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=England, America and France late eigteenth and early nineteenth centuries…
=England, America and France late eigteenth and early nineteenth centuries
Even the 'idealists' agreed that the artists must study nature and learn to draw from the nude, even the 'naturalists' agreed that the works of classical antiquity were unsurpassed in beauty
- French revolution 1789
- during the period of the french Revolution artists felt free to choose as their subjects
The french revolution put an end to so many assumptions that had been taken for hundres or thousands of years
just as the Great Revolution has its roots in the Age of Reason, so have the changes in man idea's about art
- First of these cahnges concerns the artists attitude to what is called style
- In former times; the style of the period was simply the way in whcih things were done; it was practised because people thought it was the best way of achieving certain desired effect
- in the Age of reason people began to become self conscious about style and styles
Many architects were still convinced, as we have seen, that the rules laid down in the books by Palladio guaranteed the have seen, that the rules laid down in the books by Palladio guaranteed the. But once you turn to textbooks for such
questions it is almost inevitable that there will be others who say:
- why must it be just palladio's style?
- This is what happened in England in the course of the eighteenth century.
- Among the most sophisticated connoisseurs
there were some who wanted to be different from the others.
The majority of architects, still kept to the classical forms of Renaissance building, but even they were increasingly worried about the right style
On the continent too, a Ghotic revival existed side by side with this new revival of the pure Greek style
- It appealed particularly to those Romantic Minds who despaired of the power of Reason to reform the world and longed for a return to what they called The Age of Faith
It was here that the main difficulties arose
Because:
- The very emphasis on the greatnes of the masters of the pas
which was favoured by the academies
made patrons:
- inclined to buy old masters rather than to commison paintings from the living
As a remedy
the academies first in paris then in London;
- began to arrange annual exhibitions of the works of their members
- these annual exhibitions became social events that formed the topic of conversation in polite society and made and unmade reputations
- instead of working for individual patrons whose wishes they understood, or for the general public whose taste they could gauge
- artists had now to work for success in a show where there was always a danger of the spectacular and prentetious outshining the simple and sincere
The most immediate and visible effect of this profound crisis was that artist everywhere looked for new types of subject matter
Jacques louis david 1748-1825
- Embraced Neoclassical style
- Opperating within the salon system
The Death of the Marat 1793
- He had learned from the study of Greek and Roman sculpture how to model the muscles and sinews of the body and give it the appearance of noble beauty
- He had also learned from classical art to leave out all details which are not essential to the main effect and aim for simplicity
Francisco Goya 1746-1828
- was well versed in the best tradition of Spanish painting
- had produced a great number of ethcings most of them in a new technique called acquatint - which allows not only etched lines but also shaded patches
William Blake 1757-1827
- he despised the offical art of the academics and declined to accept its standards
- Blake had formed a mythology of his own
- Blake was so wrapped up in his visions that he refused to draw from life and relied entirely on his inner eye
- like medieval artists he did not care for accurate representation
He was the first artist after the Renaissance who thus consciously revoluted against the accepted standards of tradition
There was one branch of painting that profited much by the artists new freedom in his choice of subject-matter: landscape painting
- tradition could serve both as help and a hindrance and it is fascinating to see
how differently two English landscape painters of the same generation approached this question
- The break with tradition had left artists with the two possibilites which were embodied in Turner and Constable:
they could become:
- J.M.W. Turner 1775-1851
- In Turner, Nature always reflects and expresses man's emotions
- we feel small and overwhelmed in the face of the powers we cannot control and are compelled to admire the artist who had nature's forces at his command
- Turner wanted to rival tradition
Steamer in Snowstorm 1842
John Constable 1776-1837
- He wanted to paint what he saw with his own eyes
- he wanted nothing but the truth
- Constable had no wish to shock people by daring innovations. All he wanted was to be faithful to his own vision
- his sketches are often bolder than his finished pictures
- ** Response to the anxiety of industrialisation
- push against the depiction of landscape as picturesque**
The Hawain 1821
- he also muted the colour of the foreground and of the
foliage to remain within a unified tonal range
There were great artists among the Romantic painters of Europe
Caspar David Friedriech 1774-1840
- his landscapes reflect the mood of the Romantic lyrical poetry of his time
landscape in the silesian mountains 1815
Rise of the academic salon
- 17th to early 20th century
- artistic production in France controlled by art academies which organized official exhibitions called salons
THe accademia di San Luca Rome
- Take care of the large numbers of young artists
- Exchanging of points of view between students
- Impose a professional hierarchy and be socially recognized as artist --> the artist will be seen as intellectual person and not only as a craftsman
- Distinguish themselves from the ol university associations
- regulate artisitc developments of this time
- to elevate art to be more than craft
- distinguish themsleves from the old university associations
- achieve a universal style; encouringing the study of different stylistic models
Salon Subject matters
1. Historical painting mythological biblical -
Jacques louis david- oath of the horatti 1784 2. landscape
John Constable - the Haywain 1821 2. still lives 3. Portraiture
Sir joshua Reynold, Sarah Campbell 1771
- Genre painting - everyday life
- Idealising and moralising
- Jean batistte Simeon Chardin saying grace le benedict 1740
Dominant figures in the Salonns
England
France
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