Download
1 / 26
260 likes | 400 Vues
The Enlightenment. Figure 29-10 JOSEPH WRIGHT OF DERBY, A Philosopher Giving a Lecture at the Orrery , ca. 1763–1765. Oil on canvas, 4’ 10” x 6’ 8”. Derby Museums and Art Gallery, Derby. Orrery - model of the solar system illuminated with a lamp.
E N D
Figure 29-10 JOSEPH WRIGHT OF DERBY, A Philosopher Giving a Lecture at the Orrery, ca. 1763–1765. Oil on canvas, 4’ 10” x 6’ 8”. Derby Museums and Art Gallery, Derby. Orrery- model of the solar system illuminated with a lamp. Artist shows society’s fascination with science. 2
Sir Isaac Newton Newton’s experiments revealed a rationality in the physical world.
Figure 29-11 ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England, 1776–1779. . The Industrial Revolution brought engineering advances and new materials that revolutionized architectural construction. the exposed structure of the cast-iron parts prefigured the skeletal use of iron and steel in the 19th c. 5
R Figure 29-11 ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England, 1776–1779.L Figure 10-33 Pont-du-Gard, Nîmes, France, ca. 16 BCE.
Jean-Jacques Rousseau “Man by nature is good….he is depraved and perverted by society.”
Figure 29-13 JEAN-BAPTISTE GREUZE, Village Bride, 1761. Oil on canvas, 3’ x 3’ 10 1/2”. Louvre, Paris. Greuze was a master of sentimental narrative, which appealed to a new bourgeois audience, one that admired “natural” virtue. Moral of the painting is as clear as its narrative: happiness is the reward of “natural” virtue. 10
Figure 29-12 JEAN-BAPTISTE-SIMÉON CHARDIN, Saying Grace, 1740. Oil on canvas, 1’ 7” x 1’ 3”. Louvre, Paris. • Chardin embraced naturalism and celebrated the simple goodness of ordinary people, especially mothers and children • This perspective is in sharp contrast to the frivolous world of the Rococo salons of Paris. 11
Figure 29-15 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, 2’ 4” x 3’. National Gallery, London. • William HogarthEnglishEnlightenment1697-1764 • Painter, engraver • Credited with inventing the Western version of sequential art ( similar concept to comic strips). • Used satire to express enlightenment idea about humanity. • Images often mocked the wealthy.
Right Figure 29-15 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, 2’ 4” x 3’. National Gallery, LondonLeft Figure 29-13 JEAN-BAPTISTE GREUZE, Village Bride, 1761. Oil on canvas, 3’ x 3’ 10 1/2”. Louvre, Paris.
Figure 29-12 JEAN-BAPTISTE-SIMÉON CHARDIN, Saying Grace, 1740. Oil on canvas, 1’ 7” x 1’ 3”. Louvre, Paris.
Figure 29-18 BENJAMIN WEST, Death of General Wolfe, 1771. Oil on canvas, approx. 4’ 11” x 7’ National Gallery of Canada, Ottawa (gift of the Duke of Westminster, 1918). Benjamin West’s great innovation was to blend contemporary subject matter and costumes with the grand tradition of history painting. 16
R Figure 29-18 BENJAMIN WEST, Death of General Wolfe, 1771. Oil on canvas, approx. 4’ 11” x 7’ National Gallery of Canada, Ottawa (gift of the Duke of Westminster, 1918).L Figure 5-81 EPIGONOS(?), Dying Gaul. Roman marble copy of a bronze original of ca. 230–220 BCE, 3’ 1/2” high. Museo Capitolino, Rome.
Figure 29-17 SIR JOSHUA REYNOLDS, Lord Heathfield, 1787. Oil on canvas, 4’ 8” x 3’ 9”. National Gallery, London. • Specialized in Grand Manner portraiture depicting contemporaries . • Uses large scale of figure, canvas, controlled pose, low horizon line. 18
John Locke Knowledge comes to people through their sense of perception. The laws of Nature grant people the natural rights of life, liberty and property as well as the right to freedom of conscience.
Figure 29-19 JOHN SINGLETON COPLEY, Portrait of Paul Revere, ca. 1768–1770. Oil on canvas, 2’ 11 1/8” x 2’ 4”. Museum of Fine Arts, Boston (gift of Joseph W., William B., and Edward H. R. Revere). • Emphasis is on this • Depicts American subject’s down-to-earth character, in contrast to its European counterparts,Grand Manner portraiture. 20
L Figure 29-17 SIR JOSHUA REYNOLDS, Lord Heathfield, 1787. Oil on canvas, 4’ 8” x 3’ 9”. National Gallery, London.
Figure 29-14 ÉLISABETH LOUISE VIGÉE-LEBRUN, Self-Portrait, 1790. Oil on canvas, 8’ 4” x 6’ 9”. Galleria degli Uffizi, Florence. One of the few women admitted to France’s Royal Academy of Painting and Sculpture; seen here depicting herself confidently painting the likeness of Queen Marie Antoinette that later won her renown 22
Figure 29-14 ÉLISABETH LOUISE VIGÉE-LEBRUN, Self-Portrait, 1790. Oil on canvas, 8’ 4” x 6’ 9”. Galleria degli Uffizi, Florence.
Left Figure 29-16 THOMAS GAINSBOROUGH, Mrs. Richard Brinsley Sheridan, 1787. Oil on canvas, 7’ 2 5/8” x 5’ 5/8”. National Gallery of Art, Washington, D.C. (Andrew W. Mellon Collection). • Specialized in portraiture. • Mixture of Naturalism and Rococo style
