Posts Tagged ‘Napoléon’

Podcast 26 Realism in Europe, Part Two

REALISM IN FRANCE

Although Realism is usually associated with its principle figures, Gustave Courbet and Édouard Manet, there were many important Realist artists in France whose ideas about art and whose realist principles were quite varied.  For decades, the broader movement of Realism produced works of art that were supportive of the dominant forces in society or that interrogated the prevailing norms.  The podcast discusses Realism in the context of the political and social conditions in late nineteenth century France.

  FRENCH

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Podcast 25 Realism in Europe, Part One

EUROPEAN REALISM, PART ONE

Although Realism is usually associated with the artistic movement in France, Realism was an international movement that was both visual and literary.  Realism in the nineteenth century was not just a political or social impulse, it was also a set of concepts that challenged and replaced the rubrics of Romanticism.  This podcast examines the principles of the Realists artists.

  EUROPEAN

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Podcast 23: Romanticism and Friedrich

GERMAN ROMANTICISM AND CASPAR DAVID FRIEDRICH

Caspar David Friedrich personified German Romanticism, producing paintings that became icons of the movement. Working in a nation under alien occupation, Friedrich found the intersection between pantheism and the alienation of human beings in a new and modern world.  The serene and severe German landscape around Dresden and at the edge of the North Sea create a paradox between tragedy and hope.

 
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Podcast 21 Romanticism and Goya

ROMANTICISM IN SPAIN

Romanticism in Spain is the creation of Napoléon who invaded the country of the court painter, Francisco Goya.  Goya’s Romanticism is a mindset of outrage as he recorded the invasion and occupation of the French forces.  The result is an art of the extremes: a Romanticism lived on the edge of fear and madness.

 

 

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Podcast 12 French Romanticism: Ingres, Part One

THE MODERNISM OF INGRES

Often assumed to be the bastion of conservatism in French art, Ingres was actually an astute observer of his own time and was, therefore, thoroughly modern. Like Gros and Girodet, Ingres had to find his own way past both David and Neo-Classicism and into the new movement, Romanticism. This part of a two part podcast deals with the early career of an artist so original and so reviled he spend nearly two decades in Rome, only to return triumphantly to Paris as the champion of all things Academic.

 

 

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French Romanticism: The Historical Context

French Romanticism: The Historical Context

Neoclassicism was a historicist revival of an ancient style that acquired political and social implications during a time of turbulent change.  Calm and serene, Neoclassicism lent itself well to noble subject matter that depicted the ideals the French public should emulate.  Despite the classical harmony of Neoclassicism, the style was developed during a decade of chaos.  Ironically, Romanticism, which in contrast, was a dramatic and dynamic style matured during a decade of peace and calm. The Romantic artists looked back to the Napoléonic age of empire and glory with disappointment and depression that they had been born too late to participate in the great adventure.  Although these artists challenged the Salon system that maintained the status quo and the academic style, they did so in a society that was busy turning back the clock of liberalism. Under Napoléon, traditional powers were reinstalled, an emperor took the place of a king, the Catholic Church was restored, and the Code Napoléon, while an efficient legal structure, set the cause of equality back for decades to come. Napoléon reinforced the backward look to his regime by adopting the Holy Roman Empire of Charlemagne as his model to reinforce the concept of “France,” which was a “modern” nation with a long tradition.  On the other hand, Napoléon fought “wars of liberation” to spread the French Revolution over Europe and wound up presiding over an Empire. Once a force of the “liberation” of Europe, the Grande Armée became a force of conquest, control, and occupation, all in the name of “freedom.”

Romanticism, in France, evolved out of Neoclassicism’s grand manner as Napoléon’s artists responded to commissions that demanded glorification of his military adventures and martial victories.  But the building of an empire was often a dark and dirty business.  Hiding beneath the mask of glory was a very real cost in human life and suffering that demanded a new and sometimes uncomfortable realism. Jean-Antoine Gros glorified Napoléon but could not ignore the reality of war.  The growing unease with Napoléonic wars can be traced through the works of Baron Gros.  From Napoléon at Arcole (1796) to Napoléon at the Pesthouse of Jaffa (1804) and Napoléon at Eylau (1806).  In the decade, the depiction of Napoléon had gone from heroic young leader to noble healer to solemn general leading his horse slowly among the dead.  Gros and the other Napoléonic artists could not resort to classical allegory and were forced, by their Emperor’s demands, to represent the contemporary era. Current events seemed far more relevant than ancient deed from an antique past.  Any lessons the classical era might have had seemed meaningless in the face of modern times of industrialization and total war.  The break between Neoclassicism and Romanticism can be clearly seen in the time when France dominated the Continent and plunged Europe into ten years of war.  While many artists continued to explore the possibilities of the Neoclassical, artists such as Gros were drawing a distinctive dividing line between Neoclassicism and Romanticism—the new interest in the contemporary and a new concern with one’s own time.

The age of Napoléon was a great age for art and for artists in France.  The Emperor threw himself into a well-organized orgy of looting the cultural heritage of Europe.   He stripped European nations of their patrimony and brought thousands of art treasures, large and small, significant and less well known to Paris and installed them in the Louvre, now a public museum.   The challenge to Neoclassicism from new artists and unfamiliar art was part of the origin of Romanticism.  To be able to see actual paintings by Rubens, his bold brushwork, his bright colors, his restless and dynamic forms was a revelation to French artists.  To the new Romantic generation, the French academy ceased to the sole source of artistic ideals.  The French people accepted, as their due, this artistic tribute from other countries.   They had few moral qualms about the wholesale stripping and transportation of European culture to Paris.  In addition to the unprecedented availability of Continental art, the fall of the French aristocracy had brought a number of important private collections to the market.  Most of this art found its way to England, where it was safe from Napoléonic looting.  But the looted collections added to the Louvre were returned to their countries of origin, with the exception of a few prize Italian works, still in France.

After the fall of Napoléon in the first abdication of 1814 and the final fall in the second abdication of 1815, France returned to a conservative political mode. Napoléon himself had certainly been reactionary when it came to women and the lower classes and he reinstated the Catholic Church, bringing back religious traditions, albeit under state control.  His successor, the Bourbon monarch, Louis XVIII did little to change the France Napoléon left behind, continuing his policy of inviting the émigrés back and restoring the old order, while opening the doors to men of merit.  Louis agreed to a constitutional monarchy, modeled after that of Britain, while his successor, Charles X, chafed under such restrictions.  Although the French people had nostalgic memories of Napoléon, they had little patience with the simple-minded kind and revived the old revolutionary fervor in the “July Days” of 1830.  Charles X was summarily overthrown in a few short days, called “Days” as a reflection of the “Days,” also in July when the first Revolution began in another July in 1789.  The next king who stepped into the vacant throne, Louis-Philippe, was careful to not repeat the mistakes of Charles X and called himself the “Citizen King.”  During the span between Napoléon and Louis-Philippe, Romanticism in France and its counterpart, the avant-garde, was created.

Near the conclusion to his classic history, The Age of Napoléon, J. Christopher Herold quoted Napoléon,

“’Greatness has its beauties, but only in retrospect and in the imagination’: thus wrote General Bonaparte to General Moreau in 1800.  His observation helps to explain why the world, only a few years after sighing with relief at its delivery from the ogre, began to worship him as the greatest man of modern times. Napoléon had barely left the scene when the fifteen years that he had carved out of world history to create his glory seemed scarcely believable. Only the scars of the war veterans and the empty places in the widows’ beds seemed to attest the reality of those years, and time soon eliminated even these silent witnesses.  What remained, in retrospect and in the imagination, was legend and symbol.”

The generation of Romantic artists who matured under the reign of Louis XVIII and Charles X had to be content with a petit revolution and regretted not having experienced the true glory of life under Napoléon.  Artists, such as Théodore Géricault and Eugène Delacroix, spent their early careers dealing with the contemporary. Géricault who, like Gros, measured the Napoléonic wars with two paintings of dashing French cavalry officers, both resplendently dressed, but each portrait of a warrior was very different.  The Charging Chasseur (1812) and the Wounded Cuirassier (1814), separated by two short years, span the gap between the glory years just before the disastrous Russian campaign and the year of defeats at the hands of the Alliance of European armies.  Part of a transition generation between David and Delacroix, Gros and Géricault swerved away from the Davidian tradition of heroic Neoclassicism, as seen in Napoléon Crossing the Alps, and into a hybrid of Romanticism combined with realism, overlying classicism.  Under the reign of Louis XVIII, artists were not bound to producing propaganda and were freed from Napoléonic censorship. Géricault pointedly criticized the new and incompetent government with his Raft of the Medusa, seen in the Salon of 1819.  The theatricalized scene, which included a young Delacroix, posing on the raft, was dramatically Romantic, contemporary, and political.  Arriving at the end of France’s time of glory and honor, Géricault’s Raft revealed how dangerous and how forceful art, freed of the dictates of the state, could be.

If you have found this material useful, please give credit to
Dr. Jeanne S. M. Willette and Art History Unstuffed.  Thank you.
info@arthistoryunstuffed.com

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Podcast 10 The French Romantics: Gros and Girodet, Part One

THE EARLY ROMANTICS: GROS AND GIRODET

Although the French Revolution caused an upheaval in French art, there was an attempt to use Neo-Classicism to return to the pure and historical origins of art.  However, compelling contemporary events and a new regime interested in using art as propaganda worked against the dominance of Neo-Classicism in the Academy.  Even before the term was applied, “Romantic” art began to appear.  The earliest of the French Romantic artists were the Napoléonic painters, Gros and Girodet.  Both students of David, the young artists uneasily made the transition from the Neo-Classicism of their master to the demands of the new century.  In their early works, Gros and Girodet represented the poles of Romanticism: contemporary subjects and escapist subjects.

Part Two will examine the artists’ later works.

 

 

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The Rise of Napoléon

France: The Rise of Napoléon

During the war with England, the French had obtained the island of Corsica, and, as a result, Nabuleone di Buonaparte was born in 1769 as a French citizen.  After translating his name into its French version, Napoléon Bonaparte, the young military officer was part of the army raised to repel the invasion. The initial reason for intervening in internal French affairs was the Queen herself.   Allies, Austria and Prussia, attempted to invade and end the Revolution before it was too late for Marie Antoinette.  However, the first nationwide draft, the levée en masse, in 1793, put large numbers of men in the field and, in an extraordinary feat, the new government managed to feed, clothe and arm the citizens’ army.   Even after the deaths of the King and Queen, the European powers still sought to restore the hereditary right to rule, or, to put it another way, to safeguard the legitimacy of aristocratic power.  Revolution had already infected America, to the great cost of Britain, and this rebellious fever must not be allowed to spread to the rest of Europe.

To counter the reactionary European alliance, a young Corsican coporal, Napoléon Bonaparte, rose from the ranks of the French Army by exhibiting his talents with artillery, a relatively modern weapon for modern war.  He was a common man, who, for many, personified the promise of the Revolution—success through merit. Napoléon understood artillery—it could be moved, it could be deployed strategically, and with its flexible firepower, artillery could be the decisive edge for victory.   Throughout Europe in the fired up imaginations of the commoners, Napoléon was not just a new kind of leader; he was a savior.  A man who was a “man of the people,” he was perceived as bringing the ideals of the Enlightenment to the rest of Europe.   For the French, the Corsican colonial brought order out of the chaos of a Revolution gone wrong.  Lucky to be stationed outside of France, Napoléon avoided the internal politics of the Revolution.  For example, many French people outside of Paris were anti-Republican and opposed to the reforms promised by the Revolution.  The result was decades of rebellion, collectively called “The Vendée,” also known as the “White Terror,” which carried on until 1813.

Those early years of post-monarchy government is referred to as the First Republic, established in 1792.  Far from being a “republic,” in the traditional sense, this Republic included the dictatorship of the Jacobins, the Directory, which employed Napoléon, and the Counsulate, which was dominated by him. Napoléon became the First Counsel in 1799, when he staged a coup d’état, after being soundly defeated by the British in Egypt.   This seizure of power is referred to as “The 18 Brumarie,” after the day and month of the coup.  The Republic ended and Napoléon was in total control by 1804, during a period of peace, following the Treaty of Amiens of 1802.  The French Revolution was over, the experiment in representative government was ended, and dictatorial power was restored. Napoléon invited the émigrés, who had fled for their aristocratic lives to England and America, to come back to France.  He reinstated the Catholic Church, but its property was not restored. Dashing the hopes for democracy of European intellectuals from Beethoven to Goya, Napoléon crowned himself Emperor of France and crowned his wife, Josephine, Empress, for good measure.  Then he embarked upon a campaign of conquest throughout Europe that would stall the benefits of modern life and the Enlightenment for France and for the rest of Europe.

Under the guise of being a liberator and a bringer of the ideals of the Revolution, Napoléon conquered the Continent.  The longstanding problem of the French debt was solved simply: by looting Europe.  While many liberals welcomed the weakening of European monarchies, they were soon disillusioned by Napoléon’s iron grip on his “allies” and became restive.   Only England stood, alone, against the French.  The resistance of Great Britain only made the nation stronger, while the need to control his conquests eventually drained the French who eventually tasted defeat in 1814.  Napoléon brought the dark side of modern life—total war—to anyone in his path until his final downfall at Waterloo in 1815.

Napoléon  and his total war was an attempt to return to the glory days of the Carolingian Empire, and allowed England to become the dominant industrial and military power while he was consolidating his power.  The Code Napoléon turned back the reforms and the ideals of the Revolution, abolishing equality but acknowledged the power of the middle class and the principle of merit as a condition of advancement.  Most importantly, the Code spelled out the winners and losers, following the years of upheaval. Slavery was reinstated in the colonies. Women were disempowered and the lower classes were put back in their place and the revolutionary energies were drained by the total war that dominated the decade. Thus, the real losers of the French Revolution were the very class that had led the Revolution—the lower classes.

Unwittingly the proletariat had done the dirty business of eliminating the troublesome aristocrats for the bourgeoisie.  The sans-coulottes had demonstrated their lack of judgment in following unqualified rabble-rousers. The lower classes had never supported the Enlightenment ideals that had so inspired the upper classes, and, the proletariat and the peasants were responsible for the end of the Enlightenment itself.  The horrors of the Terror demonstrated the futility of relying upon the powers of human reason and rational thinking.  The American Revolution had been eminently rational; the French Revolution had been strikingly irrational.  The English Royalists in America were allowed to leave or adapt; the French aristocrats had been massacred in public spectacles in town squares all over the country. The lower classes had terrified their fellow French citizens by acting out centuries of rage, earning the sobriquet: The Dangerous Class.

Although leading the way to revolution, the lower classes disqualified themselves for power. The middle-class feared and loathed the undisciplined and unwashed mod and would view any move on the part of the lower classes to protest their status with suspicion and oppression.  By behaving less badly, the middle class inherited France and moved into the court of Napoléon, newly empowered under the Empire.  The proletariat would have to endure other Revolutions and wait for the century to end before they too would become fully enfranchised.   The lower classes, who were promised “liberty, equality, and fraternity,” but got little of the “natural rights” that had been promised.  At the end of the Napoléonic wars, one in three lower class men had died, sacrificed for the glory of the nation.   And yet, out of the strife and struggle, the modern French Citizen was constructed and the modern French identity came into being within a modern nation state.  But there was a cost.  An overseas empire had been lost and England was suddenly dominant in Europe, with France as a defeated and diminished power, destined to yearn for those years of patriotic glory under Napoléon.

If you have found this material useful, please give credit to
Dr. Jeanne S. M. Willette and Art History Unstuffed.  Thank you.
info@arthistoryunstuffed.com

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Podcast Episode 3 Jacques-Louis David

THE NEOCLASSICISM OF JACQUES-LOUIS DAVID

Jacques-Louis David, the most prominent Neoclassical painter, shifted his artistic allegiances from a king to a revolution against that king to an emperor.  Was the artist a man without principles or was he a man of his own time, caught up in the tides of history, taking opportunity as he found it?  The major works of art by David will be discussed.

 

 

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