Posted: June 12th, 2015

the Nude Bodies during the Romantic Movement in French Art

the Nude Bodies during the Romantic Movement in French Art

Order Description

Research Paper — Art History: the Romantic Movement in French Art

instructions: Use the assigned readings as a theoretical core, students will write an 8-page paper in which they examine a relevant subject of their own choice.
Please note: website, blogs, and any form of internet-related research that does not come from JSTOR, or a similar archive of peer-reviewed journals, will not be accepted as sources. Google Books may be used, but attention must be paid to the credibility of the publishing house.
Essay will be written in 12-point Time New Roman font, will use full citation footnotes formatted in Chicago style, and will cover at least 10 distinct and academically credible sources (sources may include the assigned readings). Papers that do not include footnotes or at least 10 separate sources will not be accepted.
The student is encouraged to include non-Western visual art, material culture, primary sources and historical essays from outside the traditional canon to illustrate their understanding of major themes discussed in class and in assigned readings.

Topic: the Nude Bodies during French Romantic Movement
with an emphasis on female nudity as well as painters’ representation on queer art as an important showcase for the common opinions on the aesthetic ideals at the time.

The paper need to cover both a historical (horizontal) comparison, including artistic styles that came before Romanticism (such as Neo-Classicism), contemporary political background (mentioned relatively slightly compared to other themes), Oriental influences (Orientalism), and others; and detailed comparisons and contrasts between different artists and their works during this period. The comparisons between artists of the period should be the focus of the paper, and the background (historical comparison) researches should come as an assist to the painting comparisons as well as the theme of the entire paper.

Female nude and queer art should be regarded as a unique point worth mentioning and can be used as an extended study into the theme, but the general theme of this paper would still be focused on nude bodies (for both sexes) and their representations.

The following is a list of paintings that need to be discussed in the paper. Please choose at least 6 of them accordingly in order to provide enough variations and evidences for the theme. The theme of the paper is up to your decision as long as it sticks to this topic.
<Ingres. A Nude Woman Lying. c. 1809>
<Ingres. Odalisque with a Slave. c. 1840>
<Gericault, figure study for the “Raft of Medusa”. 1818>
(<Gericault. the Raft of Medusa>.)
<Jacque-Louis David> and his paintings.
<Jean Leon Gerome. Moorish Bath. c. 1880-1885>
<Ingres. Turkish Bath>
<Gerome. the Snake Charmer>
(these paintings above can all be found on this slide: https://prezi.com/5j-ujjmj2lmu/fah345-class-8-midterm-review-4-june-2015/ Please read this slide for other references.)

<Engene Delacroix. the Death of Sardanapalus.>
<Ingres. La Grande Odalisque. 1814>
<Gustave Courbet. Le Sommeil. 1866>

Please discussed at least 10 paintings from various artists relating to the topic and theme of this paper. Please find the paintings from the list above and the following slides:
https://prezi.com/rpchvgmn9r-y/fah345-1/
https://prezi.com/3li0x1in1sej/fah345-2a-14-may-2015/
https://prezi.com/firzrysmhe7d/fah345-2b-14-may-2015/
https://prezi.com/200-1aco02y4/fah345-3-19-may-2015/
https://prezi.com/qk_ssr3ajw9s/fah-345-class-4-21-may-2015/
https://prezi.com/y9ko6s_ipijg/fah-345-class-five-26-may-2015/
https://prezi.com/hzzq1jdn8j3g/fah-class-6-28-may-2015/

Please note: comparison should include both formal analysis of the art works themselves as well as the painters (different styles, personal preferences, etc.) and the political and social background of their relative periods.

Please find references from academic resources (at least 10). The following is links to possible resources; please look through and include at least 5 of them and, of course, if there’s better resources, please feel free to include those too.
Jonathan Crary, “Gericault, the Panorama, and Sites of Reality in the Early Nineteenth Century”, Grey Room, no. 9 (Autumn, 2002), pp. 268-287.
http://www.jstor.org/stable/1262599?seq=1#page_scan_tab_contents
Beth Segal Wright. “Scott’s Historical Novels and French Historical Painting 1815-1855”, the Art Bulletin, vol. 63, no. 2 (Jun., 1981), pp. 268-287.
Nina Athanassoglou, “Under the Sign of Leonidas: the Political and Ideaological Fortune of David’s Leonidas at Thermopylae under the Restoration”, the Art Bulletin, vol. 63, no. 4 (Dec., 1981), pp. 633-649.
Susan Locke Siegfried, “Naked History: the Rhetoric of Military Painting in Post-revolutionary France”, the Art Bulletin vol. 75, no. 2 (Jun., 1993), pp. 235-258.
Jack Perry Brown, “the Return of the Salon: Jean Leon Gerome in the Art Institute”, Art Institute of Chicago Museum Studies, vol. 15, no. 2 (1989), pp. 154-173 + 180-181.
John P. Lambertson, “Delacroix’s ‘Sardanapalus,’ Champmartin’s ‘Janissaries,’ and Liberalism in the Late Restoration”, Oxford Art Journal, vol. 25, no. 2 (2002). pp. 67-85.
Walter B. Denny, “Quotations in and out of Context: Ottoman Turkish Art and European Orientalist Painting”, Muqarnas, vol. 10 (1993), pp. 219-230.
James Kearn, “From Store to Museum: the Reorganization of the Louvre’s Painting Collections in 1848”, the Modern Language Revire, vol. 102, no. 1 (Jan., 2007), pp. 58-73.
Dorothy M. Kosinski, “Gustave Courbet’s ‘the Sleepers’: the Lesbian Image in Nineteenth-Century French Art and Literature”, Artibus et Historiae, vol.9, no. 18 (1988), pp. 187-199.
(All of the references above should be able to be found on JSTOR or Google Books. Please contact me if you have trouble finding them.)