 1789 a. Superiority of the popular sovereignty over national sovereignty
b. Economic and social rights: I. right of association II. right to work and public assistance III. right to public education IV. the right of rebellion (and duty to rebel when the government violates the right of the people) c. Abolition of slavery written in what is known as the Declaration of the Rights of Man and Citizen of 1793. Charlotte Corday 1. Was a figure of the French Revolution 2. Executed under the guillotine for the assassination of Jacobin leader Jean-Paul Marat: -
Who was partly responsible for the Reign of Terror
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His murder was memorialized in a celebrated painting by Jacques-Louis David which shows Marat after 3. Corday had stabbed him to death in his bathtub. 4. Corday's decision to kill Marat was stimulated not only by her revulsion at the September Massacres , for which she held Marat responsible, but for her fear of an all out civil war. -
She believed that Marat was threatening the Republic, and that his death would end violence throughout the nation.
5. Before noon on 13 July, claiming to have knowledge of a planned Girondist uprising in Caen; she was turned away. On her return that evening, Marat admitted her. At the time, he conducted most of his affairs from a bathtub because of a debilitating skin condition. Marat wrote down the names of the Girondists that she gave to him, then she pulled out the knife and plunged it into his chest, piercing his lung, aorta and left ventricle - He called out, Aidez-moi, ma chère amie! ("Help me, my dear friend!") and died. four days after Marat was killed, Corday was executed under the guillotine. 6. The assassination did not stop the Jacobins or the Terror: Marat became a martyr, and busts of him replaced crucifixes and religious statues that had been banished under the new regime. 7. In 1847, writer Alphonse de Lamartine gave Corday the posthumous nickname l'ange de l'assassinat (the Angel of Assassination).
Sans- Culottes: without breeches(media largas que tiene novility) if you don't have this you are regular people 1. Decried their name because they usually wore pantaloons (full-length trousers), the carmagnole (short-skirted coat), Phrygian cap aka the red cap of liberty and the sabots (clogs, wooden footwear mainly worn in the countryside) 2. The 'Sansculottes' arguably provided the only alternative to the bourgeois radicalism of the Jacobins; they expressed the interests of the 'little men.' Laocoon: Statue, of 3 men and the snake is around them. 1. A figure in Greek and Roman mythology 2. A Trojan priest of Poseidon (or Neptune) whose rules he had defied, a. Either by marrying and having sons b. By having committed an impiety by making love with his wife in the presence of a cult image in a sanctuary. 3. His minor role in the Epic Cycle narrating the Trojan War was of warning the Trojans in vain against accepting the Trojan Horse from the Greeks 4. —"A deadly fraud is this," he said, "devised by the Achaean chiefs!” 5. His subsequent divine execution by two serpents sent to Troy across the sea from the island of Tenedos, where the Greeks had temporarily camped. Girondin: 1. A member of a French political party (1791-93) that advocated moderate republican principles: it was suppressed by the Jacobins. 2. The central members were deputies of the Gironde dept. Girondist leaders advocated continental war. 3. Girondists were known as Brissotins 4. Representative of the educated, provincial middle class of the provinces, they were lawyers, journalists, and merchants who desired a constitutional government. Tricolour : blue and red, the colors of the city of Paris, flank white, the color of the monarchy. Also, the colors of the French flag. Civic Virtue: the cultivation of habits of personal living that are claimed to be important for the success of the community. (i.e. Participation in politics/voting) Jean- Jacques Rousseau :As a major Genevois philosopher, writer, and composer of 18th-century Romanticism.
His political philosophy heavily influenced the French Revolution, as well as the American Revolution and the overall development of modern political, sociological and educational thought Maximilien Robespierre: 1. Elected to represent Artois at the Estates General. 2. Viewed as the quintessential political force of the Jacobin Movement, a. Thrusting ever deeper the dagger of liberty within the despotism of the Monarchy. 3. A disciple of Rousseau, Robespierre's political views were rooted in Rousseau's notion of the social contract, which promoted "the rights of man" a. But his was a vision of collective rights, rather than the rights of each individual. 4. Condemnation of Louis XVI to death for treason:"It is with regret that I pronounce, the fatal truth: Louis ought to perish rather than a hundred thousand virtuous citizens; Louis must die, that the country may live 5. After the fall of the monarchy Robespierre became a central figure in the Jacobin Club, and his faction in the National Convention, assembled in the fall of 1792, became known as Jacobins. They were at first a minority group, also called "The Mountain" (French: La Montagne), and its members Montagnards, because they sat together in the higher seats in the Convention's hall; they were dubious about the war with Austria which had begun that spring, but supported more revolutionary measures at home. 6. Robespierre attempted suicide and only succeeded in shattering his lower jaw. He was executed the next day on Thermidor 10, July 28, 1794. 7. The Jacobin club now seen as an extremist group was disbanded November 12, 1794, after Robespierre's execution. The Jacobins' overwhelming power rested on a very slender material basis. Some compared the club's autocracy to that of the Inquisition, with its system of espionage and denunciations which no one was too illustrious or too humble to escape. The power of the Jacobins was frequently felt through their influence with the Parisian underclass—the sans-culottes -- who the Jacobins could reliably count on to support them, and to mass ominously in the streets and at the National Convention when a display of force was considered desirable. Reign of Terror
1. The ultimate political vehicle for the Jacobin movement was the Reign of Terror overseen by the Committee of Public Safety. a. Were given executive powers to purify and unify the Republic. 2. The Committee instituted requisitioning, rationing, and conscription to consolidate new citizen armies. 3. They instituted the Terror as a means of destroying those they perceived as enemies within: "Terror", said Robespierre, "is only justice that is prompt, severe and inflexible". Festival of The Supreme Being: 1.Form of deism devised by Maximilien Robespierre intended to become the state religion after the French Revolution. 2. The word "cult" in French means "a form of worship", without any of its negative, exclusivist implications in English: devotees indeed intended it to be a universal congregation. 3. To inaugurate the new state religion, Robespierre declared that 20 Prairial of Year III (June 8, 1794) would be the first day of national celebration of the Supreme Being, and future republican holidays were to be held on every day of rest (décadi) in the official calendar. 4. Every locality was mandated to hold a commemorative event, but the event in Paris was executed on a massive scale. Designed and organized by Jacques-Louis David, the festival took place on and around an enormous artificial mountain created on the Champ de Mars. Robespierre assumed full leadership of the event, forcefully - and, to many, ostentatiously - declaring the truth and "social utility" of his new religion.
1. Most of Jacques Louis David’s major Salon painting of the 1780’s, especially The Oath of the Horatii and Lictors Returning to Brutus the Bodies of His Sons, express tragic episodes in Ancient Roman history? How would you explain the moral complications between the public and the private in these paintings? Be specific. 2. It has been suggested that Jacques Louis David sought to reform classical history painting during the 1780’s by “democratizing” it that is, he attempted to make stories from classical history accessible to common people at the Salon. How did he formulate academic classism (e.g Poussin) in The Oath of the Horatii and the Brutus for mass appeal? Explain in terms of subject matter, style, and content.
3. How does Jacques Louis David Oath of the Tennis Court expresses revolutionary the Revolutionary ideal of “civic virtue”? In combining idealism and realism in this work, David attempted to immortalize Revolutionary history. Explain 4. Explain how Jacques Louis David attempted to sanctify revolutionary martyrdom in his famous portrait, The Oath of the Horatti and Andromache Mourns the Death of Hector, respectively? What does the linkage tells us about how David and the Jacobins viewed the ancient Greeks and Romans? 5. How might Jacques Louis David Sabine Women reflect the post Jacobin mood in France during the Directory (1794- 1799)? 6. Explain how David’s Sabine Women departed from his Roman history painting of the 1780’s (e.g. the Oath of the Horatii). How does this work evidence his notion of “Pure Greek Style”? Jacques Louis David “Andromache Mourning Hector” 1780
Jacques Louis David “ Death of Socrates” 1787
Jacques Louis David “The Oath of the Horatti” 1785
Jacques Louis David “ Lictors Returning to Brutus the Bodies of His Sons” 1789
Jacques Louis David “ Oath of the Tennis Court” 1791
Jacques Louis David “ Hercules Crushing the Hydra of Federalism” 1793 cant find the pic that was going to turn into a a statue so it was a sketch
Jacques Louis David “Death Of Marat” 1793
William Blake and Romantic Politics in England 1790- 1810 Definitions Songs of Innocence: 1. Part of the Books of Lambeth Created by William Blake in 1789 2. Over arching theme: Love and Bliss 3. Text is based on rhymic verses (poems) dealing with the subject of good & evil Europe A Prophecy : is a 1794 prophetic book by English poet and illustrator William Blake. It is engraved on 18 plates, and survives in just nine known copies. It followed America a Prophecy of 1793. 1. a mythological narrative and is considered a "prophecy". 2. He understood the word not to denote a description of the future, but the view of the honest and the wise. 3. Worked connected to the politics of 1790s Britain. Providence: divine guidance or care; God conceived as the power sustaining and guiding human destiny. Three- Age View of History: Past, Present, Future Romantic Genius: 1.
Beginning with the late 18th to the mid 19th century
2. Art movement that characterize culture and many art works in Western civilization. 3. It started as an artistic and intellectual movement that emphasized a revulsion against established values (social order and religion). 4. Romanticism exalted individualism, subjectivism, irrationalism, imagination, emotions and nature - emotion over reason and senses over intellect. 5. The movement basically started as a reaction to the political turmoil of the times, plus the influx of foreign art coming from Canada, Asia and around the world.
2. Blake inverted the biblical story of creation (or genesis), fall, and redemption in his art to promotion a “new religion of humanity” in post Revolutionary Europe. Explain how the Three age view of history unfolds from Urizen Creating the World, to Newton, to Albion Rose. In your answer, consider how artistic genius factors into his redefinition of divine creation and redemption. Take into account how he appropriates Michelangelos’s Creation of Adam, and Leonardo Da Vinci’s Vertuvian Man. In William Blake’s works, he incorporates the three age views of history through Urizen creating the world, Newton, and Albion rose. “Urizen creating the world” shows the past age view of history. Urizen is being represented as an architect with his tool. He is in the process of building the world beyond the globe he is sitting in. Urizen has a strong resemblance to the painting of God in Michelangelo’s creation of Adam painting. “Newton” shows the present age of history. Newton is presented as an individualistic genius and a man of enlightenment. Blake is also pointing to man’s limit to reason since he painted Newton underwater. The water is also a metaphor for our sub-conscious when referred with the sea of eternity. “Albion Rose” is the future age of history and shows the rebirth of the human race. Showing the figure coming out of ashes shows how Blake felt about the French Revolution, an apocalyptic event. This is Blakes idea of a new religion for humanity and the re-achievement of unity. It is connected to the Vitruvian man in the way the man is presented, with outstretched arms and legs. Blake also intended for this figure to present the perfect man, as Leonardo did in the Vitruvian man. Blake is shown breathing spiritual essence into his Albion Rose and shows an emergence of spirituality.
3.Blake’s frontispiece to the Songs of Innocence expresses the Romantic view toward childhood. Explain the role that Childhood played in his attempt to “re-spritualize” humanity? In Blake’s frontispiece to the songs of innocence, he is attempting to “re-spiritualize” humanity. The main theme the picture is trying to show us is that we can revert back to the innocence we had children. As a child, we are untainted by civilization and can seek to redeem ourselves spiritually through our innocence. The tree is supposed to symbolize the tree of life shown in the Adam and Eve story, a further example of our need to find ourselves spiritually. 4. For Blake the “re-spiritualization” of humanity in a providential sense meant “re-politicization” of human in a political sense. Explain how this idea expressed with specific reference to Blake’s Albion Rose ? Slide William Blake “Ancient of the Days” or “Urizen Creating the World” Frontispiece of Europe, a prophecy 1794
William Blake “Newton” 1795
William Blake “Albion Rose” 1794- 95
William Blake Tittle page from “Songs of Innocence” 1789
Napoleon I: Art and Propaganda during the First Empire in France, 18001815 Definitions Napoleon Bonaparte: was a military and political leader of France and Emperor of the French whose actions shaped European politics in the early 19th century. Napoleonic code: is the French civil code, established under Napoléon I in 1804. The code forbade privileges based on birth, allowed freedom of religion, and specified that government jobs go to the most qualified. Concordat: was signed on 15 July 1801. It was an agreement between Napoleon Bonaparte and Pope Pius VII that solidified the Roman Catholic Church as the majority church of France and brought back most of its civil status. Madame de Stael: French-Swiss writer, woman of letters, early champions of women's right, who was considered among Napoléon's major opponents, and spent much of her life in exile.
2. Discuss Napoleon Bonaparte’s use of Roman imperial imagery (e.g., The Arc de Triomphe de L’Etoile adn the Vendome Columm) during the First Empire. How dis his imagery serve the political needs of Napoleon? Napoleon used old roman imperial imagery to serve as his political needs. The Arc de Triomphe de I’Etoile is modeled after the arc of Titus in Rome. The arch of Titus showed the conquest of the holy land and was built in a busy throughway in Rome. It was to serve as a military reminder to the people of the city about the grandeur of the empire. Napoleon replicated this by commissioning the Arc de Triomphe to serve as a reminder of the greatness and power of the French. It was placed in the heart of the French capital so that all could enjoy and bare witness. The Vendome Column is modeled after the column of Trajan. In a scroll like fashion, a story told in murals of Napoleons conquests spirals up. This is reminder to all who see it that the French, with Napoleon at the helm, could and did conquer for the greater glory. By portraying Napoleon as the head of the French in these highly visible and public places, he would let the people know that this prosperity was achieved because of him. Following Napoleon would only further benefit the Empire. 3. In combining idealism and realism in Napoleon at the Saint Bernard Pass, Jacques Louis David attempted to immortalize Napoleon as a “genious” In European history. Explain “Napoleon at the Saint Bernard Pass” attempted to immortalize Napoleon as a “genius” in European history. The painting itself is a blending of reality and myth. It does show Napoleon’s likeness and uniform, but his size in comparison to the horse is gigantic. The way he easily is able to handle the horse with one hand further underlines Napoleons military genius. He can conquer the beast. The names of Hannibal and Charlemagne are placed on the rocks along with the name of Napoleon. Hannibal and Charlemagne had both crossed through the Alps to get into Italy and adding Napoleons name further adds that Napoleon is a reincarnation of the great generals and that history is repeating itself. This cements Napoleons name in history as a historical genius.
4. As he did in Napoleon at the Saint Bernard Pass, David attempted to link Napoleon’s rule with imperial rulers of the past. What specific event Napoleon linked himself to the past using the painting of “The Coronation of Napoleon”. He tried to create a link between his rule and that of Charlemagne,
the first emperor of France. Charlemagne had traveled to Rome to have the Pope crown him, while Napoleon had the Pope travel to Paris. It is also noteworthy to note that Napoleon did not wait for the Pope to crown him but had taken the crown and donned it himself. This would show that Napoleon was crowned with the recommendation from the Catholic church to further legitimize his rule as Emperor.
6. How would you explain the theme of “barbarism vs. civilization” in Antoine Jean Gros’s Napoleon in the PLague House at Jaffa? How does Gros deify Napoleon as civilizing hero into the picture? In “Napoleon in the Plague House at Jaffa”, barbarism versus civilization is shown. The civilization shows Napoleon and his officers in the center, the majority of the light in the painting is cast on Napoleon. The sick French soldiers are seen sick and pale alongside him. The brightly colored clothing of the Arabic medical staff is attending the sick. The barbarism is shown in dark shadows on the left as the sick and wounded. Napoleon himself is also seen as a holy healer. His officers all have the face of disgust, but Napoleon has an ungloved outstretched arm reaching out to touch one of his sick men. This can be interpreted as napoleon healing the sick with a touch of his hand. Slide Jean Francois Chalgrin “Arc de l’Etoile” Paris 1806- 36
Jacques Gondouin and Jean Batiste Lepere “Vendome Colum” 1806- 11 Paris
Jacques Louis David “Napoleon at the Saint Bernard Pass” 1801
Jacques Louis David “Coronation of Napoleon and Josephine” 1804
Jacques louis David “Napoleon on his study” 1812
Jean Auguste Dominique Ingres “Napoleon on the Imperial Throne” 1806
Antoine Jean Gros “Napoleon on the Plague House of Jaffa” 1804
FRANCISCO GOYA AND THE PUEBLO OF SPAIN 1800- 1815 Definitions Caprichos- a series of satirical prints called Caprichos, about 89-93 individual print images, all numbered. Referencing human falling of many levels of society, religion, politics, superstitions, the enlightenment at times, and in many respects we can locate Goya within the tradition of Romanticism.
Maja - Majas were commoners, not part of the hereditary aristocracy. They were beauties of the lower class. Majo – The male counterpart of the Maja. 2.
What is romantic about the style and content of Goya’s Caprichos 43: Sleep of reason produces monster 1799? How does Goya’s work relate to the artist’s view towards reason and imagination in Art? Caprichos 43: Sleep of reason produces monster, 1799 is a kind of self-portraitautobiographical-Romantic mysticism of the self. Image of Goya leaning on crafting table, in sleep, in which fantastic creatures of the night are produced, the dream worldFreudian subconscious. They may be liberating for the creative process-intuition, symbols and myth percolate beneath the surface. It is the horrifying but creative, however if you surrender yourself completely, you my loose rational control (potentially self-destructive.). It should not be left unharnessed or unrestrained. There is no happy resolution-always a struggle between polarity of creativity, order and chaos. You need to have both. He is anti-academic. Artists were expected to emulate timeless ideals. Goya is revolting against the rules-he felt rules formulate instruction. Liberating, enticing, taboos can be strangely appealing. 3. Francisco Goya renounced idealism in painting in favor of naturalism. In so doing, his successors in France (e.g Edward Manet) saw him as distinctively modern in subject matter and style. Explain Goya’s modernity with reference to the Carlos IV and his family 1801, Clothed Maja, Naked Maja and the Knife Grinder. Carlos IV and his family, 1801 conveys Goya the realist. He presents the family in a naturalist approach. Charles is presented in a three quarter view, as opposed to a strict profile or a frontal depiction. There is no attempt from Goya to idealize. Brushwork is very loose and sketchy, evokes the quality of reflective life. His luxurious painterly approach applies to the senses. Latent sinister quality as to how he represents human beings regardless of social class. Figures posses vacant stares, almost like those of the animals seen in sleep of reason produces monsters. He will blend the human and the animal. The clothed Maja and the Nake Maja 1798-1805 were intended to hang in the prime ministers bed chamber, for his private enjoyment. Majas were commoners, not part of the hereditary aristocracy. The male counterpart is Majo. Here, Goya is trying to naturalize- sensual, inviting, provocative. There are subtle distortions going on, perhaps purposely disregarding the canon of proportions- rebelling against academicism.
5. How does Francisco Goya express the horror of wars in the Execution of the Third of May, 1808? Explain the terms of subject matter, style and content. Execution of the third of May 1808- 1820 - the execution of Spanish freedom fighters in Madrid- the Spanish pueblo had authorized this against the French Napoleonic invasion. The French gathered up the rebels at night and executed them. A kind of counter image to the glorious celebration of the Napoleonic regime. Goya wants to underline the horror and tragedy of the war. Gleaning white shirt highly illuminated the rebel. Clear suggestion of crucifixion, stigmata on hands. Faces are awkward, crude, vulnerable, and helpless. Colors are putrid sickly greens, yellows, and ochers, it is supposed to unsettle the viewer. His representation of heroic- central figure conveys gesture of heroic defiance. This is a reminder that death is a crude fact of life. Dark ghostly background, heavy and oppressive, enhances the eeriness of the massacre taking place. Slide Francisco Goya “Caprichos I” Fontispiece 1799
Francisco Goya “Caprichos 43 (Sleep of reason produces monsters)”1799
Francisco Goya “Charles IV and his Family” 1801
Francisco Goya “Executions of the Third of May 1808” 1814
Francisco Goya “Disaster of war 79 (Truth is Death)” 1810- 1820
Francisco Goya “Disasters of war 80 (Will it Rise again)” 1810- 1820
Romantic Politics in France: Theodore Gericault’s Raft of the Medusa 1819 Definitions
Bourbon Restauration: is the name given to the restored Bourbon Kingdom of France which existed from 1814 until the July Revolution of 1830 Louis XVII: The reigning king of the Bourbon restoration. Medusa Disaster: The medusa was on a trading mission to Senegal one of France colonies and the ship was navigated by a Borbone capital mostly because of his connections with the royal family rather than his skills. The people of the raft were rescued but only 15 people survive and the survivors reported to the press, were he learn and painted very powerful political statement to the Borbone regime, aristocratic privilege, meriatorial skill. The emerging liberal press was drawing attention to this, there is a dramatic complic theme and hypocrisy of the bourbon government. Lithography: Lithography is the new media that was invented in 1799 relatively new improvements in technology, you could mass produce paper in a much more effective way. Revolutionary new media that facilitate the dissemination of knowledge, reaching wider people, a growing littered population.
Slide Theodore Gericault “Self Portrait” c. 1818
Theodore Gericault “Charging Chasseur” 1812
Theodore Gericault “Raft of the Medusa” 1819
Theodore Gericault “Pity the Sorrow of a Poor Old Man” 1821
The revolution of 1830 and Art of the July Monarchy 1830- 1848 Definition
Slide Images of the Revolution of July 28, 1830 Eugene Delacroix “Liberty Leading the People” 1830
Horace Vernet “the Duc d’Orleans on his way to Hotel de Ville 31 July 1830”
Horace Vernet “Full Length Portrait of King Louis Philippe” 1833 IM NOT SURE THIS IS THE PAINTING CANT REMEMBER
Official Art of the “Juste Milieu” Francois Rude “The Marseillaise (Departure of the Volunteers of 1792) Arc de Triomphe de l’Etoile, Paris 1830- 37
Pierre Jean David D’Angers “monument of Gutenberg” 1840
Images of Decadence and Decline Eugene Delacroix, Palais Bourbon Library, Chamber of Deputies Paris 1838- 1847 “Orpheus Civilizing the Savage Greeks In the Arts of Peace
Eugene Delacroix “Attilla the Hun Destroys Art of Italy” 1838- 1847 Couldn't find the pic Reference to the fall of the Roman empire, the germanic troops who over run Rome. we can see war, devastation an destruction, they ver run the civilizing art of the ancient Rome. Allegorical figure women laying is a personification of citis, rome in allegorical terms. The women standing is a personification of eloquence, and she has the laurel, commerce Birth rice and decline of eloquence and law. This stands as a warning, he thinks history can teach next generation, he is warning us, he sees what happen in rome and she see it in contemporary france. There was something within civilization that works agains it, the problems and symptoms are abundance problem, luxury, too much commerce, too many soft ideas, moderation, comes to overly soft, hyper sensitive, its starts to relax and then you got encourages individualist greed, formula for disaster.
The Avant Garde And the French Left: The “Social Question” in Popular Art 1830- 1848 Definition Slide Philippe Auguste Jeanron “A Scene of Paris” 1833
Honore Daumier “Legislative Belly” 1834
Honore Daumier “Masks of 1831” 1832
Honore Daumier “Gargantua” 1831
Charles Philipon “Les Poires(The Pears)” 1831
Nicolas Toussaint Charlet “1840, Every Man at Home!... Every Man for Himself!” 1840 Patriotism in the name of economic production. Hypocrisy there should be national unity. Private property, thats going to determine politics. Nicolas Toussaint Charlet “MIddle Class, Strong Class” 1840 This is about the class conflict, idea of confrontation. among the left commerce and capitalism was related with femininity, capitalism. Nicolas Toussaint Charlet “A Man of the People” 1841 we have and idealization of the working man, there is something like Herculean, contrappasto, he looks at FARNESES HERCULES the ideal is now modernized, relativze the ideal, he is wearing typical artesian cloth and smoking his pipe, he is in hs working embiroment, paralel Sans Simone thinking,
French Realism and the Avant- Garde: Gustave Courbet and the Revolution 1848 Definition
3. How Does Gustave Courbet’s Stonebreakers expresses the aesthetic and social ideals of French realism? How does the work express Courbet’s revolt against academicism and Romanticism? Explain in terms of subject matter, style and content.
Courbet’s Stonebreakers presents rural laborers in a realistic style through the use of observation. Unlike, other works of the time that dealt with reference to Roman and Greek antiquity, Courbet chooses to display only what the physical eye can see. At the forefront of the painting are two central male figures one young and one old. Both men labor in raggy work clothes hammering away at the bend of road boarding a wheat field. Their faces are obscured and blend into the barren landscape from which their identities and self-worth is acquired. They represent the reality of life for rural labors, which are improvised and further distanced from the wealth of the upper classes during a period of industrialization. Meant as a social a critic of the July Monarchy’s policies, Courbet’s juxtaposition of old young and old suggests to the reviewer that it is the workers destiny to labor until old age; for their meager existence is connected to their environment and their human value arises not from their individuality but they work they do. For this reason they will not transcend their environment and thus, Courbet invokes a sense of sympathies for the poor from the viewer. 4. According to Petra Chu, Gustave Courbet’s A Burial at Ornans “caused a scandal at the Salon of 1850- 51.” How would you explain the scandalous aspects of the picture? Explain in terms of subject matter, style and content. A Burial at Ornan standing 10 feet by 22 is a monumental representation of a middle class burial in the French province of Ornan (Courbet’s home town). To left are four pallbearers and a priest reading from the bible. Surrounding the priest are Church functionaries: a cross bearer, choirboys, sacristans, and beadles dressed in red A gravedigger kneels beside the grave. Then to the right are relatives of the deceased. The men have their hats off and the women weep. Emoting the “prosaic nature of death,” Courbet’s uniformly dressed bourgeois figures suggest equality may be achieved during one’s lifetime. In doing so he replaced the oligarchic and self-serving ideals of the July Monarch and caused uproar among critics who criticized the painting as being dull, boring and glorifying death. Much of the criticism was based on fear from the recent political changes: universal male suffrage and voting rights had been won. Now, ordinary bourgeois had to be reckoned with. Since, they were equal and had the power to change the political picture of France. 5. What role did folk art (i.e. Epinal woodblock prints) play in the formation of Gustave Courbet’s Realism? How is the influence revealed in A Burial at Ornans and The Meeting?
Courbet’s works reminded critics of the folk art woodblock prints being made in the town of Epinal because his work captured the ordinary and contemporary life (i.e. mundane day-to-day affairs) that encompasses realist art. Additionally, Courbet gave each figure equal importance and he didn’t reveal in the past like others before him. In conclusion, Courbet worked in a “democratic style of art,” that is art created by the common man for the common man. Later, on Courbet adopted the terms of Realism for the movement he worked in and self-proclaimed himself the leader of this movement. Slides Jean Louis Ernest Meissonier “The Barricades” 1848
Gustave Courbet “Self Portrait with Pipe” 1846
Gustave Courbet “Stonebreakers” 1849- 50
Gustave Courbet “A Burial at Ornans” 1849- 50
The Revolution of 1830 and Art of the July Monarchy, 1830-1848 2. How does Eugene Delacroix fuse sensuality and violence, or beauty and the grotesque, in Liberty Leading the People? Delacroix fuses sensuality, beauty, violence and the grotesque in Liberty Leading the People by combining images of real figures and the allegorical figure of Liberty as woman of flesh and bones. With red cheeks, large breasts and powerful arms. Holding a musket in her left hand and the tricolor on her right, Liberty leads a motley group of revolutionaries (factory workers, artisans and peasants, students etc) through the streets of Paris. As they walk the streets they encounter the violence of the three-day revolution that ousted the Bourbon Monarchy. Bodies of royal guards men and revolutionaries lay together as victims of a grotesque battle. 3. How does Horace Vernet present Louis Philippe as “King of the French” in his painting, The Duc d’Orleans on his way to the hotel-de-ville, 31 July 1830? Charles X known as Louis Philippe is represented as the “King of the French” in Vernet ‘s The Duc d’Orleans on his way to the hotel-de-ville, 31 July 1830. The painting, which hangs in the History Museum of France, commemorates the coronation of Louis Philippe days immediately following the revolution. The focal point of the painting is the tricolor, emblem of the revolution and French people. In the background atop his horse is Louis Philippe greeting the crowd that has come to welcome him. Unlike, those before him, Louis Philippe wanted to be portrayed as the people’s king so he used subtle and less blatant propaganda. Through his governance of the French middle class by constitutional rule and position as a leader among equals France was united as a republic. 4. Francois Rude depicted French Revolutionary heroes as ancient Gauls in The Marseillaise (the Departure of the Volunteers of 1792). How would you explain the fusion of ancient history and French Revolutionary history in the work, and how did the fusion serve the political needs of the July Monarchy? Explain with reference to the ideology of the “Juste Milieu.”
Rude uses the example of neoclassical monument to fuse the French Revolutionary heroes with ancient warriors. By depicting the figures in the scene not as happened it but as Gauls (the ancient inhabitants of France) surrounding the animated allegorical figure of Liberty who rouses the six ancient warriors to battle. Each figure display energy and enthusiasm. Their attire mimics that of ancient Greek and Roman art with their cloth draping to their bodies, other are nude, they wear helmets similar to Spartan and carry swords and shields. Their stands emotes dramatic movement and willingness to fight. Hailed as a rare example of true Romanticism that fused Juste Milieu (middle ground) with it unification of antiquity to a modern historical event. 7. How does Eugene Delacroix’s two murals in the Deputies’ Library- Orpheus Civilizing the Savage Greeks and Attila the Hun Destroys he Arts of Italy –express the respective conflict between “civilization” and “barbarism” in human history? Explain in terms of subject matter, style and content. Orpheus Civilizing the Savage Greeks’ is the starting point of Civilization from barbarism. Orpheus acts the dispenser of law and order. Harmonizing man and nature with the assistance of divine providence. Humanity comes a community to united and become polis. The figures of Athena laurel leaf and Sercaus represent peace, abundant and eloquence eluting to Orpheus. Whereas, Orpheus stood for the beginning of civilization, Attila the Hun stand for the decline of civilization (by Germanic tribes destroying Rome). It warns of the dangers of pleoxenia. Too much commerce, luxury and softness promotes individual greed and spells disaster. One become barbaric and with it brings the decline of civilization, which Delacroix would result from the revolution. 8. How would you explain Honore Daumier’s Legislative Belly and Nicolas-Toussaint Charlet’s two prints- Middle Class, Strong Class and 1840 Every Man at Home!...Every Man for Himself! – as left-wing satires against the July Monarchy? Explain in terms of subject matter, style, and content. All artworks are political satires criticizing the July Monarchy in one form or another. First Daumier’s lithograph the Legislative Belly ridicules the conservative members of the Chamber of Deputies for their arrogance and corruption, depicting them as bloated and dozing. Concerned with the role of wealth in the political process, the lack of civic virtue and communication (essential for a stable – effective government) Daumier also depicts the deputies ignoring each other and avoiding spiritedly debate. On the other hand, Charlet’s two prints comment on the lost patriotism in the name of economic progress (Every Man at Home!..Every Man for Himself!”) and denotes his sympathize lie with the working class (Middle Class, Strong Class). By presenting a class confrontation between the masculine, strong, pipe smoking laborer of the middle class and the well dressed, feminine capitalist smoking cigarettes critics the July Monarchs economic expansion on the backs of it laborers which it neglects in the name of progress and profits.