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The 1800’s was a time of upheaval. The Church is less of an influence Monarchies toppled Industrialization Urbanization Masses of dissatisfied poor Fast.

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Presentation on theme: "The 1800’s was a time of upheaval. The Church is less of an influence Monarchies toppled Industrialization Urbanization Masses of dissatisfied poor Fast."— Presentation transcript:

1 The 1800’s was a time of upheaval. The Church is less of an influence Monarchies toppled Industrialization Urbanization Masses of dissatisfied poor Fast paced progress leads to confusion Fast paced progress leads to confusion

2 ART Movement An ART Movement is when a group of artist, who are familiar with each other, work in a similar style during the same period of time. The Art World was changing quickly. Movements and counter movements were springing up.

3 In the 1800’s,NeoclassicismRomanticismRealism Will compete with each other

4 Neoclassicism Realism Romanticism

5 Jacques Louis David Jean-Auguste Dominique Ingres Neoclassical Style Benjamin West John Singleton Copley Gilbert Stuart AMERICAN FRENCH

6 Rococo Neoclassical StyleRococo gave way to the Neoclassical Style late in the 18th century. The Rococo Style disappeared after the French Revolution in 1789.

7 Neoclassical Style Rococo decadent amoral …The intellectuals of the next generation Neoclassical Style thought that the Rococo style was decadent and amoral …

8 The Age of Enlightenment Brought about a rejection of royal and aristocratic authority. Neoclassical democratic Neoclassical was perceived as more democratic

9 Neoclassicism French Revolution Neoclassicism expressed the “Liberty, Equality, & Fraternity” of the French Revolution

10 The Age of Enlightenment  Populations boomed with improvements in quality of life  Industrial Revolution  Mass production  Technological innovations  and medical science marched forward

11  Neoclassicism was inspired by the unearthing of the ruins of Pompeii  The Elgin Marbles  The Greek and Roman classics are now cool again…

12 Rome crisp linear  It started in Rome and is a crisp linear style inspired bydid not copy  It was inspired by, but did not copy the art of ancient Greece and Rome

13 Neoclassical line color Emphasized drawing of line - which appealed to the intellect, rather than color - which appeals to the senses

14 Neoclassical Brushwork smooth Brushwork was smooth Compositions simple Compositions were simple to avoid Rococo melodrama

15 Neoclassical figures more solid looking than French Classical Baroque Neoclassical

16 Jacques-Louis David Leading Neo- Classical painter Empire Style He developed a personal style called the “ Empire Style ” Caravaggio Inspired by Caravaggio Painted many classical stories

17 Jacques-Louis David republican sentiments Classical antiquity Appealed to the republican sentiments associated with Classical antiquity. supporter of the French Revolution Was a supporter of the French Revolution and close personal friend to Robespierre and Napoleon.

18 Illustrates an event from Roman tradition in which honor and self-sacrifice prevailed Oath of the Horatii- 11’x14’ 1784

19 Oath of the Horatii Story of 3 Roman brothers who do battle with other brothers from rival family. vigorous, powerful, animated, and emphatic Forms are vigorous, powerful, animated, and emphatic Gestures are unified Neo-classical drapery Caravaggio-like lighting Caravaggio-like lighting

20 Jacques-Louis David Death of Marat 5’x4’ Neoclassical Shows Marat as a political martyr. He aligned himself with Robespierre’s reign of terror… Political propaganda

21 Death of Marat Reign of Terror Commissioned during Reign of Terror Marat was leader of the French Revolution- a time of terror and violence. He played on the hysteria and became paranoid- lots of enemies…

22 Tombstone is inscribed “To Marat, David, Year 2” Again, Caravaggio like lighting Idealization of Marat who had terrible skin cancer Contrast between knife and pen in limp hand

23 Jacques-Louis David Death of Marat 5’x4’ Neoclassical

24 Jacques-Louis David, The Death of Socrates, 1787.

25 David portrays the last moments of Socrates life, before he commits suicide. He is seen teaching until the very end This an the Oath of Haratii were supposed to be moral examples for France. The Death of Socrates

26 Portrayal of Socrates is an illusion to Raphael’s School of Athens.

27 Neoclassical Jacques-Louis David, The Death of Socrates, Nicolas Poussin, The Rape of the Sabine Women, 1640s. Baroque

28 Jacques-Louis David Coronation of Napoleon & Josephine, 1807

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30 Jacques-Louis David Napoleon Crossing St. Bernard In the tradition of Roman equestrian portraits

31 Jacques-Louis David Napoleon in His Study Neoclassical

32 Jean-Auguste-Dominique Ingres Student of David’s Mannerism, Romanticism, Neo-Classicalism Inspired by Mannerism, Romanticism, and Neo-Classicalism Napoleon He painted many portraits of Napoleon antiquity He, like David, painted many stories from antiquity.

33 Napoleon Enthroned Napoleon Enthroned 9’x6’ 1806

34 Jean-Auguste Dominique Ingres Neoclassical

35 Jean-Auguste Dominique Ingres La Grande Odalisque, 1814.

36 Grande Odalisque Body disproportionate with elongated arms and back. awkward placement of the left leg. Mannerism influence Idealized Turkish elements: incense, peacock fan, turban, and pipe

37 Grande Odalisque Similar to Velazquez’s “Venus at her Mirror”

38 Pierre Vignon Pierre Vignon, La Madeleine Paris, France, 1840 briefly intended as a temple of glory for Napoleon’s armies and a monument to the newly won glories of France. Neoclassical Architecture

39 Pierre Vignon, La Madeleine Paris, France, Influenced by Roman imperial temples. La Medeleine is a symolic link between the Napolionic & Roman empires. Neoclassical Architecture

40 Napoleon commissioned Greek and Roman style monuments because he thought they would enhance his image as a great emperor Neoclassical Architecture Arc de Triomphe Arc de Triomphe, Paris

41 Neoclassical Architecture Place Vendome column Trajan’s column

42 Antonio Canova Antonio Canova, Pauline Borghese as Venus, Napoleon liked classical models in paintings and sculpture. Napoleon’s favorite sculptor was Antonio Canova Neoclassical Sculpture

43 Antonio Canova Antonio Canova, Pauline Borghese as Venus, 5’x7’ Drapery suggests a commitment to naturalism. Neoclassical Sculpture This is a sculpture of Napoleon’s sister. She insisted on being portrayed as Venus.

44 Antonio Canova Antonio Canova, Cupid and Psyche, 1790NEOCLASSICAL

45 Antonio Canova Venus and Mars 1820.

46 A French Neoclassical sculptor. bustsstatues Famous for his portrait busts and statues of philosophers, inventors and political figures. Ancient Roman. Biggest influence was the Ancient Roman bust. Jean-Antoine Houdon Neoclassical Sculptor Houdon’s daughter, Sabine Houdon.

47 Voltaire, Jean-Antoine Houdon Neoclassical Sculptor George Washington, 1785.

48 Jean-Antoine Houdon Neoclassical Sculptor Ben Franklin, Thomas Jefferson, 1789.

49 Jean-Antoine Houdon Neoclassical Sculptor Houdon Houdon, Thomas Jefferson, Thomas Jefferson was an American who embodied the principles of Neoclassicism.

50 Greenough’s George Washington, 1840 Horatio Greenough- America’s first professional sculptor Inspired by Phidias’s Early Classical sculpture. Frontal pose and imposing presence. His finger pointed upward like David’s Socrates in the Death of Socrates and Raphael’s Plato

51 Thomas Jefferson Monticello Thomas Jefferson, Monticello Charlottesville,VA, Thomas Jefferson, the owner and designer was attracted to classical architecture. Neoclassical Architecture

52 . Jefferson admired Palladio Neoclassical Architecture Palladio, Villa Rotonda, 1570 Richard Boyle (Lord Burlington) Chiswick House, c1729.

53 Thomas Jefferson Thomas Jefferson, Rotunda at the University of Virginia AMERICAN NEOCLASSICAL

54 Andrea Palladio, Sketch of the Pantheon Thomas Jefferson Thomas Jefferson, Rotunda at the UVA

55 John Singleton Copley Boston , from Boston Leading painter of the Colonial Period portraits Famous for his portraits left the U.S for England Rocco He left the U.S for England where he was influenced by European Rocco and where his work became more ornate

56 John Singleton Copley, Portrait of Paul Revere, The painting doesn’t show him yet as the familiar hero of the American Revolution, but working his everyday profession as a silversmith. AmericanNeoclassical

57 He looks the viewer in the eye (as in Baroque works), but its simplicity and sparseness makes it different. AmericanNeoclassical

58 Copley’s Paul Revere dark background tenebrism He sits against a dark background which is typical of Baroque portraiture and the tenebrism of Caravaggio Surface shine

59 John Singleton Copley Watson and the Shark, 1778

60 Watson and the Shark It depicts the rescue of Brook Watson from a shark attack in Havana, Cuba The painting is romanticized. The gory detail of the injury is hidden beneath the waves

61 Benjamin West Like Copley, he too lived and worked in England In 1772, he was appointed history painter to King George III He was the president of the Royal Academy. Self Portrait, 1770

62 Benjamin West Benjamin West, The Death of General Wolfe, American NEOCLASSICAL

63 depicts the mortally wounded English commander just after his defeat of the French in the battle of Quebec, giving Canada to Great Britain.

64 West chose to depict a historical event and has them all dressed in contemporary costume- unheard of at the time.

65 martyrdom charged with religious emotion combination of traditional heroic painting with modern realism

66 John Trumbull’s Declaration of Independence

67 It hangs in the U.S Capital Rotunda in D.C. Painted in 1818 Oil on canvas The figures wear plain, contemporary American dress. Diagonals of the flags and the drum on the far wall represent the battles that help them achieve independence

68 Gilbert Stuart Portrait of George Washington The Anthenaeum Portrait, 1796 AMERICAN NEOCLASSICAL

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70 Gilbert Stuart Portrait of George Washington, AMERICAN NEOCLASSICAL


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