Lecture 17 Late Neoclassicism

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Unformatted text preview: olden crown in the form of a victory wreath and around his shoulders a chain bearing the insignia of the Légion d’honneur. In one hand he holds a staff of office, in the other the lit de justice (or “hand of justice”) Stiff, flat, frontal, unnatural, Wax­like mask as face: referred to other portraits of Napoleon to paint Probably inspired by Flemish Renaissance painters like Van Eyck: high degree of surface detail Ironically, it would seem, the portrait was an unsuccessful attempt at Napoleonic propaganda precisely because it was so successful as an image of imperial power Ingres: The Last Neoclassical Painter Ingres: The Last Neoclassical Painter Jean­Auguste­Dominique Ingres, Apotheosis of Homer, 1827, oil o/canvas Official commission from the restored Bourbon monarchy in 1826 for the “Museum Charles X” in the Louvre His grandest expression of the classical ideal nearly seventeen foot long canvas reworks Raphael's Vatican fresco, The School of Athens, paying tribute to the genius Ingres most admired Ingres: The Last Neoclassical Painter Ingres: The Last Neoclassical Painter As Raphael had done four hundred years earlier, Ingres brought together a pantheon of luminaries. Like secular sacra­conversaziones, the Raphael and the Ingres bring together figures that lived in different eras and places Homer is framed by both historical and allegorical figures and an Ionic temple that enforces the classical ideals of rational measure and balance Raphael celebrated the Roman Church’s High Renaissance embrace of Greek intellectuals (philosophers, scientists, etc.), Ingres also includes artists (visual and literary) Only Shakespeare and Goethe omitted, because Delacroix liked Ingres: The Last Neoclassical Painter Ingres: The Last Neoclassical Painter Jean­Auguste­Dominique Ingres, Grande Odalisque, 1814, oil o/canvas Ingres painted a range of diverse subject matter, and painted more Romantic subjects in his later career Western tradition of languid, reclining female nude since Giorgione, Titian: Ingres’ twist: Woman kept in an luxurious Oriental harem, not a classical setting Renaissance painter Titan had veiled his eroticism in myth, Ingres covered his object of desire in a misty exoticism Important bridge to Romanticism Ingres: The Last Neoclassical Painter Ingres: The Last Neoclassical Painter Harem scenes: sub­set of so­called “Orientalist”painting (painting dealing with scenes from the Near East) Paintings a justification for France colonizing the uncivilized world, very imperialistic The peacock fan, the turban, the enormous pearls, the hookah (a pipe for hashish or perhaps opium), and of course, the title of the painting, all refer us to the French conception of the Orient Western (male) fantasies about what life in harem is like; not a reflection of reality: Oriental or Classical settings used as pretext to paint socially acceptable female nudes Viewers took pleasure in looking at the Odalisque, voluptuous and very sensuous depiction of the...
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This note was uploaded on 12/11/2013 for the course ARTH 1441 taught by Professor Spieth during the Fall '12 term at LSU.

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