[image]

Oath of the Horatti

Jacques Louis David

1784

• scene of ancient Roman History
• strong angular postures
• picture organized by architectural background
  • 3 arches resonate the three positions of the men
  • linear perspective create a readable space
• light comes at a diagonal and from the left
• departure from the comical airy sense of Rococo to the serious subject matter
• close to Poussin's "Death of Germanicus"

[image]

Death of Socrates

Jacques-Louis David

1787

• Poussin influence
• rectangular-stage like setting
• diagonal light
• Socrates is surrounded by 12 followers
  • religious overtones
  • Christian theme in secular painting
• reflects the idea that martyrdom is the cause of reason and interest at stake

[image]

Death of Marat

Jacques-Louis David

1793

• Marat - representative of new republic of France
• David decides to show moment after assasination
  • departure from Baroque's mid-murder action
• neutral palatte
  
  • emphasized by Marat's pale body
• Position of Marat's body
  • recalls Christ's dead body in early pietas

[image]

Odalisque

J.A.D. Ingres

1814

• personifies the Western world's fascination with the East
• Odalisque is shown as exotic
  • pale skin
  • peacock feather
  • hookah
• in contrast to similar portraits (Titian's "Venus of Urbino")
  • back is turned towards the viewer
• sense of touch
  • feathers on the back of her leg
• portrait more about stature than personality

[image]

Portrait of Napoleon

J.A.D. Ingres

1806

• rigid and static portrait
• shown in the same fashion as ancient Roman Emperors
  • no crown but a laurel crown
• compared to Rigaud's portrait of Louis
  • Rigaud's is non-chalant whereas this is serious
  • both filled with goods
• display of opulence important
• comparison to van Eyck's "Ghent Altarpiece"
  • curved back of throne forms a sort of halo
  • same stance as God in the altarpiece

[image]

Portrait of Madame Ines Moitessier

J.A.D. Ingres

1856

• illusions to classical prototype of portraiture
• pose recalls Roman murals at Herculaneam
• smooth skin, curvilinear shoulders, Raphaelesque face
• opulence displayed
  • rose-patterened gown
  • jewelery
  • peacock feather

[image]

Cupid & Psyche

Antonio Canova

1787

• drapery and subject matter both recall ancient art
• allegorical
  • Psyche represents the human soul
  • story represents marriage of the divine and human soul
• designed to be rotated
• variety of surface textures
• intense emotion

[image]

Pauline Borghese as Venus

Antonio Canova

1808

• neoclassical because of the coach Pauline is on
  • replication of ancient Greek furniture
• naked upper body
  • recalls Venus
• portrait of living individual in the guise of Venus

[image]

Snowstorm: Hannibal and his army crossing the Alps

J.M.W. Turner

1812

• about the grandeur of nature
  • nature is physically bigger than the presence of humans
• shows the effects of clouds in deep valleys
• Hannibal barely present
  • shown by presence of his elephant

[image]

The Slave Ship

J.M.W. Turner

1840

• lack of formal bodies or countour lines
• imaginary re-enactment of slave ship heading to America
• random body parts jutting out of water
  • hands
  • leg in the right-hand corner
  • fish swarm to bodies

[image]

Rain, Steam, and Speed

J.M.W. Turner

1844

• embraced modernity as a subject
  • steam engine
• train is heading towards the viewer

[image]

The Haywain

John Constable

1821

• scene of the English countryside
• trees signal direction of the stream
• depicts gentle, rural life
• an air of nostalgia
  • England undergoing Industrial Revolution
  • captures the present that is vanishing
• en plein-air
• interest in the painting of the sky

[image]

Salisbury Cathedral from the Meadows

John Constable

1829

• church framed by trees
• arch in trees resonates arch in architecture
• path in the lower corner guides us into the picture
• gentle nature

[image]

Monk by the Sea

Caspar David Friedrich

1809

• sublime
• concept of individualization
• 4/5ths of painting is the sky
• almost indefinite figure
• withdrawal of the world

[image]

Abbey in an Oak Forest

Caspar David Friedrich

1809

• ruined Gothic abbey
• life around the abbey almost lost in nocturnal shadow
• trees mirror the skeleton of human creation
• obscure human forms
  • procession of monks

[image]

Polar Sea

Caspar David Friedrich

1824

• detailed ice
• indication of human presence
  • hull of ship sticking out from ice
• awe-inspiring nature deminishes human presence

[image]

The Oxbow

Thomas Cole

1836

• shows the vastness of the American continent
• grandeur
• clouds show a notion of terror and drama
• human presence signaled by parasol

[image]

Portrait of Family of Charles IV

Francisco Goya

1800

• Royal family is not idealized
  • even though they are dressed in opulence they are not idealized as classical forms would
• sense of maternal touch and tenderness
• comparison to Velazquez royal portrait
  • imposes himself into the portrait
  • central figures - King and Queen (different from Velazquez)
• rapid brushstrokes
  • very defined in the Queen's dress

[image]

Third of May, 1808

Francisco Goya

1814

• the firing squad's backs are turned to the viewer
  • anonymous
• progression from dead to those waiting to be executed
• fighter about to get shot
  • white shirt
  • light shining on him
  • outstreched arms
    • resembles a crucified Jesus
    • religious context in secular painting

[image]

The Sleep of Reason produces Monsters

Francisco Goya

1799

• etching
  • aquatint
    • acid on etcing produces midtones
• fantasy filled picture
• as reason sleeps monsters emerge
  • sleep presents an irrational world
• birds = supernatural

[image]

Saturn Devouring his Child

Francisco Goya

1819

• vivid representation
• allegory of war
• grotesque

[image]

Charging Chasseur

Theodore Gericault

1812

• signs of opulence
  • leopard saddle
• billowing clouds of gunpower smoke
• recalls Titian and Reuben
• parallel between the chasseur and the horse
  • animalistic forces are charging the chasseurs heroism

[image]

Raft of Medusa

Theodore Geircault

1818

• depicts a recent real-world event that is fresh to the viewers mind
• depicts the struggle for survival and the heroism of the comman man
• philosopher-like figure in the lower left
• depicts the crucial moment of salvation
• triangular composition
• Michealangelesque nudes

[image]

Portrait of a Madwoman

Theodore Gericault

1822

• Gericault had a fascination with the extremes of the human condition
• series of paintings
• different titles for different illnesses

[image]

Portrait of a Madman

Theodore Gericault

1822

[image]

Massacre at Chios

Eugene Delacroix

1824

• misery and suffering in the foreground
• based upon event in ancient Greek history when Turks massacred 20,000 civilians
• expresses passion for democracy and individual freedom
• bodies in the foreground and contortorted and twisted and evoke despair
  • cluster in foreground echoed in the background
• asymmetrical pyramid allude to Ruben's

[image]

Death of Sardanapalus

Eugene Delacroix

1827

• soldiers bring in naked concubines, horses, and treasures
• excessive and swirling composition
• filled with warm colors (red, yellow)
• emphasis on the exotic
• ignores classical forms of space and volume

[image]

Liberty leading her People

Eugene Delacroix

1830

• depicts allegorical figure of French Revolution
• civil army is being led by liberty which is France herself
• depicts the Romantic idea of democracy and freedom

[image]

Women of Algiers

Eugene Delacroix

1834

• sensual and soft hues
• color is dappled and there are no contours
• shapes are materialized by adjacent marks and buildup of color and brushstrokes

[image]

Burial at Ornans

Gustave Courbet

1849

• epitome of realism
• painting does not try to depict a certain theme or subject
• no shread of elegance or individualism
• based on studies of Ornans
• art of the people of not of the academy

[image]

Stone Breakers

Gustave Courbet

1849

• realism
• poverty in workers shown in the ragged clothes and coarseness of labor
• workers are anonymous, faces covered
• same amount of detail in stone as in the portrayal of the workers

[image]

Luncheon on the Grass

Edouard Manet

1863

• large, loose brushstrokes
• Manet painted the picture with the intent to shock
• comparison to Giorgione's "Concert"
  • 2 men dress contemporarily
  • 2 naked women
• woman makes confrontational gaze with viewer
• criticized due to how "sketchy" it looks, doesn't look completeted
• distorted sense of depth
• very two dimensional

[image]

Olympia

Edouard Manet

1863

• turns Venus into a Paris prostitute
• the subject is not coy or shy
  • contrast to Titian's Venus
• comparison to Ingres' "Odalisque"
  • avoids all exotic elements present in Ingres'
  • Ingres divorces from everyday reality
• uses Titian as a model
• strong verticle line in the middle diverts attention to genitals
• black cat is characteristic of Manet

[image]

Boating

Edouard Manet

1874

• casual composition
• picture is cropped below the horizon
• unexpected and spontaneous

[image]

Bar at the Folies-Bergeres

Edouard Manet

1881

• rich in ideas and filled with references
  • most are seen in the mirror
• mirror represents an illusion
  • festive seen even though the barmaid has a sort of melancholy face
    • suggests alienation from the contemporary world
• comments on materialism in the modern world
  • very expensive bar
  • catered to the well-to-do

[image]

Orchestra of the Paris Opera

Edgar Degas

1868

• genre scene
• subject is the intensity, excitement, and fragmentation of contemporary life
• view is at an angle
  • typical for a theater goer
• the entire plane is slightly skewed
  • walls are cut off
  • ballet dancers cut off
• style attributed to Japanese art of the time
  • popular in France

[image]
The Tub

Edgar Degas

1886

[image]

The Child's Bath

Mary Cassatt

1891

• perspective similar to Manet
• influenced by chinese woodblocks
  • small lines, bold colors
• bright colors
• fast brushwork
• emotional and physical subject

[image]

Symphony in White No. II: The Little White Girl

J.A.M. Whistler

1864

• Japanese influence
• asian porcelain on the mantle
• japanese architecture
  • strong verticals and horizontals
• identity not important
• delicate brushstrokes
  • seem transparent
• tribute to Ingres' "Portrait of Madame Ines"

[image]

Arrangement in Black and Grey: the Artists Mother

J.A.M. Whistler

1871

• many of the same points as the last especially on Japanese architecture

[image]

Nocturne in Black and Gold: the falling rocket

J.A.M. Whistler

1874

• night scene with fireworks
• fascination with Japanese prints
• loose style and color fragments
• realistic and abstract

[image]

On the Bank of the Seine

Claude Monet

1868

• pre-Impressionist work
• represent a relaxed and leisure activity
• loose and rapid brushstrokes
• water is an important motif
  • reflective surface
• series of flecks of colors
• spontaneous, instant
• optical science
  • wanted to reconstruct what the eye visually saw
• painting is filled with rich color
  • black spots are not really black but different hues of brown

[image]

Impression: Sunrise

Claude Monet

1872

• presence of man in nature
• soft and ill-defined forms
• water is defined by flat gray and broad brushstrokes
• Comparison to Whistler
  • atmospheric perspective

[image]

Boulevard des Capucines

Claude Monet

1873

• city-life
• undefined figures
• comforting

[image]

Haystacks

Claude Monet

1891

• came close to abstract art
• studied haystacks in various variations
  • wanted to see different effects of life
• row of trees in the distance
  • lined up with edge of haystack
• apex close to upper edge
  • causes diagonal shadow

[image]

Poplars

Claude Monet

1891

• tall, reedy trees
• unified geometry
• lined at river bank
• variety of depictions
• divided by reflection on the water bank
• vertical lines cut from top to bottom

[image]

Waterlilies

Claude Monet

1891

• includes the theme of water
• as the years go on the waterlilies become more abstract

[image]

Landscape with Mont. Ste-Victoire (1885)

Paul Cezanne

• strategically placed brushstrokes
• breakes colors into patches
• mosaic-like
• some shapes reoccur throughout the painting
  • triangle with the mountain
  • cubed home

[image]

Landscape with Mont Ste.-Victoire (1897)

Paul Cezanne

• contrast between red quaries and the mountain color
• color patches
• is more abstract than the earlier one

[image]

Still-Life with Apples (1875)

Paul Cezanne

• discrete brushstrokes
• laid like architecture
• apples were charged objects to Cezanne
• 3-D
• symbolism of apple the biggest point with apple still-lifes

[image]

Still-Life with Apples (1879)

Paul Cezanne

• the picture on the front isn't the one on the checklist i couldn't find one. the only difference is that the ables on the actual table should be on a dish
• framed by the horizontal table
• plastic-like feeling due to the meticulous brushwork

[image]

Bathers

Paul Cezanne

1900

• trees arch inward
• highly architectural technique
• women postures mirror the trees
• use of patches of color
• faces are schematic
• similar to Constable's "Salisbury Cathedral" becuase of the arching of the trees

[image]

Sunday Afternoon on the Island of the Grand Jatte

Georges Seurat

1884

• spointaneity of Impressionist brushwork give it order (pointillism)
• blue and yellow brushstrokes
• viewer becomes the palatte
• carefully structured and organized composition
• the subject is the affluent middle class
• the actual subjects are either in profile or frontal
• special grid created consisting of right angles and perpendicular lines
• a sense of stillness
  • comparison to della Francesca's portraiture
• painted frame

[image]

Chahut

Georges Seurat

1889

• believed colors mixed more intensely by the human eye than on a palette
• built up the painting and painted it in different layers
• lines going up represent a jovial tone in the painting
• skewed and cropped composition

[image]

The Potato- Eaters

Vincent van Gogh

1885

• depicts a peasant family
• shabby interior
• exaggerated features
• strained expressions
• restrincted sense of space
• social message
  • signifies the poor
  • an emphasis on the symbiosis of human and nature in terms to work of the poor class

[image]

Portrait of Pere Tanguy

Vincent van Gogh

1887

• colors range from the dark to light
• fascination with Asia
• similar to Chinese family portraits
  • frontality
  • use of colors
  • Buddha pose with folded hands
  • wall of Japanese prints

[image]

Night Cafe

Vincent van Gogh

1888

• color is important
  • harsh and clashing
  • blood red walls
  • green on the billiard table is different from the ceiling
• people in melancholy position
• clausterphobic sense
• harsh lighting
• "horrible passion of humanity is expressed through red and green"
• sense of being in hell

[image]

Starry Night

Vincent van Gogh

1889

• landscape
• spiraling brushstrokes
• flame-like quality in the cypress tree
• tree mirrors the church spire
• tree and church spiral penetrate the sky

[image]

Vision after the Sermon

Paul Gauguin

1888

• red paint resonates van Gogh's work
• strong colors
• visualization of the sermon
• cows shape resembles the two battling biblical figures
• tree creates a sharp division line
• the picture seems to be in motion

[image]

Where do we come from? Where are we? Where are we going?

Paul Gauguin

1897

• obsession with the idea of primitivism
  • greater truth in a primitive society
  • went to Tahiti
• all forms of life from right to left
• central female figure alludes to a Tahitian eve
• dense and lush land
• curvilenear forms
• torsos resemble Egyptian figures
• gold corners resemble Byzantine art

[image]

The Scream

Edvard Munch

1893

• skull-like head
• compressed, writing figure
• violent, scary
• swirling brushstrokes