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Art of the Enlightenment and Neoclassical Art

Art of the Enlightenment and Neoclassical Art. William Hunter Child in Womb from Anatomy of the Human Gravid Uterus 1774.

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Art of the Enlightenment and Neoclassical Art

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  1. Art of the Enlightenment and Neoclassical Art

  2. William Hunter Child in Wombfrom Anatomy of the Human Gravid Uterus 1774

  3. Two ways in which European art was changed as a result of the scientific and technological advances made from the end of the eighteenth through the early nineteenth centuries Increased practice of dissection led to the anatomical artist’s skill becoming a specialty and anatomical drawings an instrument for the education of surgeons. The theories and inventions of the Industrial Revolution could be elevated to the plane of history painting, as in Joseph Wright of Derby’s works. Age of Enlightenment A new way of thinking critically about the world and about humankind, independent of religion, myth, or tradition, and instead based on using reason to reflect on the results of physical experiments. In the arts, this new way of thinking can be seen in the general term “modern” used to describe the art from the eighteenth century on, indicating an awareness of history and the idea of being up-to-date.

  4. Wright of Derby’s Philosopher Giving a Lecture at the Orrery reflects the scientific view of the universe by the light from the lamp, representing the sun, pours forth from in front of the boy silhouetted in the front of the picture. The metal orbs in the orrery represent the planets. Everyone in the painting is caught up in the wonders of scientific knowledge. Joseph Wright of Derby A Philosopher Giving a Lecture at the Orrery ca. 1763-1765oil on canvas4 ft. 10 in. x 6 ft. 8 in.

  5. The type of lighting that was often used by Joseph Wright of Derby was usually a single light from within the picture, candlelight, and moonlight. Joseph Wright of Derby Experiment on a Bird in the Air Pump 1768oil on canvas6 x 8 ft.

  6. The Coalbrookdale bridge was the first bridge that used iron. Iron allowed a bridge to span a much greater distance than wood and to carry heavier volumes. Abraham Darby III and Thomas E. Pritchard Iron Bridge at Coalbrookdale Coalbrookdale, England 1776-1779

  7. Voltaire was the most representative figure of the Enlightenment, Voltaire was instrumental in introducing Newton and Locke to the French intelligentsia. His writings protested against government persecution of the freedom of thought and religion. Jean-Antoine Houdon Voltaire 1781marbleapproximately life-size

  8. According to Rousseau, The arts, sciences, society, and civilization in general had corrupted the “natural man” His views differ from those of Voltaire in that Voltaire thought that the salvation of humanity was in the advancement of science and in the rational improvement of society. Rousseau thought that humanity’s salvation lay in a return to something like “the ignorance, innocence, and happiness” of its original condition. Rousseau’s views were largely responsible for the turning away from the Rococo sensibility and the formation of a taste for the “natural,” as opposed to the artificial.

  9. Sentimentality and moralizing are obvious traits of the work of the French painter Jean-Baptiste Greuze. Jean-Baptiste Greuze The Village Bride 1761oil on canvas3 ft. x 3 ft. 10 1/2 in.

  10. The social class of the majority of Chardin’s patrons came from the bourgeoisie. His work appeal to them because the peasants are happy because happiness is the reward of “natural” virtue. They preferred narratives that taught moral lessons, dismissing the frivolities and indecent subjects of the Rococo. Jean-Baptiste-Siméon Chardin Grace at Table 1740oil on canvas1 ft. 7 in. x 1 ft. 3 in.

  11. Jean-Baptiste-Siméon Chardin The Soap Bubble ca. 1739oil on canvas61 x 63 cm

  12. The French painter Elisabeth Louise Vigée-Lebrune specialized in portraits of nobility. In contrast to Rococo artificiality, the style of her self-portrait can be described as “Natural,” self-confidence of a woman who has won herself an independent role in her society, close-up and intimate. Élisabeth Louise Vigée-Lebrun Self-Portrait 1790oil on canvas8 ft. 4 in. x 6 ft. 9 in.

  13. Adélaide Labille-Guiard Self-Portrait with Two Pupils 1785oil on canvas6 ft. 11 in. x 4 ft. 11 1/2 in.

  14. Satires of contemporary life was the subject matter did Hogarth work. William Hogarth Breakfast Scene from Marriage à la Mode ca. 1745oil on canvas2 ft. 4 in. x 3 ft.

  15. Although Gainsborough preferred to paint landscapes, he is best known for his portraits. Style: Soft-hued light, feathery brushwork, interest in the natural, the innocent, and the pastoral. He began as a landscape painter and incorporated landscape elements into his portraits. The genre in which Gainsborough’s portraits belonged was called Grand Manner portraiture. Thomas Gainsborough Mrs. Richard Brinsley Sheridan 1787oil on canvas7 ft. 2 5/8 in. x 5 ft. 5/8 in.

  16. The type of portraits that Sir Joshua Reynolds was most famous for were contemporaries who participated in the great events of the latter part of the century, including military hero portraits. Sir Joshua Reynolds Lady Sarah Bunbury Sacrificing to the Graces 1765oil on canvas7 ft. 10 in. x 5 ft.

  17. Sir Joshua Reynolds Lord Heathfield 1787oil on canvas4 ft. 8 in. x 3 ft. 9 in.

  18. Charles Wilson Peale George Washington ca. 1779-81oil on canvas95 x 61 3/4 in.

  19. Benjamin West was an American painter who was influential in the Anglo-American school of history painting Benjamin West The Death of General Wolfe 1771oil on canvasapproximately 5 x 7 ft.

  20. Copley’s portrait of Paul Revere differs from contemporary British and continental portraits in that unlike Grand Manner portraiture, Copley’s portrait conveys a sense of directness and faithfulness to visual fact that marked the taste for “downrightness” and plainness many associated with America. John Singleton Copley Portrait of Paul Revere ca. 1768-1770oil on canvas2 ft. 11 1/8 in. x 2 ft. 4 in.

  21. A veduta painting are “Views” of Venice, painted to sell to British visitors. Canaletto dome of the Chapel of Saint Ivo College of the Sapienza Rome, Italy begun 1642

  22. Neoclassicism was stimulated by the excavation of the Roman cities of Herculaneum and Pompeii in the mid18th century. The eruption of Mount Vesuvius in 79 BCE enabled modern scholars to learn so much about life in a Roman town

  23. Angelica Kauffmann combined Rococo and Neoclassicism in her work. Angelica Kauffmann Mother of the Gracchi ca. 1785oil on canvas3 ft. 4 in. x 4 ft. 2 in.

  24. Jean-Antoine Houdon Voltaire 1778marble18 7/8 in. high

  25. Jean-Antoine Houdon George Washington 1788-92marble6 ft. 2 in. high

  26. Two Neoclassical stylistic features that are found in that work: It deals with a narrative of patriotism and sacrifice from Roman history. It is painted with force and clarity. The importance of the subject matter in the Oath of the Horatii is that the leaders of two warring cities decide to resolve the cities’ conflicts by sending their sons to fight as representatives. The active, forceful forms of the men, associated with the Enlightenment, contrast with the curvilinear shapes of the distraught women. It marked a revolutionary change from the feminine Rococo to the masculine Neoclassical. Jacques-Louis David Oath of the Horatii 1784oil on canvasapproximately 11 x 14 ft.

  27. Jacques-Louis David Death of Socrates 1787oil on canvas51 x 77 1/4 in.

  28. Politics behind David’s Death of Marat: In 1793 Jean-Paul Marat, a friend of David’s and a revolutionary radical and writer, was assassinated in the bath by a member of a rival political faction. Narrative details like the knife and the wound are composed to sharpen the sense of pain and outrage and to confront viewers with the scene. It presented Marat to the French people as a tragic martyr who died in the service of the state. The painting functions as an “altarpiece” to the new civic “religion.” Jacques-Louis David The Death of Marat 1793oil on canvasapproximately 5 ft. 3 in. x 4 ft. 1 in.

  29. Jacques-Louis David Napoleon at St. Bernard’s Pass 1800oil on canvas9 ft. 11 1/2 in. x 7 ft. 2 in.

  30. Napoleon Bonaparte was a major patron of David’s work after the fall of the Revolutionary party Jacques-Louis David The Coronation of Napoleon 1805-1808oil on canvas20 ft. 4 1/2 in. x 32 ft. 1 3/4 in.

  31. The Coronation of Napoleon documents the relationship between church and state by showing the coronation taking place in Notre Dame Cathedral. Napoleon insisted that David show the pope with his hand raised in blessing. The painting shows the moment just after Napoleon has crowned himself, instead of letting the pope crown him, as was traditional. Neoclassic features that are apparent in the painting: The structured composition and the action is presented as on a theater stage. Also, David grouped the figures to represent polarities—the group of the clergy on the right, contrasting with members of Napoleon’s imperial court on the left.

  32. Jacques-Louis David Monsieur Lavoisier and His Wife 1788oil on canvas8 ft. 8 1/4 in. x 7 ft. 4 1/8 in.

  33. Étienne-Louis Boulée Cenotaph for Isaac Newton (never built) 1784ink and wash drawingseach 15 1/2 x 25 1/2 in.

  34. Inspiration for Soufflot’s design for the church of Ste. Genevieve in Paris were the Roman ruins at Ballbek in Syria, especially its titanic colonnade. Jacques-GermainSoufflot The Panthéon(Sainte-Geneviève) Paris, France 1755-1792

  35. Stylistic features: The high podium, broad flight of stairs leading to a deep porch in the front, Corinthian columns, and a sequence of three domes on the interior. The original purpose of La Madeleine was a church before being changed to a “temple of glory” for Napoleon’s armies and as a monument to the newly won glories of France. After his defeat in 1807 it reverted to a church. Pierre Vignon La Madeleine Paris, France 1807-1842

  36. Pierre Vignon La Madeleine Paris, France 1807-1842

  37. Antonio Canova Paulene Borghese as Venus 1808marblelife-size

  38. Aspect of Canova’s portrait of Pauline Borghese that comes from the earlier Rococo style is the sensuousness of the figure and her portrayal as the goddess of love. Realistic aspects: The sharply detailed rendering of the couch and drapery. Neoclassical aspects: The pose and drapery; it is also not as idealized as might be expected. Antonio Canova Paulene Borghese as Venus 1808marblelife-size

  39. Antonio Canova Paulene Borghese as Venus 1808marblelife-size

  40. Antonio Canova Perseus with the Head of Medusa ca. 1800marblelife-size

  41. Antonio Canova Cupid and Psyche 1787-93marble5 ft. 1 in. x 5 ft. 8 1/4 in.

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