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Chapter 21Europe and

America, 1700 to 1800

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Figure 21-2 GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740.

Rococo art is lavish, over-the-top, highly decorative, and reflects the wealth of the upper-class.

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Figure 21-3 FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century.

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Figure 21-5 ANTOINE WATTEAU, L’Indifférent, ca. 1716. Oil on canvas, 10” x 7”. Louvre, Paris.

Characteristics of Rococo art:•Lighter color palette•Softer values and tones•Delicate forms•Emphasis on aristocratic imagery

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Figure 21-6 ANTOINE WATTEAU, Return from Cythera, 1717. Oil on canvas, 4’ 3” x 6’ 4 1/2”. Louvre, Paris.

Fête Galante: a painting that depicts the outdoor entertainment of French high society

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Figure 21-7 FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on canvas, 5’ 6” x 2’ 10”. The Wallace Collection, London.

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Figure 21-1 JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 8 5/8” x 2’ 2”. Wallace Collection, London.

8Figure 21-10 JOSEPH WRIGHT OF DERBY, A Philosopher Giving a Lecture at the Orrery, ca. 1763–1765. Oil on canvas, 4’ 10” x 6’ 8”. Derby Museums and Art Gallery, Derby.

There was also an interest in furthering scientific knowledge…This is known as the Enlightenment period

9Figure 21-11 ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England, 1776–1779.

Many new building materials were developed (like iron) that helped to make more decorative structures…

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Figure 21-12 JEAN-BAPTISTE-SIMÉON CHARDIN, Saying Grace, 1740. Oil on canvas, 1’ 7” x 1’ 3”. Louvre, Paris.

Philosophy was popular during the enlightenment, and the varying philosophical ideas began to affect art…

Rousseau felt that the arts, sciences, society, and civilization had corrupted the natural state of man. And the only way to be saved is to return to a “natural state.” Rousseau said, “To exist is to feel.”

“Natural Art” emerged as a result of Rousseau’s thoughts. “Natural Art” shows scenes of domestic figures in humble settings.

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Figure 21-13 JEAN-BAPTISTE GREUZE, Village Bride, 1761. Oil on canvas, 3’ x 3’ 10 1/2”. Louvre, Paris.

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Figure 21-14 ÉLISABETH LOUISE VIGÉE-LEBRUN, Self-Portrait, 1790. Oil on canvas, 8’ 4” x 6’ 9”. Galleria degli Uffizi, Florence.

Vigee-Lebrun’s self-portrait is an example of “Natural art” because the intimate view, confident pose, and the gaze of the artist suggests her role as a successful artist.

13Figure 21-15 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, 2’ 4” x 3’. National Gallery, London.

The artistic style in England during the 18th century was a mixture of Rococo styles and Natural art.

(meaning, you see a mixture of imagery representing the wealthy upper-class, but there is an underlying moral tone about the frivolous behavior of the wealthy)

14Figure 21-15 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, 2’ 4” x 3’. National Gallery, London.

Hogarth turned the drama of the upper-class household into comic displays of immoral behavior

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Figure 21-16 THOMAS GAINSBOROUGH, Mrs. Richard Brinsley Sheridan, 1787. Oil on canvas, 7’ 2 5/8” x 5’ 5/8”. National Gallery of Art, Washington, D.C. (Andrew W. Mellon Collection).

Gainsborough painted “natural” portraits of the wealthy; he posed his figures in a natural position, they are dressed in less frivolous clothing, and they have a softer emotional impact.

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Figure 21-17 SIR JOSHUA REYNOLDS, Lord Heathfield, 1787. Oil on canvas, 4’ 8” x 3’ 9”. National Gallery, London.

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Figure 21-18 BENJAMIN WEST, Death of General Wolfe, 1771. Oil on canvas, approx. 4’ 11” x 7’ National Gallery of Canada, Ottawa (gift of the Duke of Westminster, 1918).

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Figure 21-19 JOHN SINGLETON COPLEY, Portrait of Paul Revere, ca. 1768–1770. Oil on canvas, 2’ 11 1/8” x 2’ 4”. Museum of Fine Arts, Boston (gift of Joseph W., William B., and Edward H. R. Revere).

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Figure 21-22 ANGELICA KAUFFMANN, Cornelia Presenting Her Children as Her Treasures, or Mother of the Gracchi, ca. 1785. Oil on canvas, 3’ 4” x 4’ 2”. Virginia Museum of Fine Arts, Richmond (the Adolph D. and Wilkins C. Williams Fund).

The defining characteristic of the Neoclassical period was a renewed appreciation for Classical antiquity, mainly ancient Greek and Roman styles

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Figure 21-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris.

Exemplum Virtutis: a scene that serves as an example or model of virtue

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Figure 21-24 JACQUES-LOUIS DAVID, The Death of Marat, 1793. Oil on canvas,. 5’ 5” x 4’ 2 1/2”. Musées Royaux des Beaux-Arts de Belgique, Brussels.

The figure is depicted as a tragic martyr

The body of the figure was modeled after the body of Christ from Michelangelo’s Pieta

Figure 21-25 JACQUES-GERMAIN SOUFFLOT, Pantheon (Sainte-Genevieve), Paris, France, 1755-1792.

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Figure 21-28 THOMAS JEFFERSON, Monticello, Charlottesville, United States, 1770–1806.

Thomas Jefferson made the Neoclassical style the architectural style of the newly formed United State

Figure 21-29 THOMAS JEFFERSON, Rotunda and Lawn, University of Virginia, Charlottesville, Virginia, 1819-1826. 24