1. Chapter Seventeen Romanticism, Realism, and Photography
Culture and Values, 8th Ed.
Cunningham and Reich and Fichner-Rathus

2. 17.2 A panoramic view of London, ca. 1858

3. The Intellectual Background
Immanuel Kant ( )
Transcendental idealism
Critique of Judgment (1790)
Art reconciles opposites
Friedrich Hegel ( )
Synthesis of thesis, antithesis
Optimistic “World Spirit”

4. The Intellectual Background
Arthur Schopenhauer ( )
Dominating world power is evil
The World as Will and Idea (1819)
Despondency, pessimism, gloom
Karl Marx ( )
Communist Manifesto (1848)
Universal proletariat, revolution
Artistic realism: social and political
Anti-capitalism

5. Other Industrial Developments
Charles Robert Darwin ( )
Theory of evolution, natural selection
“Social Darwinism”
Physics, chemistry
Louis Pasteur ( )
Railroads, factories
“a wilderness of human beings”

6. Art Under Napoleon Jacques-Louis David (1748-1825)
Neo-Classical style
Conceptual vs. personal emotion
Ingres’ defense of Classicism
Inspired by Greek art
Waged a war against Romantic painting
Anne-Louis Girodet-Trioson
Combines Neo-Classical and Romantic motifs

7. 17.6 Jacques-Louis David, The Consecration of Emperor Napoleon I and Coronation of Empress Josephine in the Cathedral of Notre-Dame de Paris, 2 December 1804,

8. 17.7 Anne-Louis Girodet-Trioson, The Entombment of Atala, 1808

9. Ingres's Portrait of Madame Rivière

10. 17.8 Jean-Auguste-Dominique Ingres, La Grande Odalisque, 1814

11. Apotheosis of Homer Inges

12. The Concerns of Romanticism
Expression of personal feelings
Emotionality, subjectivity
Individual creative imagination
Mystical attachment to nature
Love of the fantastic and the exotic

13. 17.12 Francisco de Goya, The Sleep of Reason Produces Monsters, 1797-1798

15. Romantic Art in Spain and France
Francisco de Goya ( )
Execution of the Madrileños (1814)
No idealization
Persuasive emotionality
Personal commitment, vision

16. 17.12 Francisco de Goya, The Sleep of Reason Produces Monsters, 1797-1798

17. Francisco de Goya, The Family of Charles IV, 1800
Francisco de Goya, The Family of Charles IV, Oil on canvas, 110″ × 132″ (280 × 336 cm). Museo del Prado, Madrid, Spain.

18. 17.14 Francisco Goya, The Third of May, 1808, 1814

19. Goya's Saturn Devouring One of His Sons

20. Romantic Art in Spain and France
Géricault’s Raft of the Medusa (1818)
Intended as a direct indictment of the government
Romantic art of Delacroix ( )
Use of color to create form
Violent, emotional scenes
The Death of Sardanapalus (1826)

21. 17.16 Jean Louis André-Théodore Géricault, Raft of the Medusa, 1818
17.16 Jean Louis André Théodore Géricault, Raft of the Medusa, Oil on canvas, 16´11⁄4˝ x 23´6˝ (4.91 x 7.16 m). Musée du Louvre, Paris, France//© Réunion des Musées Nationaux/Art Resource, NY

22. Jean Louis André-Théodore Géricault, Portraits of the Insane

23. Théodore Géricault, Portait of a Child Snatcher, 1822, oil on canvas, 65 x 54 cm (Museum of Fine Arts, Springfield, Massachusets)

24. 17.18 Eugène Delacroix, The Death of Sardanapalus, 1826

25. Ferdinand-Eugène-Victor Delacroix, Liberty Leading Her People

26. Ferdinand-Eugène-Victor Delacroix, The Massacre at Chios, 1824
Ferdinand-Eugène-Victor Delacroix, The Massacre at Chios, Oil on canvas, 13′7″ × 11′10″ (419 × 354 cm). Musée du Louvre, Paris, France.

27. Romantic Art in the United Kingdom and Germany
William Blake ( )
Landscape as Romantic device
Constable’s Hay Wain (1821)
Turner’s Slave Ship (1840)
Friedrich’s Wanderer Above a Sea of Mist ( )

28. William Blake, The spiritual form of Nelson guiding Leviathan, in whose wreathings are infolded the Nations of the Earth, c , tempera on canvas 30" x 24"  (76.2 x 62.5cm), Tate Britain, London

29. William Blake, Black Slave on Gallows, 1796
William Blake, Black Slave on Gallows, Copper engraving, original coloring, 7 ⅝″ × 10″ (19.5 × 25.4 cm). British Library, London, United Kingdom.

30. 17.20 John Constable, The Hay Wain, 1821
17.20 John Constable, Hay Wain, Note Constable’s bold use of color, which impressed Delacroix. Oil on canvas, 4´3˝ x 6´1˝ (1.28 x 1.85 m). The National Gallery, London, UK//© Art Resource, NY

31. Constable's Salisbury Cathedral from the Meadows

32. 17.21 Joseph Mallord William Turner, The Slave Ship, 1840

33. Turner's The Harbour of Dieppe

34. Joseph Mallord William Turner, Transept of Tintern Abbey, 1794
Joseph Mallord William Turner, Transept of Tintern Abbey, Watercolor, 12 ⅝″ × 9 ⅞″ (32.2 × 25.1 cm). Victoria and Albert Museum, London, United Kingdom.

35. John Martin, The Great Day of His Wrath, 1851-53, oil on canvas, 197 x 303 cm (Tate Britain)

36. 17.22 Caspar David Friedrich, Wanderer Above a Sea of Mist, 1817-1818

37. Monk by the Sea 1809

38. Cross on the Mountain

39. The polar sea

40. Romantic Poetry William Blake (1757-1827)
Accomplished in both literature and the visual arts; “The Tyger” (1794)
William Wordsworth ( )
Founded Romantic movement
“Emotion recollected in tranquility”
Samuel Taylor Coleridge
The Rime of the Ancient Mariner
Illustrates humankind’s powerlessness in the face of the majesty of nature

41. Romantic Period
Rejects the imitation of classical work from Neoclassical, rejects rationality
Freedom of individual self-expression: spontaneity, originality, sincerity, emotional, personal experience
Emotional intensity: rapture, nostalgia, horror, melancholy, sentimentality, exotic, dreams
Values of revolution, democracy, and nationalism
Nature primary inspiration and subject
Crosses all disciplines involves philosophy, political revolutions, and lifestyle
Poetry: Romantic lyric: 3 stanzas with 8 lines each
Repetition, Sensory imagery

42. Romantic Poetry Lord Byron (1788-1824)
Tormented Romantic hero, Byronic
Commitment to struggles for liberty
Percy Bysshe Shelley ( )
Atheism, anarchy
Perfectability of humanity
Unification of extreme emotions
John Keats ( )
Tragedy of existence, peace of death

43. The Romantic Novel Jane Austen Mary Wollstonecraft Victor Hugo
Superficially about manners and dress
More deeply, they satirize the British evolution of mating strategies
Mary Wollstonecraft
Argued in favor of free love
Ghost story competition resulted in Frankenstein or The Modern Prometheus
Victor Hugo
Les Miserables
Combined the Romantic style with a social conscience

44. Romantic Music Ludwig van Beethoven (1770-1827)
Pioneer of musical Romanticism
Pathétique
Rooted in classical principles
Autobiographical emotionality
Eroica
“… the memory of a great man”
Classical structure + Romantic elements

45. Romantic Music Ludwig van Beethoven (1770-1827)
Fidelo
Love of liberty, hatred of oppression
Triumph over fate
Pastoral
“Ode to Joy”
Universality of individual emotion
Emotional intensity: No. 5 in C

46. Romantic Music Hector Berlioz (1803-1869) Franz Schubert
Fantastic Symphony
Franz Schubert
Personal emotion
More than six hundred Lieder (songs)
Unfinished Symphony

47. Romantic Music Johannes Brahms (1833-1897) Anton Bruckner (1824-1896)
Conservative Romanticism
Symphony No. 1, intermezzo
Anton Bruckner ( )
Catholicism, mystical vision
Symphony No. 8, adagio

48. Romantic Music Instrumental Virtuosos
Frédéric Chopin ( )
Mazurkas, polonaises
“the soul of the piano”
Franz Liszt ( )
Hungarian folk tunes
Faust, Dante
Nicolò Paganini
Violin virtuoso, Romantic exaggeration

49. 17.25 Eugène Delacroix, Frédéric Chopin, 1838
17.25 Eugène Delacroix, Frédéric Chopin, Oil on canvas, 18˝ x 15˝ (45 x 38 cm). Musée du Louvre, Paris, France//Réunion des Musées Nationaux/Art Resource, NY

50. Romantic Music Music and Nationalism
Emphasis on native musical traditions
Modest Moussorgsky ( )
Boris Godunov (1874)
Russian folksongs, religious music
Bedrich Smetana ( )
Antonin Dvorák ( )

51. Romantic Music Opera Bel canto Giuseppe Verdi (1813-1901)
Gaetano Donizetti ( )
Vincenzo Bellini ( )
Giuseppe Verdi ( )
Dramatic, psychological truth
Contemporary life issues
Rigoletto, Il Trovatore, La Traviata
Otello

52. Romantic Music Opera in Germany: Wagner (1813-1883)
Gesamtkunstwerk
Wagnerian characteristics
Musical flow
Elimination of virtuosity
Emphasis on orchestra
Leitmotiv
Universal drama, universal emotion
The Ring of the Nibelung ( )
Tristan and Isolde (1865)

53. Realism Realist Art Gustave Courbet (1819-1877)
Champion of the working class
“Pavilion of Realism”
Honore Daumier ( )
Used everyday events to express views

54. 17.27 Gustave Courbet, The Artist’s Studio: A Real Allegory of the Last Seven Years of My Life, Oil on canvas, 11´93⁄4˝ x 19´6˝ (3.6 x 5.96 m). Musée d’Orsay, Paris, France//© Scala/Art Resource, NY
17.27 Gustave Courbet, The Artist’s Studio: A Real Allegory of the Last Seven Years of My Life, 1855

55. Gustave Courbet, The Stonebreakers, 1849, Oil on canvas, 165 x 257 cm (Gemäldegalerie, Dresden (destroyed))

56. Gustave Courbet, The Meeting or, Bonjour M
Gustave Courbet, The Meeting or, Bonjour M. Courbet, oil on canvas, 1854  (Musée Fabre de Montpellier)

57. Honoré Daumier, Le Ventre Legislatif (The Legislative Belly), 1834
Honoré Daumier, Le Ventre Legislatif (The Legislative Belly), Lithograph, 11″ × 17″ (28.1 × 43.2 cm). Bibliothèque Nationale, Paris, France.

58. U.S. Civil War Realism Local color Naturalism Reflect real life
Multifaceted people/experience
Grows pessimistic
Local color
Realistic portrayal of regional U.S. dialects,
Harsh realities
Romanticism’ pre-industrial ideals
Naturalism
Environment shapes behaviors and lives
Lower classes moved by animal passions
Individual has little control

59. United States Art and Architecture
Significance of landscape painting
Natural beauty=moral beauty
Hudson River School, Luminists
Thomas Cole ( )
Asher B. Durand
United States Genre Painting
Featured narrative scenes and portraits of ordinary people at work and play
George Caleb Bingham ( )

60. Thomas Cole, View from Mount Holyoake, Northhampton, Massachusetts--after a Thunderstorm, The Oxbow, 1836

61. 17.30 Asher B. Durand, Kindred Spirits, 1849

62. 17.31 George Caleb Bingham, The Jolly Flatboatman, 1846

63. United States Art and Architecture
United States architecture spanned Neo-Classicism and Gothic Revival
United States Capitol (1793)
Saint Patrick’s Cathedral ( )

64. 17.32 United States Capitol, Washington, D.C.

65. 17.33 Saint Patrick’s Cathedral, New York City, New York, 1858-1878

66. United States Art and Architecture
Photography
Principles of photography
Camera obscura
Heliography
Daguerrotype
Photography became the democratic equalizer
Photography revolutionized the news media

67. Nadar, Sarah Bernhardt, 1869

68. 17.36 Alexander Gardner, Home of a Rebel Sharpshooter, Gettysburg, July 1863

69. Realist Literature
A more naturalistic style; describe characters’ lives in realistic terms
Gustave Flaubert ( )
Madam Bovary (1856)
Honore de Balzac ( )
`The Human Comedy

70. Realist Literature: The Novel
George Sand ( )
Issues of gender, moral equality
Tolstoy’s War and Peace (1863-9)
“Natural person” vs. civilization
Charles Dickens ( )
Social justice, evil institutions

71. The Humanities in the United States United States Literature
European influences+individuality
Transcendentalists
Unity of humans with nature
Emerson, Thoreau
Edgar Allen Poe ( )
The death of a beautiful woman is “unquestionably the most poetic topic in the world”
Walt Whitman ( )
Importance of the individual, freedom
Humanity united with the universe

72. The Humanities in the United States United States Literature
Emily Dickinson ( )
Balance of passion, reason
Psychology, faith, skepticism
Hawthorne’s The Scarlet Letter (1850)
Evil in society
Melville’s Moby Dick (1851)
Profound moral issues
Search for truth, self-discovery

73. Chapter Seventeen: Discussion Questions
In what ways did Romantic art alienate the artist? How did it serve to create a more national artistic identity? Explain.
Explain how the industrial, technological, and scientific developments of the nineteenth century functioned as catalysts for the Romantic movement. Cite specific examples that illustrate your answer.
Consider the role of the landscape in nineteenth-century painting. What psychological and philosophical statements are prevalent during this period with regard to humanity and nature? How is this relationship different from earlier centuries? Explain the this change in perspective.