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The Generation of 1830 and the Crisis in the Public Sphere

Explore ideological underpinnings in iconic artworks like Liberty Leading the People, symbolizing dissent and public unity fracture in 1830s France. Learn the historical connotations and societal critiques exemplified in paintings by renowned artists like Delacroix and Daumier.

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The Generation of 1830 and the Crisis in the Public Sphere

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  1. The Generation of 1830 and theCrisis in the Public Sphere

  2. John Constable, The Hay Wain (Landscape, Noon), 1821, oil on canvas, 51 x 73 in. What was the “ideological burden” of this “six-footer”? How is it a “vehicle of thought” (Ruskin) relevant to its time and place?

  3. EUGÈNE DELACROIX, Liberty Leading the People, 1830, oil on canvas, approx. 8’ 6” x 10’ 8”. Louvre, Paris. How was this painting received at the Salon of 1831? Why?

  4. Paul Delaroche (French, 1797-1856) Artists of All Ages (enthroned figures are the creators of the Parthenon, Phidias, Ictinus, and Apelles), 1836-41, oil & encaustic, 12’x 82’, the hemicycle of the award theater of the École des Beaux Arts, Paris. How is this “Juste Milieu” mural like a Cecil B DeMille movie?

  5. Honoré Daumier (French, 1808–1879), Rue Transnonain April 15, 1834, lithograph, 11 x 17” How is this work a sign of “working class dissent” that fractured the unity of the “bourgeois public sphere” in the 1830s? What was Daumier’s moral position as a “modern” artist? What risk did he take?

  6. Ary Scheffer (Dutch-French, 1795-1858), Saint Augustine and Saint Monica, 1854, oil on canvas, 33x41. Why is this historical “costume” Catholicism conservative?

  7. Antoine-Louis Barye (France, 1796 - 1875), Lion Crushing a Serpent, 1832-33, bronze, 70” long, Louvre, Paris. Commissioned for the Tuileries Gardens in Paris by King Louis-Philippe and was on display there from 1836 to 1911. This copy is in Rittenhouse Square, Philadelphia. Close study of nature and appeal to the powers that be: lion crushing Republican anarchy (snake).

  8. http://www.high.org/main.taf?p=3,1,1,9,6

  9. Jean-Auguste-Dominique Ingres, M. Louis-Francois Bertin, 1832, oil on canvas, 46 x 37in. Louis-François Bertin founded the Journal des Débats and backed Louis-Philippe. Bertin as represented by Ingres is considered the archetype of the triumphant bourgeoisie of the 1830s.

  10. Pierre-Jean David D’Angers, Pediment of the Pantheon, Paris, 1830-37. How is D’Angers’ sculpture like Delacroix’s Liberty Leading the People of the same year? To whom is the Pantheon dedicated? Synthesis of diverse styles. Military heroes with “History” Cultural & civic leaders with “Liberty”

  11. Jacques-Germain Soufflot, The Pantheon, Paris, begun 1744, finished 1789. Baroque neoclassicism. Among those buried in it are Voltaire, Rousseau, Victor Hugo, Émile Zola, Jean Moulin, Marie Skłodowska-Curie, and Louis Braille.

  12. FRANÇOIS RUDE, La Marseillaise, Arc de Triomphe, Paris, France, 1833–1836. Approx. 42’ x 26’. Idealism + realistic anecdotalism and humor

  13. Antoine-Augustin Préault, Slaughter, 1833-4, bronze, 43 x 55 in. How is this relief experimental (“almost cubist”) in form?

  14. Thomas Couture, Romans of the Decadence, 1847, oil on canvas, 15’6” x 25’10” 40 figures in Roman costume – genre historique: “Classicism and Romanticism, eroticism and sexual repression, political criticism and Orléanist ingratiation.” (Eisenman)

  15. Eugene Delacroix, Women of Algiers, 1834, oil on canvas, 71 x 91”A critique of “advanced” Western civilization and a response to the feminist movement, like Couture’s Romans

  16. Dominique Papety (French , 1815-1849),The Dream of Happiness, 1843, oil on canvas, 12’2” x 20’8”. Fourierism: “Unité universelle” How is this painting “a kind of juste milieu nudist colony, at once ascetic and libertine…a model marriage of conformism and liberalism” (Eisenman)

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