Art History II
Instructor Dustin M Price
What did we cover last time?
-Exam 2
- Shogun
- Muromachi period
- Zen Buddhism
- bushi or samurai
- Shubun, Bunsei , and Sesshu
- Zen rock gardens, or karesansui
- the Ryoanji garden
- Japanese tea ceremony/chanoyu
- Tearoom
- Sen no Rikyu
Early 19th century Art: Neoclassicism
and Romanticism
-Remember that Neoclassicism and
Romanticism existed side by side well into
the 19th century both in American and
European art
- It is important to note that Neoclassicism
survived in both architecture and sculpture
beyond the middle of the century
- (Neoclassicism was used to promote
democracy)
- Romanticism didn’t just die out it
continued on in a number of fantastic forms
during the first part of the 19th century
(painting, architecture, sculpture)
- One of the most important artistic areas in
Europe during this time was Paris, France
Early 19th century Art: Neoclassicism
and Romanticism
- Students/Artists from all over Europe and
America were attracted to the Ecole des
Beaux Arts
- Ecole des Beaux Arts is a French term
meaning school of fine arts
- The original Ecole des Beaux Arts
emerged from the teaching function of the
French Académie Royale de Peinture et de
Sculpture, established in Paris in 1648
- In 1816 the Académie Royale school
moved to a separate building and in 1863
was renamed the Ecole des Beaux Arts.
The basis of the teaching was
Neoclassicism (left)
- But anatomy, geometry, perspective and
study from the nude were also part of the
curriculum
Early 19th century Art: Neoclassicism
and Romanticism
- In 1663 the Académie founded the Prix de
Rome, a hugely prestigious prize that gave
winners a prolonged visit to Rome to study
classical art on the spot.
-In 1666 the Académie also founded a
branch in Rome to provide teaching and a
base for these students
In the Académie Julian in Paris
by Marie Bashkirtseff
-Subsequently most major French cities
established their own Ecole des Beaux Arts
- By the end of the nineteenth century the
Ecole des Beaux Arts had become deeply
conservative and independent, rival schools
sprang up in Paris, such as the Académie
Julian and the Académie Colarossi
The Anatomy Class at the Ecole des Beaux Arts‘
François Sallé, 1888
- The Ecole remained the basic model for
an art school until the foundation of the
Bauhaus in 1919
Early 19th century Art: Neoclassicism
and Romanticism
- The Académie Julian was an art school in
Paris, France, established in 1868 by
Rodolphe Julian
-It became a major alternative training
centre to the official Ecole des beaux arts,
especially for women who were not
admitted to the Beaux arts until 1897
- At the Julian women were also permitted
to draw from the nude male model
- The Académie Julian was popular with
foreign art students and many leading
modern artists spent time there
-Académie Colarossi was an art school in
Paris, France, established in the nineteenth
century as an alternative to the official
Ecole des Beaux Arts
Early 19th century Art: Neoclassicism
and Romanticism
- Comparable to and slightly less famous
rival of the Académie Julian. Like the Julian,
the Colarossi admitted women and allowed
them to draw from the nude male model
- Other Parisian elements also attracted
artists and students alike such as the
ateliers
- Atelier: an artist's or designer's studio
or workroom
-Many artists could find private instruction at
these individual artist studios
- The Paris Salon also attracted a great
number of people and fierce competition
-Paris Salon (French: Salon de Paris),
was the official art exhibition of the
Académie des Beaux-Arts in Paris,
France
Early 19th century Art: Neoclassicism
and Romanticism
- let me say something very important about
the European art academy's and the Paris
Salon
- “such institutions had a virtual monopoly
on public taste and official patronage.
Academic art, whose standard was ancient
classical art, the European tradition, and
historical subjects rendered predominantly
in painting and sculpture, retained sway
through the nineteenth century”
The Salon and The Royal Academy | Thematic Essay | Heilbrunn Timeline of
Art History | The Metropolitan Museum of Art
- So lets discuss the Grand Manner or
Grand Style of painting in the late 18th and
19th century
Early 19th century Art: Neoclassicism
and Romanticism
- The terms "Grand Manner" or "Great
Style" are used to describe paintings
that utilized visual metaphors and were
meant to be appreciated only by elite
wealthy, educated men
-By extension, the Grand Manner came to
include portraiture—especially at full length
and in life size—accompanied by settings
and accessories that conveyed the dignified
status of the sitters
-Classical architecture, for instance,
signified one's civilized demeanor, whole
woodland glens implied natural sincerity
Jacques-Louis David’s Napoleon Crossing
the Saint-Bernard 1800-1801
-The postures and gestures in Grand
Manner portraits were often derived from
ancient Roman sculpture or Italian
Renaissance paintings
Lets watch a 12 minute video/discussion on Romanticism and
three works of art, the last of which “The Raft of ‘Medusa’” will
be one of your Exam images.
Early 19th century Art: Neoclassicism
and Romanticism
- Delacroix (1798-1863)
- In 1815 Delacroix, aged seventeen, began
to take painting lessons from Pierre Guérin
but in every essential respect he was, like
many of his contemporaries, a self-taught
artist, whose real school was the Louvre
- Delacroix' student work did not show
extraordinary promise, but in 1822 his
Salon debut, the Bark of Dante (Louvre)
left, attracted some attention
- Though it has a deserved place in the
history of art, as the start of a great career,
it is still an immature effort
- 2 years later his Massacres of Chios (next
slide) burst upon the Salon and increased
his fame
Early 19th century Art: Neoclassicism
and Romanticism
- The Revolution of 1830 inspired his one
truly vastly popular work, Liberty Leading
the People
- Early in his career, Delacroix had been
hailed by the young French romantics as
their leader
-During the 1830s he outgrew this affiliation,
not because he had changed his course,
but because his fellow romantics were
failing to keep up with him
-The "romantic battle" had been won too
easily. After 1830 French romanticism
became popular and (many feel) died. Its
followers, agreeable but minor talents for
the most part, rapidly declined into
picturesqueness and mannerism
Early 19th century Art: Neoclassicism
and Romanticism
- The Universal Exposition in 1855 showed
thirty-six of his paintings, a tribute to him
(together with Ingres) as one of France's
two preeminent living artists
- Having long been denied admission to the
Academy, of which he privately took a
coolly realistic view, he was at last admitted
to this body in 1857
- Frequently ill with bronchial infections and
economizing his physical strength, he lived
a frugal bachelor's life but worked with
unabated energy until the end
-He died, on 13 August 1863
-Lets discuss his most famous work Liberty
Leading the People 1830
Early 19th century Art: Neoclassicism
and Romanticism
- Widely regarded as the greatest portrait
painter of the nineteenth century and one of
the most brilliant draftsmen of all time,
Jean-Auguste-Dominique Ingres (1780–
1867) dominated French painting for over
half a century and left an enduring legacy,
inspiring artists such as Cézanne, Degas,
Matisse, and Picasso
-He served as the Director of the French
Academy in Rome
- Again, as a theorist and a teacher his
influence was enormous… ENORMOUS
- He wanted to be remembered as a history
painter, but it was his paintings of female
nudes and women that made him famous
Early 19th century Art: Neoclassicism
and Romanticism
- He painted (and was famous for)
numerous versions of the odalisque
- Odalisque: an exoticized version of a
female slave or concubine in a sultan’s
harem
- In one of his most famous works Large
Odalisque (next slide) we see just this
- Why the interest in female slaves? During
Napoleon’s campaigns in North Africa, the
French discovered the exotic near east.
Upper –middle-class European men were
particularly attracted to the institution of the
harem, partly as a reaction against the
egalitarian demands of women in their own
class
-(remember the French Revolution had also
driven women to want more freedom)
Exam III:
Vocab:
Ecole des Beaux Arts
Atelier
Paris Salon
Grand Manner
Odalisque
Sublime (pg 955)
Artists:
Eugène Delacroix
Jean-Auguste-Dominique Ingres
Artwork:
Liberty Leading the People 29-49
Large Odalisque 29-51
Thomas Cole The Oxbow 29-57
Read Pages 961 – 981 by Wednesday