Before 8/16/11 the 18th century the patrons were always the Royalty or the Church, people, as a public, had no voice The Role of the Artist new concept; how does the artist feel about his art? The 18th century was revolutionary in many ways: politics, economics, experiences in great loss and socially Enlightenment: we are still furthering its principles; it was a intellectual, philosophical movement that believed in a more rational inquiry into the world... sometimes people throw in science however that is a very loose term for the time period; it starts to challenge the religious or philosophical orient of the world; observational sciences was key to the enlightenment - Includes the word "light" which is a metaphor to higher understanding... ex. Shedding light on a problem; the word "light" was very rich in meaning during the 18th century... even the science behind it Cornaro Chapel, Bernini, Rome 1645-52 before the 18th century the church used art to emphasize religious, mystical experiences - The Enlightenment always had the justification to improve life; learning and progress is essential to the Enlightenment - Many enlightenment scholars were still religious, many still catholic; religion was not all of a sudden cast aside, however there was a new hierarchy in science based on proof and reason read Manuel Kant for Thrus. "What is Enlightenment?" It was an essay in a competition to try to explain what the Enlightenment was; written in 1783... submitted into a magazine so many read it Why is the Enlightenment important to him? How would this definition of enlightenment apply to artists? - Enlightenment was critical in different ways of reason Reason Pulls the Veil off of Truth, Cochin, frontispiece to the Encyclopedie (publ. 1764) Didtiro w/ Dalambert collaborated Cochin was a member of the French Royal Art Academy... he was the secretary (2nd most powerful position next to the President) Etching: very commonly used in the18th cent. because you can create more kinds of effects because of the fine lines... more painterly Allegory: the representation of abstract concepts, most often in human form... especially the female figure Reason was a beautiful woman, and Truth was a beautiful woman as well often nude because she is "pure" This form of nudity was meant to please and delight, not highly sexualized... Truth has pure and chaste nudity This shows that the texts in the book will enlighten you and give you the truth about things; relating this to human achievement with the human form and the architectural structures in the background; however it is ideals that has been worked and reworked The encyclopedia was considered dangerous in some ways; it was banned in Spain b/c it was very catholic and it saw the Encyclopedia as a threat Enlightenment believed knowledge was essential for the growth of civilization, it was the time of great exploration... started to compare their society with the new societies of the Americas... the "Noble Savage" not exposed to the bad parts of society 8/18/11
best libraries were in the churches, we separate the church out of the enlightenment but in reality, the church was very involved in the enlightenment objectives and goals. Flourishing of bookstores in the 18th cent. INCREASINGLY PEOPLE WERE STARTING TO READ AND PUBLISH IN VERNACULAR LANGUAGES Publishing was a major practice, with more an dmore newspapers... growing concept of a "public" with its own opinion Vernacular languages is modern languages Literacy went hand in hand with capitalism... capitalism needed a reading public, call for more education Literacy was good for business because people bought books and created their own libraries Associations were "trouble" ALLAN, A Roman Coffee House, 1775, watercolor Robert Allan, a European artist went to further his artistic education.... People were playing billiards Coffee was a new product brought from the colonies; this attempt by Western powers to control other people in other worlds... coffee and sugar were not what made them flourish in the colonies... saw them at major western spots Too often we see the Enlightenment as this pure virtuous thing, however it is bound up with things we reject like slavery Benefits of war were economic Vernacular languages enhance greater literacy and the possibility for more people to become more literate. Increase of portraiture, genre painting or scenes of everyday life, or still life (you didn't need to know religious things) PIRANESI, Design for the Caffe degli Inglesi, Rome, early mid 1760s engragving TRESHAM, Grand Tourists Purchasing Antiquities, c. 1790, pen in ink The Grand Tour: no rules or itinerary just general exploration of the people to look at all the cultural differences and monuments in other places; about knowing and seeing for one's self things going on in the world... it is a broad cultural experience; produced more travel writing Many tourists acquired art... as a status symbol, they had taste, or a souvenir Fewer women went on the Grand Tours.... Some poeple thought that women couldn't learn anything so why should they go? Rome contained the Vatican; many Europeans, being catholic, went to the Vatican as a pilgrimage... and Rome is a major metropolitan city, had the great pieces of Renaissance art, one of the major centers of the Baroque styles; Rome was a highly prolific artistic center We see a shift to the past in the 18th century travel became increasingly secular The Pope's wanted to attract the Protestants, probably because the church's power was slowly declining This shows the grand tourists purchasing antiquities Laws of entail and restrictions to impede the loss of patrimony WILSON, Ruined Arch at Kew Gardens, 1761-62 BATONI, Portrait of Lord Dundas, 1764, o/c 10'2" x 6'4" Life size, important and expensive As much as artists have the sitter in front of them, this is not a document... the sitter and the artist had to work together. The sitter most likely respected the artist and decided to take his advice
Sitters didn't necessarily have to dress fancy like in the painting... it was how they wanted to appear Red velvet outfit a very attractive color and a very royal and important color However he is in a profile pose and one foot is standing on a sculptural fountain... "pinwheel pose" creates a sense of movement even though he is standing still... very dynamic posture; figure is pointing to a very famous sculpture (appears a s a cultured, educated man) Sculpture: Cleopatra dying Dundas is surrounded by important classical sculpture... implies that he is cultural who is an active dynamic man... he created a fantasy BATONI, Portrait of Count Razumovsky, 1766 Convention: a sign or symbol that is generally understood, it could also be a practice; ex. Hi, how are you? Batoni's conventions have a meaning in the overall impression; to show these gentlemen as cultured, well traveled and engaged in fine art Apollo Antituous, Cleopatra, etc. TISCHBEIN, Geothe in the Roman Campagna, 1786-87, o/c, 5'3" x 6'5" He is a writer and intellectual... already very well known; traveled incognito and assumed an alias; he wanted to avoid the social obligations Wearing a large white cloak that would cover his clothes Tischbein is German, he didn't want the "Calvin Klein" painting of the time... he is depected out in the roman Compangna or Countryside Admired throughout Europe as very beautiful and had a lot a light, so it was very popular by artists... you could also find a lot of antiquities lying around Depicted seated, reclining and he is much more relaxed... suggested by his gaze that he is reflecting or thinking Thinking, surrounding and engaged in the past Iphigenia & Orestes: one of the plot lines of ancient Greece; this reference is to Geothe's ongoing intellectual and creative work White cloak: reminds us of classical sculpture with the drapery depicted on classical sculptures CLERISSEAU, Interior of Mausoleum, 1757, wash Ink and water By a French artist who was in Rome at the same time as Adam... They met but he was particularly interested in architectural views He would record the buildings in a very faithful way with all the modern additions depicted R. ADAM, Temple of Jupiter, Interior of Mausoleum from Ruins of the Palace of Diocletian (publ. 1764) Diocletian was a corrupt emperor of Rome Plate in the book... this is the interior of the Mausoleum... the part where people were buried The figures are wearing contemporary 18th century dress Adam literally measured what was remained of the building and he wanted to illustrate them... Adam hired Clerisseau to help him illustrate this building 8/23/11 CLERISSEAU, Interior of Mausoleum 1757 wash CLERISSEAU, Design for the Ruin Room, Trinita dei Monti, Rome, c. 1766 watercolour
Trinita dei Monti: church on top of a hill near the Spanish steps... Clerisseau was commissioned to design the rooms there.... Sense of nostalgia and the sense of time collapses here; The discipline of art history begins at this time... shown with the emphasis of antiquity in these works and in this room in particular; greater self-consciousness about the history of art; studying the art rather than just the lives of the artist R. ADAM, Temple of Jupiter, Interior of Mausoleum from )Ruins o the Palace of Diocletian_ (publ. 1764) engraving Before the 1700's art was seen at the Royal Courts, Catholic and Protestant churches (much less decoration there though) and wealthy homes of private collectors There were no museums or exhibitions... most art was seen in a permanent place (an art that was made for that space) The Mays of Notre Dame: Principle/National cathedral of France AVELINE, View of the Nave of Notre Dame, with the Mays 17th cent. engraving Guild (trade union) of Gold Smiths the Guild of St. Anne... every May they donated a painting to the Cathedral and they are shown in the nave above the columns... permanent exhibition with a religious theme; gold smiths hired painters to make theses paintings (typically the most important artists of the time) 1st Royal Art Academy = competition to the Guilds Art was beginning to be appreciated in a more public, secular way rather than religious Very few public art exhibitions... always linked to religious celebrations or fairs Faade of Notre Dame, Paris, begun 14th c. View of Corpus Christi 1645 engraving tapestries by Raphael hung temporarily Exposition de la Jeunesse (Exhibition of Youth) 1783 Drawing this fair evolved through a procession through Paris that was once an ancient Roman travel route transformed into a pilgrimage route from Paris to Spain... the route was decorated; began as dealers or antiquarians showing old master paintings... the Exhibition of Youth made it transformed as an exhibition for younger artists to show their work Chardan got discovered by members of the Royal Art Academy Fair of St. Germain: VAN BLARENBERGHE, View of Theatre and Shops at the St. Germain Fair 1763 o/c 61x81 cm Created scene of the performances happening at the fair Humorous and gaudy performances...no more tragedies... open to everyone who can watch General View of the St. Germain Fair, Paris 17th cent. engraving Idealized view of the fair... not nearly as organized as in the drawing Often the art shown here was not contemporary... it was art of the past In the mid 18th century.... Public art collections came into existence Luxembourg Palace, Paris 1621-27 Royal Palace built for a dowager queen; this was open 2 afternoons a week for several months of a year starting in 1750... people saw great art of an earlier century Versailles Palace enlarged 1669-85 power moved there and most art moved there and people could only see the art if they knew the king or invited Art viewers were limited as well; you had to be rich
List of Members of the Academie de Saint Luc Paris 1734 guild the guild for painters very exclusive... Saint Luc (the patron saint of painters), formed in the 1400s... only with the establishment of the Royal Art Academy were any artists not in the guild; the guild felt the pressure with the RAA... they started to hold their own exhibitions; held an exhibition every 2 years (opposite of the RAA) 1776: the guild of painters was abolished b/c of RAA... reflected the growing system of capitalism In guilds--master/apprentice system... the guild decided when you become your own master to train the apprentices Royal Art Academy: founded in 1648 in Paris; became the model for most other RAA in Europe; the leading Art Institution in Europe; artists would have the kings protection, could establish an international reputation, got the best commissions... they were excluded from the rules of the guild Louis XIV ordered the Academitions (members) to hold Salons... allowed some of the best students to exhibit there, a few were held in the 17th century RAA comprised of the best artists and it was also a school to train the little one Only in the 18th century were the Salons regular and reoccurring... devoted to contemporary art in a secular context MARTINI, View of the Salon of 1785, Paris, 1785 engraving Oath of the Horatii depicted here... all the paintings are crammed together; large at top, small on bottom "Skied": when you were hung up on the top of the wall The order the paintings were hung reflected the ideals and ideology of the RAA; subject was very important MARTINI, View of the Salon of 1787, Paris 1787 engraving Shows the order again still in tact after 2 years... took place in the Louvre (became a palace of the arts... the RAA academy had a seat there in a number of rooms) Museum of the Louvre: 1790s Obviously lots of people went to the Salon... but we do have criticism and reviews of exhibitions (for the first time people knew these exhibitions were going to happen) The rise of the ART CRITIC... shows there was a public that wanted to know and read about this art... many of these critics did not have a name artists in particular hated the critics; critiques being published for all to read SAINT AUBIN, Annotations on Livret of Salon of 1761 Livret: little book. Published with the artists name, the position in the academy and a list of his pictures according to subject Order of Importance: (human figure most important) History (Religion and Mythological... based on text; tended to cover important events; uplift teach and elevate the soul of the viewer) Allegory (tended to take the form of the human figure... personifications that embodied abstract concepts like the virtues or the disciplines Portraiture Genre Painting: Painting of scenes of everyday life; not identifiable people Landscape: includes views of cities; views of place and architecture and the sea... animals
Still-life: doesn't mean they think still life paintings are bad... just the value of the subject; quite a new genre (showed up in Northern Painting in the 17th century) Salon exhibitions are free... the RAA and the King wanted it to be an intellectual experience to educate and elevate the soul of the viewers... NOT a bizarre; RAA wanted to be seen as a body of liberal art professionals (men who worked with their minds and their hands) the Academicians wanted to be seen as intellectuals not just tradesmen The "Public": David became friends with The Public This is a new concept in the 18th cent. BOUCHER, Painting Mocked by Envy, Stupidity, and Drunkenness 1747 etching 1st painter to the king... referring to the critics Old woman with drooping boobs = envy Old fat man = Drunkenness Allegory painting LAGRENEE, Love of the Arts Consoling Painting after Hostile Writing by Her Enemies 1781 o/w 215 x 270 cm 100 cm is about a yard... over 6ft high and 7ft. wide Long and wordy titles of the 18th cent. Lagrenee came from a family of lots of artists Woman having a hard time because the art critics were attacking her If they could ally the art critics, they could be successful... David was a master of this; set up rivalries with other artists and destroyed them in the press even though the Salon was not a competition; David was the "new, leading artist in France" Images made that were alluded to the public... who would have bought that? A personal need to defend himself and his fellow artists COCHIN, The Life Class c. 1760 drawing Academies were good... and they challenged artists and encouraged artistic training and creativity... did a lot of debates... LINE VS. COLOR The French Royal Art Academy became a model and then they spread throughout Europe London opened one later than Madrid The training happened through Professors that were chosen from the Academicians... they were the masters who ran the courses... artists usually came from the lower middle class, sculptors maybe from the working class Once an artist was an Academician, he became a gentleman... were seen as representing the King and the Academy Within the curriculum there were only a few classes and the best one was the "life" class... drew off of prints and drawings "Life" class: studying the object in front of you... real life naked person; often asked to replicate a pose of an ancient statue... model would hold it for a week or two and then it would be changed The more advanced artists are furthest back and are drawing the whole body because they can finish it The most prestigious and best paintings were centered around the human figure Atelier, hierarchy of genres, decorum VAN LOO, Academies c. 1745 engravings Van Loo was an Academician who created a series of designs made into prints of Academies; applied to nude figures who were posed in certain ways to show the way the body moves... seen
as the principle thing the artist needs to know... a way to show the perfect human body... physical perfection symbolically reflected a beautiful interior Plaster cast first... then the life class Prix de Rome Seemliness or decorum: what is appropriate? What do you use to portray something? The Academy is not this big rule following monster... there were some guiding principles and shared beliefs, but within that there was room for creativity... defined and set the trends for other artists around them 8/25/11 HOGARTH, Plate 1 The Sculptor's Yard in the Analysis of Beauty (publ. 1753) St. Martin's Lane Academy: one of the founders was William Hogarth (a painter and printmaker) Did not have a title in the book... very interesting type of scene with an illustrated border This was a theoretical and historical traitus on the arts Hogarth was important because he wrote about art... he tried to be theoretical about his art and his practice The Analysis of Beauty is the most famous publications with illustrations he designed Creating a debate on what art should be... he didn't like the hierarchy imposed within the live models Emphasis on life drawing and life paintings... turning away from the hierarchy of genres (that likes the historical stuff) 1768: led by Sir Joshua Reynolds... Hogarth's argument didn't win never joined the Royal Art Academy in London Antinuous has multiple serpentine lines... Hogarth believes you should find the lines of beauty in the legs of a chair or a corset... so in the sequence of the margin there is a series of corset; showing through clothes with changed with fashion Suggests that modern practice is different than the antique HOGARTH, Marriage a la Mode: The Morning After 1743 Very different view of the arts than France Society for the Encouragement of the Arts... held exhibitions, no life class... only for contemporary art Paintings were more expensive and could be sold at higher prices... but prints promoted reputation, and could make him more popular Marriage a la Mode = Marriage Today Based on a narrative of a dissolute, dumb nobleman called the Earl of Squanderfield (not ambitious, just wants to satisfy his own desires Marries a woman who has money although he is poor... marriage of convenience Hogarth didn't like the French but he admired them because the were talented but culturally France was England's great rival The things that decorate the house are foreign and a bad example for the people in this class The poses of the figures shows that Hogarth is deliberately avoiding the line of beauty... they have no grace or elegance (not fit to represent British culture) Royal Academy of Fine Arts of San Fernando, Madrid: Spain would invite some of the leading artists to work for the king or the courts
Goya: the great Spanish artist of the late 18th century... unclear for how long he studied at the SRAA; definitely not a marginal artist and unstable; became the 1stt painter to the Spanish King; bought property and had a family SRAA: beginning to be planned as early as 1744 but did not open until 1752... 16 years before London 1792: Spanish minister requested that the SRAA to explain what they thought was most relevant to the fine arts... they were considering reforming the academy; the FRAA was shut down during this time by David who became politically engaged The European cultures are really intertwined in art... represents Enlightenment Goya's statement: like Hogarth, Goya believed art academies should do away with prizes and competitions (a belief that is still with us today)... wrote that there are no rules in painting (artists often find their own ways so to suggest that if they follow rules it impedes artists to finding their own voice) painting approaches the divine more than any other art, a kernal of the Romantic belief Goya recognized the need for reform in the RAA; believed studying nature was just as important as studying the great works of antiquity GOYA, The Fire, 1793-4 tinplate 43x23 cm Painting on tin; probably because it was what was at hand, with the Revolutionary turmoil with the French, it affected trade and sometimes certain materials were hard to find. It's still a permanent support Goya wrote a letter to his academicians and he said he made them to occupy his imagination; a set of cabinet paintings; observations not usually permitted in commissioned work... stated he was so sick it was feared he would die (lost his hearing as well) Cabinet paintings: small paintings for a small room right outside the bedroom... like a sitting room GOYA, Yard with Lunatics 1793-4 Painted both of these without a commission; some paintings ended up being bought by some aristocrats 1794: shared with his academecians Hired by the King to make tapestries of everyday genre paintings/ these paintings are serious and frightening (unlike any other genre painting of the time) Hogarth did compose some pictures of insane asylums in England (part of the narrative) pictured Bedlam a mispronunciation of Bethlehem (applied to hospitals) Goya visited a Institution where they were violently and horrifically treated... however it is begun to be studied as a psychological problem not a moral one Women did not have access to academic training; most academies didn't allow for women members; women trained very differently... b/c of the social expectations of women The Construction of Femininity: set beliefs about women and what they are able to do... shows that there is criticism to everyone who isn't a white male Some women were successful as painters however (talked about as exceptions) Members can be women but not Academicians HUMPHREY, The Paintress: The Proper study of Mankind is Man, 1772 engraving Print made by a man... what was he trying to say about women artists? *Figure out a way to identify what you see in the picture to support your argument She is not in a studio, not in a professional way... this is more of a hobby seated at a table with a small painting
Dress and hairstyle can show whether it is fancy dress or working dress Women not having the same aesthetic judgment... she's studying from a life model but not an athletic live nude model; she's painting this lower class She has small hands and can do small things... they can copy well but they have no imagination ZOFFANY, The Members of the Royal Academy, London 1771-2 o/c Asked to make a painting of the members of the Royal Art Academy, London There are two live models... one in a pose of the Spinario All of the members around were all men/ not appropriate for a woman to be in the presence of a nude male that was not her husband When the Academy started there were two women members who were already trained and very proficient... got their training from their family Angelica Kauffmann & Mary Mosier: one of her family (her father) was a painter and he trained her and took her to travel There were a lot of women artists in the 18th century but most belonged to the guild... not the Academies... stopped being artists when they got married or had children Zoffany depicted the women as works or art behind them so they are not in the actual room LABILLE-GUIARD, Self-portrait with Two Students 1785 S o/c Woman artist... she was an academician Very ambitious portrait that put the artist at the front and center Was made an academician in 1783 after 2 other women were members in 1782 4 women members in 1783... then the men passed a law saying there can never be more than 4 in the academy She couldn't vote... she was a minority; she petitioned to have a new rank of member of the academy called conseiller or counselors (ability to exhibit but can't vote or anything else) She thinks about ways to include and promote women artists within the academy Critics: too finely dressed to be working in a studio; suggested she was a master in her own way 3 attractive women together symbolized the 3 graces... friendship/ making an allusion to mythology She separated from her husband but understood she would be more accepted as a married woman so she continued to go by Labille-Guiard ARCHITECTURE: Baroque: sets the stage for the 18th century, established in the 19th and was in the 17th cent. Rococo: first half of the 18th cent. Neoclassical: late 18th century Utopian: idealistic view of architecture in the later part of the 18th cent. Trends and styles almost always continued for many generations after they appear; new styles are often not dominant right away Baroque: Dynamic, sculptural... casts shadows, convex/concave architecture... responds to its site... very classically styled BERNINI, S. Andrea a Quirinale, Rome, 1658-70 BORROMINI, S. Carlo alle Quattro Fontane, Rome 1665-67 Church is on a corner so they made an elaborate sculptural fountain 8/30/11 Nov. 15 @ 5:30... AH Lecure with Ex. Credit! Woo!
Baroque: characterized in the 17th cent. (before the period we're talking about in class); very different but they had classical elements; Highly dynamic play between mass and void; very dynamic architecture... building responds to its cite; tended to be more decorative than Renaissance architecture The forms in the buildings were seen as more organic with a Serpentine structure This style was based on the Catholic church; made the buildings more sensual String Courses: horizontal bands that wrap around the building Church Architecture: BERNINI, S. Andrea a Quirinale, Rome, 1658-70 Parts of it seem more sober and restrained but the portal is highly complex and decorative Oval plan BORROMINI, S. Carlo alle Quattro Fontane, Rome 1665-67 Playing up the fact that it's seated on a corner Oval plan Palace Architecture: In France... LE VAU, LEBRUN and LE NOTRE Versailles Palace and Gardens 1669-86 Greater focus on symmetry Palace complex with everything set up on axis's... creates particular vistas from certain points Gardens are highly formulized so the architecture was more so Before Versailles, the court was in the Louvre Court etiquette of Louis XIV was very elaborate (i.e. Kings shirt man) everyone fought for the favor of the King Very balanced and harmonious repetition of certain Renaissance architecture (columns, string courses, palasters) Projecting sections of the wall on the outside makes it different than Ren. Arch. Interior: Enfilade: to move or a line... a row or line of rooms Versailles Palace: Hall of Mirrors: has very tall door-windows (open like doors and let in a lot of light) opposite the windows is a mirror (made up of little mirrors held together by brass bevels) Mirrors were very expensive (more so than painting) make the room lighter and reflects the nature outside (baroque ideals... incorporate nature) Hall of Hercules: monumentally and ornately decorated with luxurious materials; lots of gilding even on plasterwork (compare to Rococo*); has a ceiling painted by Lemoyne (18th cent. artist... practitioner of Rococo in painting Versailles Complex was renovated in every generation Some argue Rococo started in the Palace Sometimes interior and exterior styles DO NOT match Rococo: - Argued it first appeared in Versailles primarily as a style of interior decoration; relates closer as architecture Chateau de la Menagerie (Zoo), Versailles: Right next to the palace was a building that housed exotic animals... destroyed in the 18th cent. AUDRAN Ceiling Design for an apartment in Versailles Palace 1709 Watercolour Grotesque or Motif: word from antiquity... seen as anthropomorphic forms (looked human, often had a fantastical component)
Organic motifs with lesser animals Primarily decorative without a story Apartment/ceiling design for a princess: very white background, and simple; very small and delicate design... really lightens up the space and opens it up; replacing the grammer of classical architecture with ornamental motifs that section off the ceiling and create discrete areas in a more lighthearted, organic, sensuous way Rococo thought to first appear at the very end of the 1700s or more likely the 1800s; fell out of favor and seen as frivolous and extravagant because it was linked to the time of the monarchy 1789: over through of the monarchy so therefore they don't like Rococo anymore Rocaille (shell)... seems appropriate because there are lots of scalloped edges and shell-like forms buried into a frame or in the carving on the wooden panels Cabinet of Queen Marie-Joseph de Saxe, Versailles Palace Major difference than baroque: - Rooms smaller - Barely no indication of post/mantel architecture; wall becomes a kind of screen with decoration on it or is broken up with mirrors... - The forms tend to be more delicate or dainty; - Less sculptural or 3-D; more areas that seem flat or empty with no decoration (part of the "lightening up" effect) - Color palate was often very different than baroque... known for lighter more pastel colors (still lots of gold b/c sign of wealth) - Less marble used but more wood... more plaster that could be painted or guilded BOFFRAND Salon of the Princess, Hotel de Soubise, Paris 1737-38 Hotel is the French word of a private residence (very elaborate for the nobility or the most wealthy) Just by looking at the building: you can see how the walls are again just broken up with long window-doors, there are mirrors that replicate the shape of the window-doors Oval shaped room smaller than the grand rectangular halls; there is a courtyard to which the windows look out... the matching of the doors and windows could not be affected Royal court set the trends however in 1715 when Louis the XIV died... a reagent was appointed to rule (the King's brother... a high-spending fellow more interested in art rather than politics)... had a palace in Paris (a lot of the courtiers moved back into townhouses in Paris or built new ones in the Rococo style) hence the Hotel de Soubise Many liked the natural, intimate style of Rococo; more comfortable DELAMAIR Hotel de Soubise: Court Faade 1705-9 Exterior architecture not relative to the interior... more restrained than the interior Noble first form without rustication and has sculptures Ground floor: staff; kitchens etc. Lots of large windows on both floors (brought in a lot of light and broke up the surface of the faade Princess' apartments: a suite of rooms intersecting for the Princess only; often the King and Queen had their own... designed for the 1st wife - Antechamber: a kind of reception room but it wasn't grand; usually the 1st room - Bedroom (semi public) - Salon (generic sense... a kind of public gathering room): drawing room - Cabinets: often held the most valuable possessions; with picture collections
Marie Sophie de Courcillon: Nineteen year old widow... her husband was 80 years old; arranged marriage; got apartments in exchange Drawing room: no direction function was to bring people together Very few straight lines, no flat wall spaces, everything moves up with lots of curving lines and scalloped edges w/ organic shaped paintings; lots of overlapping Ceiling: uniform color (eggshell blue) broken up with very decorative designs to open up the room Exterior mixes with Interior sculpture, painting and architecture all mixed together NATOIRE Psyche Discovering Cupid's Identity 1738 o/c & Psyche Saved From Drowning 1738 All 8 painted by the same artist... story of Cupid and Psyche (story that true love triumphs over all) appropriate for the apartment of a young bride One can easily be tricked Cupid and Psyche was favored during Rococo Story of Cupid and Psyche: Psyche was a beautiful mortal maiden admired by Cupid (god of love) seduces her in disguise and made her promise to never try and find out who she was ; when she visited her sisters they goateed her into finding out who she was and made her afraid of him; she woke up at night and held an oil lamp up to him and she sees how beautiful he is and she realizes he's a god. She spills the hot oil on him wakes up and vanishes; complains to Venus (his mother)... Venus makes a deal that if she can perform certain takes then Psyche can see him again; Venus gives Psyche ridiculous things to do... she accomplishes all of them and when she finally succeeds Cupid marries Psyche so he must make her immortal. Happy ending woo! Natoire needs to make these scenes to tell a story but also fit into the weird spaces in the building that are readable from below... uses a lot of reclining poses Men and the women look very similar lots of confusion... work well with the curving sides of the irregular spaces Classical legend... depicted nude (showed artist's training); very delicate Lots of diagonals BOFFRAND Princess's Bedchamber, Hotel de Soubise Undulating curving line... bed was a stage; often magnificent with an awning; Elaborate paneling; designed with the resident of the room in mind Furniture made to match the decorative element of the room Decoration: almost in the military use; must be appropriate to the owner, says something about their rank TREMOLIERES Minerva Instructing a Young Woman in the Art of Tapestry cent. 1737 o/c Very high on the wall, figures brought to the immediate foreground so it's easy to read from the ground Minerva (Athena) instructing a young woman in the art of tapestry appropriate for the bedroom b/c she is a noble woman (this is her craft) Prince's Apartments: BOFFRAND Engraving of the Prince's Bedchamber One of the carved wooden panels that would've been in the room of the Prince's Bedchamber... it is more restrained and reserved with columns flanking the bed; carved reliefs are not carved or gilded (sobriety appropriate for a man) Glory: associated with the masculine; looks back to antiquity (carved wood panel) Women = modest, demure, graceful, nuturing
This engraving was made in 1745 and it was made with the approval of Boffrand and was sold with his permission We think this is the first time a print of specific decoration was made public... a private home made public 9/1/11 Not everything is straight up Rococo... but it's important to know what was built at the time and how Rococo elements appear HILDEBRANDT, Upper Belvedere Palace, Vienna: Garden Faade and West Pavilion 172122 "Pleasure Palace": for Prince Eugene, less formal & a little smaller Built by Hildebrandt (leading architect) Central part of the faade is rectangular broken up by sculptural elements with a central elaboration... projects and retracts (seen as baroque) The Pavilions themselves have been called Rococo b/c they are smaller and daintier/more organic Facades of noble buildings tended to be more formal than the interior b/c this was a public view HILDEBRANDT Upper Belvedere Palace: Entrance Hall Ground fall Noble floor (1st floor) Entrance hall built to impress with a Caryatid Caryatid: human figure in the place of an architectural element like a pier or column ex. Erectheion, Porche of the Maidens, Acropolis, Athens 5th cent. BC (contrapasto) Ancients thought that architecture should be scaled to the idealized human body... you see it manifested in the caryatid figures In Hildebrandt's building, the caryatid statue is twisting and turning in space, it is not static, you get the feeling of the human being physically straining... looks like an Atlas figure... it announces its function to hold up these vaults/ may be one of the first times we've seen this in European art Reminds us of Michelangelo's sculptures... straining and resisting the physical parts of the world This type of caryatid is an innovation of architecture of the time. Inside is decorated without color... it is all plaster relief. w/o color it has a different effect... makes the room lighter/ cheap and more forgiving ZIMMERMANN Die Wieskirche, Bavaria 1746-54 Pilgrimage church! "The Church in the Meadows" Rustic setting... it was relatively small Plan is morphing the traditional cross-plan and an oval Aisle is an ambulatory around the building and is particularly wide for the proportions of the church Exterior: relatively soberly decorated, small organic shapes for decorations... speaks toward the Rococo Interior: quite breathtaking, made of stucco (cheaper and easier to work with) the piers carry the weight of the vault... but since its stucco, its lighter and they don't have to be so massive; sets up spectacular vistas Some color... especially as you move up the wall to the gallery space, colored columns... in the apse there is more red and blue being used (suggestion of sacrifice... blue=Virgin Mary, red=Christ)
Decoration attached to the arches is still quite baroque... but the ornament and scalloping is a little Rococo Overall impression tends towards Rococo the most... the space is open, light and brilliant... the architecture almost seems to dissolve--yet it is rather intimate (size, plan and dissolving of arch.) EGRID QUIRIN ASAM, Church of St. Johannes Nepomuk, Munich: Faade and Plan 173346 Two brothers built it Egrid Quirin Asam is the architect Had more freedom because they didn't have to please a particular patron; but it was a catholic church and there were certain expectations they probably felt compelled to follow Because it was next door to their house, they used it as their private chapel ... open to the public however Oval at the entrance, nave is organic, stretched out and curved Arches and Scalloped pediment... abandoning the classical element moving toward organic character pointing to the Rococo Faade seems to undulate back and forth with convex portions, mass and void, projections (heritage from the baroque but here it is applied in a smaller and individualized way) Sometimes called Bavarian Baroque or Bavarian Rococo Bottom of the entryway seems pretty sober Piles of rocks next to the entryway made by the architect and his team, made to look like natural rocks; reference to nature yet it is an illusion illusion to a cave to make people think they are walking into a pilgrimage shrine in nature; could refer to the river bank where St. Johannes was thrown in COSMAS DAMIAN ASAM, St. Johannes: Design of Apse, The Trinity Upper level=private, Lower Level= public 1733: the saint was only canonized in 1729 (4 years earlier) a new person to commemorate St. Johannes: Saint of Bohemia... an area that encompassed part of Austria, the Czech, Slovakia that area is trying very hard to draw people back to the Catholic Church; anyone who built a church was one promised of the Saint's relics (a real draw to the public); When he was asked to say what the Queen's confessions were, the Holy Man refused and was chained up and thrown into the River in Prague by the king of Bohemia named Vensiloff IV Painted and sculptural installation of the Trinity Solomonic Columns: refer back to Solomon... unusual in Rococo but you do see them in Baroque... adaptations to Baroque qualities Very theatrical representation of the Trinity seen against a large painting of the Virgins ascension to heaven; 2-D and 3-D elements brought together within the inside architectural setting Light brought in from the side of windows... hidden source of natural light from above (practiced during the baroque) Suggests the miraculous in the Catholic faith and the morphing of 2-D and 3-D is part of that; appeals to the senses Scale: quite small, considered intimate; Rococo interior... seems elaborate to us today but compared to the times it was small scale and not built with very expensive materials LOIS ARVALO or HURADO IZQUIERDO Charterhouse (Carthusian Monastery), Granada: Sacristy begun 1727, 16th cent. Plateresque style Order of the Carthusans Lots of debates on the history of the building
2nd order of the 18th century Very highly decorated with sculptural relief and layered architectural members; lots of organic shapes, curves and scallops yet very different from the other buildings we've seen Plateresque style: seen to be influenced by decorative arts like jewelry and metalwork... Ancient art of Mexico see it in the totems Gives us an idea of the variation of architecture in Europe at the time Neoclassical: -Reaction to Rococo and a revert back to classical ideals in art and architecture ABBOT LAUGIER Frontispiece to Essay on Architecture publ. 1753 *Read this text!! This illustration is opposite the title page Post and lintel architecture: walls held up roofs, columns held up mantels... architectural elements have a function and they perform it why did he think this was better? Compared it to nature or the Primitive hut: this Frontispiece displays the primitive hut Primitive hut: precursor to classical architecture; a kind of moralizing going on here If something is Natural it is automatically pure Rousseau: wrote a number of essays in which he makes this very clear... if you raise children close to nature they will be more pure than children raised in the city Anyone who was interested in architecture would have read this essay While there were Royal Academies of Architecture, there really were no schools of architecture His text is important because it is very clear Essay is about grounding the intellectual debate on a new style that became known as Neoclassicism (referring back to classic architecture or Ancient Greece and Rome) "Neo": has multiple meanings both positive and negative... when it was invented it was used as a negative term (not the real thing... just an attempt) Fundamentally Laugier wants a return to classic architecture in a very specific, concrete, literal way Laugier's fiction of the primitive hut came from Vitruvius Laugier elevates this concept to an ideal Post and Lintel/Natural architecture is more rational... not relying on religion but arguing this in a physical way Greeks were a democratic society making their architecture better b/c their political beliefs were built into the building; each part had a function Wanted to get rid of pilasters... should be some decoration but it had to be in its proper place (frieze or pediment) **Explain how the building looks, find out the style, define the concept and use text as examples SOUFFLOT Ste. Genevieve (Pantheon), Paris: Exterior and Plan 1757-1790 Pantheon: "all the gods" Ste. Genevieve: the patron saint of Paris Size reflects importance major church of Paris Cruciform 9/6/11 SOUFFLOT Ste. Genevieve (Pantheon), Paris: Exterior and Plan 1757-1790 Lightness of Gothic churches with the purity of classical architecture
Excesses and extremes in Gothic architecture that should be avoided (flying buttresses or extreme height of the building) Cruciform: traditional cross plan that goes back to at least the Renaissance Surmounted by an enormous dome raised up by a rotunda with columns Domed buildings were known in ancient Roman times Large and impressive Roman portico Not classical: there are dorms on each of the arms so there are 5 domes all together Corinthian order fluted Corinthian columns; more decorative order than the others Exterior: relatively sober and restrained, the walls are almost bare with some decoration aligning the top; sense of geometry with rectilinear elements... very unlike Rococo interiors Interior: not decorated until the later 19th century; all of the architectural elements are made from this grayish/yellowish French limestone... adds that sense of restraint and sobriety, not lots of colors or gilding Domes are supported by thrusts and counter-thrusts as opposed to post and lintel.... Lots of cutting away but the architect had to figure out how he was going to support all of the domes Similar to Rococo (to lighten or brighten) however this is more powerful and grand Faint white outline originally there were large windows but the architecture realized he miscalculated the weight of the domes so walls with windows were not strong enough to hold up the domes so they filled in the window spaces to add more bulk to the walls; w/ windows it would have looked a lot less sober GABRIEL Petit Trianon: Garden Faade, Versailles 1761-68 One of the first Neoclassical buildings of the time, referred to "Grand Manor or Style" Gabriel = 1st architect to the king, Louis the XV Building for the king and the 1st family to live Petit Trianon: there was already a "Large Trianon"... a small palace for the Kings mistress Madame d'Pompedor... Marquis d'Pompedor Garden faade... usually had a staircase leading down to the gardens No long hallways or Enfilade Giant order... columns span two floors; Bottom floor is the main floor (can tell b/c of the higher ceilings) Flat roofline... no longer are there mansard roofs... banister hat carries over from the 17th century Classical elements: proportion, harmony, balance and dignity in the building Gabriel is more true to the spirit of Classical architecture then the letter of classical architecture Very simple, cube shaped structure Certain kind of intellectual and moral purpose... Laugier's essay; become more noble and dignified... better architectural and moral judgment Sense of simplicity and purity in the decoration of the building; no frieze or pediment; this is an aesthetic and moral argument however... NOT a fact Madam d'Pompedor was not considered a highly moral person but not because she's a mistress, but sometimes the mistress of the king were very devout catholic women; she was a social climber from a merchant family, quite well educated for a woman of her time; seen as very ambitious; politically and socially important Wanted to be fashionable that's why she wanted this style... but she was more like someone who exploited a trend
Interior: windows (into other rooms... all different shapes), staircase (beautifully built in marble with limestone support with very elaborate brass and gilded stair-rail)... alternating between plain surfaces and cutting their surfaces away Trying to make classicizing elements into a new type of decoration LOUIS, Grand Theatre, Bordeaux: Faade and Staircase 1772-80 Portico or Porch: decorated with statues (done in ancient architecture) Life-size standing sculptures Victor Louis: architect A cubiform plan... more or less like a cube, although the height does not exactly equal the height Columns are not fluted and they are on pediments lifted off the ground Relatively sober and undecorated... less decoration considered by some more pure and natural Classical temple access plan Interior: relatively restrained but it is grand and magnificent Entry hall: meant to be performative... T-shaped staircase (very practical but it also means that people can actually look down at the people... becomes a spectacle itself Stairwell raises three stories... Interior reflects the exterior to a certain extent Ground level: sense of rustic-ness 1st level: Noble order, with Ionic columns 2nd: balustrade Pilaster right next to the door... Laugier would've hated it but Louis is incorporating it here with statues and whatnot (Renaissance spirit) marks a doorway into the theatre Theatres meant to impress and be highly decorated... so this building to people back then would've been relatively sober, acknowledged it as a sort of "new" decorative style Architecture after 1700: not Baroque, Rococo or Neoclassical: Palladian Revival or Neo-Palladian "Gothic" (medieval) Revival LORD BURLINGTON Chiswick House, outside London: Main Faade 1725 Apparently fueled this building and designed it He was the 3rd Earl of Burlington... given name was "Richard Boyle" very wealthy Englishman interested in buildings and making a statement with the buildings on his own property 2 Temple fronts: main & garden faade but not on the sides... not just copying Palladio Whig: more liberal, market-oriented political party; Lord Burlington was a member; growing ever since the 1660s they associated the Tory's with a Baroque style of architecture... Burlington was trying to create a type of architecture associated with his party; these were men who often made their money through trade Tory: more conservative, monarchist political party; had been much more dominate for a long time; old money Lord Burlington saw Palladio as the architect equivalent to the Whigs... equating him with these political ideals Historicism Not exactly enfilade... rooms are all different shapes, a little more eclectic than what you see in classical and renaissance times Did not achieve the simplicity of classical and renaissance architecture Windows are odd: not something you normally see yet they are still geometric Entryway is elaborate with all the stairs and the entrance is raised... not as simple and direct
Chiswick House: Garden Faade: more simple and rusticated lower section with large arched and columnar sections (3: perfect number... sense of the triangle) - Tripart openings based on the Roman thermae (baths of Diocletian) but filtered through Palladio - Divided into three parts with vertical elements but the superimposed arched portion you don't see in classical architecture with the balustrade behind it Chimneys flank the sides of the home Outside: you would see relative restraint of completely modulated wall... seemed as though Lord Burlington was trying to impress this new style of simplicity, restraint and discipline/ a kind of purification References to classical architecture would also suggest the wealth and the status of the residence there Interior: sculpture gallery... becoming very common in private residences... where Englishmen show things they may have acquired abroad - Wall treatment is relatively sober with a large mirror - Half columns aligning the windowspace - Coffered ceilings: highly colored, very decorative... tension between sobriety and decoration PALLADIO Villa Rotunda, Vicenza 1550s Renaissance architect building in the Vineto (cities around Venice) This is one of his most famous buildings in Vicenza... right outside the major city center It has exactly identical Roman temple fronts on all four sides... perfect example of symmetry and harmony Dominates its surrounding Simple, pure and more rational Entryway is very simple, easy and direct 9/8/11 ADAM Interior of a Mausoleum, plate 33 from Ruins of Palace of Diocletian 1764 Not the specific source he dew on but just to know how ancient architecture influenced Adam ADAM Kedleston Hall, Derbyshire: Entrance Hall c. 1759-1760s Meant to be grand, appears to span two levels even though we're looking at one continuous space ADAM Kedleston Hall, Derbyshire: Exterior view Didn't have to relate to any other buildings because it stands alone in the countryside Looks like Pemberly ADAM Kedleston Hall: Saloon Where people met to converse or socialize Round room... used in Rococo but appears in classicized buildings From the French term "salon" NEOclassical... strong emphasis on the NEO... painting is inset into the wall (not an easel painting)... inset frieze is unclassial in the sense that it is not a frieze that wraps around the room... coffered ceiling with a large dome, inspired by ancient examples Vase: looks ancient but it is not, Wedgewood was a close collaborator to supply decoration for these neoclassical houses Also Adam's way of giving the flavor of antiquity to his buildings.
Pilasters in colored marble... balanced with plain treatments of the wall (flat and monochrome color) Fresco: developed in Southern Europe... thrives in warmer/dryer climates/ not practiced widely in the British isles... becoming more and more rare ADAM Home House (20 Portman Square), London: Main Faade and Staircase, begun 1772 Brick: favored material because it withstood the elements, not considered a noble material like marble Exterior: "Classicizing" b/c of material... main entryway is marked out by columns and pediment/ great deal of order and symmetry w/ spare and modern windows Inset reliefs Staircase: graceful and curving wings instead of the rectangular T in the grand theatre... more graceful than impressive If not a parody, there is a similarity in the staircase like the Rococo ADAM Home House: Reception Room and Front Drawing Room Drawing room: saloon or salon; where people congregated to socialize In many ways Adam is approaching the walls like Rococo treating the walls as screens where he is going to create a design... creates rhythms with pilasters and decorative circular friezes (emphasis on curves) Ceiling: lots of concentric circles with lots of decoration within and without... tracery sculpture one sees in Gothic cathedrals Great emphasis on surface decoration and pattern... all treated with very light colors (pale pink, cream, minty green, eggshell blue) one doesn't feel weighed down by the decoration with the light coming in and bouncing off the light walls Light and graceful... but also kind of cool (more so than the Rococo style) Reception room: similar patterning on the wall and half-dome... inset paintings Compared to the Salon of the Princess you can see some large similarities (rhythm and busy surfaces) by 1770, Rococo considered by most of the leading figures as pass (decodant or immoral) too luxurious and flashy B/c political rivals, not many English architects embraced the Rococo type of decoration Both treating the walls as flat spaces to be decorated in patterns rather than treating them as load bearing, strictly functional Adam does not seem concerned that he can make post and lintel architecture Gothic Revival or NeoGothic: *read essay on German Goethe on Gothic architecture Gothic cathedrals survived in most countries in Europe... never embraced in Italy however England had many Gothic buildings... Ren. arrived later in England (universities were Gothic) Gothic: mostly characterized by its soaring height; made interior rather dark... masonry architecture with flying buttresses; often seen as asymmetrical, idiosyncratic... what happened over the course of time (took decades and centuries to complete); handy characterization because it made them seem very different than classical Goethe's opinion: it had been denigrated and always compared with ancient architecture but it was built in a different time; "we shouldn't expect strawberries in winter" we shouldn't expect the same styles built by different people in different cultures at different times Depicted in Italy, seated on classical architecture... so he appreciated that too Both Classical architecture and Gothic architecture can be appreciated Laugier and Goethe see architecture as something to learn from and compare it to nature
Gothic is a German architectural style (sense of nationalism in the 18th cent.): countries are slowly acknowledging a sense of identity When he wrote that article he was looking at an example of French architecture HAWKSMOOR and JAMES, West Towers, Westminister Abby, London 1736-45 National cathedral of Britain; west towers destroyed but then they rebuilt it in 1736 The building is very symmetrical Hawksmoor chosen because he already designed two Neogothic towers in Oxford Tried to create towers that would match the original parts of the building... keeping true to the Gothic styles; this was more like historic preservation Meant they had to study the style and try to work closely with this original building Scholarly study of art reflects the new ideas of the 18th century WALPOLE et al. Strawberry Hill, Twickenham 1749-77 Completely renovated the building... Walpole had complete freedom Walpole: very involved in the fine arts, wrote about the arts, knew a lot of artists Also created the genre of the Gothic novel (a kind of horror story) The Castle of Otranto: A Gothic Story 1764 written by Walpole while he was rebuilding his home Refers to the Early Renaissance period or medieval period New facades; designed purposefully to be asymmetrical (may be the first time this was done intentionally) "L"-shaped building; wanted it to be picturesque (to look attractive and look like a picture) Created to look natural... yet wanted it to look random ADAM Strawberry Hill: Round Tower designed 1759 Suggests a medieval tower used for protection... surveillance Very bare walls Shows that Adam works for very different people based on what his patron wants... so this was not designed by Walpole but in fact was designed by Adam Adam was only one of several architects Walpole hired Walpole: was quite wealthy, had the funds to complete the whole structure End of the "L-shaped" wing: there are about 8 or 9 different window types on this faade alone... pointed windows like the Gothic period and there are also square shaped windows introducing the geometric Completely contrary to way the home is evoked by the round tower If you build a tower, why place all the windows in the wall? Purely aesthetic 1st 5 years, there were no really overt Gothic forms... became more gothic in 1754 CHUTE Strawberry Hill: Library Roeuen Cathedral: screen across the bookshelves is inspired by this famous cathedral Canterbury Cathedral Many thought this was very accurate in the sense that it looked authentic or Gothic Very decorative and light... most of it is white PITT Strawberry Hill: Gallery Very busy patterned and highly decorated Red walls with white and Gold Patterning is borrowed from medieval church architecture... looks like vaults and pulpits in churches
The flatness and business sort of recall Adam's multiple circular motifs Designed and shaped in plaster covered in gold colored paint however the effect is very elaborate Rusticity: MIQUE, Petit Hameau (Little Hamlet), Versailles 1778 Leading architect told to make a building not in the leading style; asked to design something that looked vernacular... built on the estate of Versailles for a member of the royal family Even when artists are trying to be natural or nave... they bring to it a lot of skill and knowledge (they can't help it) Mique: architect and designer that worked for the Royal family in Versailles... like Adam he was called on to work in the different styles of modes the patron wanted Told to work like Hamlet (rustic) for the Queen Marie Antoinette... she and her Ladies in Waiting would dress up and play as being shepardesses--supposed to be a little farm to play Was even asked to redesign the landscape to make it rustic... English designed landscapes supposed to look more wild (much less formal than the landscaping in Versailles) Thatched roofs (more associated with England) Sits on a pond with two stories... more grand than anything someone would see on an actual working farm in France Jean Jacques Rousseau: Swiss philosopher and novelist; works were often banned as too radical, translated into other languages... strongly advocated a return to nature; his solution--move out of the city and move out into nature, called for women to breastfeed their own children/ creates a more simple, honest and pure life When the idea of the "Noble Savage" came to being... believed people actually had good morals and ethics in which Europe slowly lost over time Petit Hameau plays on these ideas... shows they are aware of these ideas and they are responding to them in their own way George DANCE THE YOUNGER Design for Newgate Prison, London 1770-85 New building styles show the taste of societies in general Secular schools, prisons, observatories, museums, factories, libraries, and banks Like sculpture, architecture took a long time; architects almost always worked on commission unless they are building their own home Styles didn't change as quickly because it was a bigger risk and people generally wanted their buildings to stand the test of time 1789: French revolution begins Great deal of stability, changing of power, buildings projects in France was at a standstill... French Utopian architecture is created: ideas for things to be built, ideas of a republic and democracy 9/13/11 George DANCE THE YOUNGER Design for Newgate Prison, London 1770-85 There were no architectural diplomas in the 18th cent. which is why people could generate huge projects for themselves 1867: first diploma was offered for architecture Prisoners are usually the rulers discretion... state run institution, legal process by the later 18 th cent.
Bastille: the French fortress used as a kind of prison... during the French Revolution it was attacked and the inmates were allowed to go free... people could be put into jail simply by people writing a letter about them Relatively worked up drawing... building was destroyed in 1902 New treatment of masses... and the forms of architecture Composed of severe geometric shapes... more rational Tripartite division of blocks that almost looks unrelated... in the front is the "governor" or "directors" house Design extenuates the horizontal rather than the vertical Heavy rustication that suggests something that's heavy, massive and protective... not at all noble/ ties it closely to human and earthly life Niche: for decoration... but how does it perform any function to intimidate? We really have to argue for rationality PIRANESI, Frontispiece to Prisons c. 1743-44 This is the first illustration in the series, also the title page Not a plan of anything Piranesi: printmaker very interested in architecture... caf of the Englishman in Rome/ his views are that he shows us partial interior views of prisons... often very different to read because of the strong play of light and shade that obscures the space Unclear and ambiguous... frenzied and dynamic compared to Dance the Younger's design Purpose of the prison: frighten and intimidate the inmates LEDOUX, Design for a Prison in Aix-en Provence 1785 drawing Never built... war and revolution Similar interest in large massive shapes; fortresslike impression with walls that have no or very small openings An interest in geometric forms but in a different combination... half-circle with a columnar temple-front 2 entrances created a kind of equivalency. Interesting roofline as well As a whole it is bathed in inky shadows, which makes the drawing a bit difficult to read. Using light and shade in a more emotional way 1785: Ledoux received very important commissions, one of the leading architects in France... therefore these prison ideas are within the mainstream... significant royal commission to build customhouses Movement in and out of cities was highly controlled to control trade; only about 3 customhouses remain Ledoux was able to apply his thoughts to various positions LEDOUX, Plan for the Royal Salt Works, Arc-en-Senans 1773 engraving & Entrance to Salt Works 1775-79 Received this commission before the prison and customhouses Arc-en-Senans in the region of Bession? Has a lot of deep thick forests with waterfalls Saltworks: manufacturers of salt... very important commodity; an essential element of life... a lot of meat was kept and conserved through salt Salt was a main condiment; used in making drinks The King in France had a monopoly on salt... it was very heavily controlled and policed Smuggling salt was punishable by death Salt works had to look impressive and scary
Royal Salt Works arranged in a half-circle; especially relevant because you can have a central point and see everything Saline salt water... prevalent in this area... the forest provided all of the wood they needed to create troughs; water was heated and left behind was the salt Temple front with no pediment... makes it look more severe or plain. There is a frieze with no decoration LEDOUX, Royal Salt Works: Entrance, "Grotto Rocks suggest the rugged nature and is also very strong and powerful... muscular feeling of the entrance... also suggest the water used while making salt Because this was a monopoly the entrance is flanked by buildings so there are no other entryways... there is no other way in; the buildings are very simple with walls and a pitched roof... fabrication is taking place, they are factory buildings that don't need to decorated Exception: they are decorated on the walls flanking the entryway... something like a stream coming out of a pipe; speaks of what is going on inside the complex, referring to the natural resources that help make the salt "Architecture palont?" or "Speaking Architecture": buildings that speak for what they are due to simple decoration that tells us so LEDOUX, Royal Salt Works: Director's House Impressive house; columns with 3D forms set into the columns... more decorative or the silhouette is broken up Heavy architectural details but also very geometric in shape... enforces the plainness of the surfaces Out of this work, he continued to kind of plan and dream 1789: French Revolution French Utopian Architecture LEDOUX, Plan for the ideal town of Chaux 1804 engraving Tried to imagine the entire town built around the salt works 1804: published the ideas for the Utopian city Architecture Considered in Relation to Morals, Society, etc.: thinking about architecture's role in society with all of these new ideas of equality floating around. BENTHAM, Panopticon c. 1789 Panopticgon: designed by Jeremy Bentham; published an illustration on how it would work - Optics refers to vision or sight - Pan refers to everywhere or everything - Building usually circular in shape with a tower that you can see everything on all sides... the point is that one would have total control or surveillance of everything inside that space/became a prison design Embedded within this argument is a different agenda Foucault talks about the interpretations of Bentham's motivations How modern society thought to control or regulate human behavior... how do you build a high tower with lots of windows? You have to use new materials like iron LEDOUX, Design for a Cooper's Workshop from Architecture considered in relation to morals... published 1804 Cooper: someone who makes barrels The form of the building is in concentric circles... how of course barrels were made at that time The entrance comes a little confusing where the building is
We feel like we're looking at a kind of wall rather than a whole building... general reference to his love of the half-circle Scale seems gigantic and enormous when compared to the size of the entry-door This doesn't seem rational or functional however there is a need or desire to create something decorative and impressive that relates to the landscape Really just looking at shapes and forms that have no history Freemasonry: it was/is founded on secrecy and people who belong in those societies take an oath not to say anything; it was a free outlet for people who are not satisfied by religion or existing government... they believed in leveling social things; believed in human equality and had spiritual goals that sound a bit Christian or Muslim (timeless and universal ideals of brotherhood, community and family) Ledoux was probably a mason... as were many other architects (they felt invested in this because they saw it in their own professional history) This was a time when many buildings were not being built; Ledoux was out of commission or work so these designs were purely fantasy with a purpose to talk about the role architecture can have revolving society Ledoux = social engineer; shifts the significance of the practical purposes of architecture to something that is a big more emotional; it can say something about society or a profession BOULLEE, Monument to Newton: Elevation and Section 1784 drawings Worked for aristocrats and after the Revolution, he too lost his work... they needed an outlet through publications or drawings Emphasis on the conception rather than execution On his own initiative designs a monument to Newton; this was designed before the revolution Newton dies in 1727 but he was honoring the achievements of the scientist and the discoveries he made about Earth and the Universe Cenotaph: it's a funerary monument but it doesn't actually hold the remains of the body/ very Utopian form of exercise or personal expression that was shared with many throughout Europe Design is a sphere: very, very difficult... did not have the right tools or materials Why sphere? Traditional symbol for the Universe and the Earth Building was also going to be a planetarium... seen in the cutaway view The shrine was at the base or the foot of the sphere and would've honored Newton in this abstract way You see the different levels with a massive wall with huge rows of trees.... Reference to nature but in a highly controlled or artificial way (Nature was a great inspiration for Newton) Scale is beyond huge... made it seem even more impossible Created drawings with dramatic light/dark effects Disconnect or departure from the renaissance and classical ideas that man is the measure of all things. Still admire antiquity and studying it but there is a disconnection on where they see themselves in the history of civilization and antiquity 9/15/11 Rococo/ Easel Painting: Rococo was recognized as a new style and was refered to as "Modern Taste." The word Rococo was invented a century or so later and it was placed on this style in a derogatory fashion and it is not until modern times that is better
Appeared first at Versailles around the turn of the century 1700s... as an interior design style Devoloping 1690s and was present in 1700s moves to easel or independent painting Not uncommon for artists to work in both Fine Art and Commercial Art There is difference between Salon paintings and the paintings in someone's house. WATTEAU, Gersaint's Shopsign c. 1720-21 o/panel 166x306cm. Watteau: trained as a painter and worked in interior decoration; figured out a way to incorporate rococo into painting; famous Rococo painter (1684- 1721) - Trained with the artist Audran (one of the first artists to incorporate this new style in interior decoration in Versailles) - Learned from him a new trend for arabesque, grotesque and certain motifs (like acrobats, actors, the swing, monkeys--Singerie) motifs that incorporate movement and amusement - Came to Paris from the Provinces so achieved his training elsewhere - He was soon working in interior decoration and painted stage sets, exhibited at shows like the Exhibition of Youth - 1718: asked to be a member of the Royal Academy; accepted as a genre painter - Died at 37 from TB; had been ill for some years... speculators bought up a lot of his work (including drawings and prints) collectors were buying it up because they realized there wont be anymore paintings and the price will be increased (it has to do with the changing circumstances in the art world at this time) - 1st painter to have an international stature... his art never fell out of favor either b/c he still had a relatively unique style Was painted as a sign for a shop owned by Gersaint who was his patron Few academicians would have done a painting like this, but by this time Watteau was made a member of the FRA but Gersaint was his friend. Gersaint so valued this painting, he took it down b/c he liked it so much Set inside an antique shop meant to represent Gersaint's shop Gersaint was a merchant of luxury goods (jewelry, paintings, mirrors) We are given the relationship of the shop and the street... dog= "real" life or street life Figures are arranged in a relatively random way, there is a serpentine line one can draw in the heads of the figures... Watteau was looking for something more spontaneous and random, but his composition was purposefully done (Watteau was a terrific draftsman and he left behind several drawings) "appears spontaneous" not "it is spontaneous" Figures taper to a point, long limbs but it doesn't look distorted and unnatural because of the clothing, more refined and delicate, more fashionable... rather than monumental and dynamic figures of Baroque The poses have some movement with a sense of relaxation Rococo figure painting: Many figures are given these off center moving poses, elegant but slightly unstable, or reclining or relaxed poses The crating of a painting... bottom left corner: - Portrait of Louis the XIV who had just died 6 years earlier - His grandson was too young to rule so a reagent was appointed (the Kings Brother) - Metaphor for the passage of one time to another (the Coming of Age of France as a political power) Compare this painting with the oval formatted painting... more of a landscape or genre painting (perhaps this is a sign of the growing taste for the lower genres)
Is this being created and being taken away? Does this mean the portrait is no longer wanted? Did not someone buy it? Perhaps it just arrived? THIS INTERPRETATION IS OPEN FOR DOUBT 1720: taste for genre painting and landscape painting has not really been way popular yet Donald Posner's interpretation: The figures are up close to the oval painting... found that up until this time only artists and a few connoisseurs are interested in the surface qualities of the work 18th century: this is the period where this develops... there are more public exhibitions of art, more people are being asked to look at art... rise of the art critic; the first creations of the art museums (no longer part of a larger program like religion, you are now just looking at the work of art as an independent creation); works made on a smaller scale - Growing appreciation for lower genres, when a work is small... one is forced to get up close to it - Patrons and collectors start to acquire drawings and clay sketches for sculptures... growing appreciation for the execution of the work of art Watteau is part of this trend... died young, high demand AUDRAN, Design for a ceiling at Versailles c. 1709 watercolor WATTEAU Embarkation to (Departure from) the Island of Cythera c. 1717-18 50 3/4 x 74 inches Reception piece Cythera: not a real place but an ideal world; associated with love Was being ambitious... painted something that would elevate him in the eyes of his academicians Why genre? Doesn't relate to anything of antiquity or history Some figures dress like 18th century and some dress like 17th century... who are these figures? Are they actors and is this a performance? Ambiguity to the real subject of the painting... is this a total fabrication? "S" Curve composition: directs the viewer's eye through the painting but keeps the focus on the figures Not all Rococo painters treated the landscape with such significance as Watteau does Coloring unites these figures very closely with the landscape and creates an overall mood... Before cleaned: it was dark, people thought it was melencoly After cleaned: colors are much brighter; scholars think it is more gay and lively Probably a mix of both Fete Galante: term coined by the academy, right after seeing Watteau's painting; French term applied to this painting; translated as a courting party (A gathering of people of the Royal Court) sometimes translated as a "courtly gathering" seemed to always incorporate modern figures set outdoors Crozat: we have letters written to one of the best-known women painters, Carriera, in 1716 while Watteau was in his prime... Crozat complained that Watteau worked very slowly Accepted into the Academy as a genre painter so therefore he couldn't teach... he wasn't considered "good enough" "Shot color": when the artist adds a different color through another to create a sense of light and shade Compared to RUBENS, The Garden of Love 1632-34 Watteau is a cabinet picture (appreciated by collectors and kept in a patrons cabinet); Rubens' is very grand and hefty
Rubens: the figures are important Watteau: the landscape play a more major role In comparison of 18th century viewers, Wattaeu's was more relaxed, natural and intimate... the environment is more atmospheric Rubens: uses color as an expressive element Pussanists vs. Rubenists (line vs. color) Watteau's colorism is more pronounced; did not use the distinct variety Rubens has... but he keys his paintings to a particular range Watteau often seemed to blurr or blends his brushstrokes in such a way that one critique said it looked like it was applied with a sponge... figures are very breathy... fade away into the background Compared to STEEN, The Dissolute Household c. 1668 Coming from Northern France Watteau would be familiar with these types of Dutch genre paintings Dutch genre: tended to convey a moral... in this case, "Don't do this."; display of human pleasure in a bad sense of the word To draw any kind of didactic moral from Watteau's paintings is rather impossible... emphasis more on an emotional mood rather than a story Probably why Cythera continues to fascinate people today b/c of the ambiguity; Different kind of naturalism between Watteau's painting and Steen's painting (very detailed) Crow's ideas about the public: it seems like people were engaged with the notion of the public (it could be a new kind of authority) & b/c the public was not the patron, the king or the artist, people came to believe the public could be more accurate or truthful; this is where this all begins DE TROY, Diana Resting 1726, 1727 S 130 x 196 cm. De Troy: long line of artists, Jean Fransua - Trained at the RA; his father was an academician - Both received as history painters (more prestigious) Artists usually engaged in more than one genre Mythological painting: often combined into history painting b/c the line between history and mythology is very vague Diana (the Goddess of the Chase): a chaste goddess Painted for a special competition which was announced by the Superintendent of Fine Arts for the King Competition shown in the Salon Invited the best history painters to make quality works for the competition... however when judged, it wasn't considered very successful Artists often chose mythological scenes rather than actual history In this scene: there is no clear reference to a particular episode in her mythology; more like `A Day in the life' more of a genre scene of Diana... this is a somewhat new concept; shows the influence of the Rococo taste for something that is more genre-like and less of they didactic and heroicising painting of the Academy Triangular composition with Diana at the apex... depicted in the nude; perfect solution to a harmonious composition... equal sides, technically one of the strongest shapes We see a difference between De Troy and Watteau DE TROY, The Detatched Garter 1724, 1725 S 63.7 x 52.7 cm Genre painting: depicts figures in 18th century dress in an interior w/ no famous names
Shown in the Salon at 1725, also shown somewhere else... Clearly a history painter could paint genre paintings