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Discovering the humanities 3rd by henry m sayre 2016 chapter 12

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  • Slide 1

  • Learning Objectives

  • Paul Revere, after Henry Pelham. The Bloody Massacre. 1770. Hand-colored engraving. 8-15⁄16" × 10-3⁄16". © Massachusetts Historical Society, Boston, MA/Bridgeman Images. [Fig. 12.1]

  • The American and French Revolutions

  • The Declaration of Independence

  • Slide 6

  • John Trumbull. The Declaration of Independence, 4 July 1776. 1786–97. Oil on canvas. 21-1/8" × 31-1/8". Yale University Art Gallery, Trumbull Collection. 1832.3. [Fig. 12.2]

  • Slide 8

  • The Declaration of the Rights of Man and Citizen

  • Slide 10

  • Slide 11

  • Slide 12

  • Jacques-Louis David. The Tennis Court Oath. 1789–91. Pen and brown ink and brown wash on paper. 26" × 42". Musée National du Château, Versailles. MV 8409: INV Dessins. © RMN-Grand Palais/Agence Bulloz. [Fig. 12.3]

  • To Versailles, to Versailles, October 5, 1789. 1789. Engraving, colored. Musée de la Ville de Paris, Musée Carnavalet, Paris/Giraudon/Bridgeman Images. [Fig. 12.4]

  • Slide 15

  • The Neoclassical Spirit

  • Jacques-Louis David and the Neoclassical Style in France

  • Jacques-Louis David. The Oath of the Horatii. 1784–85. Oil on canvas. 10'10" × 13'11-1/2". Musée du Louvre, Paris. © RMN-Grand Palais/Gérard Blot/Christian Jean. [Fig. 12.5]

  • Slide 19

  • Jacques-Louis David. The Lictors Returning to Brutus the Bodies of His Sons. 1789. Oil on canvas. 10'7-1/4" × 13'10-1/4". Musée du Louvre, Paris. © RMN-Grand Palais (Musée du Louvre)/Gérard Blot/Christian Jean. [Fig. 12.6]

  • Pierre-Alexandre Vignon. La Madeleine, Paris. 1806–42. Length: 350' Width: 147' Podium Height: 23' Column height: 63'. © Lebrecht Music and Arts Photo Library/Alamy. [Fig. 12.7]

  • Napoleon's Neoclassical Tastes

  • Slide 23

  • Jacques-Louis David. Napoleon Crossing the Saint-Bernard. 1800–01. Oil on canvas. 8'11" × 7'7". Musée National du Château de la Malmaison, Rueil-Malmaison, France. © RMN-Grand Palais/Gérard Blot. [Fig. 12.8]

  • Slide 25

  • Neoclassicism in America

  • Benjamin Henry Latrobe. View of Richmond showing Jefferson's Capitol from Washington Island. 1796. Watercolor on paper, with ink and wash. 7" × 10-3/8". Courtesy of the Maryland Historical Society, Baltimore. [Fig. 12.9]

  • Pierre-Charles L'Enfant. Plan for Washington, D. C. (detail), published in the Gazette of the United States, Philadelphia, January 4, 1792. 1791. Engraving after original drawing. Library of Congress, Washington, D.C. [Fig. 12.10]

  • Benjamin Henry Latrobe. Tobacco-leaf capital for the U. S. Capitol, Washington, D. C., Senate wing. ca. 1815. Courtesy of the Architect of the Capitol, Washington, D.C. [Fig. 12.11]

  • Slide 30

  • The Issue of Slavery

  • William Blake. Negro Hung Alive by the Ribs to a Gallows, from John Gabriel Stedman's Narrative of a Five Years' Expedition against the Revolted Slaves of Surinam. 1796. Engraved book illustration. Library of Congress, Catalog no. 1835. Private Collection, Archives Charmet/The Bridgeman Art Library. [Fig. 12.12]

  • Slide 33

  • Slide 34

  • Slide 35

  • William Hackwood, for Josiah Wedgwood. "Am I Not a Man and a Brother?" 1787. Black and white jasperware. 1-3/8" × 1-3/8". The Wedgwood Museum, Barlaston, Staffordshire, UK. [Fig. 12.13]

  • The Romantic Imagination

  • Slide 38

  • The Romantic Poem

  • The Idea of the Romantic: William Wordsworth's "Tintern Abbey"

  • J.M.W. Turner. Interior of Tintern Abbey. 1794. Watercolor. 12-5/8" × 9-7/8". Victoria and Albert Museum, London/Art Resource, NY. [Fig. 12.14]

  • The Romantic Landscape

  • John Constable: Painter of the English Countryside

  • Slide 44

  • John Constable. The Hay Wain. 1821. Oil on canvas 51-3/8" × 73". © The National Gallery London/Scala, Florence. [Fig. 12.15]

  • J. M. W. Turner. The Upper Falls of the Reichenbach. ca. 1810–15. Watercolor. 10-7/8" × 15-7/16". Yale Center for British Art, Paul Mellon Collection. B1977.14.4702. [Fig. 12.16]

  • Joseph Mallord William Turner: Colorist of the Imagination

  • Slide 48

  • J. M. W. Turner. Snow Storm—Steam-Boat off a Harbour's Mouth. 1842. Oil on canvas. 36" × 48". © Tate, London 2014. [Fig. 12.17]

  • The Romantic in Germany: Friedrich and Kant

  • Caspar David Friedrich. Monk by the Sea. 1810. Oil on canvas. 47-1/2" × 67". Alte Nationalgalerie, Staatliche Museen, Berlin. © Photo Scala, Florence/BPK, Bildagentur für Kunst, Kultur und Geschichte, Berlin. [Fig. 12.18]

  • Slide 52

  • Slide 53

  • Closer Look

  • Tintern Abbey. Wye Valley, Monmouthshire, Wales. Robert Harding Picture Library. Roy Rainford/Robert Harding. [Fig. 12-CL.1]

  • Hubert Robert. Pyramids. ca. 1750. Oil on canvas. 24" × 28-1/2". Smith College Museum of Art, Northampton, MA. [Fig. 12-CL.2]

  • The Romantic Hero

  • Slide 58

  • Casper David Friedrich. The Wanderer above the Mists. 1817–18. Oil on canvas. 37-1/4" × 29-1/2". On permanent loan from the Foundation for the Promotion of the Hamburg Art Collections. Hamburger Kunsthalle, Hamburg. © Photo Scala, Florence/BPK, Bildagentur für Kunst, Kultur und Geschichte, Berlin. [Fig. 12.19]

  • Slide 60

  • Baron Antoine-Jean Gros. Napoleon in the Pesthouse at Jaffa. 1804. 17' 5" × 23' 7". Musée du Louvre, Paris. © RMN-Grand Palais/Thierry Le Mage. [Fig. 12.20]

  • The Promethean Idea in England: Lord Byron

  • Goethe's Faust and the Desire for the Infinite Knowledge

  • Slide 64

  • Slide 65

  • Slide 66

  • Slide 67

  • Slide 68

  • Goya's Tragic Vision

  • Slide 70

  • Francisco Goya. The Third of May, 1808. 1814–15. Oil on canvas. 8' 9-1/2" × 13' 4-1/2". Museo del Prado, Madrid. © 2013. White Images/Scala, Florence. [Fig. 12.21]

  • Slide 72

  • Francisco Goya. Saturn Devouring One of His Children. 1820–23. Oil on plaster transferred to canvas, 57-7/8" × 32-5/8". © Museo Nacional del Prado, Madrid. All rights reserved. 2013 White Images/Scala, Florence. [Fig. 12.22]

  • From Classiscal to Romantic Music

  • Slide 75

  • The Classical Tradition

  • Slide 77

  • Haydn and Mozart

  • Slide 79

  • Beethoven: From Classicism to Romanticism

  • Slide 81

  • Slide 82

  • Beethoven's First Symphony: opening four-note motif. [Fig. 12-MN.1]

  • Romantic Music after Beethoven

  • Hector Berlioz and Program Music

  • Felix Mendelssohn and the Meaning of Music

  • Slide 87

  • Song: Franz Schubert and the Schumanns

  • Slide 89

  • Piano Music: Frédéric Chopin

  • Slide 91

  • Continuity & Change

  • Théodore Géricault. The Raft of the "Medusa." 1818. Oil on canvas. 16'1" × 23'6". Musée du Louvre, Paris. © RMN/Hervé Lewandowski. [Fig. 12.23]

Nội dung

Discovering the Humanities THIRD EDITION CHAPTER 12 The Age of Revolution: From Neoclassicism to Romanticism Discovering the Humanities, Third Edition Henry M Sayre Copyright © 2016, 2013, 2010 by Pearson Education, Inc or its affiliates All Rights Reserved Learning Objectives Compare and contrast the French and American revolutions Describe the Neoclassical style Define Romanticism as it manifests itself in both literature and painting Differentiate between Classical and Romantic music Document: Declaration of the Rights of Woman and the Female Citizen by Olympe de Gouges Document: American Declaration of Independence Paul Revere, after Henry Pelham The Bloody Massacre 1770 Hand-colored engraving 8-1516" ì 10-316" â Massachusetts Historical Society, Boston, MA/Bridgeman Images [Fig 12.1] The American and French Revolutions • The American Declaration of Independence was signed on July 4, 1776, and the French Declaration of the Rights of Man and Citizen on August 26, 1789 • Both documents reflect Enlightenment thinking, and both were influenced by the writings of John Locke The Declaration of Independence • The American Declaration of Independence is one of the Enlightenment's boldest assertions of freedom • The chairman of the committee that prepared the document and its chief drafter was Thomas Jefferson (1743– 1826) The Declaration of Independence • Jefferson argued for "Life, Liberty, and the pursuit of Happiness." • His basic rights aimed at achieving human fulfillment, a fulfillment possible only if the people control their own destiny John Trumbull The Declaration of Independence, July 1776 1786–97 Oil on canvas 21-1/8" × 31-1/8" Yale University Art Gallery, Trumbull Collection 1832.3 [Fig 12.2] The Declaration of Independence • The British lost the war against their American colonies in 1781, and the Treaty of Paris was signed on September 3, 1783 The Declaration of the Rights of Man and Citizen • In France, the cost of maintaining Louis XVI's court was so enormous that the desperate king attempted to charge a uniform tax on all landed property in 1788 The Declaration of the Rights of Man and Citizen • The subsequent riots across all levels of society led to the formation of the National Assembly by the Third Estate in 1789  The three traditional French estates included the First Estate (composed of clergy), the Second Estate (composed of Nobility), and the Third Estate (composed of the bourgeoisie) Haydn and Mozart • Wolfgang Amadeus Mozart, the greatest musical genius of the Classical era, composed complex melodies in many genres • Mozart's music was generally regarded as overly complicated, too demanding emotionally and intellectually for a popular audience to absorb during his lifetime Beethoven: From Classicism to Romanticism • After coming to the brink of suicide in 1802 due to his increasing deafness, Beethoven entered the so-called "Heroic Decade." • During this era, Beethoven was guided by an almost pure state of subjective feeling Beethoven: From Classicism to Romanticism • In great symphonies like the Eroica and the Fifth, Beethoven refined the Romantic style in music • The Eroica dramatizes the composer's own descent into despair, his inward struggle, and his ultimate triumph through art Beethoven: From Classicism to Romanticism • Like the Eroica, the Fifth Symphony brings musical form to the triumph of art over death, terror, fear, and pain Beethoven's First Symphony: opening four-note motif [Fig 12-MN.1] Romantic Music after Beethoven • Beethoven's musical explorations of individual feelings were immensely influential on the Romantic composers who succeeded him Hector Berlioz and Program Music • The French composer Hector Berlioz (1803–1869)was the most startlingly original of Beethoven's successors • He wrote three symphonies, all of which are notable for their inventiveness and novelty, and especially for the size of the orchestras Berlioz enlisted to play them Felix Mendelssohn and the Meaning of Music • Program music was an important part of the work of Felix Mendelssohn (1809– 1847) • For Mendelssohn, the meaning of music cannot be expressed in language, but lies in the music itself Felix Mendelssohn and the Meaning of Music • The Hebrides is a concert overture, a single movement setting a scene for a story  Other forms of concert overture are usually connected with a narrative plot known to the audience • The music creates a feeling that all listeners share, even if no two listeners would interpret it in the same terms Song: Franz Schubert and the Schumanns • Since the middle of the eighteenth century, German composers had been intrigued with the idea of setting poetry to music, especially the works of Schiller and Goethe Song: Franz Schubert and the Schumanns • These songs were called lieder (singular lied), and they were generally written for solo voice and piano • The lieder of Franz Schubert (1797– 1828) and Robert Schumann (1810– 1856) were especially popular Piano Music: Frédéric Chopin • Performances of character pieces often occurred at salon concerts, in the homes of wealthy music enthusiasts • Among the most sought-after composer/performer pianists of the day was the Polish-born Frédéric Chopin (1810–1849) • Chopin composed almost exclusively for the piano Piano Music: Frédéric Chopin • Among his most impressive works are his études, or "studies," which address particular technical challenges on the piano; polonaises, stylized versions of the Polish dance; nocturnes, character pieces related to the tradition of the serenade; and ballades, dramatic narrative forms Continuity & Change • After the fall of Napoleon in 1815, the battle between Classicism and Romanticism raged within France, fueled by political factionalism • Théodore Géricault, in his The Raft of the "Medusa," made a mockery of Neoclassicism with a Romantic-slanted depiction based on real-life events; it was dismissed by royalist critics Closer Look: Théodore Géricault, Raft of the Medusa Théodore Géricault The Raft of the "Medusa." 1818 Oil on canvas 16'1" ì 23'6" Musee du Louvre, Paris â RMN/Hervé Lewandowski [Fig 12.23] ... and Romantic music Document: Declaration of the Rights of Woman and the Female Citizen by Olympe de Gouges Document: American Declaration of Independence Paul Revere, after Henry Pelham The Bloody... and the Third Estate (composed of the bourgeoisie) The Declaration of the Rights of Man and Citizen • In 1791, a radical minority of the National Assembly led by the Jacobin extremist Maximilien... • The American Declaration of Independence is one of the Enlightenment's boldest assertions of freedom • The chairman of the committee that prepared the document and its chief drafter was Thomas

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