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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
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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]
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The Declaration of the Rights of Man and Citizen
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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]
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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]
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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
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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]
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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]
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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]
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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
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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
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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
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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]
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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
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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]
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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
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Goya's Tragic Vision
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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]
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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
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The Classical Tradition
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Haydn and Mozart
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Beethoven: From Classicism to Romanticism
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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
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Song: Franz Schubert and the Schumanns
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Piano Music: Frédéric Chopin
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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]