Monday April 5, 1999

Announcements:

• none

    Neoclassicism (esp. David)

• linear
• spirit of reform

• created after David's release from prison
• dissolution, resolution
• more active composition than is typical for David
• figures are less stringently anatomically correct
• some are idealized, elongated
• influenced by ancient Greek models (rather than ancient Roman)
• brush strokes ar highly refined
• polished look
• reconciliation (similar to that following the Fr. Revolution)

• David becomes chief propagandist for Napoleon
• calm amidst fury as Napoleon crosses the Alps to conquer Europe
• inaccurate/idealized representation of event
• Napoleon actually crossed on mule
• re-enacting other audacious military leader (Hannibal, Alexander the Great)
• looks to early Roman precedent (Marcus Aurelis, 1666-1800 C.E.)
• looks to Bernini's "Constantine," 1654-70

•  statesman image
• working late into the night
• extraordinary precision of David's work

• immense in size
• effort to create precise portraits of individuals
• created many preparatory works
• captures the moment when Josephine is being crowned by the Pope

• David's student

• to commemorate the new emperor
• more inhuman than even David's representation of Napoleon
• highly idealized
• obsessive level of detail

          Francisco Goya

• an exact contemporary of David
• also lived during political revolution/turmoil
• lived during a time that saw the dissolution of the idea of the Divine Right of Kings
"The Third of May, 1808", Goya, 1814-15
 
• during French occupation of Spain (under Napoleon)
• aftermath of native insurrection
• contrast in human psychology
• humanity of victims
• mechanical nature of executioners
• martyred figure at center
"Self-Portrait in Studio," Goya, 1785
 
• at high point of career
• conveys confidence, professionalism
"Self-Portrait," Goya, 1815
 
• at age 69, deaf
• lived through series of historic events
• lead a life tied to national events
"The Parasol," Goya, 1775
 
• almost Rococo in style
• sketch in preparation for tapestries
• called cartoons
• relies on earlier Rococo cartoons for inspiration
• flirtation
• abrupt introduction of the wall at left

"Don Manuel Osorio de Zuñiga,", Goya, 1788
 

• communicates innocence, tenderness
• sardonic tone: pet bird being watched by 3 cats
• caged bird looking on
• contrast
• psychological tension
• purity/corruption
• violence/peace

"Family of Charles IV," Goya, 1800-01
 

• does not idealize royal family in the way Velazquez does
• see "Las Meninas"
• Goya does not have Velazquez's faith in monarchical system
• is a modern observer