Romanticism 1789 1848 must fit form to content Renaissance 18th c picture tells story or shows a subject no idea of abstract art without subject sensory experience no value on its own 1 century for this attitude to change Many times previous artists had subjects dictated to them many exceptions mid 17th c even if not specifically instructed artist catered subject material to powers that be art then did not reflect ideas of artist Immanuel Kant Critique of the Power of Judgment feeling vs rational knowledge works of art can cause feelings but meaningless unless knowledge is encoded 3rd faculty new aesthetic judgment aesthetic knowledge can be valued on its own independent from rational thought don t need rational mathematical principles to evaluate art France post revolution Napoleonic Wars Napoleonic Europe 1799 1815 includes Naples even the Papal States Rise of nationalism people over king Orientalism Western European fascination with the East both near and far Beginning of art as self expression Raw emotion becomes most effective and important vs Neoclassicists stoicism and rationality Idea of the sublime art inspires awe feelings of moral intellectual and religious purpose Extremes of human experience longing for faraway places and the past Argument can be made for Neoclassicism as romantic historicism Developing at the same time as Neoclassicism Pre Raphaelites group of artists painters poets active in mid 19th c who believed that the height of artistic expression occurred before the High Renaissance esp Middle Ages and Gothic periods Francisco Goya The Third of May 1808 commissioned by provisional government of Spain Spanish town attacked by the French Napoleon defeated and humiliated Napoleonic soldiers dehumanized hats like pistons of a machine instruments of killing backs of soldiers shadowed line of Spanish peasants resisted rule waiting to be executed terror on faces of peasants some covering face one is defiant raises arms Christ like wears light colors unlike rest church symbolizing morality is in darkness box lantern eternal light source baroque device is only light source deliberate distortion of reality through lighting Th odore G ricault The Raft of the Medusa 1818 1819 ship captain sailing off West African coast hired by government storm the poor are left to die on raft see a ship to rescue them but were unnoticed bodies torn by sea natural elements human body as a metaphor for human soul soul is indestructible muscular strong form reflects determination to fight survive figures arranged in diagonal towards boat reflecting longing for salvation diagonal common to baroque composition lighting effects like Caravaggio light and dark contrast full chiaroscuro range figures lit from the side one side dark one light breaks up picture plane J M W Turner The Slave Ship 1840 contemporary event captain throws slaves overboard alive so he can collect insurance money shortly after the abolition of slavery 1833 storm approaching ship sailing in background human arms and legs with shackles still on vicious marine creatures possibly about to eat the bodies undefined brushstrokes some objects lack contours defined by colors colors evoke emotion part of sky red like blood mixes with the ship and the sea Caspar David Friedrich The Abbey in the Oakwood 1809 1810 shown in Berlin Academy exhibition idea of presence of God in nature landscape portrays spiritual presence cathedral in ruins building gone but spiritual energy remains light shines behind window light symbolizes the divine trees are twisted bent look alive procession of people under arch recalls a group of monks sun is rising haze in sky behind ruins sense that sunlight is going to break through window rise of German nationalism German gothic tradition reflected here Pierre Alexandre Vignon La Madeleine Paris 1807 1842 dedicated to Napoleon s army church looks like classical temple mix of Greek Roman models columns all around outside wall Greek not Roman Roman capitals The Houses of Parliament London 1799 1801 political building remodeling gothic elements of 13th century neo gothic English gothic perpendicular style strong vertical lines with narrow spaces ideological political message through traditional British architectural style sense of longing for past John Nash Royal Pavilion 1787 1823 in Brighton England recreational palace for Prince of Wales 19th and early 20th c saying Sun never sets on the British empire vast power control of territories colonial rule in India 1757 1858 Indo Saracenic style characteristic of contemporary India colonial control of architectural forms used to evoke emotion whimsical like the Taj Mahal built by Muslim Indian ruler Shah Jahan interior British chinoiserie Chinese imagery and artistic influence