Arte en el Romanticismo

Presentación del tema: "Arte en el Romanticismo"— Transcripción de la presentación:

1 Arte en el Romanticismo

2 David, Napoleón cruzando los Alpes, 1800

3 Aspectos del Romanticismo en Música y Arte
El artista comprometido y enfurecido Naturaleza Lo sobrenatural, lo demoníaco; los sueños y la locura exotismo “lo antiguo” (Medieval –– no Griego) - rechazo al Clasicismo y al Renacimiento

4 ¿NO ESTAMOS AÚN EN LA ERA ROMÁNTICA?
Compromiso y Furia EL ARTISTA CONTRA LA SOCIEDAD EL ARTISTA COMO CRÍTICO SOCIAL Y REVOLUCIONARIO EL ARTISTA COMO GENIO ¿NO ESTAMOS AÚN EN LA ERA ROMÁNTICA?

5 Delacroix, Libertad liderando al Pueblo, 1830

6 Goya, Fusilamientos del Tres de Mayo, 1808 1814-15

7 Goya, Desastres de la Guerra Grandes obras contra la muerte
Aguafuerte Comunicación política

8 Naturaleza como paz, descanso, escape; Lo Pintoresco
como lo alucinante, poderoso, horripilante, irresistible, indiferente al destino humano; Lo Sublime o como el lenguaje de Dios

9 John Constable, El carro de heno, 1821

10 Caspar David Friedrich, El viajero sobre un mar de niebla, c. 1817-18

11 FRIEDRICH, Caspar David El mar de hielo, c. 1823-25, Óleo, 96. 7 x 126
FRIEDRICH, Caspar David El mar de hielo, c , Óleo, 96.7 x cm

12 J.M.W. Turner, El barco de esclavos, 1842

13 detalle, El barco de esclavos

14 Turner, Joseph Mallord William, Lluvia, Vapor y Velocidad 1844, Óleo

15 detalle

16 Constable Turner

17 La Balsa de Medusa de Gericault 1819
Political appt of incompetent sea captain

18 Church, Frederic Edwin Temporada de lluvias en los trópicos 1866
( ) Hudson River School Frederic Edwin Church, born in Hartford, Connecticut, Writing of Claude Lorrain, an artist against whom the Hudson River painters measured themselves on their excursions abroad, Roger Fry said, "Claude's view of landscape is false to nature in that it is entirely anthropocentric. His trees exist for pleasant shade; his peasants to give us the illusion of pastoral life, not to toil for a living. His world is not to be lived in, only to be looked at in a mood of pleasing melancholy or suave revery." But I wonder if there ever was a form of landscape painting that is not "false" in this sense. The landscapes we represent are in effect texts in which our feelings and beliefs about nature, and hence about ourselves as inside and outside nature, are inscribed. According to Wen Fong, Travelers in a Wintry Forest, a twelfth- century Chinese painting after Li Ch'eng, transmits the proposition that "recluse scholars living in the mountains have rediscovered in nature a moral order lost in the human world." No such contrast is pointed in the Hudson River paintings, of course, because the natural and the social order for them were one - two modalities of divine presence in American reality. Through the metaphysical window of an oil painting its owner could see the face of God and almost hear the voice of God in the cataracts and echoing precipices of Catskill Mountain scenery. In an odd way, the paintings, in bringing God into the living rooms of the land, have almost the sacred office of religious icons. It says a great deal about the American mind in the early mid-nineteenth century that religious art took the form of landscapes that were Edenic, majestic, gorgeous and bombastic, rather than historical scenes of biblical enactment. It says a great deal as well about the mirror function of landscape painting that the transfigurative vistas of the Hudson River painters gave way, after the Civil War, to something more intimate and less awesome - to farms, for example, where sunsets mean the end of the day's labor, as the workman trudges homeward through diffuse illumination, rather than extravagant timberlands above which God addresses the nation through spectacular cloud formations flamboyantly lit up with cadmium reds and oranges. These were works of high Romanticism . . . Still, one misses the point if one sees these paintings only or even chiefly as transcriptions after nature. They are, with qualification, incidentally that. It is not altogether wrong to say, as John K. Howat, the curator of the show does in an interview in The New York Times, that "you can practically smell the light." The illusion of transcriptional exactitude was only a means to an end. The end was to have been a work "imbued," according to Durand, "with that indefinable quality recognized as sentiment or expression which distinguishes the true landscape from the mere sensual and striking picture." That is a beautiful formulation of a distinction between a visual text and a mere picture, and it is my sense that the message that this is God's country must still come through to an audience still responsive to the sentimental assurances of "divine visual language." It is a message transmitted in the vocabulary of waterfalls and rushing streams, storm clouds and florid dawns, massed foliage and blasted tree trunks. It is this, I think, that must explain the popularity of the show rather than the message Howat believes the paintings communicate to us: "The natural environment is something we have to preserve." DANTO Church, Frederic Edwin Temporada de lluvias en los trópicos 1866

19 Church, Frederic Edwin, Los Icebergs 1861

20 Bierstadt, Albert En las montañas de Sierra Nevada, California 1868, 183 x 305 cm

21 Lo Sobrenatural fantasmas, hadas, brujas, demonios, etc.
las sombras de la mente – sueños y locura ¿reacción al Racionalismo? (1ª caza de brujas durante el Renacimiento) – se escapa de lo racional

22 Delacroix Mefistófeles por los aires, 1828 Nº 2 de la serie de 18 litografías del Fausto de Goethe

23 Goya, El sueño de la razón traído por monstruos 1796-8 Aguafuerte

24 Kronos devorando a sus hijos
Goya Kronos devorando a sus hijos

25 Goya, El aquelarre, c

26 Theodore Gericault Estudio de la locura

27 Goya Los locos

28 Exotismo la sensualidad de Oriente
¿justificación psicológica o moral del imperialismo? Inglaterra es exótica para los Italianos, Italia para los ingleses ¿un sentimiento de escapada?

29 Delacroix, La muerte de Sardanapalus, 1826

30 detalle, Sardanapalus

31 Ingres, Jean Auguste Dominique La Gran Odalisca 1814

32 Jean Auguste Ingres, El baño turco, c. 1852-63

33 Retrato de una negra Marie Guillemine Benoist, 1800
¿Comentario político sobre los derechos de la mujer?

34 John Nash Royal Pavilion de Brighton 1815-1823
John Nash remodeled the Royal Pavilion at Brighton between 1815 and for the then Prince of Wales, the future George IV. You can see the array of elements taken from various types of Indian and Islamic architecture. The domes, filigree screens, and archways echo the most elaborate stonework which the British would have seen in India and elsewhere, for example in the northern African colonized area or in places like Persia (present day Iran and Iraq).

35 Renacimiento de estilos pasados
Gótico & Románico libre mezcla de elementos estilísticos Verticalidad Gótica y asimetría

36 Abadía de Fonthill 1823

37 Fonthill, pintura del interior por el arquitecto, James Wyatt

38 Cole, El sueño del arquitecto, 1840
) "Thomas Cole, born in Lancashire, England, was trained as an engraver of woodblocks used for printing calico. Because he did not have any formal education in art, his aesthetic ideas derived from poetry and literature, influences that were strongly to mark his paintings. The Cole family emigrated to America in 1818, but Thomas spent a year alone in Philadelphia before going on to Steubenville, Ohio, where his family had settled. He spent several years in Steubenville designing patterns and probably also engraving woodblocks for his father's wallpaper manufactory. He made his first attempts at landscape painting after learning the essentials of oil painting from a nebulous itinerant portraitist named Stein. In 1823, Cole followed his family to Pittsburgh and began to make detailed and systematic studies of that city's highly picturesque scenery, establishing a procedure of painstakingly detailed drawing that was to become the foundation of his landscape painting. "During another stay in Philadelphia, from 1823 to 1824, Cole determined to become a painter and closely studied the landscapes of Thomas Doughty and Thomas Birch exhibited at the Pennsylvania Academy, His technique improved greatly and his thinking on the special qualities of American scenery began to crystallize. Cole next moved to New York, where the series of works he produced following a sketching trip up the Hudson River in the summer of brought him to the attention of the city's most important artists and patrons. From then on, his future as a landscape painter was assured. By 1829, when he decided to go to Europe to study firsthand the great works of the past, he had become one of the founding members of the National Academy of Design and was generally recognized as America's leading landscape painter. "In Europe, Cole's visits to the great galleries of London and Paris and, more important, his stay in Italy from 1831 to 1832, filled his imagination with high- minded themes and ideas. A true Romantic spirit, he sought to express in his painting the elevated moral tone and concern with lofty themes previously the province of history painting.

39 Parlamento, Londres,

40 Un edificio inglés en La India

41 Aspectos del Romanticismo en Música y Arte
El artista comprometido y enfurecido Naturaleza Lo sobrenatural, lo demoníaco; los sueños y la locura exotismo “lo antiguo” (Medieval –– no Griego) - rechazo al Clasicismo y al Renacimiento

42 Goya, Fusilamientos del tres de Mayo, 1808 1814-15
Compromiso y furia: crítica política

43 John Constable, El carro de heno, 1821
NATURALEZA: Lo pintoresco

44 Caspar David Friedrich, El viajero sobre un mar de niebla, c. 1817-18
NATURALEZA: Lo sublime

45 Goya, El sueño de la razón traído por monstruos 1796-8 Aguafuerte
La huída de la razón Goya, El sueño de la razón traído por monstruos Aguafuerte

46 John Nash Royal Pavilion de Brighton 1815-1823
EXOTISMO: otra huída de la razón John Nash Royal Pavilion de Brighton John Nash remodeled the Royal Pavilion at Brighton between 1815 and for the then Prince of Wales, the future George IV. You can see the array of elements taken from various types of Indian and Islamic architecture. The domes, filigree screens, and archways echo the most elaborate stonework which the British would have seen in India and elsewhere, for example in the northern African colonized area or in places like Persia (present day Iran and Iraq).

47 Un retorno del pasado pre-renacentista
Parlamento, Londres, Huída de la razón: Un retorno del pasado pre-renacentista