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Unit 26: 18Th Century (Late Baroque, Rococo, Neoclassical)

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Unit 26: 18Th Century (Late Baroque, Rococo, Neoclassical) Unit 26: 18th Century (Late Baroque, Rococo, Neoclassical) Theme: “Feminine vs. Masculine” Interest in the small, delicate, and decorative was couched as a feminine Rococo quality. Ultimately, Neoclassicism emerges as a reaction to Rococo’s effeminate style and Neoclassicism is couched as a masculine celebration of the stoicism and restraint of classicism. Historical context: (at least four bullet points) Artistic innovations: (at least three bullet points) Images (*must know style for each artwork): Late Baroque o *(96) Rachel Ruysch. Fruit and Insects. 1711. Oil on wood. Rococo o Jean-Antoine Watteau. Embarkation for Cythera. 1717-1719. Oil on canvas. o Francois Boucher. The Toilette of Venus. 1751. Oil on canvas. o *(101) Jean-Honoré Fragonard. The Swing. 1766. Oil on canvas. Related piece - *(244) The Swing (After Fragonard), Yinka Shonibare Enlightenment o *(100) Joseph Wright of Derby. A Philosopher Giving a Lecture at the Orrery. 1763- 1765. Oil on canvas. Taste for the Natural o Thomas Gainsborough. Mrs. Richard Brinsley Sheridan. 1785. Oil on canvas. o *(105) Elisabeth Vigée-Lebrun. Self-Portrait. 1790. Oil on canvas. o *(98) William Hogarth. The Tête à Tête from Marriage à la Mode. 1743. Oil on canvas. American o *(104) Jean-Antoine Houdon. George Washington. 1788-1792. Marble. o Benjamin West. The Death of General Wolfe. 1771. Oil on canvas. o *(102) Thomas Jefferson. Monticello. Virginia, US. 1768-1809. Brick, glass, stone, wood. *Exterior; plan Neoclassicism o *(103) Jacques-Louis David. Oath of the Horatii. 1784. Oil on canvas. o Jacques-Louis David. The Death of Marat. 1793. Oil on canvas. Terms: Arabesque: Exemplum virtutis: Fête galante: Grand Manner Portraiture: Intrigue Painting: Madame de Pompadour: Neoclassicism: Rococo: Salon: Satire: Short Responses: 1) The painter Jacques-Louis David made the following statement to his pupils: “I want to work in the pure Greek style. I feed my eyes on antique statues, I even have the intention of imitating some of them. The Greeks had no scruples about copying a composition, a gesture, a type that had already been accepted and used. They put all their attention and all their art on perfecting an idea that had already been conceived.” Making specific reference to the quotation and to the image shown, analyze how both reflect the ideals of Neoclassicism. a. For this question, you will be shown a single image of David’s. Please prepare with the images that you have – any of them would be eligible images for this question. 2) Examine the sculpture of George Washington by Jean-Antoine Houdon. Discuss the elements of the sculpture that place it within its stylistic period. Explain why these elements are used in this depiction of George Washington; how is the viewer meant to perceive George Washington? 3) Examine Fragonard’s The Swing. Explain how the image reflects the ideals of the Rococo style. Discuss how the subject matter and style of these works express the tastes and interests of the culture in which they were produced. 4) Identify the intellectual or philosophical movement most closely associated with Joseph Wright of Derby’s paintings. Select a work by Derby and discuss ways in which the content of the paintings expresses philosophical/intellectual and social concerns of the period. Unit 27: First Half of 19th Century (Neoclassicism, Romanticism) Theme: “PINE” An acronym to recall the main characteristics of Romanticism, the dominant artistic style in the first half of the 19th century: Past; Irrational/Insanity; Nature; Emotion/Exotic Historical context: (at least three bullet points) Artistic innovations: (at least three bullet points) Images (*MUST know style and sub-styles): Neoclassicism o Jacques-Louis David. Napoleon at the St. Bernard Pass. 1801. Oil on canvas. o Antoine-Jean Gros. Pest House at Jaffa. 1804. Oil on canvas. o *(107) Jean-Auguste-Dominique Ingres. La Grande Odalisque. 1814. Oil on canvas. Romanticism o * (106) Francisco de Goya. Y no hai remedio (And There’s Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War). 1810-1823; published 1863. Etching, drypoint, burin, and burnishing. o Francisco de Goya. The Third of May. 1814. Oil on canvas. o Theodore Géricault. Raft of the Medusa. 1818-1819. Oil on canvas. o *(108) Eugene Delacroix. Liberty Leading the People. 1830. Oil on canvas. o *(111) Joseph Mallord William Turner. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On). 1840. Oil on canvas. o *(109) Thomas Cole. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm). 1836. Oil on canvas. Revivalist (Neo-Gothic) o *(112) Charles Barry and Augustus W. N. Pugin. Palace of Westminster (Houses of Parliament). London, England. 1840-1870. Limestone masonry and glass. *Central Lobby; Westminster Hall Terms: Aquatint: Drypoint: Gothic Revival/Neo-Gothic: Hudson River School: Manifest Destiny:. Odalisque: Orientalism: Sublime: Short Responses: 5) Examine Delacroix’s Liberty Leading the People. The following text is an excerpt from a contemporary review of Delacroix’s work: [Delacroix’s] brushstroke is large and firm, the color simple and vigorous . The artist has artistic imagination that one might call imaginative skill and talent . He disperses his figures, groups them, gathers them at will with the boldness of Michelangelo and the richness of Rubens. I find in it savage strength, passionate but natural, which gives way to its own momentum. With what art historical movement is the work of this artist commonly associated? Briefly discuss the events captured by Delacroix; what messages is Delacroix imparting? Discuss ways in which the critic’s response to Delacroix’s picture relates to artistic concerns and trends of the period. Be sure to refer to both the image and text in your answer. 6) Examine Thomas Cole’s Oxbow. Identify the art historical school with which Cole was associated. How does this painting embody the political ideas of its time? Cite specific visual evidence in your response. Unit 28: Second Half of 19th Century (Realism, Impressionism) Theme for Realism: “Reaction Against Romanticism” Realism and Realist artists called for a widespread rejection of Romanticism. Instead, they favored what were accurate and “objective” depictions of the ordinary world. Theme for Impressionism: “Modern Life” Impressionism, emerging in Napoleon III’s remodeling of Paris, focused on contemporary scenes of Parisian middle class life – strolls in the parks, going to the opera, walking down city streets, reading, etc. Historical context: (at least two bullet points) Artistic innovations: (at least two bullet points) Images (15 SLIDE IDs ON TEST, NOT 10; MUST know style or category): Photography o *(110) Louis-Jacques-Mandé Daguerre. Still Life in Studio. 1837 (19th c). Photography. o *(114) Honoré Daumier. Nadar Raising Photography to the Height of Art. 1862 (19th c). Lithograph. o *(117) Eadweard Muybridge. The Horse in Motion. 1878 (19th c). Photograph. Realism o Gustave Courbet. Burial at Ornans. 1849 (19th c). Oil on canvas. o *(113) Gustave Courbet. The Stone Breakers. 1849; destroyed in 1945 (19th c; destroyed in 20th). Oil on canvas. Impressionism o *(115) Édouard Manet. Olympia. 1863 (19th c). Oil on canvas. o *(121) Mary Cassatt. The Coiffure. 1890-1891 (19th c). Drypoint and aquatint on paper. o *(116) Claude Monet. The Saint-Lazare Station. 1877 (19th c). Oil on canvas. Post-Impressionism o Georges Seurat. A Sunday on the Grande Jatte. 1884 (19th c). Oil on canvas. o *(125) Paul Cezanne. Mont Sainte-Victoire. 1902-1904 (20th). Oil on canvas. o *(120) Vincent Van Gogh. Starry Night. 1889 (19th c). Oil on canvas. o *(123) Paul Gauguin. Where Do We Come From? What Are We? Where Are We Going? 1897-1898 (19th c). Oil on canvas. o Symbolism o *(122) Edvard Munch. The Scream. 1893 (19th c). Tempera and pastels on cardboard. Other o *(119) Auguste Rodin. The Burghers of Calais. 1884-1895 (19th c). Bronze. o *(124) Louis Sullivan. Carson, Pirie, Scott and Company Building. Chicago, Illinois, US. 1899-1903 (19th-20th). Iron, steel, glass, and terra cotta. *Entrance; plan Terms: Art for Art’s Sake: Avant-garde: Barbizon School: Daguerreotype: Form follows function: Japonisme: Plein-air: Pointillism: Skeleton: Short Responses: 7) How has Manet appropriated Titian’s Venus of Urbino? Cite visual evidence in your response. Additionally, how does Manet comment on social issues and challenge artistic traditions in using Venus of Urbino as the basis for Olympia? 8) Mary Cassatt’s Mother’s Kiss is a late-nineteenth-century print. Analyze how the work incorporates the influence of Japanese prints in both style and subject matter. What larger cultural trend in Europe does this represent? 9) Examine the Carson, Pirie, Scott Building. Identify the architect of this building. How did the innovations in this building lead to the development of the modern skyscraper? 10) The city of Calais commissioned The Burghers of Calais to memorialize an event from the city’s past. Identify the sculptor. Describe the event that the work of art responds to. Discuss ways in which the sculptor’s conception, which was not acceptable to city officials, broke with traditional notions of heroic sculpture. How does The Burghers of Calais portray this historical event? .
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