Art of the Western World: #6 An Age of Reason, an Age of Passion
摘要
TLDRThe video delves into the evolution of art and architecture starting from the era of Louis XIV, examining how societal transformations influenced artistic expressions. Following Louis XIV's death, there was a shift from absolute monarchy symbolized by Versailles to a new Romantic sensibility. The video discusses changes in garden styles, from structured French designs reflecting authority to the more free-form English gardens representing liberty. Key artists like Jacques Louis David and Eugène Delacroix played pivotal roles during the French Revolution, with their works encapsulating the spirit of liberty and emotional expression. The influence of the Enlightenment propelled a movement towards individualism and a critique of traditional norms, paving the way for Romanticism and modern artistic movements.
心得
- 🕊️ Louis XIV's death heralded the end of absolute monarchy.
- 🌳 Gardens symbolized political ideologies—geometric vs. picturesque.
- 🎨 Rococo art reflected the decadence of the pre-Revolutionary aristocracy.
- 📜 Jacques Louis David's works captured revolutionary fervor.
- 🔥 Delacroix's 'Liberty Leading the People' symbolizes the spirit of revolution.
- 🏛️ Napoleon influenced art as a tool of propaganda and idealism.
- 💡 Romanticism emphasized individual feeling over classical forms.
- 🌍 The Enlightenment promoted new values in art and society.
- 🖼️ Classical ideals shaped 18th-century artistic standards.
- 🌱 Preference for nature in art transitioned from strict forms to emotional connectedness.
时间轴
- 00:00:00 - 00:05:00
The video begins with the death of Louis XIV, highlighting the end of an era marked by absolute monarchy and the significance of Versailles. It emphasizes the shift in attitudes towards nature and garden design, moving from formal geometric gardens to more informal and romantic landscapes.
- 00:05:00 - 00:10:00
The focus shifts to a painting that captures the new attitude toward nature, portraying a more informal, poetic scene. This leads into a discussion of the contrasting English and French garden styles, reflecting broader societal values and belief systems during the early 18th century.
- 00:10:00 - 00:15:00
Architectural developments in the 18th century are explored, illustrating how wealthy patrons sought picturesque landscapes for their estates. The video introduces the work of Robert Adam, who aimed to create spaces that echo the natural movement of landscapes, marrying architecture with nature in a harmonious manner.
- 00:15:00 - 00:20:00
The narrative highlights the preference of English aristocrats for country estates while French aristocrats opted for lavish townhouses in Paris. It introduces the Rococo style in decoration, characterized by elaborate ornamentation and a focus on pleasure and luxury, while hinting at the social change brewing beneath the surface.
- 00:20:00 - 00:25:00
A shift towards intellectual critique emerges with the middle class opposing the perceived decadence of the aristocracy. Enlightenment thinkers like Voltaire and Rousseau advocate for art that embodies moral and educative content, foreshadowing the revolutionary changes to come in society and art.
- 00:25:00 - 00:30:00
The emergence of Neoclassicism is discussed as artists look back to classical ideals of simplicity and harmony, inspired by newfound archaeological discoveries, suggesting that art should reflect the ideals of free societies. These ideas began to gain prominence as revolutionary sentiments grew.
- 00:30:00 - 00:35:00
Amidst these artistic movements, the Palais-Royal serves as a center for Parisian life and social change. The explanation of its architecture showcases a new clarity in design, aligning with democratic ideals, while the Eastern influence in architecture emphasizes structural integrity over mere decoration.
- 00:35:00 - 00:40:00
David's art forms a crucial connection between politics and society during the revolution, with pieces that inspire patriotism and reflect themes of sacrifice and allegiance to the new republic, exemplified by works like 'The Oath of the Horatii' and 'The Death of Marat'.
- 00:40:00 - 00:45:00
The video illustrates how the revolution impacted David and his contemporaries, leading to a fusion of art and revolutionary ideals where artists like David portrayed political ideologies, yet faced tragedy as the revolution spiraled into chaos with the Reign of Terror.
- 00:45:00 - 00:50:00
Napoleon’s rise introduces new dimensions to art and power, where artists like David switch their focus to glorifying the emperor, showing the political power dynamics of the time. The depiction of Napoleon's exploits serves as propaganda, reflecting both admiration and the complexities of leadership in turbulent times.
- 00:50:00 - 00:56:18
Lastly, changes in late 19th-century society show artists moving away from classical traditions, portraying real-life struggles and humanity's darker sides, especially in the context of the Napoleonic wars and subsequent revolutions, setting the stage for new styles like Romanticism.
思维导图
视频问答
What was the significance of Louis XIV's death in art history?
Louis XIV's death marked the end of an era dominated by absolute monarchy and shaped the transition towards new artistic expressions reflecting societal changes.
How did gardens reflect political ideologies?
French geometric gardens symbolized authoritarianism, while English picturesque gardens represented liberty and a more informal attitude towards nature.
What is Rococo art?
Rococo art is characterized by elaborate ornamentation and was popular among the French aristocracy, often reflecting their hedonistic lifestyle before the Revolution.
Who was Jacques Louis David?
David was a prominent French painter whose works became emblematic of the Revolution, combining neoclassical themes with political fervor.
What themes did Delacroix explore in his paintings?
Delacroix's works often focused on themes of liberty, revolution, and human emotion, as seen in his famed painting 'Liberty Leading the People'.
What was the impact of Napoleon on art?
Napoleon influenced art through massive commissions, creating a propaganda culture that glorified his reign and ideals.
How did Romanticism differ from previous artistic movements?
Romanticism prioritized individual feeling and emotional expression over classical restraint and reason, reflecting the tumultuous changes in society.
What does the term 'picturesque' mean in landscape design?
'Picturesque' refers to a style of landscape design that emphasizes natural beauty and irregularity, contrasting with the formal geometric designs.
How did the Enlightenment affect artistic perspectives in France?
The Enlightenment inspired artists to reflect modern values and critique the existing social norms, championing reason and liberty.
What role did classical ideals play in 18th-century art?
Classical ideals provided a framework for beauty, harmony, and virtue in art, influencing works during the Age of Reason.
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- 00:00:00[Music]
- 00:00:29you
- 00:01:06at first the doctors thought he was
- 00:01:09sciatica and then they admitted it was
- 00:01:12gangrene the old man suffered greatly
- 00:01:15those last days and then on the 31st of
- 00:01:19August 1715 the clergy gathered around
- 00:01:21him and they began timidly to chant the
- 00:01:25Ave Maria all through the night they
- 00:01:27carried on chanting and then at 8:15 in
- 00:01:30the morning in the Royal bed in the
- 00:01:32Great Chamber in the centre of the
- 00:01:34palace louis xiv the son King died like
- 00:01:39every man so wrote a contemporary
- 00:01:42dearest it's often said that when Louis
- 00:01:45died an aged died with him not that
- 00:01:47there weren't other Louis to succeed but
- 00:01:50the age of absolute monarchs the age of
- 00:01:53which Versailles the symbol was drawing
- 00:01:56to an end things would never be the same
- 00:01:58again for Louis Versailles was intended
- 00:02:03first of all to be a garden and he
- 00:02:06imagined that garden as a sort of
- 00:02:08outdoor Palace built next to the one
- 00:02:10constructed in stone and the one could
- 00:02:13not be understood without the other and
- 00:02:16in the garden Louis exercised the same
- 00:02:19despotism over nature that he did
- 00:02:22indoors over his court these two
- 00:02:25tyrannies changed softened even over the
- 00:02:28long years of the reign the most famous
- 00:02:30formal garden in Europe with its
- 00:02:32rigorous geometries of terraces and
- 00:02:36staircases it's regular Park tear gave
- 00:02:41way gradually to a greater informality
- 00:02:43of trees and fields not merely because
- 00:02:46it was so expensive to keep up but
- 00:02:48because a new attitude to nature was
- 00:02:49developing more sentimental intimate
- 00:02:52romantic
- 00:02:55[Music]
- 00:02:58the mood of this moment is captured in a
- 00:03:01painting done not long after Lewis death
- 00:03:03onto an Votto's departure from the Isle
- 00:03:06of sithara here a group of elegant
- 00:03:10courtiers prepares to leave the island
- 00:03:12of love the painting signals the new
- 00:03:14attitude more informal poetic and often
- 00:03:18amorous in this paradise of Citarum
- 00:03:21there are no restraints and nature
- 00:03:23itself is free and unconstrained it was
- 00:03:33a time in which the argument over nature
- 00:03:35exemplified in the idea of the garden
- 00:03:37was a serious debate it was in England
- 00:03:45that this different attitude and nature
- 00:03:47arose the informal spontaneous
- 00:03:50picturesque English garden was seen as
- 00:03:53an expression of English liberties the
- 00:03:56geometric French gun was seen as a
- 00:03:58reflection of their authoritarian system
- 00:04:00of government thus in the microcosm of
- 00:04:03the garden could be read beliefs about
- 00:04:04the world at large
- 00:04:17here at star ahead in wheelchair you can
- 00:04:20see better than anywhere in Europe the
- 00:04:22way that the early 18th century
- 00:04:23attempted to create an art of landscape
- 00:04:26by shaping nature and putting into the
- 00:04:29landscape buildings created in past
- 00:04:31styles medieval but especially classical
- 00:04:36they did so in the belief that a
- 00:04:39landscape or a garden gives added
- 00:04:41pleasure if one can savor the effects of
- 00:04:44past time as one wanders around it and
- 00:04:47that sensibility is characteristic of
- 00:04:49their period the poet Alexander Pope
- 00:04:51said in the 1730's that this
- 00:04:54architecture or art derived from
- 00:04:56landscape painting and compared it to a
- 00:04:59picture and that's why we call it
- 00:05:01picturesque
- 00:05:02[Music]
- 00:05:14and so the combination of architecture
- 00:05:18and picturesque landscape became one of
- 00:05:21the characteristics of 18th century
- 00:05:22aristocratic culture and wealthy patrons
- 00:05:25sought architects who would design them
- 00:05:27country estates unparalleled anywhere in
- 00:05:30Europe this is sine Haas the seat of the
- 00:05:34Dukes of Northumberland xi cuke lives
- 00:05:37there today doesn't look very impressive
- 00:05:40from the outside but wait you get in
- 00:05:42Robin Middleton of Columbia University
- 00:05:45New York has developed a highly original
- 00:05:47approach to the architecture of the 18th
- 00:05:49century the first design for this floor
- 00:05:52was a simple checkerboard without these
- 00:05:55dynamic directional indicators but all
- 00:05:57that was changes the building took form
- 00:06:03the interiors here are amongst the first
- 00:06:06works of when there's brilliant
- 00:06:07architects of the period Robert Adam he
- 00:06:11wanted to design just like a landscape
- 00:06:13gardener he writes of the rise and the
- 00:06:16fall of the hills and dales but
- 00:06:18especially of the movement between them
- 00:06:19these effects he wanted to get when he
- 00:06:21put his masses together these were
- 00:06:24notions of picturesque composition he
- 00:06:27uses them outside and inside when he
- 00:06:31uses his moldings and his patterns he's
- 00:06:34modeling spaces and he's trying to show
- 00:06:36you how to move through them let me show
- 00:06:38you what I mean come along well you
- 00:06:46won't be surprised to learn that that
- 00:06:47door leads off to the Dukes private
- 00:06:50apartments the niche here is large soft
- 00:06:55intimate well almost
- 00:06:57but at the other end of the hall
- 00:06:59something very different happens and
- 00:07:01there's a dynamic pattern on the ceiling
- 00:07:04and on the floor which is going to lead
- 00:07:06you into that alternative direction
- 00:07:11anishka is hard and strong and elevated
- 00:07:15Adams contrived a change of levels here
- 00:07:18which takes you up the stairs into the
- 00:07:21great steak rooms beyond the first room
- 00:07:27beyond the hall is the vestibule
- 00:07:29dazzling room a rout of harsh color and
- 00:07:32gold altogether proper for the first
- 00:07:35anti room one of the first peers of the
- 00:07:37realm twelve columns give order to this
- 00:07:40room they were said to have been found
- 00:07:42in the bed of the Tiber in Rome they're
- 00:07:44not just elements of ostentation that
- 00:07:47they surely are there Adam uses them to
- 00:07:49make an awkward room with oddly spaced
- 00:07:51window openings into a neat cube in
- 00:07:54effect that line of columns we just
- 00:07:56passed marks out a square but far more
- 00:07:58interesting Adams used it to mark out
- 00:08:00the new axis you take from this
- 00:08:02vestibule into the sequence of
- 00:08:04staterooms which goes off from here
- 00:08:06first into the dining room was the
- 00:08:09dining room the screen of columns here
- 00:08:11which gives you a moment to pause before
- 00:08:14your thrusts by the moldings into the
- 00:08:16central space and then you go on down
- 00:08:19the same axis into the first drawing
- 00:08:24here beautiful fine room and from that
- 00:08:29right through to the beginning of the
- 00:08:32long gallery which connects the private
- 00:08:34apartments and the State Apartments
- 00:08:36this is the great connecting link in the
- 00:08:38house turning the whole circle while the
- 00:08:45English aristocracy chose to live in
- 00:08:47their great landscaped country houses
- 00:08:49the French preferred the sophisticated
- 00:08:51atmosphere of the city the court had
- 00:08:53moved away from Versailles to Paris
- 00:08:55where the aristocracy built themselves
- 00:08:57grand townhouses like the hotel's
- 00:09:00soubise of 1739 behind their plain
- 00:09:04facades were exquisitely decorated and
- 00:09:07furnished interiors where they could
- 00:09:09entertain themselves oblivious to the
- 00:09:11momentous developments in French society
- 00:09:13beyond their walls
- 00:09:15[Music]
- 00:09:29the decoration of these houses is known
- 00:09:31as a Rococo a term which originally
- 00:09:34referred to the elaborate encrusted
- 00:09:36ornament popular in French design at
- 00:09:38this time which became associated with
- 00:09:40the art and taste of the
- 00:09:41pre-revolutionary world itself one of
- 00:09:47the most celebrated Rococo artists was
- 00:09:50Francois Boucher caught portraitist and
- 00:09:52painter of allegorical romances
- 00:09:54Boucher's works were designed simply to
- 00:09:57give pleasure fitting objects of
- 00:09:59delectation for an aristocracy with so
- 00:10:02much time and money on their hands but
- 00:10:04time was now running out this is
- 00:10:07Boucher's rape of Europa
- 00:10:21in the literary and philosophical salons
- 00:10:25where they met the middle-class
- 00:10:26intelligentsia bitterly opposed what
- 00:10:29they saw as a decadent order they called
- 00:10:32for a return to universal values based
- 00:10:34on nature and reason they held that art
- 00:10:37should not be for art's sake alone but
- 00:10:39should have a moral and educative
- 00:10:41content this viewpoint which heralded
- 00:10:44the role art would play in the
- 00:10:45revolution was shared by some of the
- 00:10:47great French thinkers of the time
- 00:10:50Voltaire who spent his life opposing the
- 00:10:53tyranny of church and state Rousseau the
- 00:10:59social critic who believed nature to be
- 00:11:01the source of all good for him society
- 00:11:03was the reason why man was born free but
- 00:11:05everywhere is in Chains dee de veau who
- 00:11:10in his enciclopedia attempted to
- 00:11:13scrutinize all natural phenomena in the
- 00:11:15light of reason de ovo's attack on
- 00:11:20Boucher's provocative odalisque reads
- 00:11:23like a modern attack on pornography
- 00:11:24today's moral decadence he said has led
- 00:11:27step-by-step to the corruption of tastes
- 00:11:29of color of composition of character of
- 00:11:32expression this man has no taste he
- 00:11:35takes up his brush only to show us
- 00:11:36bottoms and breasts for Dee DeVoe it was
- 00:11:41artists like glues who pointed the way
- 00:11:43forward to a new art new tastes new
- 00:11:46morality his pictures are part of the
- 00:11:49growth of a new climate in France part
- 00:11:51of those almost imperceptible changes in
- 00:11:54history of which great events like the
- 00:11:56French Revolution are the outcome
- 00:11:59with colors and here shoved on we also
- 00:12:03detect a new theme that ordinary people
- 00:12:05have a heroism that virtue and strength
- 00:12:08reside in them not in kings and Nobles
- 00:12:10and indeed in Sheldon's world of middle
- 00:12:13class people are precisely the men and
- 00:12:15women who would be attempting to take
- 00:12:16power in the revolution half a century
- 00:12:18on
- 00:12:19[Music]
- 00:12:24but the age of reason would find its
- 00:12:26true means of expression by returning to
- 00:12:28the source to classical Greece the art
- 00:12:32of the 18th century is often called
- 00:12:33neoclassicism
- 00:12:34but we shouldn't understand that in the
- 00:12:36sense of a slavish imitation of
- 00:12:38classical models the monuments of
- 00:12:40classical antiquity had been an
- 00:12:42inspiration to artists from the
- 00:12:43Renaissance onwards statues like this
- 00:12:45the Apollo Belvedere had been known to
- 00:12:47Michelangelo and his contemporaries and
- 00:12:49disseminated in casts and copies
- 00:12:51throughout Europe from Versailles to the
- 00:12:54Sohn Museum here in London this is an
- 00:12:5618th century copy but Greece itself had
- 00:13:01remained largely unknown artists like
- 00:13:04Pusa were depicting imaginary landscapes
- 00:13:07and then during the 18th century the
- 00:13:10discoveries at Herculaneum and Pompeii
- 00:13:12Baalbek and Palmyra opened a new horizon
- 00:13:14on the ancient world and that was the
- 00:13:21time the theorists like vinkle Minh and
- 00:13:23slightly later Goethe propounded their
- 00:13:25theory that the Greek style this noble
- 00:13:28simplicity was the true style was the
- 00:13:30perfection of art that the Greeks had
- 00:13:33known true an entire Liberty because of
- 00:13:37the light of reason and that their art
- 00:13:39had attained its perfection because of
- 00:13:42Liberty the message for the 18th century
- 00:13:44then was clear that this was the art for
- 00:13:47free peoples a vision of an ordered and
- 00:13:50harmonious universe governed by
- 00:13:53classical ideals of perfection and
- 00:13:55harmony neoclassicism then perhaps it is
- 00:13:59but better to call it the art of the age
- 00:14:02of reason in the last half of the 18th
- 00:14:04century these ideas grew more and more
- 00:14:07influential even architectural forms
- 00:14:09would be interpreted in terms of the
- 00:14:11search for rationality as seen here in
- 00:14:14one of the finest examples of the art of
- 00:14:16the age of reason the palais wire
- 00:14:19the palais-royal comparatively quiet and
- 00:14:22sedate place today but once upon a time
- 00:14:25this was the hub of Paris this was the
- 00:14:28center of high and low life
- 00:14:29it was great speculative venture put up
- 00:14:33to bolster the early on family fortunes
- 00:14:36and it worked was full of shops wanted a
- 00:14:39book you came here he wanted ribbons you
- 00:14:41came here prints anything so it was full
- 00:14:43of cafes to everybody in the evening
- 00:14:47congregated here CAD emissions writers
- 00:14:50artists everybody came in from town
- 00:14:54travelers soldiers on leave and of
- 00:14:58course the girls came to not that they
- 00:15:00ever stopped the ministers coming at all
- 00:15:03but that's not the real reason why we're
- 00:15:05here we're here to look at this world
- 00:15:08which in a way represents the obsessions
- 00:15:11of architects for the previous hundred
- 00:15:14years they've been trying to create
- 00:15:15order and here you can see order staked
- 00:15:18out for you you can see all these
- 00:15:20columns and even rhythm you can
- 00:15:22calculate exactly where you are you're
- 00:15:25in a world you can judge you can
- 00:15:27understand the column for instance which
- 00:15:30had for so long been used as a
- 00:15:32decorative element stuck on two walls
- 00:15:34was made freestanding not only
- 00:15:39freestanding to reveal its forms but its
- 00:15:41structural form it became a support once
- 00:15:44again and which shown off it in this way
- 00:15:46this honest demonstration seemed to give
- 00:15:49a new moral dimension to architecture
- 00:15:56one of the first buildings in which this
- 00:15:58new honesty of expression had been
- 00:16:00consciously attempted was the East front
- 00:16:02of the Louvre dating back from the 17th
- 00:16:05century 1667 to 1674 but it remained a
- 00:16:09model of architecture throughout the
- 00:16:1018th century which was designed by
- 00:16:13Charles Perrault a scientist Ferrer made
- 00:16:16the outline of his building almost
- 00:16:17rectangular the long facade is almost
- 00:16:20flat says they outline
- 00:16:21there's no piling up no modelling there
- 00:16:23even orders the fact that the
- 00:16:25architectural emphasis is on the linking
- 00:16:27elements the freestanding runs of
- 00:16:29columns the building became known not
- 00:16:32surprisingly as the Louvre colonnade
- 00:16:36Peres was determined that his columns
- 00:16:39should not be decorative elements but as
- 00:16:41he thought in ancient Greek architecture
- 00:16:43the supports of the building strong
- 00:16:46structural supports he introduced
- 00:16:51engineering of a very high order into
- 00:16:53his design the columns are threaded
- 00:16:55through with bars of iron which are
- 00:16:57linked to cross bars in the stone of the
- 00:16:59ceiling and anchored into the walls
- 00:17:01behind here is the initial idea that led
- 00:17:04to the development of reinforced
- 00:17:05concrete in the 20th century almost a
- 00:17:11hundred years later exactly these same
- 00:17:13ideas were taken up by another architect
- 00:17:15tzuf dev when he was commissioned to
- 00:17:17build the grandest the noblest church in
- 00:17:20all of Europe the church known as Santa
- 00:17:22Genevieve
- 00:17:23called the Ponte on today actually you
- 00:17:25can even see it from here right over
- 00:17:28there
- 00:17:38tradition and reason were also soufflés
- 00:17:40concerns he too used freestanding
- 00:17:42columns to mark out his space
- 00:17:46and also to do the actual work of
- 00:17:48supporting the vaults and dome he wanted
- 00:17:52to combine the structural elegance of a
- 00:17:54Greek temple with the lightness of a
- 00:17:56gothic Church here the classical rhythms
- 00:18:00appear in the nave and aisles with their
- 00:18:01rows of Corinthian columns gothic is
- 00:18:04hinted at in the flying buttresses
- 00:18:05hidden above the vaults he used the same
- 00:18:08freestanding columns carrying lintels to
- 00:18:11create a rectangular geometry on the
- 00:18:12outside to
- 00:18:13[Music]
- 00:18:19this is called post and lintel
- 00:18:21construction
- 00:18:24the church was a nightmare to build but
- 00:18:27his thought of the masterpiece of French
- 00:18:2918th century architecture
- 00:18:45everyone who could win to Rome in the
- 00:18:4718th century that seemed to be in the
- 00:18:49center of the ancient world it became a
- 00:18:51new center for art lovers of all kinds
- 00:18:54architects artists gentlemen and their
- 00:18:56hangers-on everybody went death souffle
- 00:18:59went there as a companion of Madame de
- 00:19:01Pompadour brother souffle in fact went
- 00:19:04further south he went down to Naples the
- 00:19:06place called paestum where there were
- 00:19:08three surviving Greek temples and he
- 00:19:10measured them up he was one virtually
- 00:19:12the first architect had actually seen a
- 00:19:14Greek temple let alone recorded it
- 00:19:25Giambattista pyrenees he was most upset
- 00:19:28by the idea that Greek was the divine
- 00:19:31source of architecture he wasn't in fact
- 00:19:34Roman at all his venetian he'd come to
- 00:19:36Rome at the age of 19 but he timed over
- 00:19:38the ruins he excavated and he recorded
- 00:19:41the past over a thousand beers during
- 00:19:44sin class time not in the past but in
- 00:19:46fact the present of Rome - Rome was the
- 00:19:48center of his world copper of course was
- 00:19:50very expensive and he put his wife's
- 00:19:53diary into an investment into these
- 00:19:55great plates so he was very worried
- 00:19:58indeed thought that the French might
- 00:20:00start going off to Athens so although he
- 00:20:02had a lot of French friends amongst
- 00:20:03these critics and architects in Rome he
- 00:20:06started attacking them he ridiculed
- 00:20:09Greek architecture but then just before
- 00:20:11he died in 1778 he himself went south to
- 00:20:15paestum and he was 15 or 16 wonderful
- 00:20:19drawings he conjured up the magic of
- 00:20:22Greek architecture as never before
- 00:20:24he showed that the column that the
- 00:20:26French for so long had thought of as a
- 00:20:28structural element which they wanted to
- 00:20:30express honestly was really a piece of
- 00:20:33sculpture a piece of beautiful sculpture
- 00:20:36after that with the discovery of
- 00:20:38Testament Greek architecture itself the
- 00:20:40aesthetic vision of Europe changed
- 00:20:42[Music]
- 00:20:47so as often in the history of Western
- 00:20:49art changes in ways of seeing coincide
- 00:20:52with and even anticipate social change
- 00:20:55and so it was in the build-up to the
- 00:20:57French Revolution the Saturday Night
- 00:20:59Fever of revolution began in earnest
- 00:21:01when Camille Dumoulin a left-wing
- 00:21:03agitator her and an inflamed crowd here
- 00:21:06in the Palais Royale calling for the
- 00:21:08overthrow of the monarchy and the
- 00:21:10establishment of the Republic there was
- 00:21:12rising unemployment a growing sense of
- 00:21:14injustice and a devastating failure of
- 00:21:16the harvest had led to a shortage of the
- 00:21:18main staple of the French diet bread
- 00:21:20people were exasperated it had been seen
- 00:21:23in the American Revolution how a tyranny
- 00:21:26could be overthrown by the force of will
- 00:21:28of the people alone and now those
- 00:21:32democratic ideals ran through the
- 00:21:34population here like wildfire from the
- 00:21:37moment the Bastille fell in July 1789
- 00:21:40artists were at the center of events in
- 00:21:43a way they'd never been before and in
- 00:21:45the career of Jacques Louie David art
- 00:21:47and politics have never been closer
- 00:21:49David dominated French painting for 35
- 00:21:52years through the reign of Louis the
- 00:21:53sixteenth the Revolution Napoleon's
- 00:21:56Empire and finally the restoration of
- 00:21:58the Bourbon Kings
- 00:21:59he had a talent not only for painting
- 00:22:01but for survival as the revolution
- 00:22:06approached paintings demonstrating
- 00:22:08themes of allegiance to state rather
- 00:22:10than to family began to abandon today's
- 00:22:14before the Revolution
- 00:22:15David's oath of the Horatio would become
- 00:22:18one of the great images of the time the
- 00:22:20theme of the Horatio is a sacrificial
- 00:22:22oath of allegiance to Republican Rome
- 00:22:27it is taken by three brothers before
- 00:22:29departing for combat these are men
- 00:22:32willing to die out of patriotic duty
- 00:22:35supported by their father the courage
- 00:22:38and resolve of the brothers is evident
- 00:22:40even in their taut and outstretched
- 00:22:42limbs here men are seen as moral symbols
- 00:22:49of the highest virtues while the women
- 00:22:52are relegated to sit home weep and wait
- 00:22:55[Music]
- 00:23:00the mothers and sisters wrapped in soft
- 00:23:03pliant draperies seemed to melt into
- 00:23:05tender gestures of suffering
- 00:23:07[Music]
- 00:23:13David's great pictures show us how the
- 00:23:16classical tradition could be used not
- 00:23:18for the academic or the picturesque but
- 00:23:20as a model for political action
- 00:23:22these are moral fables dramas with our
- 00:23:25austere heroism their severe sacrificial
- 00:23:29devotion to the ideal of the state no
- 00:23:32wonder that some people who went so far
- 00:23:34as to blame the cult of classical
- 00:23:36antiquity for helping bring the
- 00:23:37revolution about and nothing better
- 00:23:39demonstrates the connection between this
- 00:23:41art and the politics of the time than an
- 00:23:43extraordinary event which took place
- 00:23:45only months into the Revolution when
- 00:23:47Voltaire's old play on the life of
- 00:23:49Brutus was revived at the National
- 00:23:51Theatre at the end
- 00:23:53David's picture of Brutus was enacted as
- 00:23:56a tableau vivant when Brutus cried gods
- 00:24:00give us death rather than slavery the
- 00:24:02roars and applause of the audience were
- 00:24:04so great that it was minutes before
- 00:24:06order was reestablished never said an
- 00:24:08eyewitness was the illusion more
- 00:24:10complete the spectators became so many
- 00:24:14Romans they believed they had
- 00:24:16participated in the action
- 00:24:24all the great themes of this tumultuous
- 00:24:26epoch come together in David's painting
- 00:24:29of the oath of the tennis court this
- 00:24:31great declaration of the rights of man
- 00:24:33in June 1789 was the symbolic beginning
- 00:24:36of the revolution men are born free the
- 00:24:39deputies swore and shall remain free and
- 00:24:41equal in rights David himself was deeply
- 00:24:44committed to the revolution a member of
- 00:24:46the National Convention and he was the
- 00:24:48obvious choice to paint it for him this
- 00:24:51was contemporary reportage but the
- 00:24:54gestures belong to those nerveless Roman
- 00:24:56heroes the Horatio in the tennis court
- 00:25:02then David showed the spectators had
- 00:25:04indeed become the actors become new
- 00:25:07Romans as a fellow deputy said to paint
- 00:25:10this moment we have chosen the painter
- 00:25:12of the Horatio this patriot whose genius
- 00:25:15anticipated the revolution unfortunately
- 00:25:19their high ideals were not destined to
- 00:25:22last long
- 00:25:26[Applause]
- 00:25:29during those first radical years David
- 00:25:32devoted his offer to the New Republic
- 00:25:34one of his friends and heroes was
- 00:25:36jean-paul Marat the journalist this
- 00:25:41friend of the people came to a violent
- 00:25:44end he was murdered in his bathtub by
- 00:25:48his political enemy Charlotte a cold day
- 00:25:53the day after Mara's death a deputation
- 00:25:56appeared in the National Convention to
- 00:25:58offer regrets on behalf of the people
- 00:26:00one of the deputies made a speech which
- 00:26:02is recorded by contemporary of David the
- 00:26:04historian dela Cruz what a crime is this
- 00:26:08a parricidal hand has robbed us of the
- 00:26:11people's most determined defender a man
- 00:26:14who died for liberty we still look among
- 00:26:18you expecting to see him here among you
- 00:26:20are representatives what a spectacle it
- 00:26:23was this man in the moment of his death
- 00:26:27where are you David you have another
- 00:26:30picture to paint and Ivy despo cup his
- 00:26:35voice choked with emotion yes I will
- 00:26:39undertake it
- 00:26:45[Music]
- 00:26:48daveed painted the picture in three
- 00:26:51months the death of maha is a murder
- 00:26:56story and we see all the clues to the
- 00:26:59murder the blood
- 00:27:03the knife
- 00:27:06the letter Maha received from charlotte
- 00:27:09corday
- 00:27:09just before she murdered him it's a very
- 00:27:12realistic picture strongly movingly
- 00:27:14realistic but it is more than that it
- 00:27:17has an almost religious intensity like a
- 00:27:20secular pietà an icon to a martyr for
- 00:27:23the cause of freedom in painting this
- 00:27:26David created perhaps the greatest
- 00:27:28single image of the revolution
- 00:27:32[Music]
- 00:27:41now finally the age of reason lost its
- 00:27:45nerve
- 00:27:46soon after Mara's death daveed watched
- 00:27:48from a window in the plaster la
- 00:27:50revolucion while Marie Antoinette went
- 00:27:52to the guillotine
- 00:27:53he left us a poignant and eloquent
- 00:27:55sketch the murder of thousands followed
- 00:28:00in the purge known as the terror the
- 00:28:03frailty of Reason was tragically exposed
- 00:28:06and are so often in history fear of
- 00:28:09worse disorder led even reasonable men
- 00:28:11like David to turn to a strong leader to
- 00:28:13solve their dilemma the man they thought
- 00:28:16their Savior was Napoleon Bonaparte
- 00:28:18[Music]
- 00:28:40in 1850 in the aftermath of Napoleon's
- 00:28:45defeat at Waterloo Czar Alexander of
- 00:28:48Russia visited Paris and saw the von
- 00:28:50dome cult crown by its imperial statue
- 00:28:52of Napoleon were I to be so highly
- 00:28:56elevated equipped my head would surely
- 00:28:58spin with vertigo even the Tsar could
- 00:29:01not imagine such dizzying heights of
- 00:29:03glory
- 00:29:05but as he added
- 00:29:07the higher you climb the harder you fall
- 00:29:11[Music]
- 00:29:27and what hides Napoleon fell from in
- 00:29:31those brief few years he led French
- 00:29:33armies to Italy Egypt Spain Austria
- 00:29:37Prussia and even Moscow itself and
- 00:29:40during that meteoric time this room is
- 00:29:45library at the Chateau of Malmaison was
- 00:29:48his still point a place to which he
- 00:29:50could return it was here for example
- 00:29:53that he worked on his famous law code
- 00:29:54the code Napoleon at this desk the desk
- 00:29:58painted by David here he returned after
- 00:30:01his abdication in 1814 in such despair
- 00:30:05that he'd attempted to commit suicide he
- 00:30:12came back once more to meditate during
- 00:30:15the fateful hundred days before Waterloo
- 00:30:17and after that last catastrophic defeat
- 00:30:20the English allowed him to return here
- 00:30:23just once more before his final exile to
- 00:30:26distance st. Helena the house was empty
- 00:30:29then his former wife the Empress
- 00:30:33Josephine whose house it was had died
- 00:30:36she had kept this room exactly as it had
- 00:30:41been during the happiest moments
- 00:30:43together here Napoleon had enjoyed
- 00:30:46moments of his greatest triumphs and
- 00:30:50moments of his greatest creativity for
- 00:30:53in the story of art - Napoleon was an
- 00:30:56extraordinary catalyst not merely in the
- 00:30:59pictures that he commissioned or
- 00:31:00inspired here in France and in the
- 00:31:02Empire but throughout Europe for
- 00:31:05everywhere artists were touched by his
- 00:31:07aura Napoleon's official architect
- 00:31:12specia and Fontaine periodically had
- 00:31:14sent an illustrated newsletter of
- 00:31:16engravings to Tsar Alexander showing the
- 00:31:18most recent public works commissioned by
- 00:31:20Napoleon
- 00:31:21for after the coup d'etat that brought
- 00:31:24Napoleon to power there was no end to
- 00:31:26his plans for making Paris into a
- 00:31:28capital worthy of Imperial Rome la
- 00:31:31Madeleine begun as a church was
- 00:31:33continued by Napoleon as a temple to
- 00:31:35glory
- 00:31:36the architect Vignon intended it to be a
- 00:31:38replica of an antique Roman temple
- 00:31:41incorporating statues and bar reliefs
- 00:31:43and the use of rich materials the purity
- 00:31:48and severity of greek doric was replaced
- 00:31:50by corinthian splendor to commemorate
- 00:31:52ancient rome as was befitting an emperor
- 00:31:55who took as his ancestors the Emperor's
- 00:31:57Trajan
- 00:31:58and Alexander
- 00:32:03some of the most extravagant monuments
- 00:32:06since the fall of the Roman Empire were
- 00:32:07built by Napoleon as symbols of his
- 00:32:09Dominion and many are still tourist
- 00:32:11attractions in Paris today Percy and
- 00:32:14Fontaine were also responsible for much
- 00:32:16of the replanting of Paris they made a
- 00:32:18triumphal east-west route across the
- 00:32:20city another Roman touch was the long
- 00:32:23arcaded street
- 00:32:24lalu della valle they prepared designs
- 00:32:27for linking the tuile eerie gardens with
- 00:32:29the Louvre and even started on the
- 00:32:31interior of the museum itself where
- 00:32:33their inventive details can still be
- 00:32:35admired today the newly constituted
- 00:32:37Louvre museum became Napoleon's domain
- 00:32:40he commissioned France's finest artists
- 00:32:43to glorify his deeds and the most
- 00:32:44celebrated of all was Jacques we dahveed
- 00:32:48disappointed with the aftermath of the
- 00:32:50revolution David had sworn never to
- 00:32:52trust in men again only in ideas yet he
- 00:32:55was fascinated by Napoleon and quickly
- 00:32:57succumbed to his spell when he first met
- 00:33:03the young general and First Consul of
- 00:33:05France he said oh my friends what a
- 00:33:07beautiful head he has it is pure it is
- 00:33:10great it is as beautiful as the antique
- 00:33:13yes Bonaparte is my hero decades before
- 00:33:18the Revolution the encyclopedist Diderot
- 00:33:21had suggested the Louvre be used for the
- 00:33:23public display of the royal collections
- 00:33:25afterwards in 1793 it opened as the
- 00:33:28museum Santa fell desire then came the
- 00:33:31brief but dazzling era of the musée
- 00:33:33Napoleon filled with the state treasures
- 00:33:36and the loot of his campaigns it was
- 00:33:38here that David presented his newly
- 00:33:40finished canvas the Sabine women it
- 00:33:43tells of the reconciliation between two
- 00:33:45warring tribes the Romans and the
- 00:33:47Sabine's affected by a central
- 00:33:50allegorical female figure art historian
- 00:33:56Eva Burkhardt explains the remarkable
- 00:33:58device used by David to show this veiled
- 00:34:01plea for national reconciliation among
- 00:34:04the feuding factions of
- 00:34:06post-revolutionary France this mirror is
- 00:34:11not here by accident
- 00:34:13during my research on the painter daveed
- 00:34:15in Paris I had discovered that it was
- 00:34:18actually a part of the original
- 00:34:20exhibition that they read organized to
- 00:34:23show his painting the Sabine women the
- 00:34:26exhibition took place in this very
- 00:34:28Museum the function of the mirror was
- 00:34:31twofold first of all it was to draw the
- 00:34:35visitors attention to the central and
- 00:34:37most important part of the painting the
- 00:34:39women the oval shape of the mirror
- 00:34:42occurred the circular arrangement of the
- 00:34:45women painted by daveed secondly it was
- 00:34:49to control the way the painting was
- 00:34:51looked at the video on today people not
- 00:34:54only look at the painting but actually
- 00:34:57participate almost physically in it
- 00:35:00the visitors show themselves reflected
- 00:35:04in the mirror side-by-side the actors
- 00:35:07painted by the lead
- 00:35:20the video finding female models for his
- 00:35:24painting the rumor has it that the
- 00:35:27famous society women of the period
- 00:35:29offered to pose for the painter at the
- 00:35:35opening of the exhibition they arrived
- 00:35:37dressed in the sublime costumes and they
- 00:35:39actually kept them throughout the
- 00:35:41evening when they went to the theater so
- 00:35:43that all of Paris would know that they
- 00:35:45were the ones who posed for the vide but
- 00:35:47dahveed didn't mean his female figures
- 00:35:50to be portraits he wanted them to
- 00:35:53represent a political ideal seeing
- 00:35:56themselves in the mirror reflection just
- 00:35:59as I can see myself now the visitors to
- 00:36:01the exhibition were invited by daveed to
- 00:36:05rally to the Republican cause that this
- 00:36:08women represented
- 00:36:21not only dahveed but also his pupils
- 00:36:24grow and are truly believed Napoleon was
- 00:36:27the only one capable of leading France
- 00:36:29out of the impasse of the Revolution
- 00:36:31without sacrificing its principles they
- 00:36:34joined in the glorification and
- 00:36:36Napoleonic images their art became a
- 00:36:38vehicle for propaganda centred on the
- 00:36:41cult of the Emperor's achievement
- 00:36:42virtues and personality here daavid
- 00:36:46painted the victorious Bonaparte on a
- 00:36:48magnificent rearing horse crossing the
- 00:36:50Alps if the truth be known he was riding
- 00:36:53a common mule
- 00:37:00another famous image of the Bonaparte
- 00:37:03count shows Napoleon walking fearlessly
- 00:37:06into the plague house at Jaffa in the
- 00:37:08Holy Land unafraid of contagion because
- 00:37:11of his almost divine power to heal his
- 00:37:19first officer a mere mortal holds a
- 00:37:21cloth to his face to shield himself from
- 00:37:23the plague revolted by the stench less
- 00:37:27ethereal more practical Arab and French
- 00:37:30medical officers are desperately trying
- 00:37:32to provide medical aid to the plague
- 00:37:33victims
- 00:37:40[Music]
- 00:37:44Bonaparte's great deeds during his life
- 00:37:46as a soldier would continue to be
- 00:37:48recorded and represented throughout his
- 00:37:50reign it has been said that modern
- 00:37:52propaganda was Napoleon's invention
- 00:37:57now first painter of the empire dahveed
- 00:38:01was given his most important commission
- 00:38:02a monumental work called Lusaka the
- 00:38:05coronation his early sketches show
- 00:38:10Napoleon audaciously crowning himself
- 00:38:14the final canvas portrays Napoleon
- 00:38:16crowning Joseph
- 00:38:24daveed painted himself sketching the
- 00:38:27scene
- 00:38:28[Music]
- 00:38:36everyone had to be recognizably
- 00:38:38portrayed including the members of the
- 00:38:40church and the Pope sitting quietly and
- 00:38:44unhappen as he watches Josephine kneel
- 00:38:47before the Emperor who holds the crown
- 00:38:49in his upraised arms
- 00:38:57Napoleon's sisters were not only jealous
- 00:39:00of Josephine but also of Josephine's
- 00:39:02daughter from a former marriage whose
- 00:39:04child was rumored to be Napoleon's
- 00:39:10even Napoleon's mother who in fact
- 00:39:13refused to attend the ceremony was
- 00:39:15dueling painted in
- 00:39:18[Music]
- 00:39:25all the stars of the Empire were
- 00:39:27gathered the coronation was as much the
- 00:39:31triumph of Josephine as it was of
- 00:39:33Napoleon for though she would never
- 00:39:35present Napoleon with an heir she was
- 00:39:38the love of his life and wanted the
- 00:39:40world to know it
- 00:39:43[Music]
- 00:39:53Angra zone infatuation with the emperor
- 00:39:55prompted him to paint the official
- 00:39:57portrait of Napoleon in imperial robes
- 00:40:07after the French Revolution when the
- 00:40:10Louvre was transformed from a royal
- 00:40:11palace with private collections to a
- 00:40:14public museum it was here that young
- 00:40:16painters could complete their art
- 00:40:18education by copying old masters
- 00:40:20learning from the examples of the past
- 00:40:35this tradition is still going on in the
- 00:40:37Louvre today where Pierre Rosenberg is
- 00:40:46chief curator of painting when angle
- 00:40:51painted his picture in 1814 he was very
- 00:40:54much admired and also very much
- 00:40:56criticized criticized because critics
- 00:41:00said there were three verticals to much
- 00:41:02in the back of this order Liske
- 00:41:09what is another disc another disc is a
- 00:41:12Turkish harem harem girl and your
- 00:41:16cognise are very well through a costume
- 00:41:22the colors are very soft very precise
- 00:41:26very beautiful the Armony of it is
- 00:41:28reverse of the very strong coloring that
- 00:41:32the vide had used for his great pictures
- 00:41:34I really do love this picture why well
- 00:41:38it's not central it's erotic it's an
- 00:41:42intellectual picture it's painted with
- 00:41:44his brain in spite of this it's erotic
- 00:41:46it's connected in fact it's a connection
- 00:41:50between brain and eroticism everything
- 00:41:53about a rotor system is happening in the
- 00:41:55brain here and nowhere else it's a very
- 00:41:57hot picture but then by an artist whose
- 00:42:03conception about art is of a very high
- 00:42:05level and in a strange way
- 00:42:08Angra was very much criticized in the
- 00:42:1019th century because thought to be a
- 00:42:12reactionary artist an artist of the past
- 00:42:14an academic artist a man bringing
- 00:42:17nothing new to art and in the reverse
- 00:42:20has happened in our century in our
- 00:42:22century we're angry in a certain way is
- 00:42:25so much and so rightly admired and is
- 00:42:27considered as one of the father of
- 00:42:29modernity and of modern art
- 00:42:38but such warm and luscious fantasies
- 00:42:41were far removed from the cold and
- 00:42:43appalling reality of the distant
- 00:42:45battlefields where the drama's of
- 00:42:47Napoleon's campaigns have taken place
- 00:42:50[Music]
- 00:42:53go was a pupil of Danny
- 00:42:56but his art is quite different of
- 00:42:58David's art here you have the
- 00:43:02battlefield of a low so they after the
- 00:43:04Battle of course the hero of the battle
- 00:43:07Napoleon is in the middle of the picture
- 00:43:17but they're also not only the victor of
- 00:43:20the bathroom but also the victims of the
- 00:43:22bathroom and that's quite new in French
- 00:43:24art to present human beings anonymous
- 00:43:27soldiers dead soldiers as aware in this
- 00:43:30after this terrible battle and of course
- 00:43:33this will open all the tradition all in
- 00:43:36the 19th century French art but goal was
- 00:43:40a first in French art to do so and it
- 00:43:43did so in a very moving touching a way
- 00:43:52now the once glorious Napoleonic armies
- 00:43:54began their retreat from Moscow to
- 00:43:57Waterloo with defeat the French began to
- 00:43:59identify themselves with those fallen
- 00:44:02foreground figures with the anonymous
- 00:44:04victims rather than with the glories of
- 00:44:06Bonaparte
- 00:44:08[Music]
- 00:44:12myths of heroic or noble ends turned
- 00:44:15into deceptions and more often than not
- 00:44:17only pointless suffering and senseless
- 00:44:20torture remained the blackness of war
- 00:44:22between Spain and France inspired Goya
- 00:44:25and to sketch this series on the horrors
- 00:44:27of war showing the factual account of
- 00:44:29man's cruelty to man gore watched the
- 00:44:32arrival of the foreign conqueror
- 00:44:34believing at first that he was bringing
- 00:44:36reason progress order and liberty but in
- 00:44:39fact he came to destroy and devastate to
- 00:44:42violate and to Massacre
- 00:45:32the sleep of Reason produces monsters in
- 00:45:45his picture third of May go I showed the
- 00:45:49church in darkness impotent before the
- 00:45:52faceless executioner's of a secular
- 00:45:54martyr
- 00:46:03Gaia's nameless peasant symbolizes the
- 00:46:06whole of Spain which rose against the
- 00:46:08Napoleonic invaders fire destruction
- 00:46:12violence death this was Spain between
- 00:46:151808 and 1814 the only source of
- 00:46:20illumination is the soldiers huge
- 00:46:22lantern we are far from the beam of the
- 00:46:25Enlightenment
- 00:46:31soon after the Napoleonic Wars and
- 00:46:33inspired by the French enlightenment the
- 00:46:36Greeks began their struggle for
- 00:46:38independence against the Turks the
- 00:46:41French Romantic painter dellacroix was
- 00:46:43passionately committed to the Greek
- 00:46:45cause
- 00:46:48he lent his support to the Greeks in
- 00:46:50Greece on the ruins of Missolonghi of
- 00:46:521826 Greece is portrayed as an idealized
- 00:46:57impassioned woman dressed in white
- 00:46:59reminiscent of David's central figure in
- 00:47:01the Sabine women she rises heroically
- 00:47:04above the rubble arms extended appealing
- 00:47:07for help in the cause of Liberty
- 00:47:11[Music]
- 00:48:15and so the electrifying effects of the
- 00:48:20Napoleonic era creative and destructive
- 00:48:22left their mark on artists as well as on
- 00:48:25everybody else the neoclassical style
- 00:48:27would continue into the 19th century but
- 00:48:30arid and academic incapable of imparting
- 00:48:33true feeling and true feeling is at the
- 00:48:36core of the sensibility which followed
- 00:48:38the revolution the period we know now is
- 00:48:41the age of Romanticism there's no real
- 00:48:44definition of romanticism we think
- 00:48:46perhaps of wild-eyed artists and poets
- 00:48:48like Keats and Shelley of melancholy
- 00:48:51gothic ruins and mysterious northern
- 00:48:56landscapes where 19th century men
- 00:48:58communed with nature
- 00:49:00[Music]
- 00:49:02and all that is a part of it but the
- 00:49:05poet Baudelaire said that the key to
- 00:49:07romanticism was not the subject matter
- 00:49:09or even truth itself but feeling that
- 00:49:12you should listen to that inner voice
- 00:49:14and that alone would give art its merit
- 00:49:17and so the old morality which had driven
- 00:49:22art in the past religion traditional
- 00:49:25ethics civic virtues and so on were
- 00:49:28thrown out of the window even reason
- 00:49:30itself was seen to be insufficient all
- 00:49:33that counted was feeling an experience
- 00:49:35this new sensibility heroic and
- 00:49:39sentimental self-assertive and profound
- 00:49:42the individualist would lie the center
- 00:49:45of Western art from that time until the
- 00:49:47present day
- 00:49:51[Music]
- 00:49:52France like the rest of Europe was now
- 00:49:55changing fast a rapid rise in population
- 00:49:58the spread of Industry a shift from
- 00:50:01country to city and the emergence of an
- 00:50:03urban proletariat helped bring about the
- 00:50:05growth of new social structures and with
- 00:50:08them political conflicts the printing
- 00:50:10press was now enabling millions to
- 00:50:12receive new ideas in a time of growing
- 00:50:14turmoil and it was in a newspaper
- 00:50:16perhaps like a zet the Jericho read the
- 00:50:19horrifying account of the tragedy of the
- 00:50:22Medusa
- 00:50:28in the summer of 1816 the French frigate
- 00:50:31the Medusa carrying soldiers and
- 00:50:34passengers was wrecked off the African
- 00:50:36coast the captain of noble birth and a
- 00:50:39political appointment was proved
- 00:50:41incompetent of the hundred and fifteen
- 00:50:44men and women who tried to save
- 00:50:46themselves on a makeshift raft only 15
- 00:50:49survived 13 days on a floating coffin
- 00:50:52human beings reduced to a state of
- 00:50:55animal despair a poignant human drama of
- 00:50:58corpses and victims who suffered
- 00:51:00atrociously but for no noble cause
- 00:51:06above on the apex of the human pyramid
- 00:51:09men and women gesturing frantically this
- 00:51:16painting came to be regarded as a
- 00:51:18political allegory of a deeper sort the
- 00:51:21French historian Misha lay wrote France
- 00:51:23herself our whole society is on that
- 00:51:26raft
- 00:51:42the clouds of revolution were gathering
- 00:51:45again at the end of July 1830 Paris was
- 00:51:56up in arms it was the end of the bull
- 00:51:59walls the ruling family of France for so
- 00:52:02many centuries everyone hoped in Liberty
- 00:52:05and in freedom was a great moment of
- 00:52:08French history the Lacroix was not at
- 00:52:10all a radical politically speaking
- 00:52:11speaking he was quite famous artist at
- 00:52:14this moment of his life and he
- 00:52:16immediately understood that it was for
- 00:52:18him the occasion to paint a great
- 00:52:19picture and he painted a very great
- 00:52:21danger
- 00:52:22it's of course a political picture it is
- 00:52:25also a history picture by history I mean
- 00:52:28it's an allegory an allegory of freedom
- 00:52:30and the lady in the middle of the
- 00:52:32picture the woman in the middle of the
- 00:52:34picture represents freedom and liberty
- 00:52:36she has in her hand the French flag the
- 00:52:39three colours of France and she is
- 00:52:41dominating the picture where you see a
- 00:52:44lot of people dead soldiers workers an
- 00:52:48intellectual wearing a head all these
- 00:52:53figures are taking in everyday life
- 00:52:59the figure of Liberty herself is wearing
- 00:53:03a slipped dress barefooted like a Greek
- 00:53:05goddess this woman of the people is no
- 00:53:09longer simply cast in antique language
- 00:53:11as well the Sabine women she is an
- 00:53:15ardent vital bare-breasted vision
- 00:53:17brandishing a flintlock and waving her
- 00:53:20country's new flag a woman of the people
- 00:53:22wearing the Phrygian cap the red bonnet
- 00:53:25she has now become a universal symbol of
- 00:53:28revolution and finally of course the
- 00:53:30figure of the French Republic itself
- 00:53:32[Music]
- 00:53:40ironically Delacroix's Liberty was
- 00:53:42bought by the Liberal King
- 00:53:44louis-philippe who never dared show it
- 00:53:46it wasn't publicly exhibited until 1861
- 00:53:49two years afterwards a distant ancestor
- 00:53:53of Delacroix's allegorical figure
- 00:53:55arrived in Paris the winged victory of
- 00:53:58samothrace it was sculpted in ancient
- 00:54:04Greece in about 200 BC like Liberty
- 00:54:08victories portrayed as female inspiring
- 00:54:12alluring even as she lights gently on
- 00:54:16the prow of a victorious warship the
- 00:54:18wind streaming against her body it's a
- 00:54:22theme which turns up in many forms in
- 00:54:24the story of Western art like Liberty
- 00:54:27victory is a beguiling idealized
- 00:54:31personification of an abstraction for
- 00:54:33which men and women have been prepared
- 00:54:36to die in the 18th century the age of
- 00:54:38reason used symbols like this in the
- 00:54:42belief that the humane values of
- 00:54:44classical tradition could be attained
- 00:54:46even today the revolution hung on to
- 00:54:49such symbols both to express their high
- 00:54:52hopes and in the end to justify their
- 00:54:54worst excesses and of course these are
- 00:54:57still potent myths in our culture today
- 00:55:00in the story of Western art though by
- 00:55:03the middle of the 19th century changes
- 00:55:05in the air
- 00:55:06artists begin increasingly to be
- 00:55:09interested in portraying modern life and
- 00:55:11they will turn their back on the
- 00:55:13classical tradition
- 00:55:14[Music]
- Louis XIV
- Art History
- Rococo
- Neoclassicism
- Romanticism
- Jacques Louis David
- Delacroix
- Enlightenment
- Landscape Design
- French Revolution