3. Romanticism: 1. The troubled individual 2. The lone hero 3. The sublime = wild nature 4. Creepy and bizarre things 5. Revolution and rebellion 6. Old things - the medieval and gothic 7. The haunted, the unconscious, the insane

4.  Along with sublime comes taste for fantastic, the occult, and the macabre

6.  Charles Barry and Augustus Pugin, Palace of Westminster (The Houses of Parliament), 1840- 1870, limestone, masonry, and glass, London  Competition held in 1835 for a new Houses of Parliament after the old one burned down  Enormous structure -> 1100 rooms, 100 staircases  Modern office building cloaked in medieval clothes  Profusion of Gothic ornament; Big Ben is the clock tower = a type of village clock for all of England  Example of “Gothic Revival” or “neo-Gothic” architecture

7.  Situated between the House of Commons and the House of Lords  Meant to be a space where constituents can meet their member of Parliament  Central octagonal space with statues of the Kings and Queens of England and Scotalnd  Four large mosaics over each doorway represent the four patron saints of the four parts of the UK

8.  When the old Houses of Parliament burned to the ground -> the foundations of this hall is all that remained of the medieval parliament building  This was restored and incorporated into the new design  Tradition and continuity

9.  Francisco de Goya, And There’s Nothing to Be Done (Y no hai remedio), from the Disasters of War, 1810-1823  One of eighty-two etchings that indict and protest the occupation of Spain by Napoleon Bonaparte -> and the subsequent Spanish rulers  War as disaster -> depicts Spanish civilians massacred by French troops  The violence and inhumanity of war -> political art/anti-war art

11.  JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814. Oil on canvas  Ingres -> neoclassical painter but influenced by both Mannerism and Romanticism  languid pose, her proportions (small head & elongated limbs and generally cool color scheme reveal debt to Mannerists  Turkish elements -> incense burner, peacock fan, turban, hash pipe -> exotic/foreign = romantic  Cf. – Titian’s Venus of Urbino

12. ROMANTICISM: revolution and liberty

13.  EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, approx. 8’ 6” x 10’ 8”. Louvre, Paris  July Revolution of 1830; Liberty with French tricolor -> Notre Dame in the background  Current event/history painting + allegorical and symbolic figures  Red, white, and blue echo throughout the painting  strong pyramidical structure  child = students, middle class = man in top hat, lower class = guy w/sword

14. ROMANTICSM: wild nature, current events, anti-slavery

15.  JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas,  One of the finest landscape artists was J.M.W. Turner, whose work was exhibited when he was still a teenager. His entire life was devoted to his art. Instead of merely recording factually what he saw, Turner translated scenes into a light-filled expression of his own romantic feelings  Subject is a captain of a slave ship who ordered the sick and dying slaves to be thrown overboard in order to collect insurance money on them  Slave ship moves into the distance -> in its wake a turbulent sea choked with the bodies of slaves sinking to their deaths  Emotive power of pure color -> haziness of the painter’s forms and indistinctness of his compositions intensify the colors and energetic brush strokes

16. ROMANTICISM: the Hudson River School/American landscape painting

17.  THOMAS COLE, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836  In America, landscape painting was most prominently pursued by a group of artists known as the Hudson River School, so named because they originally drew their subjects primarily from the uncultivated regions of the Hudson River Valley  AMERICAN ROMANTIC LANDSCAPE PAINTING  Division of the landscape into two clearly contrasting areas -> Romantic on the left and Claude Lorraine-like on the right  Man’s touch on the right -> cultivated lands