neoclassic/romantic art. neoclassical art severe and objective form of art –harkening back to the...

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Neoclassic/Romantic Art

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Page 1: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Neoclassic/Romantic Art

Page 2: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Neoclassical Art

• Severe and objective form of art – harkening back to the grandeur of ancient Greece and

Rome. • Reaction to the feminine, over refined and

decorative Rococo style and emotional charged Baroque style. – Form : balanced, restrained– Color: rich – Figures: realistic

• Part of a general revival of interest in classical thought, important in the American and French revolutions.

Page 3: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Jacques Louis David

• Repetition of line: balanced composition

• Realistic figures• Expresses, however,

Romantic nationalism• “Napoleon Crossing

the Alps”

Page 4: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

• “Death of Marat”

• Violent subject portrayed in restrained manner

• Restrained use of chiaroscuro

Page 5: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Ingres

• Student of David

• Balance

• Classical poses

• Restraint

• Romantic nationalism

Page 6: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Romanticism

• Counterbalance to Neoclassic style

• Emotion

• Freedom: no rules

• Romantic nationalism

• Subject matter: weird, supernatural, exotic as well as patriotic, genre paintings (pastoral, sublime of the ordinary)

Page 7: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Blake

• Romantic idealism– “I do not behold the

outward creation... it is a hindrance and not action.”

• Showed Social injustice

• Imagination, individualism

• Engraver: “drawn” figures

Page 8: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Nebuchadnezzer

Page 9: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Whirlwind of Lovers

Page 10: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Friedrich (this one is Gothic)

Page 11: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

• Fascination with odd, weird

• Exotic settings in time and space

Page 12: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Constable: genre painting

Page 13: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

• Peaceful genre scene

• Idealized nature

Page 14: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Delacroix: “Liberty Leading the People”

Page 15: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the
Page 16: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Gericault “The Raft of the Medusa”

Page 17: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Francisco Goya (Spain)

• Straddles Romantic Realistic/naturalistic

• Disillusioned Romantic• Realistic portrayal of

what he saw• Technique: Romantic• Romantic nationalism• Family of Charles III

– Charles looks foolish

– His wife looks hard and domineering

– Others look self satisfied

Page 18: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

(Goya)

• Disasters of War: “This is Terrible”

• Romantic composition and freedom

• Realistic subject matter

Page 19: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

2nd of May 1808

• Napoleonic wars massacre he actually witnessed in Madrid• Romantic composition and nationalism

Page 20: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

3rd of May 1808

• Note use of chiaroscuro, composition and symbolism• Faceless enemy, Christ-symbol of insurrectionist

Page 21: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the
Page 22: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Beethoven• Bridged Classical and

Romantic periods– Form used contextually– Motifs– Works as attempts for

perfection

• Manifested Romantic ideal– Pastoral, Symphony No. 6– Symphony 9, Ode to Joy– Eroica – Piano Sonata No. 8 in C minor,

Pathetique

Page 23: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Franz Schubert • Vienna Austria• Child prodigy• Wrote lieder—songs with

emotional theme based on folk tradition

• Song cycle• Wrote for fewer instruments

– Unfinished Symphony– Symphony in C major

• Many works were lost

Page 24: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Felix Mendelssohn

• Tried to preserve Classical style– Brought Bach out of obscurity

• Symphonies were classical form and romantic tone

• Midsummer Night’s Dream

Page 25: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Frederic Chopin

• Child prodigy• Sickly his whole life: died young• Ultimate romantic love story• Made money by giving piano

concerts • Composed mazurkas, preludes and

polonaises: nationalistic, emotional– Etude Opus 10– Polonaise in A flat major– Minute Waltz

Page 26: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Franz Liszt

• Hungarian child prodigy• Great showman• Kind to other musicians• Several love affairs:

– Romanticism– Individualism

• Les Preludes• Hungarian Rhapsody

– Nationalistic– Used folk themes

Page 27: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Richard Wagner

• German nationalism – Nazis loved him

• Not a prodigy• Immoral life• Opera

– Leitmotif

• Depicted Germanic myths and heroes– Die Walküre (Ride of the Valkyries)– Tannhäuser (end of the overture)– Tristan and Isolde (Unresolved – Liebestod)

Page 28: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Giuseppe Verdi

• Greatest Italian style opera– Aida– La Traviata– Rigoletto

• La Donna e Mobile

• Innovation– Focus on human emotion– De-emphasis on bel-canto style

• Rossini: Barber of Seville

– Excellent librettos (stories)– Orchestra an important component

Page 29: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Johann Strauss

• Father was excellent composer

• Played in father’s orchestra• More popular than his father• Waltzes

– Embodiment of Viennese life– Blue Danube Waltz– Tales of the Vienna Woods

Page 30: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Johann Brahms

• German• At first imitated Beethoven

until developed own style• Mentored by Robert and Clara

Schumann• Emotional compositions

– Hungarian Dance #5– Lullaby

Page 31: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Russian Composers

• Moussorgsky,Balakirev, Borodin, Cui, Rimsky-Korsakov– Russian Easter Overture

• Used Russian themes• Helped each other• Flight of the Bumble Bee• Night on Bald Mountain

Almaty, Kazakhstan

Page 32: Neoclassic/Romantic Art. Neoclassical Art Severe and objective form of art –harkening back to the grandeur of ancient Greece and Rome. Reaction to the

Peter Ilych Tchaikovsky

• Russian• Used French style• Ballets are most famous

– Nutcracker, Sleeping Beauty– Romeo and Juliet

• Deep emotion for his sad life– Symphony No. 6 – Pathètique