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

17.2 A panoramic view of London, ca. 1858

The Intellectual Background Immanuel Kant (1724-1804) Transcendental idealism Critique of Judgment (1790) Art reconciles opposites Friedrich Hegel (1770-1831) Synthesis of thesis, antithesis Optimistic “World Spirit”

The Intellectual Background Arthur Schopenhauer (1788-1860) Dominating world power is evil The World as Will and Idea (1819) Despondency, pessimism, gloom Karl Marx (1818-1883) Communist Manifesto (1848) Universal proletariat, revolution Artistic realism: social and political Anti-capitalism

Other Industrial Developments Charles Robert Darwin (1809-1882) Theory of evolution, natural selection “Social Darwinism” Physics, chemistry Louis Pasteur (1822-1895) Railroads, factories “a wilderness of human beings”

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

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, 1806-1807

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

Ingres's Portrait of Madame Rivière

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

Apotheosis of Homer Inges

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

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

Romantic Art in Spain and France Francisco de Goya (1746-1828) Execution of the Madrileños (1814) No idealization Persuasive emotionality Personal commitment, vision

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

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

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

Goya's Saturn Devouring One of His Sons

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 (1798-1863) Use of color to create form Violent, emotional scenes The Death of Sardanapalus (1826)

17.16 Jean Louis André-Théodore Géricault, Raft of the Medusa, 1818 17.16 Jean Louis André Théodore Géricault, Raft of the Medusa, 1818. 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

Jean Louis André-Théodore Géricault, Portraits of the Insane

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

17.18 Eugène Delacroix, The Death of Sardanapalus, 1826

Ferdinand-Eugène-Victor Delacroix, Liberty Leading Her People

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

Romantic Art in the United Kingdom and Germany William Blake (1757-1827) Landscape as Romantic device Constable’s Hay Wain (1821) Turner’s Slave Ship (1840) Friedrich’s Wanderer Above a Sea of Mist (1817-1818)

William Blake, The spiritual form of Nelson guiding Leviathan, in whose wreathings are infolded the Nations of the Earth, c. 1805-9, tempera on canvas 30" x 24"  (76.2 x 62.5cm), Tate Britain, London

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

17.20 John Constable, The Hay Wain, 1821 17.20 John Constable, Hay Wain, 1821. 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

Constable's Salisbury Cathedral from the Meadows

17.21 Joseph Mallord William Turner, The Slave Ship, 1840

Turner's The Harbour of Dieppe

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

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

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

Monk by the Sea 1809

Cross on the Mountain

The polar sea

Romantic Poetry William Blake (1757-1827) Accomplished in both literature and the visual arts; “The Tyger” (1794) William Wordsworth (1770-1850) 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

Romantic Period 1798-1870 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

Romantic Poetry Lord Byron (1788-1824) Tormented Romantic hero, Byronic Commitment to struggles for liberty Percy Bysshe Shelley (1792-1822) Atheism, anarchy Perfectability of humanity Unification of extreme emotions John Keats (1795-1821) Tragedy of existence, peace of death

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

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

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

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

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

Romantic Music Instrumental Virtuosos Frédéric Chopin (1810-1849) Mazurkas, polonaises “the soul of the piano” Franz Liszt (1811-1886) Hungarian folk tunes Faust, Dante Nicolò Paganini Violin virtuoso, Romantic exaggeration

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

Romantic Music Music and Nationalism Emphasis on native musical traditions Modest Moussorgsky (1839-1881) Boris Godunov (1874) Russian folksongs, religious music Bedrich Smetana (1824-1884) Antonin Dvorák (1841-1904)

Romantic Music Opera Bel canto Giuseppe Verdi (1813-1901) Gaetano Donizetti (1797-1848) Vincenzo Bellini (1801-1835) Giuseppe Verdi (1813-1901) Dramatic, psychological truth Contemporary life issues Rigoletto, Il Trovatore, La Traviata Otello

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 (1851-1874) Tristan and Isolde (1865)

Realism Realist Art Gustave Courbet (1819-1877) Champion of the working class “Pavilion of Realism” Honore Daumier (1808-1879) Used everyday events to express views

17.27 Gustave Courbet, The Artist’s Studio: A Real Allegory of the Last Seven Years of My Life, 1855. 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

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

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

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

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

United States Art and Architecture Significance of landscape painting Natural beauty=moral beauty Hudson River School, Luminists Thomas Cole (1801-1848) Asher B. Durand United States Genre Painting Featured narrative scenes and portraits of ordinary people at work and play George Caleb Bingham (1811-1879)

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

17.30 Asher B. Durand, Kindred Spirits, 1849

17.31 George Caleb Bingham, The Jolly Flatboatman, 1846

United States Art and Architecture United States architecture spanned Neo-Classicism and Gothic Revival United States Capitol (1793) Saint Patrick’s Cathedral (1858-1878)

17.32 United States Capitol, Washington, D.C.

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

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

17.35 Nadar, Sarah Bernhardt, 1869

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

Realist Literature A more naturalistic style; describe characters’ lives in realistic terms Gustave Flaubert (1821-1880) Madam Bovary (1856) Honore de Balzac (1779-1850) `The Human Comedy

Realist Literature: The Novel George Sand (1804-1876) Issues of gender, moral equality Tolstoy’s War and Peace (1863-9) “Natural person” vs. civilization Charles Dickens (1812-1870) Social justice, evil institutions

The Humanities in the United States United States Literature European influences+individuality Transcendentalists Unity of humans with nature Emerson, Thoreau Edgar Allen Poe (1809-1849) The death of a beautiful woman is “unquestionably the most poetic topic in the world” Walt Whitman (1819-1892) Importance of the individual, freedom Humanity united with the universe

The Humanities in the United States United States Literature Emily Dickinson (1830-1881) 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

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.