2 Chronology of The Romantic Period 1820Prince Regent becomes King George IV of England1823United states announces in the Monroe Doctrine that the Western hemisphere is no longer open to colonization1824Death of the Lord Byron1830Publication of the first American fashion magazine, Godey’s Lady’s BookRevolution in France, ending with installation of the King Louis Philippe1837Queen Victoria ascends the throne in England1839Louis Daguerre announces that he has found a method for making photographic images1840Wedding of Queen Victoria to Prince Albert1842Publication of Peterson’s Magazine, second American fashion magazine1845The United States annexes Texas1846Elias Howe invents the lock stitch sewing machine1848Revolution in France, Louis Napoleon elected President of FranceDeclaration of the Rights of Women, issued in Seneca Falls, NY, proposes that women be granted the right to vote1849Gold Rush to California where gold was discovered at Sutter’s Mill
3 The Romantic Period (1750-1850) ChronologyThe Romantic Period ( )The ideologies and events of the French Revolution were rooted in Romanticism and affected the direction the Revolution was to take.Romantic art was characterized by the personal, emotional expression of the artist's social or political beliefs. The models used by Romantic painters and writers were drawn from an idealized past. The revival of historical styles in architecture and interior design ranged from Antiquity to the Gothic, Renaissance, and Baroque periods.No previous generation in western Europe had had such a strong awareness of being the heir and descendant of previous ages, while at the same time feeling quite cut off from those past times.
5 "a complex artistic, literary, and intellectual movement that originated in the second half of the 18th century and gained strength during the Industrial Revolution. It was partly a revolt against the aristocratic social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature, and was embodied most strongly in the visual arts, music, and literature".Interior of an opera box (London, 1844)Illustration by Eugène Lami,from The American in Paris during the summerBy Jules Janin.
6 The worship of the sublime – emotional identification with nature Romantic Style:Artist “genius” complex – they are thrown upon the mercies of the marketplaceThe worship of the sublime – emotional identification with natureMoving away from Greek and Roman – to the Medieval, Oriental, Islamic and Barbaric CulturesArchitecture no longer a harmonious and unified blend of carefully structured forms…NOW a symbolic evocation of associations and feelings appropriate with the structure< Girl Seated in a Cemeteryand> The Death of SardanapalusBy Eugène Delacroix (1824 & 1827)Ferdinand Victor Eugène Delacroix (April 26, 1798 – August 13, 1863) was the most important of the French Romantic painters. Delacroix's use of expressive brushstrokes and his study of the optical effects of color profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish writer Sir Walter Scott, and the German writer Johann Wolfgang von Goethe.
7 English - Strawberry Hill (Near London, 1749-77) By Horace Walpole and othersFolly: a whimsical or extravagant structure built to serve as a conversation piece, lend interest to a view, commemorate a person or event, etc.(as above… gothic castles made to look medieval)
8 The overall effect is one of rounded lines, serpentine body curves, a healthy furnished, richly textured interior, and a decorative elegance in the accessories, costume trimmings and furnishings.Fan VaultingEnglish - Strawberry Hill (Near London, )By Horace Walpole and othersArchitectural Frosting in lieu of Structure (which was unimportant)
9 Exotic and Escapist Associations Romance, Relaxation, Frivolity, PicturesqueMinaret: A tall slender tower attached to a mosque, having one or more projecting balconies from which a muezzin summons the people to prayer.Ogive: a. A diagonal rib of a Gothic vault. b. A pointed arch.English - Brighton Pavilion ( )By John NashIndian Gothic StyleIslamic minarets (a lofty, often slender, tower or turret), onion domes and perforated screens set into ogival arches (an arch having a head that is acutely pointed) also known as a lancet arch.
10 English - Brighton Pavilion: Banqueting Room (1815-1818) By John NashIndividual rooms decorated with a fanciful exotic theme.
11 English - Brighton Pavillon By Frederick Crace (1815) Chinoiserie [sheen-wah-zuh-ree]: English interpretation of ChineseChinoiserie: A style in art reflecting Chinese influence through use of elaborate decoration and intricate patterns.
12 > English Bergere (c. 1823) Late Regencyv English Bergere (c. 1800)> English Bergere (c. 1823)There was a tendency toward embellishment using ormolu and brass inlay, in the style of Louis XIV's designer Boulle.By 1835… the upholsterer, rather than the cabinet maker, dictated in matters of interior decoration.The elegance of earlier years was lost in elaborate turnings and coarsely carved scrollwork and foliage. The decline into Victorian overstatement had begun in earnest by 1830.
13 Romantic DressFollowing the collapse of the first Empire, the French were subjected to a series of conservative monarchies.Once again, the lower classes rejected the styles of the fashionable elite.The middle-class woman , however, was more constrained than ever in her social role, largely relegated to the home to serve the needs of her husband and family. Female fashions became more physically restrictive.French fashion continued to dominate the rest of Europe.The first sewing machine readily available for public purchase was invented by Elias Howe in 1846, but it did not become used extensively until after the Civil War. One of his machines could do the work of approximately 10 individual stitchers, thus forever changing the nature of the garment industry.
14 The Women~ , The silhouette for women during this time is characterized by a waistline moving down from under the bust to several inches above the natural waist, fuller skirts with increased decoration at the bottom, and a wide variety of sleeve types.Hair was worn parted in the middle, with the back arranged in a knot, and side curls beside the face. Bonnets were popular headgear during the day.Cone-shaped skirts created from gored (triangular shaped) panels.Pelisse CoatFashion Plate (1829) from the Royal Lady’s MagazineCharacteristic Trends of the Romantic Era
15 The WomenCarriage Dress, La Belle Assemblee, no. 187, June 1, 1824> The sleeves on this dress were known as the marie-sleeve: full to the wrist but tied at intervals.< Imbecile or idiot sleeve: extremely full from the shoulder to wrist,Demi-gigot [jig-uht,] (leg-of-lamb): full from shoulder to elbow, then fitted to the wrist.Evening Dresses, La Belle Assemblee, New Series, no. 54, June 1, 1829
16 The WomenThe June 1831 issue of The Royal Lady's Magazine label the dresses pictured in this fashion plate as the following (from left to right):A Walking DressAn Evening DressA Carriage DressA Morning DressRomantic Era dresses were often described by either the time of day during which they were to be worn (ie. a morning or an evening dress) or the activity for which they were intended (ie. a promenade (walking) or a carriage dress). Very often the differences between the types of dresses is so subtle, it is difficult to distinguish the styles.
17 The Women~ , During the later years of the Romantic Era, the puffed upper body silhouette takes on a deflated quality. This is particularly true in regard to the sleeve shapes. Much of the former fullness is still present in the cut, however it is now pushed downward.Tight-lacing becomes the vogue in corsetry, waists were depicted as impossibly tiny. (fashionable woman desired a 15-inch circumference at her mid-section, many more ladies claimed to have successfully achieved this feat than was true in reality.)
18 The WomenBride and Woman, Les Modes Parisiennes, no. 294, c. 1847Decorative additions have been added to the upper sleeve, pushing the fullness below the elbow.A movement away from skirts constructed through triangular shaped gores towards those constructed using large rectangular panels. Hem widths continue to increase as does the fullness at the waist, resulting in deep pleats.
19 The WomenA la Chinoise was a coiffure created by pulling the hair at the back and the side of the head up into a knot or bun while arranging hair at the forehead and temples into large sausage curls.FerroniereRomantic writers emphasized the maidens who died for love (almost always of "the consumption") and vixens whose hard-heartedness tortured the heart of her lover. Illness became a fashion statement... women cultivated a sickly paleness of complexion (often enhanced by rice powder).
20 The Men~ , Men wore tight fitting trousers or pantaloons, coats nipped at the waist, and top hats. It was customary for the trousers, waistcoat, and coat to be different colors.Top HatCravatNeckpiece tied around the neck and finished in a bowTrousers or pantaloons (used interchangeably) tucked into boots.Greatcoat (forerunner of today’s overcoat)Man in Redingcote, Les Modes Parisiennes, 1828
21 The Men~ , The biggest clue signifying the Romantic Period in men's wear is the illusion of the "nipped" in waist. This reflects the feminine "tight-lacing" trend. For the first time, tailors begin to add a complex inner structure to coat construction.Frock Coat: cut with a full, often gored, skirt and there generally is a seam at the waist.Instep strap: pantaloons passing underneath the foot to create a “pegged” look.Gibus [jahy-buhs]: top hat variation which folded flat to carry under arm.Top Hats were made of beaver, bear, or silk (the most formal).
22 The Men~ ,Caped and Double-Breasted Frock CoatsPaletot [pal-i-toh]: a short greatcoat with a small flat collar (man on left)> stove-pipe style top hat< belled style top hatGarrick: a boxy, large greatcoat with one or more caped collars over the shoulders. Named for David Garrick (English Actor and Manager)Inverness [in-ver-nes]: a cloak with one or more caped collars over the shoulders
23 The Raft of the Medusa by Theodore Gericault (1818) Discuss this image in regard to the ELEMENTS OF DESIGNRaft of the Medusa – Theodore Gericault 1818Inspired by a widely publicized disaster at sea, and became a powerful political statement criticizing government incompetence and injustice the painting's compositional elements - strong chiaroscuro, broken curvilinear line and spiraling asymmetrical movement - are essentially Baroque in nature, and stand in stark contrast to the cool, ordered universe of the neoclassic.The incompetent captain was an inexperienced but politically sound anti-Bonapartist – and an artistic achievement that galvanized romantic painting and led to a break from the calm and order of the neoclassical style. It depicted contemporary events with ordinary and unheroic figures, rather than religious or classical theme.The Raft of the Medusa by Theodore Gericault (1818)
24 The Derby at Epson by Theodore Gericault (1821) Discuss this image in regard to the ELEMENTS OF DESIGNThe classical structure of the figures and composition is juxtaposed with the turbulence of the scene and creates an important bridge between the styles of neo-classicism and romanticism. The painting was unsuccessful in France, so he took it to England in 1820, where it received much praise. Upon his return to France, he was inspired to paint a series of portraits of the insane, with each subject exhibiting a different affliction.THEODORE GERICAULT'S DEATH Weakened by riding accidents and chronic tubercular infection, he died in Paris on January 26, 1824 after a long period of suffering.The Derby at Epson by Theodore Gericault (1821)