Term
N: The Swing
D: 1766
A: Jean-Homore Fragonard
L: unknown
M/T: oil on canvas
F: In this painting epitomizing Rococo style, pastel colors and soft light complement a sensuous scene in which a young lady flirtatiously kicks off her shoe at a statue of Cupid while her lover watches. |
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Definition
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Term
N: Cupid a Captive
D: 1754
P/S: Rococo
A: Francois Boucher
L: unknown
M/T: oil on canvas
F: In, this Rococo canvas, Francois Boucher portrayed a rosy pyramid of infant and female flesh and fluttering draperies set off against a cool, leafy background. |
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Definition
C: Boucher used the full ramge of Italian and Baroque devices- thee dynamic play of crisscrossing diagonals, curvillinear forms, and slanting recessions- to create his masterly compositions.
D: multiplicity, diagonals, curvilinear, powerful |
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Term
N: Breakfast Scene from Marriage a la Mode
D: 1745
A; Willam Hogarth
L: unknown
M/T: oil on canvas
F: This is one of a series of six ,narrative paintings in which he chronicled the marital immoralities of the moneyed class. |
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Definition
C: Hogarth designed the marriage series to be published as a set of engravings. The popularity of these prints speaks not only to the appeal of their subjects but also to the democratization of knowledge and culture the Enlightment fostered and to the exploitation of new printing technologies that produced a more affordable and widely disseminated visual culture.
D: distinctively, depicts |
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Term
N:Pantheon
D: 1755-1792
A: Jacques-Germain Soufflot
L: Paris, France
M/T: unknown
F: Soufflot's pantheon is a testament to the Enlightenment admiration for Greece and Rome. It combines a portico based on ancient Roman temple with a colonnaded dome and a Greek-cross plan. |
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Definition
C: The columns, reproduced with studied archaeological precision, stand out from the walls that are severely blank, except for a repeated garland motif near the top. Although the overall effect, insidee and out, is Roman, the structural principles employed are essentially Gothic.
D: structural, essentially, conjunction. freestanding |
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Term
N: The Nightmare
D: 1781
A: Henry Fusell
L: unknown
M/T: oil on canvas
F: The transition from Neoclassicism to Romanticism marked a shift in emphasis from reason to feeling. Fuseli was among the first painters to depict the dark terrain of the human subconscious. |
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Definition
C: Fuseli specialized in night moods of horror and in dark fantasies. A beautiful young women lies asleep , draped across the bed with her limp arm dangling over the side. In the background, a ghostly horse with flaming eyes bursts iinto the scene from beyond the curtain.
D: largely, distinctive, depict, dark, ominously |
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Term
N:Liberty Leading the People
D: 1830
A: Eugene Delacroix
L: Louvre, Paris
M/T: oil on canvas
F: Delacyroix captured the passion and energy of the 1830 revolution in France. |
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Definition
C: It depicts the allegorical personification of Liberty defiantly thrusting forth the republic's tricolor banner as she urges the masses to fight on. The scarlet Phyrgian cap she wears reinforces this struggle.
D: towers, balanes, intellectual, thrusting |
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Term
N: Twilight in the Wilderness
D: unknown
A: Frederic Edwin
L: unknown
M/T: oil on canvas
F: Painted during the Civil War, this wilderness landscape presents an idealistic view of America free of conflict. |
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Definition
C:By constructing such an idealstic and comforting view, Church contributed to the national mythology of righteousness and divine providence-a mythology that had become increasingly difficult to maintain in the face of conflict.
D: sublime, inspiring, firmly, extended |
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Term
N: Third-Class Carriage
D: 1862
A: Honore Daumier
L: unknown
M/T: oil on canvas
F: He portrayed the anonymous poor cramped together in a grimy third-class carriage. |
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Definition
C: Daumier saw people as they ordinarily appeared their faces vague, impersonal, and blank. He showed them in the unposed attitudes and unplanned arrangements of the millions thronging the modern cities.
D: repeatedly, |
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Term
N:The Tub
D: 1886
A: Edgar Degas
L: unknown
M/T: pastel
F: The Tub reveals the influence of Japanese prints, especially the distinctive angles artists such as Torii Kiyonaga used in representing figures. Degas translated his Japenese model into the Impressionist mode. |
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Definition
C: The artist outlined major objects in the painting and covered all surfaces with linear hatch marks. Although the applied pastel is subject to smudging, the colors tend to retain their autonomy, so they appear fresh and bright.
D: fresh, bright, convey, rapid, elements, compenents, linear |
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Term
N: Bar at the Folies-Bergere
D: 1882
A: Edouard Manet
L: unknown
M/T: oil on canvas
F: In this painting set in a Parisian cafe, Mant called attention to the canvas surface by creating spatial inconsistencies, such as, the relationship between the barmaid and her apparent reflection in the mirror. |
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Definition
C: Manet blurred and roughly applied the brush strkes, particularly those in the background, and the effects of modeling and perspective are minimal. This painting method further calls attention to the surface y forcing the viewer to scrutrinize the work to make sense of the scene.
D: spatial, horizontality, medium, visual |
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Term
N: Vision after the Sermon
D: 1888
A: Paul Gauguin
L: unknown
M/T: oil on canvas
F: This painting rejects both Realism and Impressionism. |
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Definition
C:Gaugin did not unify the picture with a horizonpersepctive, light and shade, or a naturalistic use of color. Instead, he abstracted the scene into a pattern.
C: angular, harsh, shapes, perspective, emphasize |
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Term
N: Basket of Apples
D: 1895
A: Paul Cezanne
L: unknown
M/T: oil on canvas
F: Cezanne's analytical approach to painting is evident in his still lifes. He captured the solidity of bottles and fruit by juxtaposing color patches, but the reesulting abstrat shapes are not optically realistic. |
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Definition
C: In his zeal to understand three-dimensionality and to convey the placement of forms relative to the space around them, Cezanne explored his still-life arrangements from different viewpoints.
D: solidity, realistic, discontinious, two-dimensional |
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