{"id":2398,"date":"2024-04-12T23:48:32","date_gmt":"2024-04-12T23:48:32","guid":{"rendered":"https:\/\/web.colby.edu\/ar112-spring2024\/?p=2398"},"modified":"2024-04-12T23:48:32","modified_gmt":"2024-04-12T23:48:32","slug":"recorded-lecture","status":"publish","type":"post","link":"https:\/\/web.colby.edu\/ar112-spring2024\/2024\/04\/12\/recorded-lecture\/","title":{"rendered":"Recorded Lecture"},"content":{"rendered":"\n<p>On the 8th, we watched a recorded lecture on the beginning of the Romantic period. At this point, the border between styles has blurred, and so paintings may have both Romantic and Neoclassic influences. In <em>Grande Odalisque<\/em> by Ingres, there are neoclassic values of balance and restraint. This painting deliberately goes against the painterly style of Rubens, and the application of the paint is subtle and smooth. Despite these neoclassical elements, however, the subject of the painting speaks to a fascination with the exotic that dominated the time and defined the Romantic period. Additionally, the composition and anatomy of the sitter call to the Mannerism style. This speaks to the obscuring of boundaries between art styles and intentional innovations from artists. <\/p>\n\n\n\n<p>Depictions of current events begins to take hold of the public at the beginning of the Romantic period. <em>Napoleon at Jaffa<\/em> by Baron Antoine Jean Gros is a propaganda piece that glorifies the ongoing conquest by Napoleon by staging him as a savior to locals with the plague. This image calls to the mythology of the french king holding the power to heal a specific illness just by touching the sufferer. Compositionally, the painting references David&#8217;s Horatii, while framing the scene in death and agony. It is the latter focus on dramatic, gut-wrenching emotion that roots the painting in the Romantic movement. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>On the 8th, we watched a recorded lecture on the beginning of the Romantic period. At this point, the border between styles has blurred, and so paintings may have both Romantic and Neoclassic influences. In Grande Odalisque by Ingres, there are neoclassic values of balance and restraint. This painting deliberately goes against the painterly style [&hellip;]<\/p>\n","protected":false},"author":18928,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2398"}],"collection":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/users\/18928"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/comments?post=2398"}],"version-history":[{"count":1,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2398\/revisions"}],"predecessor-version":[{"id":2399,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2398\/revisions\/2399"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/media?parent=2398"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/categories?post=2398"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/tags?post=2398"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}