The 19th Century - Art Under Napoleon and Romanticism

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Department
Visual Arts History
Course
Visual Arts History 1040
Professor
Christine Sprengler
Semester
Winter

Description
Feb 01 12 thThe 19 CenturyArt Under Napoleon and RomanticismArt under Napoleon Napoleon took advantage of the turmoil after the revolution and see it as an opportunity to seize power Fashions himself a new sort of absolute ruler Used images to a great extent to further his power See the effects of conquest the invention of photography and of cinema Napoleon Crossing the SaintBernard By JacquesLouis David 18001801 Oil on canvas 811 x 77 Artist went along with Napoleons ideas and really did support him so he was not selling out in painting and supporting him Work of pure imagination on many levels because the artist never saw him in this setting Napoleondid not cross the Alps on a horse but a donkey very dramatic diagonal flow onward and upwardmotion shows Napoleon as very large when in reality he was shortBorrowed from classic times for ways of showing powerCoronation of NapoleonBy JacquesLouis David 18051808 Oil on canvas 20 4x 32 1 Shows the artists ability to adapt because he went from supporting the revolution to supporting NapoleonDocuments events around the coronation of Napoleon as Emperor by the PopeAccurate to a point in setting and who attended mother refused to go but she is shownAbides by his grouping principles when painting group portraitsThere seems to be two groups which are the church and those associated with the stateNapoleons followersShows the coronation of his wife and Napoleon holding up the crown because they did not want to show the pope giving him powerWhen Napoleon lost power so did the artist and he went into hiding and we see in his followers a new kind of subject matter more romanticNapoleon on the Imperial Throne By JeanAugusteDominique Ingres 1806 Oil on canvas 8 8 58 x 53 One of Davids most prominent students Artist tried to gain Napoleons favor by doing these paintings and appealing to his ego Appeals not just to one past but multiple ones and we are back to revival works frontal pose andformality looks Byzantine there is a sort of symbolic excess in the detail that recalls Flemish worksand the stern expression is sort of like the colossal statues of Zeus Artist did not spend that much time learning with David because they disagreed on somefundamental thingsGrande Odalisque By JeanAugusteDominique Ingres 1814 211 78 x 54Artist believed his way of painting was more true to classical style than Davids wasVery linear and shallow so the subjects seem to be compressed in a narrow spaceBalance in the composition was very important and emphasized through color and it was formally idealized There is a very elongated spine and this is a nod to Mannerism and the subject matter speaks to contemporary interest Shows a concubine in a harem and this exotic subject matter was important to the RomanticStyleArtist wanted to be known as a history painting because they were revered at the time but his
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