Tinashe Chikerema Unit 4 F446
Question 2 Romanticism Illustrated essay on three examples Design an exhibition with 3D model and plans with a pamphlet and a poster
John William Waterhouse. The Lady of Shalott 1888
The Isms: the traditional taxonomic scheme for the History of Art • The Renaissance app 1400 • The Baroque 1600 • Rococo 1700 • Neo classicism 1700-1800
• Romanticism 1800
Henry Fuseli. The Nightmare. 1781. Oil on Canvas. 101.6 cm Ă— 127 cm
Romanticism…….. • A movement across all the arts, from late 18th to the middle 19th century. • There is no definitive Romantic style. • Central theme was the belief in the value of ones individual experience. A move away from the rationalism of science and the enlightenment and looking into the unknown…the occult…the dead….the unexplainable.
• Followed on from the writing of a man called Goethe (pro. GOATER)
• Goethe was an 18th-19th century German writer • He is considered romantic as his literature moved away from rational themes of science. • In Faust, the main character is Dr Faust, who wants to perfect himself through learning and science, yet he finds he destroys his faith and his reason to live. • He goes through a number of experiences which could be considered as irrational and unexplainable e.g he meets the Devil. This is a romantic idea, as it is unexplainable.
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818 oil on canvas medium scale
Romanticism
Next
task….in no more than 4 lines of A4 can you write up a short biography of Friedrich…who was he, where was he born, what type of art did he produce….
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818 oil on canvas medium scale
An insistence on the importance of the imagination in artistic experience.
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818 Romanticism saw nature through new aesthetic categories: as either sublime, or picturesque. Sublime = great, vast awe inspiring, terrifying
Picturesque = looking like a picture, ideally an Italian one, calm, serpentine, classical.
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818
This one is Sublime = great, vast, awe inspiring, terrifying
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818 Artists of the romantic genre wanted to portray the horrors of the world..the viewer can get frightened by what they see.
Romanticism
Romanticism stressed strong emotions. One effect of Romanticism was to emphasise such emotions as trepidation, horror and awe.
Emotions experienced in front of Nature, when you are alone, cold, with a scary landscape in front of you‌
Romanticism
Romanticism
Friedrich“The artist should paint not only what he sees before him, but also what he sees within him.�
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818
Notice how the figure dominates the landscape
Romanticism Friedrich“The artist should paint not only what he sees before him, but also what he sees within him.”
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818
The figure is directly on the central vertical axis
Romanticism Friedrich“The artist should paint not only what he sees before him, but also what he sees within him.”
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818
His waist is on the horizontal axis
Romanticism Friedrich“The artist should paint not only what he sees before him, but also what he sees within him.”
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818
The figure and rock form a pyramid; the most solid form of pictorial construction
Romanticism Friedrich“The artist should paint not only what he sees before him, but also what he sees within him.”
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818
Note that when Romanticism you look at it Friedrich“The thisartist way,should all the landscape paint not onlyis what he sees angled, before him, but symmetrically also what he towards the sees within viewing him.”figure
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818
In other words: 1. we identify ourselves with that figure and what it sees
Romanticism Friedrich“The artist should paint not only what he sees before him, but also what he sees within him.”
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818
In other words: 1. we identify ourselves with that figure and what it sees
2.Romanticism It is the act of viewing, the Friedrich“The act of artist should contemplation/ paint not only what he sees imagination before him, but that constructs also what he the view sees within him.”
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818
In other words: 1. we identify ourselves with that figure and what it sees
2.Romanticism It is the act of viewing, the Friedrich“The act of artist should contemplation/ paint not only what he sees imagination before him, but that constructs also what he the view sees within him.”
For the first time in art, we look with the figure in the painting, not just at it
Romanticism
Caspar David Friedrich: ‘Wanderer above the Sea of Fog’, 1818
In other words: 1. we identify ourselves with that figure and what it sees
2.Romanticism It is the act of viewing, the Friedrich“The act of artist should contemplation/ paint not only what he sees imagination before him, but that constructs also what he the view sees within him.”
This is not just an anecdotal representation of a figure, it gives us, the viewers, an combined aesthetic experience
John Constable 1776 -1837 English Romantic painter. Painted mainly in Suffolk.
• John Constable was born in Suffolk • His father was a wealthy corn merchant, owner of Flatford Mill • His younger brother Abram eventually took over the running of the mills. • He painted the area when he was young. • These scenes, in his own words, "made me a painter, and I am grateful"
•A Reminder of -Analysis and interpretation •A full analysis should consider
•• Analysis of form (eg materials, composition, textures, colour, scale, etc).
•• Analysis of subject (eg type of figure, pose, gesture, setting, etc).
•• Analysis of contexts (eg time and place of creation, historical circumstances, biographical influences, etc). •And combine them to create an interpretation.
John Constable, Dedham Vale, 1802, oil on canvas Now what can we remember of this painting from last year Let us help the new A2 students
John Constable, Dedham Vale, 1802, oil on canvas Now we will write down the description in bullet point form of this painting. F S C
panoramic sweeping view; dramatic light/weather effects; broad massing of light/dark areas
not idealised: prominent tree; natural clouds in sky; dark tonality/shadows;
overpowering: distant town very small in relation to landscape imply effects of nature on shaping the landscape over time distant church spires allude to God’s creation of Nature •Painted with realism: natural light, particularised detail
from a high view point, allowingJohn for high degree ofDedham information Constable, and a certain detachment from Vale, scene 1802, oil on canvas •low horizon (just less than half) large sky add to sense of grandeur Now we will write down the and deep space description in bullet point form of this painting. FSC great depth/distance diminution of
panoramic view gives sense of scale especially town adds to illusion of great distance overlapping forms: space cut off at left by tree; river winds behind give sense of continuous space and distance implying continuation of space; clouds overlapped by horizon winding paths
tone/light: broad tonal bands, dark foreground/lighter middle ground/light distance; sky reflected in river; all add to illusion of great space.
Joseph Mallord William Turner 1775 -1851
• He became known as 'the painter of light',
Turner was born near Covent Garden in London and entered the Royal Academy Schools in 1789.
He was soon inspired by 17th-century Dutch artists, and by the Italianate landscapes of Claude Lorraine.
TURNER Dido Building Carthage 1815 oil on canvas, 155.5 x 230 cm Large Scale
• The Aeneid poem-Virgil. • It is about the travels of Aeneas, who survived the destruction of Troy by the Greeks • The painting describes the building of Carthage, (in present-day Tunisia) which Dido founded. • The figure in white on the left is Dido, and on the right is the tomb erected for her dead husband, Sichaeus. • Dido fled from Tyre after her husband's murder, and founded Carthage
• Aeneas was shipwrecked at Carthage, and he and Dido fell in love. • However, Aeneas was destined by Jupiter to found Rome, and abandoned Dido. • She then committed suicide by throwing herself on the fire, in which the belongings left behind by Aeneas were burned, and stabbing herself with his sword-a ROMANTIC IDEA • Links to the rise of industrial Britain. Turner was attracted by the human contrast to the theme of empire building. • Hints of doom contrast with the serene effects of sunlight.
Turner. Rain, Steam, and Speed - The Great Western Railway. 1844 Oil on canvas. Large Scale
Turner: 'Rain, Steam, and Speed - The Great Western Railway’
What matters is that this is one of the very first works of art about the artist’s direct experience of landscape. A strand that will come to dominate art about land from Turner onwards, modernity or not.
Turner: 'Rain, Steam, and Speed - The Great Western Railway’
Turner is supposed to have leant out of the carriage window with his sketchbook to draw the storm…
Turner: 'Rain, Steam, and Speed - The Great Western Railway’
“As for the manner in which “The Speed” is done, of that the less said the better, only it is a positive fact there is a steam coach going at fifty miles an hour. The world has never seen anything like this picture”
Turner: 'Rain, Steam, and Speed - The Great Western Railway’
From a Lady Simon: “In the coach seated opposite her, was an elderly gentleman, short and stout, with a red face and a curious prominent nose. The weather was very wild, and by and by a violent storm swept over the country, blotting out the sunshine and the blue sky, and hanging like a pall over the landscape. The old gentleman seemed strangely excited at this, jumping up to open the window, craning his neck out and calling to her to come and observe a curious effect of light”
Turner: 'Rain, Steam, and Speed - The Great Western Railway’
Notice the hare: speed
Turner: 'Rain, Steam, and Speed - The Great Western Railway’
Notice the plough
J.M.W. Turner, The Slave Ship (1840). Oil on canvas. Large Scale
http://www.youtube.com/watch?v=80wMfX5opKE
• http://art.docuwat.ch/videos/?alternative=2&channel_id=7&skip=0&subpage=video&video_id= 108
• impasto brushwork • intense colours • chrome yellow • controversial subject matter • slaves being thrown overboard to gain insurance money
• First exhibited at the Royal Academy in London in 1840, at the same time as a meeting of the Anti-Slavery League. • Prince Albert spoke at that meeting -- Turner may have wished to impress him with this issue. • But Turner also influenced by anti-slavery, growing popular at that time. • Led in 1850 due to the British Empire forcibly ending the Atlantic slave trade by all nations. • Links to the The Zong Massacre was a mass-killing of African slaves that took place on November 29th, 1781, on the Zong, a British slave ship
• The famous Victorian critic John Ruskin owned this painting. • Turner's painting in part represents nature about to punish guilty human beings • Ruskin emphasised the way Turner created an image of shipwreck as punishment for the slavers. • The slavers threw their slaves overboard as they were diseased • They did this as they were able to gain more money if the slaves were lost at sea • Turner painted his picture specifically for an anti-slavery campaign
Gericault The Raft of the Medusa 1818-19 Oil on canvas, Monumental scale 491 x 716 cm- ANALYSE…….
• What is Romanticism? • Movement across all the arts, from late 18th to the middle 19th century. • By definition there is no definitive Romantic styleRomanticism was an attitude more than a list of characteristics. • Central theme was a belief in the value of individual experience. A move away from the rationalism and order that underlies Neoclassicism. (the movement in art before this one)
• The Raft of the Medusa, (Shipwreck July 1816. app 150 on raft for 13 days 15 rescued, 10 survived). • Painted on massive scale of a history painting with preparatory work similar to Neo Classical paintings of Jacques Louis David’s practice.
The Isms: the traditional taxonomic scheme for the History of Art • The Renaissance • The Baroque • Rococo • Neo classicism
• Romanticism
Neoclassicism
Neoclassicism: 1700-late 1800’s David ‘The Oath of the Horatii’, 1784-5 The dominant movement in European art and architecture from the late 18th to the middle 19th century. A desire to recreate the heroic spirit of Greece and Rome. A more scientific approach to antiquity, stimulated by discoveries in Pompeii. A reaction against the light-hearted Rococo-remember The Swing?
Neoclassicism
Neoclassicism: 1700-late 1800’s David ‘The Oath of the Horatii’, 1784-5
Figures and poses
derived from classical sources, which means the figures were copied from classical sculptures or “stock” figures from life drawing Order, clarity, reason A strong moral tone Simplicity of form, Grandeur, heroism.
Democracy, idealism
• Although the event was a political scandal, the disaster was blamed on the incompetence of the captain. • He painted an epic representation of human misery. • The painting is also linked to the issue of colonisation.
• This is a print after a drawing by J. Correard, one of the survivors. • Gericault wanted his painting to look authentic so he remade the raft • Plan of the Raft of the Medusa "at the point she was abandoned" contemporary engraving
Anatomical pieces. ThĂŠodore GĂŠricault 1818
Summary of the painting.... • The Raft of the Medusa, (1819), (shipwreck July 1816, app 150 on raft for 13 days, 15 rescued, 10 • survived). Painted on massive scale of a history painting with preparatory work similar to David's practice. • Desire to monumentalize the topical. Although the event was a political scandal, the disaster blamed on the incompetence of the captain, a Royal appointment. • He painted an epic representation of human misery.
Eugene Delacroix Liberty Leading the People Oil on canvas 1830 The July Revolution of 1830 was an event that Delacroix simply had to paint. He felt it was his duty as a painter to record this event as the revolutionists felt it was their duty to fight. Delacroix's fascinating colours control the composition and combined with his intense brushstrokes create an unforgettable canvas.
The French Revolution of 1830 July Revolution, revolt in France in July, 1830, against the government of King Charles X. The attempt of the ultra-royalists under Charles to return to the ancient regime provoked the opposition of the middle classes, who wanted more voice in the government. The banker Jacques Laffitte was typical of the bourgeois who supported liberal journalists, such as Adolphe Thiers, in opposing the government. Liberal opposition reached its peak when Charles called on the reactionary and unpopular Jules Armand de Polignac to form a new ministry (Aug., 1829). When the chamber of deputies registered its disapproval, Charles dissolved the chamber. New elections (July, 1830) returned an even stronger opposition majority. Charles and Polignac responded with the July Ordinances, which established rigid press control, dissolved the new chamber, and reduced the electorate. Insurrection developed, and street barricades and fighting cleared Paris of royal troops. Charles X was forced to flee and abdicated in favour of his grandson, Henri, conte de Chambord. Henri was set aside, and, although there was a movement for a republic, the duc d'Orleans was proclaimed (July 31) king of the French as Louis Philippe. His reign was known as the July Monarchy.
The Composition of the Painting The figure of Liberty dominated the composition; as she leads the charging people trampling over the corpses beneath them, she commands attention. The brightly coloured flag she handles forces the eye directly to the centre of the canvas. The red - a direct diagonal to a half-naked corpse - floats just over the revolutionists. The action is congested, mainly taking up the lower portion of the canvas with a concentration spilling over to the centre. The background and righter-most portion of the canvas remain mostly desolate, engulfed in the clouds and smoke of the cannons. Delacroix has created a pyramid structure with Liberty as the peak and the dead soldiers on the ground as the base. This seemly unimportant, and maybe unnoticed, configuration provides balance to the dramatic and busy scene. This pyramid technique achieves balance in this composition.
Delacroix's use of colour in this painting is certainly notable. The bright red, white and blue of the flag at the centre of the canvas lead the eye on a journey. Delacroix echoes this same colour scheme just below the flag on the clothing of the man reaching for Liberty. His sash is red and a white shirt peaks out from a blue jacket. The colours of the flag are not used just for aesthetic pleasure; they represent France and the Revolution. The fighters are united with Liberty. The yellow of her dress is the same yellow of the knotted scarf of the wounded man raising himself at the site of the heroine. The red belt and peasant smock represent the contemporary workers of Paris. The colour of clothing also varies between the other characters in the painting. Differentiating between the people was important to emphasize that all classes and creeds combined in this revolution to achieve a common goal. For example, the man in the black top-hat, bowtie and waistcoat is obviously of a more wealthy economic standing than the factory worker next to him.
Eugene Delacroix
Aside from the completely Oriental subject matter, Delacroix continued to rebel against the more typical European style of painting typically seen during his day. As it was common for paintings to display balance and order, Delacroix decided to paint in the vignette style which called for a strong focus in the centre as the image becomes less defined at the edges. The focus of The Death of Sardanapalus exists at the foot of the bed, where the dead concubine lays across the soft fabric while another is being stabbed by the king's servant. The details around this part of the scene are less detailed and darker.
The Death of Sardanapalus Oil on canvas
1827 Eugene Delacroix Born on the 26th of April 1798, Delacroix was a French Romantic artist. His use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modelled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic.
The composition of The Death of Sardanapalus was executed in the new vignette style. Delacroix created the focus of the image in the centre of the canvas, painting the light and most bright colours in the same spot. His brushstroke ensures that the painting is very detailed.
The Death of Sardanapalus Story The story of the Assyrian ruler, Sardanapalus, is a tragic one and so it's no wonder this tale attracted the warped interest of Eugene Delacroix. According to the story, Sardanapalus was the last king of Nineveh, a city in between the Mediterranean Sea and the Caspian Sea (present day Iraq). He decided to take matters into his own hands after learning that his city was under attack by a rebellious enemy group. Instead of facing a humiliating defeat, Sardanapalus decided he himself would destroy his prized possessions. His concubines - including his favourite Myrrha, his horses, and his slaves would all be burned and destroyed. His knowing that he also would be burned on the funeral pyre makes his apathetic reaction all the more alarming. Legend has it the king died 876 BC.
What attracted Delacroix to the story of Sardanapalus was the tragedy it possessed. He created chaos by adding more dead bodies and murders than the original texts suggests. He intended to evoke confusion. The disarray of this oriental scene was a direct contrast to the orderly world of the Europeans.
Classically trained, Delacroix was accustomed to paying close attention to the detail of the line. As his style evolved his brushstrokes got thicker and quicker, but in Sardanapalus they remain for the most part tight and precise.
The reds and yellows in this image jump off the canvas, only making the scene all the more chaotic. These bright colours are delicately placed in the centre of the canvas, where all the action is taking place.
Delacroix uses intense lighting to employ the vignette style. The sun shines at the precise moment of the chaos at the centre of the canvas. The freshly murdered concubine and the concubine being slaughtered are directly illuminated in comparison to the destruction that surrounds them. There seems to be a foggy haze over the rest of the corpses in the painting and they recede into the background. Even the king himself, in his disdainful pose, is slightly hidden in the shadows. Delacroix chose to direct attention to the most hectic and disturbing part of the scene.
My Intention for my Unit 4 Essay Wounded Cuirassier
3rd of May 1808
Raft of the Medusa
Massacre at Chios
2nd of May 1808
Liberty Leading the People
How Effective was Romanticism in Political Events? • Explain what romanticism and how it influenced romantic painters during the political conflicts at the time. • Analyse 6 pieces art work • Create a digital presentation to emphasise the romanticism style and colour scheme. • Short biography on each artist with deep analysis on their work.