Lecture 17Outline of Last Lecture I. Sunni/Shii DivideII. Ottoman Empire of Turkey, 1299-1923III. SuleymaniyeCami Mosque ComplexIV. Safavid Empire of Iran (1501-1722) V. Mughal, Empire of India, 1526-1858Outline of Current Lecture I. Ingres, Grande OdalisqueII. Goya, The Third of May, 1808, 1814-15III. Géricault, The raft of the Medusa, 1818-19IV. Delacrois, Liberty Leading the People, 1830V. Turner, The Slave Ship, 1840VI. Gustave Courbet, The Stone Breakers, 1849, destroyed (formerly Dresden)VII. ÉduoardManet, Le Déjeunersurl’Herbe (Luncheon on the Grass), 1863, Musée d’Orsay, ParisVIII. Joseph Paxton, Crystal Palace, 1850-51, London, destroyedCurrent LectureReadings:Art through the Ages, Book E, pp. 756-773, 775-777, 780-782, 790-791Terms:- Romanticism: A Western cultural phenomenon, beginning around 1750 and ending about 1850, that gave precedence to feeling and imagination over reason and thought. More narrowly, the art movement that flourished from about 1800 to 1840. (Book E, 762)- Uprising of 1830 (Charles X):The French Revolution of 1830, also known as the July Revolution, saw the overthrow of King Charles X. It marked the shift from one constitutional monarchy, the Bourbon Restoration, to another, the July Monarchy; and the substitution of the principle of popular sovereignty for hereditary right.- Realism: A movement that emerged in mid-19th-century France. Realist artists represented the subject matter of everyday life in a relatively naturalistic mode. - Academicism: adherence to formal or conventional rules and traditions in art or literatureo Academic Art: Academic art is a style of painting and sculpture produced under the influence of European academies of art- Great Exhibition of 1851:an international exhibition that took place in Hyde Park, London, from 1 May to 11 October 1851. It was the first in a series of World's Fair exhibitions of culture and industry that were to become a popular 19th-century feature. It was held in the Crystal Palace.ArtH 10011st EditionWorks:- Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814, Musée du Louvre, Paris- Francisco José de Goya, The Third of May, 1808, 1814-15, Museo del Prado, Madrid- ThéodoreGéricault, Raft of the Medusa, 1818-19, Musée du Louvre, Paris- Eugène Delacroix, Liberty Leading the People, 1830, Musée du Louvre, Paris- Joseph Mallord William Turner, The Slave Ship, 1840, Museum of Fine Arts, Boston- Gustave Courbet, The Stone Breakers, 1849, destroyed (formerly Dresden)- ÉduoardManet, Le Déjeunersurl’Herbe (Luncheon on the Grass), 1863, Musée d’Orsay, Paris- Joseph Paxton, Crystal Palace, 1850-51, London, destroyedI. Ingres, Grande Odalisque- Erotic- Subject: reclining nude female figureo Follows the grand tradition of antiquity andthe Renaissance - Similar elements to Parmigianino/Italian Mannerists- Odalisque: woman in a Turkish haremo Made a strong concession to the Romantictaste for the exotic- Originally drew criticismII. Goya, The Third of May, 1808, 1814-15- Continuing narrative of the maiming/killing - Bodies of those who have been shot (bottom left)- Robot-like soldiers- White of shirt, appears to be Christ-like- Painted at night, but the people are illuminated III. Géricault, The raft of the Medusa, 1818-19- Very large painting- The Louvre - Beginning of romanticism- Exhibited at the Salon of 1818- Makes Géricault an art celebrity- Abolitionist- Perfect moment when survivors are signaling boatIV. Delacrois, Liberty Leading the People, 1830- Louis Philippe, The Citizen King- In 1830, July Revolutiono People believed rights of people had been deserted- Allegory of France- Maryanne, Image of France- People of France pictured on left- Image of hope, change- Painting was removed from public display, put in storage- Used on currencyV. Turner, The Slave Ship, 1840- Showing episode of throwing overboard of slaves who were sickor dying- Ruskin considers Turner the best of the contemporary painters ofhis timeo Only one that stands up for Turner- Impact on abstract expressionistsVI. Gustave Courbet, The Stone Breakers,1849, destroyed (formerly Dresden)- Subject: workers on roads- Elderly figure, young figure- Tattered clothing- Detailed, accurate- Elderly figure, straw under knee to support, movesmore rigidly- Young figure: one suspender draped over back,poor, struggling to carry rocks- Scene: countryside- Focus on here and now, what people actually looked like: realism- Salon of 1850-51, Courbet was keystone of the realism movementVII. ÉduoardManet, LeDéjeunersurl’Herbe (Luncheon onthe Grass), 1863, Musée d’Orsay,Paris- Exhibited at Salon of the Rejected Artists- Official Salon & Salon of the Rejected Artists- Painting that becomes the keystone ofmodernism- Subject: Sensuality- Two well-dressed men, naked woman, semi-nude women wading in watero Manet’s girlfriend- Destroys concept of Renaissance spaceo Forms flattenedo No chiaroscuroo Compressed spaceo No linear perspectiveVIII. Joseph Paxton, Crystal Palace, 1850-51,London, destroyed- Glass-and-metal roof construction- Joseph Paxton submitted a winning glass-and-ironbuilding design in the competition for the hall to housethe Great Exhibition of 1851 organized to present“works of industry of all nations”- Paxton constructed the Crystal palace withprefabricated parts - Built in six months- Dismantled quickly at exhibitions closing to avoidpermanent obstruction of the park- Borrowed from Roman and Christian