Baroque 7: The Royal Academies of Art
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Baroque 7: The Royal Academies of Art
- 1. The Royal Academies of Art
- 2. Henri Testelin, Colbert Presenting Members of the Royal Academy of Science to Louis XIV in 1667 In 1648 Louis XIV founded the French Royal Academy of Art (Académie Royale de Peinture et de Sculpture), under the direction of Charles Le Brun, first painter to the king
- 3. Henri Testelin, Colbert Presenting Members of the Royal Academy of Science to Louis XIV in 1667 The purpose was to establish state control over the production of art, which the king recognized as a valuable tool of state propaganda
- 4. Nicolas Langlois (1640-1703) Exposition des ouvrages de peinture et de sculpture dans la galerie du Louvre en 1699 The first academy exhibitions were held in a “room” or “salon” of the Louvre, which later became an annual event known as the “Salon”
- 5. Nicolas Langlois (1640-1703) Exposition des ouvrages de peinture et de sculpture dans la galerie du Louvre en 1699 Works submitted to these state-sponsored exhibitions were juried to ensure that Academic standards were enforced, and any work that did not meet official standards was rejected
- 6. François Joseph Heim, Charles V Distributing Awards to Artists at the Close of the Salonof 1824, 1827 The annual salon exhibition continued well into the 19th century, and represented the mainstream establishment values that the Realists and Impressionists would rebel against
- 7. The English Royal Academy of Art was founded in London in 1768, and was modeled on its French counterpart
- 8. Henry Singleton, The Royal Academicians in General Assembly, 1795 Royal Academy of Art Collections These academies established “rules” that would have a long lasting influence on European art for the next two centuries – especially rules governing the way artists were trained
- 9. Life drawing class at Vassar, c. 1930 Today, art students are taught to draw from “direct observation,” as seen in this life drawing class from Vassar College in the 1930s – but that is not how students at the Academy Schools were taught
- 10. Samuel F.B. Morse, Gallery at the Louvre Instead, students were trained to copy from plaster casts of classical sculptures and Old Master paintings – as seen in this painting by Samuel Morse, which shows students copying works of art in the Louvre
- 11. Samuel F.B. Morse, Gallery at the Louvre In other words, they were taught to copy art, rather than nature
- 12. Angelica Kauffman, Design, 1778-1780 Royal Academy of Art Collection The purpose of this method was to train students to internalize the idealizing conventions of past masters, who themselves had learned by studying Classical art
- 13. When students were allowed to work from the live model, they were trained to “improve” upon nature by making the figures look like classical sculptures, as seen in this study by Jaques Louis David,who was anaward winning student at the Ecole des Beaux Arts Jacque Louis David, Patrocolus, 1780 Musée Thomas Henry, Cherbourg Web Gallery of Art
- 14. Nature was considered to be too ugly for “fine art” Jacque Louis David, Patrocolus, 1780 Musée Thomas Henry, Cherbourg Web Gallery of Art
- 15. Charles Gleyre, Le Coucher de Sappho, 1867 This tradition continued well into the 19th century, when Claude Monet was training at the Academy. His teacher, Charles Gleyre (whose painting is pictured here), made this comment about a drawing Monet was working on in class:
- 16. Charles Gleyre, Le Coucher de Sappho, 1867 “Not bad! Not bad at all, that thing here, but it is too much in the character of the mode . . . All that is very ugly. I want you to remember, young man, that when one executes figure, one should always think of the antique. Nature, my friend, is all right as an element of study, but it offers no interest. Style, you see, style is everything.”
- 17. History $$$$$$ Portraiture $$$$$ Genre $$$$ Landscape $$$ Still Life $$ The Hierarchy of Genres The Academies also instituted a “hierarchy of genres,” which ranked subject matter according to prestige
- 18. History $$$$$$ Portraiture $$$$$ Genre $$$$ Landscape $$$ Still Life $$ The Hierarchy of Genres History Painting ranked highest because of its noble themes
- 19. History $$$$$$ Portraiture $$$$$ Genre $$$$ Landscape $$$ Still Life $$ The Hierarchy of Genres As the French painter Nicolas Poussin explained: “The first requirement, fundamental to all others, is that the subject and narrative be grandiose, such as battles, heroic actions, and religious themes.”
- 20. Charles Le Brun, Descent from the Cross, c. 1642-45 Victoria and Albert Museum The category of History painting included religious subjects (which remained popular Catholic France)
- 21. Charles Le Brun, Entry of Alexander into Babylon, 1664 And scenes from Classical History, such as this painting by Charles Le Brun depicting Alexander the Great’s triumphant entry into Babylon
- 22. Charles Le Brun, The Deification of Aeneas, 1642-44 Montreal Museum of Fine Arts Scenes from Classical mythology also fell into the category of History Painting
- 23. And scenes depicting the exploits of the king ranked equally with heroic stories from the past Charles Le Brun, Louis XIV Giving Orders of Attack in 1672, Galerie de Glaces,Versailles
- 24. Charles Le Brun, Louis XIV Arming Land and Sea, 1678-85 Galerie de Glaces, Versailles This conveniently put the king at the same level as Jesus Christ, the Gods of Classical mythology, and the great leaders of the ancient world
- 25. History $$$$$$ Portraiture $$$$$ Genre $$$$ Landscape $$$ Still Life $$ Portraiture ranked next on the pyramid – the status of the sitter being directly proportional to the prestige of the commission
- 26. History $$$$$$ Portraiture $$$$$ Genre $$$$ Landscape $$$ Still Life $$ Genre scenes, landscape, and still life ranked lowest because they were considered “common” and “everyday,” rather than grandiose or noble
- 27. The Hierarchy of Genres also governed size: History Paintings were generally large in scale because of the importance of the subjects, while lesser subjects were smaller in scale Gallery of Battles, Versailles
- 28. This can be seen in this engraving of the Salon of 1787
- 29. The large paintings are all “history paintings,” while the smaller pictures are probably still lifes and landscapes
- 30. As for the portraits, their size corresponds to the rank and wealth of the sitters!
- 31. History Painting was painted in what was called “the Grand Manner,” which consisted of figures and poses based on the ideal types from classical statuary Charles Le Brun, Louis XIV Giving Orders of Attack in 1672, Galerie de Glaces,Versailles
- 32. In this painting, the figure of Louis XIV is based on a famous Roman statue of the Emperor Augustus Charles Le Brun, Louis XIV Giving Orders of Attack in 1672, Galerie de Glaces,Versailles
- 33. The “grand manner” is a lot like opera: it is an idealized and heroic style based on classical art
- 34. I like to describe the Grand Manner style as “heroic people, in heroic poses, doing heroic things” Charles Le Brun, Louis XIV Giving Orders of Attack in 1672, Galerie de Glaces,Versailles
- 35. Louis Le Nain, Peasant Interior, c. 1640 Realism, on the other hand, was reserved for common people, and scenes of everyday life
- 36. History $$$$$$ Portraiture $$$$$ Genre $$$$ Landscape $$$ Still Life $$ The Hierarchy of Genres Heroic subjects; larger size; Grand Manner style
- 37. History $$$$$$ Portraiture $$$$$ Genre $$$$ Landscape $$$ Still Life $$ The Hierarchy of Genres Heroic subjects; larger size; Grand Manner style Important people; size determined by status
- 38. History $$$$$$ Portraiture $$$$$ Genre $$$$ Landscape $$$ Still Life $$ The Hierarchy of Genres Heroic subjects; larger size; Grand Manner style Important people; size determined by status Poor people and everyday life; smaller scale, and realistic size
- 39. A famous debate emerged in the 17th century Academy about the merits of color versus design
- 40. Angelica Kauffman, Design, 1778-1780 Royal Academy of Art Collection Proponents of design argued that composition and design appealed to the mind, and was therefore superior
- 41. Angelica Kauffman, Color, c. 1778-1780 Royal Academy of Art Collections Color, they argued, was closer to “nature” than to “art,” and appealed to the senses rather than the mind
- 42. Nicholas Poussin, Rape of the Sabine Women, 1633-34 Metropolitan Museum Advocates of design championed the work of Nicholas Poussin, an austere and intellectual painter who spent most of his professional career in Rome
- 43. Peter Paul Rubens, Rape of the Sabine Women, 1635-37 National Gallery Proponents of color championed the work of Peter Paul Rubens, known for his sensuous use of shimmering color
- 44. The debate between these two factions came to be known as the Rubenistes vs the Poussinistes, and their rivalry was as fierce as the rivalry between political parties today!
- 45. Nicholas Poussin, Rape of the Sabine Women, 1633-34 Metropolitan Museum Poussin’s work was admired for its rationality and restraint; it appealed to the mind rather than the senses
- 46. Nicholas Poussin, Rape of the Sabine Women, 1633-34 Metropolitan Museum In spite of the violence of the subject matter, Poussin’s painting is restrained – the colors are cool, rather than sensual, and the figure’s adopt poses that seem rhetorical rather than natural
- 47. Nicholas Poussin, Rape of the Sabine Women, 1633-34 Metropolitan Museum The composition imposes order over the chaos
- 48. It is similar to the way Le Notre imposed order on the gardens at Versailles
- 49. Peter Paul Rubens, Rape of the Sabine Women, 1635-37 National Gallery Rubens was admired for his rich shimmering colors and dramatic compositions
- 50. Peter Paul Rubens, Rape of the Sabine Women, 1635-37 National Gallery Rubens’ composition is explosive and dynamic, rather than rationally organized and controlled
- 51. Peter Paul Rubens, Rape of the Sabine Women, 1635-37 National Gallery And his colors are shimmering and sensuous, rather than cool and restrained
- 52. Peter Paul Rubens, Rape of the Sabine Women, 1635-37 National Gallery And his colors are shimmering and sensuous, rather than cool and restrained
- 53. Jean-Honoré Fragonard The Swing, 1766 Wallace Collection, London With the emergence of Rococo painting in the 18th century, the Rubenistes won the day
- 54. Eugene Delacroix, Self Portrait, 1837J.A.D. Ingres Self Portrait, 1804 But the debate over color and design will re-emerge in the 19th century in the rivalry between Neoclassicism and Romanticism