MOVEMENTS PAINTERS & PAINTINGS

GENRE AND SATIRE

William Hogarth ( 1697-1764)

– Marriage à la Mode (1742-43)

– The Harlot's Progress (1732)

PORTRAITURE

Reynolds (1723-92) grand style portrait:

– Admiral and Viscount Keppel (1753)

– The Montgomery Sisters ( 1773)
– Omai ( 1774)

Gainsborough (1727-1788)

– Mr and Mrs Andrews (1752)

– The Morning Walk (1785)
– The Watering Place (1777)
– The Cottage Door (1780)
– Girl with Pigs ( 1782)

WOMEN ARTISTS OF THE XVIIIth century

Mary Beale XVIIth century

Angelica Kauffmann ( 1741-1807) neo-classical painter

– Virgil writing his own Epitaph at Brandisium ( 1785)

– Self portrait in the Character of Painting Embraced by Poetry (1782)
– Self-Portrait Hesitating Between the Arts of Music and Painting ( 1791)

Mary Moser (1744-1819) portraits and still life, flower painting

– « Mary Moser Room » - Windsor

PRE-ROMANTICISM

End of the XVIIIth century- beginning of the XIXth century

Rediscovery of national antiquities in European countries, the influence of the Gothic
novel, the return to nature
Influenced by the philosopher Edmund Burke who developed the theory of the sublime

Johann Fuseli (1741-1825) painter of the bizarre, inspired by Milton's Paradise Lost and
from Shakespeare's plays - coexistence of neo-classicism and of the Gothic
 – The Nightmare (1781)
– Lady Macbeth Sleepwalking (1784) Louvre
chaotic pulsions of the human subconscious + sleepwalking as an expression of it
– Titania and Bottom ( 1780-90) Tate Gallery

William Blake (1757-1827)

– The Sick Rose (1780s ) poems +illustration
– Elohim creating Adam (1795 )
– Dante's Inferno, Paolo and Francesca

ANIMAL PAINTING
XVIIIth and XIXth centuries

George Stubbs (1724-1806) used enamel for paintings

– The Lincolnshire Ox (1790), Livestock painting

– The Anatomy of the Horse (1766), Horse painting
– Mares and Foals in a Landscape (1760-69), naturalism, realism, classical composition
– Two Hunters with a Young Groom and a Dog (1778)
– Whistlejacket (1762), exhibited at the National gallery

LANDSCAPE PAINTING
End of the XVIIIth and beginning of the XIXth century
reassessment of nature (at the centre of the romantic movement)

John Constable (and Arcadia) (1776-1837)

– Study of Cirrus Clouds (result is both scientific and aesthetic) => later Impressionism
– Flatford Mill (1817) authenticity and realism
– The Haywain (1821) greatness and perspective, moment of pause
– Salisbury cathedral (1831) darker paintings (Napoleonic wars)

Joseph Mallord Turner (1775-1851) a dramatic and sublime vision

– The Shipwreck (1805 ) new vision of the landscape made of light

– Dido Building Carthage (1815), donated to the National Gallery under the condition that
it would hang next to Claude's painting Seaport at Sunset (1648)
– Looking east from Giudecca : Sunrise (The perspective and palette complement each
other to produce a similar effect. )
– Snow Storm
– Rain, Steam and Speed (1844)

THE PRE-RAPHAELITE BROTHERHOOD

Millais, Rossetti and Hunt
 formed in September 1848, 7 members
realism, their art is characterized by sharply defined forms, detail and bright, luminous
colour

John Everett Millais (1829-1896)

– Isabella or the Pot of Basil (1848)

– The Bridesmaid (1851) Realism and symbolism
– Ophelia (1852)

Dante Gabriel Rossetti ( 1829-82) dominated by religious works and the world of
medieval legends

– The Girlhood of Virgin Mary (1848)

– « Behold the Servant of the Lord » ( 1849-50)
– The Wedding of St George and Princess Sabra (1857) aestheticism and symbolism

William Holman Hunt (1827-1910)

– The Hireling Shepherd ( 1851)

– The Lady of Shalott (1886-1905) elaborate symbolism and decorative richness opens
onto Art Nouveau

The themes of the PRB : medievalism, religion, society The sources : the Bible, Literature Form : a
return to pre-Renaissance style, XIXth century realism, symbolism

THE PRE-RAPHAELITES AND AESTHETICISM

From 1853 the PRB began to disintegrate, the Pre-Raphaelites entered a second phase, moving
away from their realistic, brightly coloured manner and looking forward to the poetic and
decorative manner of the Aesthetic Movement.
refused the utilitarian and moral dimension of artistic creation

Millais's later career

– Autumn Leaves (1856)

– Chill October ( 1870) no symbolic message, it is a purely decorative composition

Dante Gabriel Rossetti

– Bocca Baciata (1859)

– Beata Beatrix (1860)
– Veronica Veronese (1872) languidness, sensuality, full lips and long flowing ginger hair,
an iconic quality, rich colours, and the association between art, music and poetry.

Edward Burne-Jones (1833-98) never totally accepted the philosophy that art exists only
for art's sake. He believed that art could improve the lot of mankind.

– The Beguiling of Merlin (1874) retreat into the world of myths and medieval legends

James McNeill Whistler (1834-1903)

He gave all his paintings musical titles. He consciously asserted in his art one of the most
important aesthetic ideas of the second half of the XIXth century, that painting is like music, i.e a
purely visual object, functioning through the relationships of its various elements, without literary
or narrative content. He called his works « arrangements »or « harmonies ».

– The White Girl / Symphony in White N°1 (1862)

– Symphony in White N°2 influence of Orientalism, frequent in Aestheticism. Here in the
shape of the Japanese fan
– Symphony in White N°3

In the early 1870s, Whistler dropped the human figutre and began to paint his
Nocturnes ( // music and Chopin), which are simplified views of the Thames at night
or dusk.

– Nocturne in Blue and Gold : Old Battersea Bridge

– Nocturne in Black and Gold : the Falling Rocket

William Morris (1834-96) and the Arts and Crafts Movement

The Arts and Crafts Movement was a movement in the decorative arts that began in Britain
in the 1860s and flourished in Europe and North America between 1880 and 1920, and
which contributed to the development of Art Nouveau. They profoundly influenced interior
decoration ( tapestries, wallpaper, fabrics, stained-glass windows). Favored craft
production.