Eugène Delacroix

ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa,
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1804. Oil on canvas, approx. 17’ 5” x 23’ 7”. Louvre, Paris.
ANNE-LOUIS GIRODET-TRIOSON
The Burial of Atala, 1808
Portrait of Jean-Baptiste Belley, 17972
JEAN-AUGUSTE-DOMINIQUE INGRES, Apotheosis of Homer, 1827. Oil on
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canvas, approx. 12’ 8” x 16’ 10 3/4”. Louvre, Paris.^
School of Athens, Raphael, High Renaissance
From Neoclassicism to Romanticism
• Understand the philosophical and stylistic differences
between Neoclassicism and Romanticism.
• Examine the growing interest in the exotic, the erotic, the
landscape, and fictional narrative as subject matter.
• Understand the mixture of classical form and Romantic
themes, and the debates about the nature of art in the
19th century.
• Identify artists and architects of the period and their
works.
5
The Move toward Romanticism
• Examine how the artist Jean-Auguste-Dominique Ingres
combined classical form with Romantic themes.
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JEAN-AUGUSTE-DOMINIQUE INGRES,
Grande Odalisque, 1814. Oil on canvas,
approx. 2’ 11” x 5’ 4”. Louvre, Paris.
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Venus of Urbino, Titian, High Renaissance
The Rise of Romanticism
• Examine the exotic, erotic, the landscape, and fictional
narrative as subject matter.
• Understand the mixture of classical form and Romantic
themes
10
HENRY FUSELI, The Nightmare, 1781. Oil on canvas,
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Ancient of Days, frontispiece of
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Europe: A Prophecy, 1794.
Drama, Action, and Color in
Spanish Romanticism
• Examine the issues of drama, action, and color in the art
of Francisco Goya.
13
FRANCISCO GOYA,
The Sleep of Reason
Produces Monsters,
from Los Caprichos,
ca. 1798. Etching and
aquatint, 8 1/2” x 6”.
Metropolitan Museum
of Art, New York.
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FRANCISCO GOYA, The Family of Charles IV, 1800. Oil on canvas,15
approx. 9’ 2” x 11’. Museo del Prado, Madrid.
FRANCISCO GOYA, The Third of May 1808, 1814. Oil on16
canvas, approx. 8’ 8” x 11’ 3”. Museo del Prado, Madrid.
FRANCISCO GOYA,
Saturn Devouring
One of His Children,
1819–1823.
Detail of a detached
fresco on canvas,
full size approx. 4’ 9” x 2’
8”. Museo del Prado,
Madrid.
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The French Debate: Color vs. Line
• Understand the French debate over theories related to
color (expression) vs. line (drawing or form) as appropriate
to artistic expression.
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THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas,
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approx. 16’ x 23’. Louvre, Paris.
Pity the Sorrows
of a Poor Old Man,
Lithograph, 1821
THÉODORE
GÉRICAULT,
Insane Woman
(Envy),
1822–1823.
Oil on canvas,
approx. 2’ 4” x
1’ 9”. Musée
des Beaux-Arts,
Lyon.
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EUGÈNE
DELACROIX
Massacre at Chios,
1822-24
EUGÈNE DELACROIX, Death of Sardanapalus, 1826. Oil on
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canvas, approx. 12’ 1” x 16’ 3”. Louvre, Paris.
EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on
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canvas, approx. 8’ 6” x 10’ 8”. Louvre, Paris.
EUGÈNE DELACROIX, Tiger Hunt, 1854. Oil on canvas,
approx. 2’ 5” x 3’. Louvre, Paris.
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FRANÇOIS RUDE,
La Marseillaise,
Arc de Triomphe,
Paris, France,
1833–1836.
Approx. 42’ x 26’.
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Romantic Landscape Painting
• Understand the romantic interest in the landscape as an
independent and respected genre in Germany, England,
and the United States.
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CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810.
Oil on canvas, 3' 7 1/2" X 5' 7 1/4“. Staatliche Museen, Berlin.28
JOHN CONSTABLE, The Haywain, 1821. Oil on canvas,
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4’ 3” x 6’ 2”. National Gallery, London.
JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing
Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on
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canvas, 2’ 11 11/16” x 4’ 5/16”. Museum of Fine Arts, Boston.
THOMAS COLE, The Oxbow (View from Mount Holyoke, Northampton,
Massachusetts, after a Thunderstorm), 1836. Oil on canvas, 35
4’ 3 1/2” x 6’ 4”. Metropolitan Museum of Art, New York.
ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California,
1868. Oil on canvas, 6’ x 10’. National Museum of American Art,
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Smithsonian Institution, Washington.
FREDERIC EDWIN CHURCH, Twilight In the Wilderness, 1860s.
Oil on canvas, 3’ 4” x 5’ 4”. Cleveland Museum of Art,
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Cleveland, Ohio.
Discussion Questions
 Identify the formal artistic differences between
Neoclassicism and Romanticism.
 Why did Neoclassicism appeal to political leaders in the
19th century?
 Describe the debate over 19th century aesthetic theory,
as characterized by the Poussinistes vs. the Rubenistes.
41
Romantic Revivalist Styles in Architecture
• Examine the variety of revivalist styles in architecture, the
origins of the designs and their impact.
42
CHARLES BARRY and A. W. N. PUGIN, Houses of
Parliament, London, England, designed 1835.
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JOHN NASH, Royal Pavilion, Brighton, England, 1815–1818.
CHARLES
GARNIER
The Opéra,
Paris, France,
1861–1874.
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The Grand Staircase
the Opéra
Opéra
HENRI LABROUSTE, reading room of the Bibliothèque Sainte-Geneviève,
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Paris, France, 1843–1850.
JOSEPH PAXTON, Crystal Palace, London, England, 1850–
1851. Photo from Victoria and Albert Museum, London.50
Photography
• Examine the origins of photography and its impact in
visual art.
• Discuss initial uses of the new art medium known as
photography.
• Recognize the artists and the works of early photography.
The Art of Photography
• Examine artist’s use and response to the technology of
photography.
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EUGÈNE DURIEU and
EUGÈNE DELACROIX,
Draped Model (back
view),
ca. 1854.
Albumen print,
7 5/ 16” x 5 1/8”.
J. Paul Getty Museum,
Los Angeles.
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LOUIS-JACQUES-MANDÉ DAGUERRE, Still Life in Studio, 1837.
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Daguerreotype. Collection Société Française de Photographie, Paris.
JOSIAH JOHNSON HAWES and ALBERT SANDS SOUTHWORTH, Early Operation
under Ether, Massachusetts General Hospital, ca. 1847. Daguerreotype.
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Massachusetts General Hospital Archives and Special Collections, Boston.
NADAR
Eugène Delacroix, ca.
1855
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JULIA
MARGARET
CAMERON
Ophelia, Study no. 2,
1867. Albumen print
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TIMOTHY O’SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania,
July 1863. Negative by Timothy O’Sullivan. Original print by ALEXANDER
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GARDNER, 6 3/8" x 8 3/4". The New York Public Library
EADWEARD MUYBRIDGE, Horse Galloping, 1878. Collotype
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print. George Eastman House, Rochester, New York.