(Neoclassicism & Romanticism) ROMANTICISM [continued (6)] [Extracts from source text with ms notes][12th May 1991]

[Redbook10:48][19910512:1718ct](Neoclassicism & Romanticism) ROMANTICISM [continued (6)] [Extracts from source text with ms notes][12th May 1991]

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[continued]

*

**

*[Marginal note above:]

{How true!}

[For ‘The Death of Sardanapalus’ see next ts journal entry]

**[– ibid (Encyclopaedia of Visual Art) 746]

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[Source text continues in next ts journal entry but one]

[continued]

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(Neoclassicism & Romanticism) ROMANTICISM [continued (5)] [Extracts from source text with ms notes][12th May 1991]

 

[Redbook10:48][19910512:1718cs](Neoclassicism & Romanticism) ROMANTICISM [continued (5)] [Extracts from source text with ms notes][12th May 1991]

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[continued]

*

**

*[Marginal note above:]

[Emphasis mark ‘I’ as reproduced above]

**[– ibid (Encyclopaedia of Visual Art) 746]

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[Source text continues in next ts journal entry]

[continued]

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(Neoclassicism & Romanticism) ROMANTICISM [continued (4)] [Extracts from source text with ms notes][12th May 1991]

[Redbook10:48][19910512:1718cr](Neoclassicism & Romanticism) ROMANTICISM [continued (4)] [Extracts from source text with ms notes][12th May 1991]

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[continued]

*

**

*[Marginal note above:]

{64C~1792[ce]}

**[– ibid (Encyclopaedia of Visual Art) 746]

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[Source text continues in next ts journal entry]

[continued]

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(Neoclassicism & Romanticism) ROMANTICISM [continued (3)] [Extracts from source text with ms notes][12th May 1991]

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[continued]

*

*[– ibid (Encyclopaedia of Visual Art) 746]

[Source text continues from last previous ts journal entry]

[Source text continues in next ts journal entry]

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(Neoclassicism & Romanticism) ROMANTICISM [continued (2)] [Extracts from source text with ms notes][12th May 1991]

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[continued]

*

**

*[Marginal notes above:]

{R~}

{s~}

**[– ibid (Encyclopaedia of Visual Art) 746]

[Source text continues in next ts journal entry]

[continued]

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(Neoclassicism & Romanticism) ROMANTICISM [Extracts from source text with ms notes][12th May 1991]

[Redbook10:47][19910512:1718co](Neoclassicism & Romanticism) ROMANTICISM [Extracts from source text with ms notes][12th May 1991]

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[continued]

*

* ‘Liberty Guiding the People by Delacroix; oil on canvas; 260x325cm (102x128in); 1831. Louvre, Paris.’

[– ibid (Encyclopaedia of Visual Art) 745]

[The reproduction in the source text is not the one in the ts]

[continued]

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(Neoclassicism & Romanticism){Neoclassicism [continued (28)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:46][19910512:1718cn](Neoclassicism & Romanticism){Neoclassicism [continued (28)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

*

**

***

*’The monument to Penelope Boothby by Thomas Banks; marble; 1793. Ashbourne Church, Derbyshire’

[See also https://en.wikipedia.org/wiki/Penelope_Boothby; this illustration by C.B Newham is available under Wikimedia Creative Commons]

**[See [Redbook10:44-45][19910512:1718ck](Neoclassicism & Romanticism){Neoclassicism [continued (25)]}[Extracts from source text with ms notes][12th May 1991]]

*** – ibid [Encyclopaedia of Visual Art 4:] 743

[The illustration in the source text of which this is a reproduction is also in black-&-white]

[continued]

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(Neoclassicism & Romanticism){Neoclassicism [continued (27)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:46][19910512:1718cm](Neoclassicism & Romanticism){Neoclassicism [continued (27)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

‘In this context Neoclassicism can be seen as a transitional phenomenon: contemporary uncertainty of faith & dramatic social and political changes experienced by 18th-century [ce] societies underlay much of the Neoclassical nostalgia for the simpler ideals of the pagan world. It is this sense of uncertainty and yearning for the past which, almost imperceptibly, introduces Romanticism into the heart of Neoclassical artistic inspiration.’

*

* – ibid [Encyclopaedia of Visual Art 4:] 744

[Source text continues from last previous ts journal entry but one]

[continued]

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(Neoclassicism & Romanticism){Neoclassicism [continued (26)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:44-45][19910512:1718cl](Neoclassicism & Romanticism){Neoclassicism [continued (26)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

*

**

*[Canova, Tomb to the Austrian Archduchess Maria Christina (1798-1805; Augustinerkirche)]

[This work is not illustrated in the source text]

**[See last previous ts journal entry]

[continued]

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(Neoclassicism & Romanticism){Neoclassicism [continued (25)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:44-45][19910512:1718ck](Neoclassicism & Romanticism){Neoclassicism [continued (25)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

‘In Vienna, Canova’s great tomb to the Austrian Archduchess Maria Christina (1798-1805; Augustinerkirche)* is probably the most moving Neoclassical monument ever made, It consists of a frieze of classically draped figures, depicting all ages of man. At the time, this frieze was compared to a chorus from Sophocles. The figures seem to advance towards the blackness of an open door, set in the side of the tomb itself, which is a plain marble pyramid. Neither Banks** nor Canova chose to add any supernatural images to those monuments, despite the pathos and sentiment of both works. They seem to be expressing a disillusion and doubt which was also expressed by writers & philosophers at the end of the 18th century [ce].’

***

*[See next ts journal entry ↓]

**([[Redbook10:46][19910512:1718cn](Neoclassicism & Romanticism){Neoclassicism [continued (28)]}[Extracts from source text with ms notes][12th May 1991],] p46↓)

***[– ibid (Encyclopaedia of Visual Art) 744]

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[continued]

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(Neoclassicism & Romanticism){Neoclassicism [continued (24)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:45][19910512:1718cj](Neoclassicism & Romanticism){Neoclassicism [continued (24)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

‘''PSYCHE (ψυχή)'' The Soul. It's also the name of the heroine of a tale told by Apuleius in his "Metamorphoses". Psyche, the daughter of a king, had two[↓]

*

**

*[Marginal note above:]

NB; cf Orpheus, Astarte, &c

** – Dictionary of Classical Mythology: 396-397; P. Grimal.

[See last previous ts journal entry]

[continued]

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(Neoclassicism & Romanticism){Neoclassicism [continued (23)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

{– Psyche}

*

*’Cupid and Psyche by Antonio Canova; marble; 46x58x43cm (18x23x17in); 1783-93. Louvre, Paris’

– ibid [Encyclopaedia of Visual Art 4:] 742

[The illustration in the source text & ms is not reproduced here; the illustration above is from Wikipedia]

[See next ts journal entry]

[continued]

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(Neoclassicism & Romanticism){Neoclassicism [continued (22)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:44][19910512:1718ch](Neoclassicism & Romanticism){Neoclassicism [continued (22)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

‘Canova studied Antiquity as a way of achieving his conception of perfect beauty in sculpture, which might transcend the imperfections of nature.’

*

{– Psyche}

[See next TS journal entry]

*– ibid [Encyclopaedia of Visual Art 4:] 743

[continued]

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(Neoclassicism & Romanticism){Neoclassicism [continued (21)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

*

*‘Etienne Louis Boullée’s vision for a monument to Sir Isaac Newton; c[irca]1780-90[ce]. Bibliothèque Nationale, Paris.’

– ibid [Encyclopaedia of Visual Art 4:] 741

[The illustration in the source text & ms is not reproduced here; the illustration above is from Wikipedia]

[continued]

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(Neoclassicism & Romanticism){Neoclassicism [continued (20)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:43][19910512:1718cf](Neoclassicism & Romanticism){Neoclassicism [continued (20)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

*

* ‘The Glyptothek, Munich, designed by Leo von Klenze; built 1816-30[ce]’

– ibid [Encyclopaedia of Visual Art 4:] 741

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[continued]

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(Neoclassicism & Romanticism){Neoclassicism [continued (19)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:42][19910512:1718ce](Neoclassicism & Romanticism){Neoclassicism [continued (19)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

*

*‘Osterley Park, Middlesex: the Portico was designed by Robert Adam and built c[irca[1762[ce]’

‘[Adam inserted] an exact copy of the temple of the Sun from Palmyra onto the existing redbrick Elizabethan facade.’

– ibid [Encyclopaedia of Visual Art 4:] 740

[The illustration in the source text & ms is not reproduced here; the illustration above is from Wikipedia]

** {See [[Redbook10:19][19910512:1718au](Neoclassicism & Romanticism – Architecture){Neoclassical Architecture [continued (7)]}[Extracts from source text with ms notes][12th May 1991],] p19}

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(Neoclassicism & Romanticism){Neoclassicism [continued (18)]}[Extracts from source text with ms notes][12th May 1991]

[Redbook10:41][19910512:1718cd](Neoclassicism & Romanticism){Neoclassicism [continued (18)]}[Extracts from source text with ms notes][12th May 1991]

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[continued]

‘In 1810 the marble frieze from the Parthenon in Athens, which had been brought to England by Lord Elgin, was exhibited in London. This frieze initiated a new idea of ancient sculpture, one opposed to the original strict rules of Neoclassicism. Some artists and scholars refused to accept the frieze as a genuine example of classical Greek works; for others, like Canova, who visited London in 1815, the frieze was a revelation. It was realized, almost for the first time, that ancient sculpture was not exclusively designed in terms of the static, compact outlines first described by Winckelmann. The Greeks had also created vital surface textures which conjured dramatic events. European sculptors were subsequently divided in the approach to the recreation of antique ideals; those like Thorvaldsen continued to produce cool, statuesque figures, while new experiments in sculpture appeared from other Neoclassical masters’

*

*– ibid [Encyclopaedia of Visual Art 4:] 743-744

[continued]

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