1 / 30

Jacque Louis David Oath of the Horatii 1784-85

Jacque Louis David Oath of the Horatii 1784-85. Group Discussion. Refer to the given artwork, ask yourself / your group:. What do you see? What do you think about that? What does it make you wonder?. Neo-Classicism. ROMANTICISM. Francisco Jose de Goya (Spanish)

vonda
Télécharger la présentation

Jacque Louis David Oath of the Horatii 1784-85

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Jacque Louis David Oath of the Horatii 1784-85

  2. Group Discussion Refer to the given artwork, ask yourself / your group: • What do you see? • What do you think about that? • What does it make you wonder?

  3. Neo-Classicism

  4. ROMANTICISM

  5. Francisco Jose de Goya (Spanish) Theodore Gericault (French) Eugene Delacroix (French) John Constable (English) Joseph Turner (English) Casper Friedrich (German) ROMANTICISM -- artists

  6. Francisco Goya The Third of May, 1808 1814 Oil on canvas

  7. Strategic use of a composition that divides the painting into halves diagonally. By having the man in the white shirt brightly illuminated, Goya established him as the main focus. Moreover, the guns are pointed towards this man. Due to the lighting, the man is painted using very flat colours, which in turn, made him more prominent than the rest. Francisco Goya The Third of may, 1808

  8. The Third of may, 1808 The French firing squad had their side profile facing us, their faces hidden. Dressed similarly with a similar pose, they appear oblivious to the horror experienced by the prisoners. Their uniforms made them look insect-like; their long and sharp swords adds to their menacing stance. The use of a dark grey sky adds onto the gloomy atmosphere Francisco Goya

  9. Theodore Gericault Raft of the Medusa 1819

  10. Depicted helpless passengers and crew of the French ship, Medusa. They were shown in varied poses – some kneeling with their hands stretched out; some lying down, some looking up to the sky. Together, we see twisting forms and tilting diagonals Theodore Gericault Raft of the medusa

  11. Eugene Delacroix Liberty Leading the People 1830

  12. Eugene Delacroix Liberty Leading the People 1830

  13. Eugene Delacroix Liberty Leading the People 1830

  14. Casper Friedrich Cloister Graveyard in the Snow 1810 Oil on canvas

  15. Joseph Turner Rain, Steam and Speed 1844 Oil on canvas

  16. An art movement that developed at the end of 18th century to mid 19th century Reacted and moved away from the rationalism of Neo-Classicism towards the more subjective aspect of human experience. ROMANTICISM

  17. Feelings = Both the subject & object of Art Importance of feelings and self-expression ROMANTICISM – Main concern

  18. “Imagination abandoned by reason produces impossible monsters; united with it, she is the mother of the arts and the origin of source of their wonders.” Francisco Goya

  19. Depicted the execution of Spanish loyalists by Napoleon’s troops when the French occupied the city • French troops / soldiers are shown lined up at the right; pointing their rifles towards the group of prisoners on the left. • Prisoners are shown helpless – one man in white shirt has both his arms raised and he is being illuminated clearly such that we can see his traumatized expression. To his left and right, other prisoners huddle around each other, some covered their faces with their hands, others looked defiant. Some of the prisoners lie dead on the ground covered with blood stains. • In the far distance, we see a building (maybe a church) against a dark sky Francisco Goya The Third of may, 1808

  20. Exposed the prisoners’ plight by illuminating their desperation, fear and helplessness by the lampshade needed in the early dawn for the soldiers to hit their marks Despite its origins in a historical event, Goya made this painting go beyond the specific references and is a stark portrayal of man’s inhumanity to man Further reading -- http://www.artmuseums.com/goya.htm http://www.artchive.com/artchive/G/goya/may_3rd.jpg.html Francisco Goya The Third of may, 1808

  21. “With the brush we merely tint, while the imagination alone produces colour.” Theodore Gericault

  22. Painted contemporary events as an exploration of the passionate emotions and truths that underlie them. • Fascinated by violence and horror Theodore gericault Decapitated Heads c.1818

  23. Raft of the medusa When the ship wrecked near Senegal in July 1816, the passengers were placed aboard a raft and cut adrift by the captain. At the time of the rescue only 15 of the 149 passengers and crew members were still alive. A notorious event, involving political corruption and scandal, since the incompetent captain owed his job to his allegiance to the French monarchy. It was the type of horrific subject that interested Gericault and his contemporaries Theodore Gericault

  24. The ordeal of the victims involved a struggle against the forces of nature, shown in the painting by the immense stormy sea and the powerless occupants of the raft. The unequal struggle of man against nature was a theme that fascinated many of the Romantic artists. Made use of dramatic lighting relationship – powerful light and dark contrasts, to emphasize the plight of the passengers Theodore Gericault Raft of the medusa

  25. Gericault’s concept was to make the contemporary tragedy into something monumental and heroic. He made an intensive study of the disaster – he depicted the occupants of the raft just as they sighted the rescue ship on the horizon – which included acts of cannibalism and mutiny. In preparation for this work, Gericault interviewed some of the victims and had the carpenter built a model of the ship for him to study. Theodore Gericault Raft of the medusa Further reading -- http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=10134198673236500&CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673236500&FOLDER%3C%3Efolder_id=9852723696500815&bmLocale=en

  26. For the composition and poses of the men and women, Gericault referred to the works of Raphael and Michelangelo. Thus the final work was grand in scale and conception. Theodore Gericault Raft of the medusa Michelangelo Rebellious Slave 1513-6 Marble Raphael Transfiguration 1516 - 20

  27. “A picture is nothing but a bridge between the soul of the artist and that of the spectator.” “Everyone knows that yellow, orange, and red suggest ideas of joy and plenty.” Eugene Delacroix

  28. Fascinated by the exotic, both of the past and present Works characterized by rich, brilliant colour, energetic brushwork and dramatic / emotive subject matter Eugene delacroix

  29. Not a realistic depiction of what happened in actuality but an allegory of revolution Liberty – a partly nude, majestic woman (with an expression of noble dignity), wearing a cap and holding up a French flag, waves the people forward. In her left arm, she carries a bayonet. She is striding over the dead/dying people. Around her are the bold revolutionaries. The towers of Notre Dame is seen in the background amidst the smoke & clamour. Eugene Delacroix Liberty leading the people

  30. The clutter of the sprawling bodies in the foreground provides a base to support the figures in the central ground. This builds up the frantic energy from the heavy and the inert. The light flashes like the fire of guns, and the darks mingle freely with the lights. The gestures of the figures form swirls which generates a sense of tumultuous excitement. Eugene Delacroix Liberty leading the people

More Related