Lesson 1Romantic features: emotion, sublime, exoticism, individualismExplore Romanticism’s emphasis on emotion, imagination, an' di sublime, tracin' how artists use dramatic light, color, an' composition to evoke terror, awe, exoticism, an' individual experience beyond di limits a rational explanation, mon.
Emotion, imagination, an' subjectivityThe sublime in nature an' disasterExoticism, Orientalism, an' fantasyGothic, supernatural, an' di uncannyBrushwork, color, an' dramatic lightLesson 2Major artists: Jacques-Louis David, Antonio Canova, J.M.W. Turner, Francisco GoyaIntroduce key Neoclassical an' Romantic artists, comparin' dem training, patrons, an' aims, an' examin' how David, Canova, Turner, an' Goya negotiate politics, emotion, an' tradition while shapin' public taste an' artistic innovation, seen.
Jacques-Louis David an' revolutionary politicsAntonio Canova an' ideal sculptureJ.M.W. Turner an' experimental landscapeFrancisco Goya an' social critiquePatrons, markets, an' artist careersLesson 3Why it matters: shiftin' purposes a art from civic didacticism to personal expression an' critiqueExplain how art’s role shift from didactic civic tool to vehicle fi personal expression an' social critique, highlightin' debates over freedom, nationalism, empire, an' industrial modernity dat still shape how we understand art today, yuh zeet.
Art as moral instruction an' propagandaRise a di autonomous artistic geniusNational identity, empire, an' resistanceCritiquin' war, slavery, an' injusticeLegacy fi modern an' contemporary artLesson 4Neoclassical features: classical restraint, moral narratives, clear compositionDefine core Neoclassical traits, including clarity, order, an' moralizin' narratives, an' explain how artists adapt ancient models, idealized di human body, an' use composition, line, an' gesture to convey civic virtue an' rational control, mon.
Classical sources an' archaeological modelsLinear clarity an' controlled brushworkMoral narratives an' civic virtueIdealized bodies an' stoic emotionArchitecture, costume, an' settin' cuesLesson 5Timeframe an' overview (c. 1750–1850)Provide a chronological overview from about 1750 to 1850, mappin' key events, stylistic shifts, an' regional variations, an' clarifyin' overlaps, hybrids, an' transitions between late Baroque, Neoclassicism, Romanticism, an' early Realism, seen.
Late Baroque to early NeoclassicismHigh Neoclassicism in EuropeRomanticism across regionsPolitical upheavals an' style shiftsTransition toward Realism an' beyondLesson 6Representative works: David’s Oath of the Horatii, Turner’s The Slave Ship, Goya’s Third of May 1808Analyze landmark works by David, Turner, an' Goya, focusin' on composition, symbolism, an' historical context to show how each painting construct narratives about heroism, sufferin', power, an' moral responsibility fi contemporary viewers, yuh know.
David’s Oath a di Horatii in detailTurner’s The Slave Ship an' abolitionGoya’s Third a May 1808 an' war traumaComparin' narrative strategies an' styleReception, controversy, an' later influenceLesson 7Historical context: Enlightenment, revolutions (American, French), industrializationSituate Neoclassicism an' Romanticism within Enlightenment thought, political revolutions, an' industrialization, showin' how new ideas about reason, rights, nature, an' progress reshape artistic themes, audiences, an' institutional settings, mon.
Enlightenment philosophy an' classical revivalAmerican an' French Revolutions in imageryNapoleon, empire, an' state propagandaIndustrialization, cities, an' new audiencesAcademies, salons, an' art institutionsLesson 8Techniques an' materials: large-scale history painting, landscape as subjectExamine favored media an' formats, from large-scale history painting to sculpture an' print, an' show how landscape, maritime scenes, an' new technologies like watercolor an' lithography expand subjects, techniques, an' viewin' contexts, seen.
Grand manner history painting formatsStudio practice an' academic trainingMarble sculpture an' plaster modelsLandscape an' seascape as main subjectsWatercolor, printmakin', an' new media
