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Art of the Enlightenment and Neoclassical Art

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Presentation on theme: "Art of the Enlightenment and Neoclassical Art"— Presentation transcript:

1 Art of the Enlightenment and Neoclassical Art
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

2 Child in Womb from Anatomy of the Human Gravid Uterus
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. William Hunter Child in Womb from Anatomy of the Human Gravid Uterus 1774

3 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

4 Two ways in which European art was changed as a result of the scientific and technological advances made from the end of the eighteenth through the early nineteenth centuries Increased practice of dissection led to the anatomical artist’s skill becoming a specialty and anatomical drawings an instrument for the education of surgeons. The theories and inventions of the Industrial Revolution could be elevated to the plane of history painting, as in Joseph Wright of Derby’s works. Age of Enlightenment A new way of thinking critically about the world and about humankind, independent of religion, myth, or tradition, and instead based on using reason to reflect on the results of physical experiments. In the arts, this new way of thinking can be seen in the general term “modern” used to describe the art from the eighteenth century on, indicating an awareness of history and the idea of being up-to-date.

5 Wright of Derby’s Philosopher Giving a Lecture at the Orrery reflects the scientific view of the universe by the light from the lamp, representing the sun, pours forth from in front of the boy silhouetted in the front of the picture. The metal orbs in the orrery represent the planets. Everyone in the painting is caught up in the wonders of scientific knowledge. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Joseph Wright of Derby A Philosopher Giving a Lecture at the Orrery ca oil on canvas 4 ft. 10 in. x 6 ft. 8 in.

6 The type of lighting that was often used by Joseph Wright of Derby was usually a single light from within the picture, candlelight, and moonlight. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Joseph Wright of Derby Experiment on a Bird in the Air Pump 1768 oil on canvas 6 x 8 ft.

7 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

8 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

9 The Coalbrookdale bridge was the first bridge that used iron
The Coalbrookdale bridge was the first bridge that used iron. Iron allowed a bridge to span a much greater distance than wood and to carry heavier volumes. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Abraham Darby III and Thomas E. Pritchard Iron Bridge at Coalbrookdale Coalbrookdale, England

10 Voltaire was the most representative figure of the Enlightenment, Voltaire was instrumental in introducing Newton and Locke to the French intelligentsia. His writings protested against government persecution of the freedom of thought and religion. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jean-Antoine Houdon Voltaire 1781 marble approximately life-size

11 According to Rousseau, The arts, sciences, society, and civilization in general had corrupted the “natural man” His views differ from those of Voltaire in that Voltaire thought that the salvation of humanity was in the advancement of science and in the rational improvement of society. Rousseau thought that humanity’s salvation lay in a return to something like “the ignorance, innocence, and happiness” of its original condition. Rousseau’s views were largely responsible for the turning away from the Rococo sensibility and the formation of a taste for the “natural,” as opposed to the artificial.

12 painter Jean-Baptiste Greuze.
Sentimentality and moralizing are obvious traits of the work of the French painter Jean-Baptiste Greuze. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jean-Baptiste Greuze The Village Bride 1761 oil on canvas 3 ft. x 3 ft. 10 1/2 in.

13 Jean-Baptiste-Siméon Chardin Grace at Table
The social class of the majority of Chardin’s patrons came from the bourgeoisie. His work appeal to them because the peasants are happy because happiness is the reward of “natural” virtue. They preferred narratives that taught moral lessons, dismissing the frivolities and indecent subjects of the Rococo. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jean-Baptiste-Siméon Chardin Grace at Table 1740 oil on canvas 1 ft. 7 in. x 1 ft. 3 in.

14 Jean-Baptiste-Siméon Chardin The Soap Bubble
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jean-Baptiste-Siméon Chardin The Soap Bubble ca oil on canvas 61 x 63 cm

15 The French painter Elisabeth Louise Vigée-Lebrune specialized in portraits of nobility.
In contrast to Rococo artificiality, the style of her self-portrait can be described as “Natural,” self- confidence of a woman who has won herself an independent role in her society, close-up and intimate. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Élisabeth Louise Vigée-Lebrun Self-Portrait 1790 oil on canvas 8 ft. 4 in. x 6 ft. 9 in.

16 Adélaide Labille-Guiard Self-Portrait with Two Pupils
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Adélaide Labille-Guiard Self-Portrait with Two Pupils 1785 oil on canvas 6 ft. 11 in. x 4 ft. 11 1/2 in.

17 Satires of contemporary life was the subject matter did Hogarth work.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. William Hogarth Breakfast Scene from Marriage à la Mode ca oil on canvas 2 ft. 4 in. x 3 ft.

18 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

19 Although Gainsborough preferred to paint landscapes, he is best known for his portraits.
Style: Soft-hued light, feathery brushwork, interest in the natural, the innocent, and the pastoral. He began as a landscape painter and incorporated landscape elements into his portraits. The genre in which Gainsborough’s portraits belonged was called Grand Manner portraiture. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Thomas Gainsborough Mrs. Richard Brinsley Sheridan 1787 oil on canvas 7 ft. 2 5/8 in. x 5 ft. 5/8 in.

20 The type of portraits that Sir Joshua Reynolds was most famous for were contemporaries who participated in the great events of the latter part of the century, including military hero portraits. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sir Joshua Reynolds Lady Sarah Bunbury Sacrificing to the Graces 1765 oil on canvas 7 ft. 10 in. x 5 ft.

21 Sir Joshua Reynolds Lord Heathfield
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Sir Joshua Reynolds Lord Heathfield 1787 oil on canvas 4 ft. 8 in. x 3 ft. 9 in.

22 Charles Wilson Peale George Washington
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Charles Wilson Peale George Washington ca oil on canvas 95 x 61 3/4 in.

23 Benjamin West was an American painter who was influential in the Anglo-American school of history painting Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Benjamin West The Death of General Wolfe 1771 oil on canvas approximately 5 x 7 ft.

24 Copley’s portrait of Paul Revere differs from contemporary British and continental portraits in that unlike Grand Manner portraiture, Copley’s portrait conveys a sense of directness and faithfulness to visual fact that marked the taste for “downrightness” and plainness many associated with America. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. John Singleton Copley Portrait of Paul Revere ca oil on canvas 2 ft. 11 1/8 in. x 2 ft. 4 in.

25 A veduta painting are “Views” of Venice, painted to sell to British visitors.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Canaletto dome of the Chapel of Saint Ivo College of the Sapienza Rome, Italy begun 1642

26 Neoclassicism was stimulated by the excavation of the Roman cities of
Herculaneum and Pompeii in the mid18th century. The eruption of Mount Vesuvius in 79 BCE enabled modern scholars to learn so much about life in a Roman town

27

28 Angelica Kauffmann combined Rococo and Neoclassicism in her work.
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Angelica Kauffmann Mother of the Gracchi ca oil on canvas 3 ft. 4 in. x 4 ft. 2 in.

29 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

30 Jean-Antoine Houdon Voltaire 1778 marble 18 7/8 in. high
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jean-Antoine Houdon Voltaire 1778 marble 18 7/8 in. high

31 Jean-Antoine Houdon George Washington 1788-92 marble 6 ft. 2 in. high
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jean-Antoine Houdon George Washington marble 6 ft. 2 in. high

32 Two Neoclassical stylistic features that are found in that work:
It deals with a narrative of patriotism and sacrifice from Roman history. It is painted with force and clarity. The importance of the subject matter in the Oath of the Horatii is that the leaders of two warring cities decide to resolve the cities’ conflicts by sending their sons to fight as representatives. The active, forceful forms of the men, associated with the Enlightenment, contrast with the curvilinear shapes of the distraught women. It marked a revolutionary change from the feminine Rococo to the masculine Neoclassical. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jacques-Louis David Oath of the Horatii 1784 oil on canvas approximately 11 x 14 ft.

33 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

34 Jacques-Louis David Death of Socrates
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jacques-Louis David Death of Socrates 1787 oil on canvas 51 x 77 1/4 in.

35 Politics behind David’s Death of Marat:
In 1793 Jean-Paul Marat, a friend of David’s and a revolutionary radical and writer, was assassinated in the bath by a member of a rival political faction. Narrative details like the knife and the wound are composed to sharpen the sense of pain and outrage and to confront viewers with the scene. It presented Marat to the French people as a tragic martyr who died in the service of the state. The painting functions as an “altarpiece” to the new civic “religion.” Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jacques-Louis David The Death of Marat 1793 oil on canvas approximately 5 ft. 3 in. x 4 ft. 1 in.

36 Napoleon at St. Bernard’s Pass
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jacques-Louis David Napoleon at St. Bernard’s Pass 1800 oil on canvas 9 ft. 11 1/2 in. x 7 ft. 2 in.

37 Napoleon Bonaparte was a major patron of David’s work after the fall of the Revolutionary party
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jacques-Louis David The Coronation of Napoleon oil on canvas 20 ft. 4 1/2 in. x 32 ft. 1 3/4 in.

38 Neoclassic features that are apparent in the painting:
The Coronation of Napoleon documents the relationship between church and state by showing the coronation taking place in Notre Dame Cathedral. Napoleon insisted that David show the pope with his hand raised in blessing. The painting shows the moment just after Napoleon has crowned himself, instead of letting the pope crown him, as was traditional. Neoclassic features that are apparent in the painting: The structured composition and the action is presented as on a theater stage. Also, David grouped the figures to represent polarities—the group of the clergy on the right, contrasting with members of Napoleon’s imperial court on the left. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

39 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

40 Monsieur Lavoisier and His Wife
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jacques-Louis David Monsieur Lavoisier and His Wife 1788 oil on canvas 8 ft. 8 1/4 in. x 7 ft. 4 1/8 in.

41 Cenotaph for Isaac Newton (never built)
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Étienne-Louis Boulée Cenotaph for Isaac Newton (never built) 1784 ink and wash drawings each 15 1/2 x 25 1/2 in.

42 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

43 Inspiration for Soufflot’s design for the church of Ste
Inspiration for Soufflot’s design for the church of Ste. Genevieve in Paris were the Roman ruins at Ballbek in Syria, especially its titanic colonnade. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jacques-Germain Soufflot The Panthéon (Sainte-Geneviève) Paris, France

44 Stylistic features: The high podium, broad flight of stairs leading to a deep porch in the front, Corinthian columns, and a sequence of three domes on the interior. The original purpose of La Madeleine was a church before being changed to a “temple of glory” for Napoleon’s armies and as a monument to the newly won glories of France. After his defeat in 1807 it reverted to a church. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Pierre Vignon La Madeleine Paris, France

45 Pierre Vignon La Madeleine Paris, France 1807-1842
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Pierre Vignon La Madeleine Paris, France

46 Paulene Borghese as Venus
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Antonio Canova Paulene Borghese as Venus 1808 marble life-size

47 Neoclassical aspects:
Aspect of Canova’s portrait of Pauline Borghese that comes from the earlier Rococo style is the sensuousness of the figure and her portrayal as the goddess of love. Neoclassical aspects: The pose and drapery; it is also not as idealized as might be expected. Realistic aspects: The sharply detailed rendering of the couch and drapery. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Antonio Canova Paulene Borghese as Venus 1808 marble life-size

48 Paulene Borghese as Venus
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Antonio Canova Paulene Borghese as Venus 1808 marble life-size

49 Perseus with the Head of Medusa
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Antonio Canova Perseus with the Head of Medusa ca marble life-size

50 Antonio Canova Cupid and Psyche
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Antonio Canova Cupid and Psyche marble 5 ft. 1 in. x 5 ft. 8 1/4 in.

51 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

52 Karl Gotthard Langhans Brandenburg Gate Berlin, Germany
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Karl Gotthard Langhans Brandenburg Gate Berlin, Germany

53 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

54 Four of its stylistic features:
Simple symmetry. Unadorned planes. Right angles. Stiffy wrought proportions. In reaction to Baroque buildings like Blenheim, the restraint of the Palladian doctrine was restated in buildings like Chiswick House. Chiswick House was designed by Richard Boyle and William Kent. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Richard Boyle and William Kent Chiswick House near London, England begun 1725

55 Richard Boyle and William Kent Chiswick House near London, England
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Richard Boyle and William Kent Chiswick House near London, England begun 1725

56 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

57 The Importance of the Royal Crescent at Bath:
The classical Roman designs, with many variations, became a standard for British urban architecture for a century. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. John Wood the Younger The Royal Crescent Bath, England

58 Hagley Park, Worcestershire, England
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. James Stuart Doric Portico Hagley Park, Worcestershire, England 1758

59 Vase with Bridal Preparation Scene
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Wedgwood and Co. Vase with Bridal Preparation Scene black basalt stoneware in. high

60 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

61 Significance: It shows how completely symmetry and rectilinearity had returned, but with great delicacy and none of the massive splendor of the Louis XIV style. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Robert Adam Etruscan Room Osterley Park House Middlesex, England begun 1761

62 Jefferson believed that the Neoclasssic style was appropriate for the architecture of the new American republic because he felt the style was representative of the new American democratic qualities. Two buildings that apparently influenced Jefferson’s designs for Monticello were the Villa Rotonda and the Chiswick House Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Thomas Jefferson Monticello Charlottesville, Virginia

63 Horatio Greenough George Washington
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Horatio Greenough George Washington marble approximately 11 ft. 4 in. high

64 Benjamin Latrobe Capitol Building Washington, DC Major L’Enfant
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Benjamin Latrobe Capitol Building Washington, DC Major L’Enfant Plan of Washington Washington, DC 1791

65 Benjamin Latrobe Tobacco Capital Washington, DC 1809
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Benjamin Latrobe Tobacco Capital Washington, DC 1809

66 Benjamin Latrobe Corncob Capital Washington, DC 1809
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Benjamin Latrobe Corncob Capital Washington, DC 1809

67 Political significance Edmonia Lewis’ Forever Free is that it was an abolitionist statement produced four years after Lincoln’s issuance of the Emancipation Proclamation. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Edmonia Lewis Forever Free 1867 marble 3 ft. 5 1/4 in. x 11 in. x 7 in.

68 Hiram Powers The Greek Slave 1843 marble 5 ft. 5 1/2 in. high
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Hiram Powers The Greek Slave 1843 marble 5 ft. 5 1/2 in. high

69 Hiram Powers The Greek Slave 1843 marble 5 ft. 5 1/2 in. high
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Hiram Powers The Greek Slave 1843 marble 5 ft. 5 1/2 in. high

70 Jacques-Louis David Three of David’s pupils: Antoine-Jean Gros
Anne-Louis Girodet-Trioson Jean-Auguste-Dominique Ingres

71 Jean-Auguste-Dominique Ingres Apotheosis of Homer
In breaking with David, Ingres adopted a manner that he felt was based on true and pure Greek style. Two characteristics of that style include: Flat and linear forms approximating those found in Greek vase painting. The figures are placed in the foreground, like a piece of low-relief sculpture. Ingres used Raphael’s School of Athens. as the model for the composition of his Apotheosis of Homer. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jean-Auguste-Dominique Ingres Apotheosis of Homer 1827 oil on canvas 12 ft. 8 in. x 16 ft. 10 3/4 in.

72 Slide concept by William V
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

73 Jean-Auguste-Dominique Ingres Paganini
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jean-Auguste-Dominique Ingres Paganini 1819 pencil drawing 1 ft. x 8 1/2 in.

74 Jean-Auguste-Dominique Ingres Grande Odalisque
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jean-Auguste-Dominique Ingres Grande Odalisque 1814 oil on canvas 2 ft. 11 in. x 5 ft. 4 in.

75 The setting for Girodet-Troison’s Burial of Atala was Louisiana.
The story of Atala from the novel The Genius of Christianity. Atala and Chactas were two Native American youths who fell in love and ran away together. Atala committed suicide rather than break her vow of lifelong virginity. The setting for Girodet-Troison’s Burial of Atala was Louisiana. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Anne-Louis Trioson The Burial of Atala 1808 oil on canvas 6 ft. 11 in. x 8 ft. 9 in.

76 Napoleon at the Pesthouse at Jaffa
Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Antoine-Jean Gros Napoleon at the Pesthouse at Jaffa 1804 oil on canvas 17 ft. 5 in. x 23 ft. 7 in.

77 1784 oil on canvas approximately 11 x 14 ft. Antoine-Jean Gros
Gros’ Pest House at Jaffa differs stylistically from David’s Oath of the Horatii by the depiction of Near East architecture, attire, and terrain was a departure from Neoclassicism, as well as the emphasis on death and suffering, and an emotional rendering of the scene. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jacques-Louis David Oath of the Horatii 1784 oil on canvas approximately 11 x 14 ft. Antoine-Jean Gros Napoleon at the Pesthouse at Jaffa 1804 oil on canvas 17 ft. 5 in. x 23 ft. 7 in.


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