The Sixty-Fourth A. W. Mellon Lectures in the Fine Arts: Restoration as Event and Idea: Art in Europe, 1814‒1820, Part 6: Redemption in Rome and Paris, 1818–1820: Ingres Revives the Chivalric while Géricault Recovers the Dispossessed
Thomas Crow, Rosalie Solow Professor of Modern Art, Institute of Fine Arts, New York University. In this six-part lecture series entitled Restoration as Event and Idea: Art in Europe, 1814‒1820, Art historian Thomas Crow will consider the period following the fall of Napoleon. During this time, artists throughout Europe were left uncertain and adrift, with old certainties and boundaries dissolved. How did they then set new courses for themselves? Professor Crow's lectures answer that question by offering both the wide view of art centers across the continent—Rome, Paris, London, Madrid, Brussels—and a close-up focus on individual actors— Francisco Goya (1746‒1828), Jacques-Louis David (1748‒1825), Antonio Canova (1757‒1822), Sir Thomas Lawrence (1769‒1830), Jean-Auguste-Dominique Ingres (1780‒1867), and Théodore Géricault (1791‒1824). Whether directly or indirectly, these artists were linked in a new international network with changed artistic priorities and new creative possibilities emerging from the wreckage of the old. In this sixth lecture, entitled “Redemption in Rome and Paris, 1818–1820: Ingres Revives the Chivalric while Géricault Recovers the Dispossessed,” originally delivered at the National Gallery of Art on April 26, 2015, Professor Crow extols Ingres’s and Géricault’s achievement in reconciling the immensity of inherited pain and loss in post-Napoleonic France with the established discipline of painting on monumental canvas. Their efforts transformed for a generation what a painting could be and could do.