Romanticism in

Germany

Caspar David
Friedrich, Monk by
the Sea, c. 1809
“Philosophical enquiry into
the origin of our ideas of
the sublime and beautiful”
by Edmund Burke, 1757

Caspar David
Friedrich, Wanderer
above the Sea of Fog,
1818
Antoine Louis Barye, Lion and Serpent, cast in 1835
François Rude, La Marseillaise (The Departure of the
Volunteers of 1792), 1833–6
Charachteristic of Italian
Romanticism
Lesson #3
 Context that anticipates Italian
Romanticism

 Return to Italian XV Century art

 Nazarene group founded in Rome in
1809

 Franz Pforr, Entry of Emperor Rudolf of

Habsburg into Basel, 1808-10
Viollet-le-Duc, Dictionnaire de l'architecture, (1854-1868),
Entretiens sur l'architecture (1863-1872). Sketch for Sainte
Chapelle’s altar and Notre-Dame’s glass windows in Paris
Franz Pforr, The
Count of Habsburg
and the priest
Purismo was an Italian cultural
movement which began in the 1820s,
emerged after the influence of painters
known as the Nazarenes. The term was
coined in 1833 by the Hellenist and
Latinist Antonio Bianchini, referring
to painters who sought to recover the
“purity” of “primitive” Italian artists
(primitive Italians – from Cimabue to
“the first” Raphael, through Fra
Angelico and Giotto among others).

Johann Friedrich Overbeck, Christh in

the House of Mary and Martha, 1815
Johann Friedrich Overbeck, Italy and
Germany
Raffaello, Madonna with Child, 1506
Raffaello, School of Athens, 1506
Trasfiguration, 1518-20
Italian Romanticism

Francesco Hayez,
Peter the heremit
riding a white woman
with a crucifix in his
hand and passing
throght the city and
the townships
preaching the
Crusade, 1827-29
 Italian Romanticism

 Francesco Hayez, Pietro Rossi

closed by Scaligeri, 1818-1820,
Pinacoteca di Brera, Milan.
 The subject is inspired by the
History of the Italian republics of
the middle centuries written by
Sismondi (1817-1819), a decisive
text for the democratic culture of
the time
Francesco Hayez, I
Due Foscari, 1851-
1852
The Kiss, 1859, Pinacoteca di Brera, Milan
The representation of the city
during the industrial revolution
and the urban transformations of
XIX Century
The industrial city

Gustave Doré’s cover illustration for

London: A Pilgrimage. The project took
four years to complete, featured 180
engravings, and was finally published in
1872.
 The industrial city  Night refuges for workmen

illustrated by Gustave Doré  London’s suburbs

 The Workmen’s Train
• Realism

• Gustave
Courbet,
Firemen
rushing to a
fire, 1850
The artist documents a really dangerous situation that was really
heavy for the working class life condition
 Gustave Courbet, The Stonebreakers, 1849 Jean-François Millet, The Gleaners, 1857
Gustave Courbet, A Burial at Ornans, 1850
Rembrandt van Rijn, The Anatomy Lesson of Dr. Tulp, 1632, oil on canvas, 169.5 x 216.5 cm 
 A new iconography: the
working class
 Ford Madox Brow, The work, 1852-65, oil on
canvas, 134,5 x 195,8 cm, Manchester City Art
Gallery
 Expression of a central topic of industrial
revolution period: the work as a way to moral
elevation
 Similarity of ideas with Pre-Raphaellite
Brotherhood
 Use of colors and perspective of XV Century
to express the ethic values of modernity
 Transfiguration of the reality into a myth
 Pre Raphaelite Brotherhood
Founded in 1848
Model of Italian art of XV Century
(reference to Nazareni and Italian
Purism)

Christ in the house of his parents by John

Everett Millais, 1850
In the chronicle of
1850, Times newspaper describes the
painting as 'revolting' for the way in
which the artist had attempted to depict
the Holy Family as ordinary, lowly
people in a humble carpenter's shop 'with
no conceivable omission of misery, of
dirt, of even disease, all finished with the
same loathsome minuteness'.
John Everett
Millais, Ophelia,
1851-52, oil on
canvas, 762 x 111.8
cm
 John Ruskin, Study of
Gneiss Rock, Glenfinlas,
1853, pen and ink

John Everett
Millais, Portrait of
John Ruskin,
1853-4
They promote craft and
decorative arts, preluding
to Arts & Crafts
mouvement

John Everett
Millais, Isabella, 1848-
49
Morris & Company, Carpet, c. 1884, hand-knotted wool pile
Mariana and the stained
glass windows (detail), Sir
John Everett
Millais, Mariana, 1851
 William Bell Scott , Iron and Coal, oil
on canvas transferred on the wall, 1861
 Iconographic model of neoclassicism
inspired by allegory and myth, such as
the myth of Volcano

 Science, technique, and industry are

illustrated as powerful forces that
humans – not gods anymore – can use to
construct a new world.
 Painting celebrates Robert Stephenson’s
industry of trains
 Adolphe von Menzel, The Iron Rolling
Mill (Modern Cyclopes), 1875
 Production of railway materials by
Konigshutte Factory, an impressive
metallurgical factory founded by the
German royal house in 1797
 Power of modern industrial work
 Jean Ernest Delahaye, Gas Factory,
1884
 Moving from interior to outside of the
factory, the artist seems to affirm that
the city of workers itself can be read as
a new landscape genre socially engaged
Paris between impressionism
and the emerging
photography
Impressionist paintings
of often depict a city
full of sun-dappled
socialites: dancing,
shopping, boating and
schmoozing
 Gustave Caillebotte, Paris Street;
Rainy Day, 1877
 Haussmann’s urban plan
 The urban landscape is
characterized by a strict
geometry, emphasized by the
intersection of streets, and by a
photographic cut
Many of Caillebotte's paintings depict the modernization of Paris.
Le Pont de l'Europe, 1876
Iron beams designed with a reticular pattern occupe half of the painted surface
 New materials: iron, reinforced concrete, glass
Coalbrookdale, England, 1775-1779

The architecture John Fowler, Iron bridge of Firth Forth, Scotland, 1881-1887

of engineers Photograph of the opening of Tour Eiffel in 1889

Text: Nicolaus Pevsneer, Pioneer sof modern architecture, 1936
New points of view

 Claude Monet, Boulevard des

Capucines, 1873

 Oblique axis
 Scene framed by a window
 When Monet realized this composition
he was in the the studio of photographer
Nadar.
  Nadar, Aereal photo of Paris, 1898; his studio was in Boulevard des Capucines
Paris between
 In 1863 his studioimpressionism and
became the headquarter theSociety
of The emerging photography
for the Encouragement of
Aerial Locomotion. Jules Verne, famous writer of “Around the world in 80 days” was the
secretary and Nadar was the honorary president of the Society
 On the left, Monet;
Paris between On the right Hippolyte Jouvin, Boulevard de la Madeleine
impressionism and the et des Capucines, 9ème arrondissement, Paris, 1863
emerging photography Charles Wheatstone, inventor of stereoscopic vision, 1831
Talbot, inventor of photography, 1841