1. The Revolt Against Reason Romanticism and Revolution
History of the Modern World
The Revolt Against Reason
Romanticism and Revolution
Mrs. McArthur
Walsingham Academy
Room 111
Completed when the artist was just 27, the work has become an icon of French Romanticism. At 491 cm × 716 cm (193.3 in × 282.3 in),[1] The Raft of the Medusa is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today's Mauritania on July 5, At least 147 people were set adrift on a hurriedly constructed raft; all but 15 of them died in the 13 days before their rescue and those who survived endured starvation, dehydration, cannibalism, and madness. The event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain acting under the authority of the recently restored French monarchy.
In choosing the tragedy as subject matter for his first major work—an uncommissioned depiction of an event from recent history—Géricault consciously selected a well-known incident that would generate great public interest and help launch his career.[2] The event fascinated the young artist, and before he began work on the final painting, he undertook extensive research and produced many preparatory sketches. He interviewed two of the survivors, and constructed a detailed scale model of the raft. His efforts took him to morgues and hospitals where he could view first-hand the colour and texture of the flesh of the dying and dead. As the artist had anticipated, the painting proved highly controversial at its first appearance in the 1819 Paris Salon, attracting passionate praise and condemnation in equal measure. However, it established his international reputation, and today is widely seen as seminal in the early history of the Romantic movement in French painting.
Although The Raft of the Medusa retains elements of the traditions of history painting, in both its choice of subject matter and its dramatic presentation, it represents a break from the calm and order of the then-prevailing Neoclassical school. Géricault's work attracted wide attention almost immediately from its first showing, and was subsequently exhibited in London. It was acquired by the Louvre soon after the artist's early death at the age of 32. The painting's influence can be seen in the works of Eugène Delacroix, J. M. W. Turner, Gustave Courbet and Édouard Manet.
Géricault’s Raft of the Medusa

2. Assignment 1
Chapter 18 test (See previous week for details)

3. Assignment 2 (due Wed.) Read text, pp. 681-682
Define blue-bold terms
Answer Checkpoint and Biography questions.
Research the paintings, slides 5-6, and explain briefly in what way they reflect romantic sensibility? (Be sure to look up this word according to context used here)

4. Revolt Against Reason: text, pp. 681-682
The Romantic’s Revolt Against Reason
Romanticism took hold from about 1750 to Romantic writers combined history, legend, and folklore and sought to stir deep emotions. Romantic music included the passionate scores of Beethoven. Romantic painters often depicted dramatic scenes.
Witness History Audio (4): Ludwig van Beethoven
To Romantic writers and artists, in what ways did the ideals of Enlightenment fall short?
Compare the romantic hero of 1800 to that of today.
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5. Eugène Delacroix’s Liberty Leading the People, 1830

6. Francisco Goya’s The Third of May, 1808

7. Assignment 3 (due Thurs.)
Read text, pp
Define blue-bold terms
Answer 3 Checkpoint and Analyzing Political Cartoons questions.
Study support materials on accompanying slides, #8-14.
No Homework this Weekend!

8. Revolt Against Reason: text, pp. 634-637
Witness History Audio: A “Revolutionary Seed”
Conservatives Prefer the Old Order
Conservatives put together an agreement called the Concert of Europe, in which they pledged to support the old political and social order. They vowed to suppress revolutionary ideas and to aid each other in fighting rebellions.
Liberals and Nationalists Seek Change
Liberals wanted governments to be based on constitutions and the separation of powers. They believed male property owners should constitute the voting public. They wanted an open market economy. At the same time, some nationalist leaders sought to create various independent states for people who shared a common heritage.
Notes: Listen to the Witness History audio. Then read aloud the main idea for each subheading in this section and show the related visuals.
After listening to the Witness History audio, ask students to give examples of how each element Metternich named had already come under attack. Then point out the photo of Hungarian revolutionary Lajos Kossuth. Ask them to predict how Kossuth might respond to Metternich.
When showing Color Transparency 119, ask students to explain how each group’s ideology was connected to its position in society.
Color Transparency 119: Liberal and Conservative Ideas in the 1800s
Note Taking Transparency 144A
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9. Revolt Against Reason: text, pp. 634-637
Central Europe Challenges the Old Order
Serbia revolted against the Ottoman Empire and, with the help of Russia, finally succeeded in gaining independence. Greece also broke away from the Ottomans. Other revolts broke out in Spain, Portugal, and some of the Italian states.
Note Taking Transparency 144B
Progress Monitoring Transparency
Notes: Listen to the Witness History audio. Then read aloud the main idea for each subheading in this section and show the related visuals.
After listening to the Witness History audio, ask students to give examples of how each element Metternich named had already come under attack. Then point out the photo of Hungarian revolutionary Lajos Kossuth. Ask them to predict how Kossuth might respond to Metternich.
When showing Color Transparency 119, ask students to explain how each group’s ideology was connected to its position in society.
QuickTake Section Quiz
Serb nationalist
Karageorge ( )
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10. Color Transparency 119: Liberal and Conservative Ideas in the 1800s
Revolt Against Reason
Color Transparency 119: Liberal and Conservative Ideas in the 1800s
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11. Note Taking Transparency 144A
Revolt Against Reason
Note Taking Transparency 144A
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12. Note Taking Transparency 144B
Revolt Against Reason
Note Taking Transparency 144B
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13. Progress Monitoring Transparency
Revolt Against Reason
Progress Monitoring Transparency
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14. Progress Monitoring Transparency
Revolt Against Reason
Progress Monitoring Transparency
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15. No Homework this Weekend!
Assignment 4
Read text, pp
Define blue-bold terms
Answer 2 Checkpoint questions.
Read notes, slides and answer questions on slide 18(incl. Notes View).
Complete map, per instructions.
Reminders (The following will be on Term 2):
Extra-Credit Opportunity: film: 3-5 PM Tues. 10/12 (You must see entire film: 119 min.)
Quiz: Friday, 10/15
No Homework this Weekend!

16. Chap. 20, Section 2: Revolutions of 1830 and 1848, pp 638-643
Witness History Audio: A “Revolutionary Seed”
Based on your study, would you agree with Metternich?
Witness History Audio: More Revolution in the Wind
What kinds of images does Tocqueville use to describe the future of Europe?
French Rebels Win in 1830
When Charles X of France tried to move back to absolute rule, French citizens barricaded the streets of Paris and fired on soldiers who would try to stop them. Charles fled to England. In his place came the more moderate Louis Philippe, who instituted limited suffrage.
Notes: Listen to the Witness History audio. Then read aloud the main idea for each subheading in this section and show tdoehe related visuals.
After listening to the Witness History audio, ask, “ What kinds of images does Tocqueville use to describe the future of Europe?” (images of violence and destruction) ”What does Tocqueville imagine will happen next?” (violent revolution)
When showing Color Transparency 120, ask, “How does the artist feel about the July revolution?” (He supports it) “How can you tell?” (He depicted a heroic figure at center, bathed in light, under the tricolor flag) “Why does he include children?” (to symbolize the future) “How does the artist depict violence?” (as heroic, with no blood or gore)
When showing Color Transparency 122, ask students to compare how the rulers and the revolutionaries are portrayed in the two cartoons.
Color Transparency 120: Fighting at the Hotel de Ville, 28th July 1830
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17. Section 2: Revolutions of 1830 and 1848
The Spirit of Reform Spread
Revolutions sprouted in Europe, some successful and some not. Belgium won independence with the help of Britain and France. Polish nationalists lost in their bid to separate from Russia.
Witness History Video: Revolutionary France: Les Misérables
Notes: Listen to the Witness History audio. Then read aloud the main idea for each subheading in this section and show the related visuals.
After listening to the Witness History audio, ask, “ What kinds of images does Tocqueville use to describe the future of Europe?” (images of violence and destruction) ”What does Tocqueville imagine will happen next?” (violent revolution)
When showing Color Transparency 120, ask, “How does the artist feel about the July revolution?” (He supports it) “How can you tell?” (He depicted a heroic figure at center, bathed in light, under the tricolor flag) “Why does he include children?” (to symbolize the future) “How does the artist depict violence?” (as heroic, with no blood or gore)
When showing Color Transparency 121, ask students to discuss which option was more dangerous to Louis Philippe’s reign in 1848: allowing freedom of the press or forbidding it.
When showing Color Transparency 122, ask students to compare how the rulers and the revolutionaries are portrayed in the two cartoons.
Witness History Audio: To the Barricades!
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18. Color Transparency 120: Fighting at the Hotel de Ville, 28th July 1830
What ideologies are being expressed?
Explain.
Thursday, 29 July, 1830: Day Three
"They (the king and ministers) do not come to Paris," wrote the poet, novelist and playwright Alfred de Vigny, "people are dying for them ... Not one prince has appeared. The poor men of the guard abandoned without orders, without bread for two days, hunted everywhere and fighting."
^ de Vigny, Alfred, Journal d'un poète, 33, (29 July 1830).
What is the viewpoint of this writer?
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