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| Hyacinthe Rigaud, Louis XIV, 1701, oil on canvas (19-1) |
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André Le Notre, Versailles gardens, Versailles, France, 1668-85 (Moodle images).
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| Diego Velázquez, Las Meninas, oil on canvas, Spain, Baroque, 1656 (19-38) |
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| Germain Boffrand, Salon de la Princesse, Paris, Rococo, 1732 (26-2) |
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| Jean-Antoine Watteau, Pilgrimage to the Island of Cythera, oil on canvas, Rococo, 1717 (26-9) |
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| , Sun King: King of France between 1643 and 1715 who ruled as an absolute monarchy by divine right. He did not trust anyone; therefore, he kept very few advisers and had the nobles move out to Versailles with him away from rebels in Paris. (Brianna Hirst) |
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: the French classical regularity includes a 5 part facade (symmetrical), a way of controlling/organizing nature, and axial planning with radial plans (diagonals). (Lauren Anderson)
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| : State sponsored educational facilities that dictates what was studied and what art was supposed to be. (Brianna Hirst) |
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: State sponsored exhibitions that regulated the artistic taste of the country. Getting into the Salon gave you the stamp of approval. (Brianna Hirst)
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| : Symmetry around axes like the x and y axes on a Cartesian plane. Is present in the Versailles gardens with the canal and on the y axis. (Brianna Hirst) |
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| : Technique of loosely applying paint and not tightly finishing the painting. (Brianna Hirst) |
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| : Dramatic light effects, naturalistic effects. Artemisia Gentileschi is an example (Brianna Hirst) |
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: Style following Baroque-characterized by lightness, delicateness, pastel colors, curving forms (especially found in the interior architectural style)
Salon de la Princess and Pilgrimage on the Island of Cythera are examples of the Rococo syle |
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| : Pilgrimage on the Island of Cythera depicts a fete glanate. It depicts an outdoor celebration focusing on love and romance and using the style of Rococo to emphasize those themes. |
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| salon (the social practice) |
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| : a meeting of intellectuals at a high status woman's home to discuss ideas and current events (Brianna Hirst) |
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| Palace altar to King Ovonramwen, varieties of items & materials, 1888-97 (Blier fig. 52) |
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| Ivory pendent mask of Queen Mother Idia, ivory, c. 1520 (Blier 48) |
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| : the rulers of the Benin Kingdom in modern day Nigeria. These rules have great metaphysical and spiritual powers. (EW) |
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| : Started Benin City in 15th C. and ruled as king between 1440-1473 AD. (Brianna Hirst) |
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Orisha of sea and land of dead
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| birds and animals were used to represent powers and were considered powerful |
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| significance of brass and coral |
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: Coral derived from the Mediterranean Sea was an important feature of Benin royal costumes and was believed to make the words of the king come to fruition. Brass was often used to model heads of kings and queens. The expense and red shininess of the brass underscore the royalty's power and prestige (Nolan Schlichter).
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| Palladio, Villa Rotunda, Vicenza, Italy, 1560s (18-63 & 64) |
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| Richard Boyle (Lord Burlington) and William Kent, Chiswick House, West London, c. 1725 (26-22 & 23) |
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| Thomas Jefferson, Monticello, Charlottesville, VA, c. 1775-1800 (26-54) |
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| : country seat in Ancient Rome |
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| : farming estate in Ancient Rome |
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| : party house (Palladio's Villa Rotunda |
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| wrote about villas and was very influential for Renaissance and later architects. There were not illustrations, only detailed descriptions |
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| Palladio’s Four Books of Architecture, |
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| first published in 1570: wrote about ancient Roman architectures and his own ideas with illustrations. |
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This movement corresponded with the Enlightenment and was a reversion back to the Classical style of Palladio. The Palladian movement brought back rational, dignified, and geometrically ordered architecture. The movement led to a step back from the extravagance and ornateness of Baroque which England saw as immoral. Richard Boyle and William Kent, the creators of the Chiswick House, were active in the Palladian movement (Nolan Schlichter).
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| Peter Paul Rubens, The Raising of the Cross, oil on canvas, Flemish, Baroque, 1610-11 (19-44) |
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| Jacob van Ruisdael, Jewish Cemetery, Dutch, Baroque, 1655-60 (19-61) |
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| Rembrandt van Rijn, The Night Watch, oil on canvas, Dutch, Baroque, 1642 (19-54) |
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| Jan Vermeer, Woman Holding a Balance, Dutch, Baroque, c. 1664 (19-64) |
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: The Netherlands. Became officially independent in 1648, is predominantly protestant.(SM)
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| setting that is secondary to the argument or the main interest |
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A work of art in which nature is the argument, not just the parergon.
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types of paintings that are about everyday life.
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| major genre (history painting; portraiture): |
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| usually have to do with religious or mythical subject matter or noble people |
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| lesser genre (portraiture; still life; genre; landscape): |
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| the less category of subject matter that focus on the common man and every day life |
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| Charles Barry & Augustus Pugin, Houses of Parliament, London, 1836-60 (27-31) |
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| : Any aspect of later art or architecture reminiscent of the rules, canons and examples of the art of ancient Greece and Rome. Evoked religious and moral values. (SM) |
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| The strong conciousness of and attention to the institutions, themes, styles and forms of the past, made accessible by historical research, textual study and archeology. (SM) |
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| Middle 1800's to early 1900's. A time in which major advances in agriculture, manufacturing, and transportation had a profound effect on the socioeconomic and cultural conditions. |
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A architectural movement back to Gothic traditions that started in 1740s with Horace Walpole and Robert Adams and included the House of Parliament in 1836-60 with help from Pugin.
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| Typically large, stone-vaulted churches with emphasis on verticality and height as well as fine, delicate carving of stone. |
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| His manifesto as a Catholic, Gothic, architect. In the book, he set out to prove that “the degraded state of the arts in this country is purely owing to the absence of Catholic feeling”, and that the Gothic style of architecture was the only one appropriate for a Christian country to adopt. Classical architecture, he argued, was irredeemably pagan and unsuited to express Christian social values. |
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| a triangular weaving pattern for support in architecture which deals with both vertical and horizontal thrusts. This deals with the industrial revolution and a good example comes from the prefabricated cast iron framework of the Crystal Palace in London. Shows the power, speed, and capability of England who was the largest colonial and industrial country at the time. |
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| the steel structure allowed for skyscrapers/taller buildings such as the Wainwright Building by Louis Sullivan in 1890. This building accents verticality by the lines and windows, while removing unnecessary ornamentation. This cost efficiency while using less land was modern capitalist thinking, which eventually gave new justification for taking land and imposing values on others through Manifest Destiny. |
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| Images: Holland Hall, St. Olaf College, Collegiate Gothic Revival, 1925, (Coolidge and Hodgdon, architects) |
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| Architecture style brought to Normandy by the vikings and incorporated with Gothic style (Holland Hall~Mont St. Michel). It ties into our school because of the scandinavian, protestant values. |
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| San Esteban, Acoma, begun 1630; destroyed; rebuilt 1696 and after [Moodle] |
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| San Xavier del Bac, near Tucson , AZ, 1784-97 by Ignacio Gaona, master builder (19-42) |
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| Santa Barbara, CA 1815-20 by Father Antonio Ripoll [Moodle] |
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| a church used to convert indigenous people to Christianity. The appearance of the church and connection to existing architecture is a direct tie to the degree of conversion. For example, at Santa Barbara, the abusive conversion made 1800 Native Americans live at the mission. The level of control is prevelent in its thick sandstone, 8ft buttresses, and classical (as well as symmetrical) temple front. Other places, such as in Acoma with San Esteban, the architecture simply fits in. The adobe, local resources, location in the city, and comparative scale to Santa Barbara proves a much more gradual conversion. |
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| a labor system like that of a feudal system except that they Natives maintained possession of their land. The conquistadors extract labor and things from Natives in exchange for protecting them. A type of control. |
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| referred to the Spanish military |
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| Members of Catholic religious orders that follow a body of regulations known as "The rule of St. Francis". They gradually converted natives in NM. |
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| Spanish word for convent. The residence for the community of priests, religious brothers, religious sisters, or nuns in the Roman Catholic Church. |
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| sacred ground to bury important people |
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| Currently the largest order of Roman Catholic monks. Started building the San Jose de Tumacacori in Arizona. |
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| Catholic Jesuit priest who became famous in what is now northwestern Mexico and the southwestern United States for the methods he used to Christianize the indigenous Native American population. He established over 20 missions and visitas ("country chapels"), and was known for his ability to create relationships between indigenous peoples and the religious institutions he represented. Started San Xavier del Bal. |
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Franciscan monk who finished San Xavier del Bal. Treated natives poorly and used their labor.
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Natives, whose labor was exploited by Father Velderrain for the building of San Xavier del Bal.
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| portal or entry. Comes from spanish baroque |
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| square balusters (San Xavier) |
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| main carving behind the altar (San Xavier) |
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| shallow domes with carvings/paintings (San Xavier). |
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| Spanish Franciscan. Made missions within one day's travel. Used abusive conversion tactics and forced Native Americans into missions. Made Santa Barbara through Native American labor (See 'missions') |
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| Théodore Géricault, Raft of the “Medusa” (originally titled A Shipwreck Scene) 1818-19 (27-6) |
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| J.M.W. Turner, “Snowstorm: Hannibal & His Army Crossing the Alps, 1812 (27-19) |
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| John Constable, The White Horse, 1819 (27-21) |
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| Casper David Friedrich, Wanderer above a Sea of Mist, c. 1818 (27-17) |
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Frederic Edwin Church, Niagara, 1857 (3’6-1/2” x 7’6-1/2”) (27-88)
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| Romanticism was a style of art popular from 1750-1850 which was meant to evoke an emotional response. The freer and less ordered form of the art gave precedence to the imagination and feeling over reason and thought. Social criticism was often added and loose, fluid brushstrokes with strong colors and powerful contrasts between dark and light were utilized. Theodore Gericault's Raft of the Medusa is a historical painting which took on a Romantic theme (Nolan Schlichter). |
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| Describes a concept, thing, or state of high spiritual, moral, or intellectual value; or something awe inspiring. Pertains to Friedrich's "Wanderer above a sea of Mist" 1818. Shows awesome forces of nature but we are still behind the viewer safely tucked back. Later, Church challenges this "safety of the viewer" and puts us dangerously close to Niagara Falls which adds to the sheer power of nature in the painting. |
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a mid-19th century American art movement by a group of landscape painters, whose aesthetic vision was influenced by romanticism. "School", in this sense, refers to a group of people whose outlook, inspiration, output, or style demonstrates a common thread, rather than a learning institution. The paintings depict the American landscape as a pastoral setting, where human beings and nature coexist peacefully. They also believed that the landscape was the manifestation of God. The contemplation of nature is analogous to worship. Ex. Casper David Friedrich. Wanderer Above a Sea of Mist. 1818 (Sarah Johnson)
Transcendentalists: |
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| Images: Louis Sullivan, Wainwright Building, St. Louis, MO, 1890-91 (27-103); |
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| Mark Rothko, No. 61: Brown, Blue, Brown on Blue, American, Abstract Expressionism, oil on canvas, 1953 (29-13) |
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| Juane Quick-to-See Smith, Trade (Gifts for Trading Land with White People), oil and collage on canvas with other materials, Salish-Cree-Shoshone, Postmodern, 1992 (23-23) |
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| abstract expression wa a result of the rise of fascism after worl war II A painting movement in which artists typically applied paint rapidly, and with force to their huge canvases in an effort to show feelings and emotions, painting gesturally, non-geometrically, sometimes applying paint with large brushes, sometimes dripping or even throwing it onto canvas. Their work is characterized by a strong dependence on what appears to be accident and chance, but which is actually highly planned |
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| a social structure or goal that allows members of diverse ethnic, racial, or other groups to exist peacefully within the society while continuing to practice the customs of their divergent cultures. |
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| Maya Ying Lin, Vietnam Veterans Memorial, black granite, Washington D.C., postmodernism, 1981-83 (29-90) |
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| National Capital Planning Commission: |
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| : Sofonisba Anguissola, Self Portrait, c.1552 Northern Italy, oil on parchment, (2.5 x 3.75 in) (18-57) |
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| Artemisia Gentileschi, Judith and her Maidservant with the Head of Holofernes, Italian Baroque, oil on canvas, 1625 (19-19) |
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| Judith Leyster, Self-Portrait, oil on canvas, Dutch, Baroque, 1635 (19-52) |
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| Rachel Ruysch, Flower Still Life, Dutch, Baroque, oil on canvas, after 1700 (19-67) |
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| Rosalba Carriera, Charles Sackville, 2nd Duke of Dorset, Italian, Rococo, pastel on paper, c. 1730, (26-17) |
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| Feminism is a term for a conglomeration of theories, ideas, and movements that believe in equality for women, though the areas targeted have evolved over time (see first-wave, second-wave, etc.) These different movements help emphasize the fact that there is no single, universal form of feminism that applies to all those who call themselves feminists. "Feminism refers to the belief that women have been historically subordinate to men, as well as to the commitment to working for freedom for women in all aspects of social life." |
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| Mid 19th century - 1920. Sparked by the abolitionist movement and its powerful female figures, (upper/middle class, white) women came together to push for the right to vote (Laura S). |
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Said to be in the 1960's and 1970's, coined by the slogan, "the personal is political." A backlash from women's oppression in the 1950's, key issues addressed women's roles in the home and work place, social equality, and reproductive rights. Also, the idea of gender as a social construction evolves. This is the time when feminist art criticism begins (Laura S.)
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| Donatello, Equestrian monument of Erasmo da Narni, bronze, Padua, Italy, Early Renaissance, 1443-53 (17-55) |
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| Marcel Duchamp, Fountain, urinal, American (of French origin), Dada, 1917 (28-63) |
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| David Smith, Hudson River Landscape, welded steel, American, Abstract Expressionism, 1951 (29-15) |
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of or relating to horse riding/depicting or representing a person on horseback. (Courtesy: Apple Widget Dictionary) (Andy Rollins)
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An art/cultural movement which flourished around 1920/World War I. Initially seen as an "anti-art" interlude within then-dominant Modernism, Dada influenced much of the avant-gardism and surrealism of the future through its denunciation of rationality and its embrace of humor. (Andy Rollins)
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Also known as "found art", describes a work that is made using non-traditional objects and materials which usually have another function before they are appropriated for artistic usage. (Andy Rollins)
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