7 Experiencing the exotic
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
7 Experiencing the exotic
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
6 The Pavilion and the picturesque
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
6 The Pavilion and the picturesque
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
5 ‘Indian’ on the outside
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
5 ‘Indian’ on the outside
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
4 ‘Chinese’ on the inside
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
4 ‘Chinese’ on the inside
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
3 From Enlightenment to Romantic?
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
3 From Enlightenment to Romantic?
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
2 A prince at the seaside
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
2 A prince at the seaside
In this unit we examine the Royal Pavillion at Brighton, and its relationship to nineteenth century romanticism and exoticism. We begin with a biographical discussion of the Prince of Wales, afterwards Prince Regent and eventually King George IV, to whose specifications the Pavillion was built. With the help of video and still images we take a tour of the Pavillion, examining the exterior then a series of interior rooms as a visitor in the 1820s may have experienced them. Besides this we look at
Acknowledgements
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
Acknowledgements
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
References
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
References
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
Learning outcomes
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
Learning outcomes
In this unit we will examine a range of Napoleonic imagery by David, Gros and a number of other artists, beginning with comparatively simple single-figure portraits and moving on to elaborate narrative compositions such as Jaffa and Eylau. In so doing, we will have three main aims: to develop your skills of visual analysis, to examine the relationship between art and politics and to introduce you to some of the complex issues involved in interpreting works of art.
Acknowledgements
What influenced Goya? Did Napoleon's invasion of Spain alter the course of Goya's career? This unit will guide you through the works of Goya and the influences of the times in which he lived. Anyone with a desire to look for the influences behind the work of art will benefit from studying this unit.
Acknowledgements
What influenced Goya? Did Napoleon's invasion of Spain alter the course of Goya's career? This unit will guide you through the works of Goya and the influences of the times in which he lived. Anyone with a desire to look for the influences behind the work of art will benefit from studying this unit.
