Women of Algiers, 1834

• Eugene Delacroix, Paris 
• Currently in Louvre
• desire for realism but contains no narrative, separation between women and viewer
• second is at Mussee Fabre and women have a warm gaze inviting viewer in

The Snake Charmer, 1883

• Jean-Leon Gerome
• academic painting
• oriental setting creates fantasy for 19th century western audience
• Slight homoerotocism, boy is muscular and naked with phallic shaped object (snake)
• Men watching are armed from different islamic tribes

The Pelt Merchant, 1870

• Jean-Leon Gerome, 1870
• Orientalism, Western Image of Muslim East
• Positive portrayal, shows man dignified, attractive and not held down by modern life

Bonaparte Before the Sphinx, 1868

• Jean-Leon Gerome, Hearst Castle
• Shows napoleon during egyptian campaign 
• sympol of power
• envokes the myth of Oedipus and the Sphinx
• Juxtaposition of small man & large sphinx represents how napoleon has not risen to power yet

Palais Garnier, 1861-1875

• Charles Garnier, built for Paris Opera
• Became known as the "church" for the bourgeouis 
• NeoBaroque, dependent on advances from Labrouste generation--> (Functional ends of architecture must justify arstistic means) 

Haussmannization of Paris, 1853-1870

• Commissioned by Napoleon Bonaparte III, rennovation city of Paris
• Massive public works project 1853-1870
• Georges Eugene Haussmann's work met with opposition but continued until 1927, even after he was dismissed
• distinct appearance of paris is due to haussmann 

Burial at Ornans, 1850

• Gustav Courbet, displayed at the Musee d'Orsay
• depicts great-uncle's funeral
• unflattering realism (usually used for paintings of war/religious/heroic scenes) caused explosive reaction

The Stone Breakers, 1850

• Gustav Courbet
• Social realism, two peasants, an older (too old) and younger (too young), breaking rocks in a valley
• shows the reality: isolate the stone breakers (physically & economically trapped), gives them ripped and tattered clothing
• Destroyed during WWII

The Women of the Village, 1852

• Gustav Courbet,
• Shows his 3 sisters in the communal near where courbet grew up
• met with opposition, saw it as tasteless and clumsy
• Model's had common features, felt the cows & dog were 
• lacked overall unity & traditional perspective

Traveler on Foot, 1854

• Andrieux

Bonjour Monsieur Courbet, 1854

• Gustav Courbet
• Type of Self-portrait, he is the man on the right
• rustic walking stick, less sophisticated clothes and an easel on his back, shows he is self-sufficient (compared to the other man who must have a servant & is ill-prepared for wilderness) 
• follows 19th century trend of outdoor paintings

The Angelus, 1859

• Jean-Francois Millet, located Musee d'Orsay
• Two peasants Angelus Prayer over a basket of potatoes in a field
• During dusk, church is in the background, marks end of work day
• Represents Millet's childhood, cuts away materialism of city and moralizes importance of hardwork, land and whats right
• Drove up prices for artwork in Barbizon school to record amounts 

Noonday Rest, 1866

• Commissioned by Gavet, a parisian architect
• idealized field workers
• audience = parisian aristocracy

The Last Judgement, 1508-1512

• Michelangelo, The Sistine Chapel
• Fresco against the Alter Wall
• Commissioned by Pope Sextus IV
• depicts the second coming of Christ and the final&enternal judgment by God of humanity
• Inserts a self portrait, on flayed skin held by St. Bartholomew, expressing fear of God

Ceiling of the Sistine Chapel

• Michelangelo, 1508-1512, Sistine Chapel (Vatican)
• Tells story of the 9 books of Genesis
• radically transformed western painting with accurate representation of body movement and human anatomy

Temptation and Expulsion of Adam & Eve from the Garden of Eden, 1508-1512

• Religious Fresco from High Renaissance
• Michelangelo, Sistine Chapel
• Physical beauty of adam&eve declines from left to right to represent loss of innocence and corrupt nature

Christ Giving the Keys of the Church to St. Peter, 1480

• Pietro Perugino, The Vatican
• Commissioned by Pope Sixtus IV while he was decorating a chapel in the Old St. Peter's Basilica in Rome

Sacred and Profane Love, 1514

• Titian
• oil painting commissioned by Niccolo Aurelio to celebrate his marriage to a young widow
• Bride in white represents young widow, sitting with cupid being assisted by venus

Bride with Cupid, 1520

• Lorenzo Lotto
• Venus is with son, Cupid
• inspired by anciet marriage poems, Ivy symbolizes fidelity, Cupid= lighthearted wit
• Lotto was facinated with emblematic devices

Venus of Urbino, 1534

• Titian
• depicts goddess Venus in a Renaissance Palace
• domesticates venus, she doesnt display typical characteristics
• painting is sensual & almost erotic
• Based on Giorgione's sleeping Venus

The Sleeping Venus, 1510

• Giorgione, completed by Titian after Giorgiones death
• choosing to paint nude women was a revolution in art and was thought to be the beginning of modern art
• spent a lot of time adding detail to the background and shadows

St. Ursula Arrives in Rome and is Blessed by the Pope, 1497-1498

• Vittore Carpaccio, The Legend of Ursula in Gallerie dell'Accademia in Venice
• Oil painting

Venus and Mars, 1485

• Sandro Botticelli
• Allegory of beauty and valor, draws from classical sources, product of early Renaissance Neoplatonist
• Forest setting surrounded by satyrs, shows love, pleasure and play
• originally on the back of a lettuccio

The Saint's Dream, 1493

• Vittore Carpaccio
• Part of the Legend of Ursula
• Saint sleeping in nuptial bed alone alludes to the impossibility of marriage
• angel enters room with news of martyrdom & brings purity
• realism with furniture & flowers but symbolism with myrtle and carnation (faithfulness in marriage)

The Meeting of Ursula and the Prince

Vitorre Carpaccio, 1497-98

part of the Legend of Ursula

Reception of the Ambassadors, 1493

• Part of the Legend of Ursula
• St. Ursula was martyred by the King of the Huns, after refusing to marry him
• commissioned by the Loredon family

The Departure of the Ambassadors, 1493

• Part of the Legend of Ursula
• Parting of the ambassadors from the King of Brittany
• Scribe in the background is writing the reply for ursula's prince

Bathers at La Grenouiere, 1868

• Claude Monet
• Originally a freehand sketch that was supposed to be a more ambitious composition
• Boats are moored in shadows, while light dots in distance represent bathers in water

Bridge at Argenteuil, 1874

• Claude Monet
• Attached to the motif, painted the bridge 7 times
• uses a variety of treatment: structured elements (boat & bridge), smooth/even water, choppy brushstrokes for the reflection
• Uses complementary colors (blue & orange) and effects of light on the roof & mast to accentuate glittering light

Haystacks near Giverny, 1891

• Monet's most famous series, depicting the same scene in different seasons and time of day
• Uses different colors and lighting to expresses temperature and time

Detail from Dejuner Sur l'herbe,  1863

• Both clothed man & the naked woman are making eye contact with the viewer to create a tension

Olympia, 1863

• Edouard Manet, father of realism
• mocked tradition by creating a venus-esc painting with a contemporary subject, dissolved classical illusionism
• inhabits world of parisian prostitution

Bar at the Folies Bergere, 1882

• Edouard Manet
• woman is not wealthy but she is independent
• Mirror is a confusing concept, unsure if the viewer is supposed to be the man in the reflection or someone not seen
• From behind, barkeep seems to be flirtatious, but doesn't depict the same feelings on her face

Glass of Absinthe, 1876

• Edgar Degas
• The woman was modeled by a famous impressionist muse and the man was an artist as well
• critics hated that the people looked so unhappy and the incongruity in perspective
• represented how nightlife led to social problems, women were now drinking & woman is lost in thought 

Guernica, 1937

• Pablo Picasso
• Challenged the idea that abstract art couldnt be political
• sharp blades & dart-like tongues represent cries of war
• dislocation, deformation and demembered bodies represented battle
• Showed picasso was on the left (russia) side of spanish war (right=german)

Wheatfield with Crows, 1890

• Vincent van Gogh
• Myth that the menacing sky, dead end path and approaching crows were to represent death
• wanted to express sadness & extreme loneliness but also show the fortifying countryside
• Bright color combo (sky+wheat & dirt+grass)

Readiness, 1937

• Arno Breker, Hitler's favorite sculptor
• German "superhero" warrior, prepared for battle
• endorsed by authorities as the opposite of degenerate art

The Tub, 1886

• Edgar Degas
• juxtaposition of countless strokes of pastel brings flesh to life
• exploits expressive possibilites of pastel
• gives bathers majesty in finding true essence of human form
• possible pain from cutting off valued hair

Self-Portrait with the Yellow Christ, 1889

• Paul Gaugin
• Christ's arm is stretched out over the artist, shows protective gesture
• "Head of gaugin the savage" on the right represents gaugin's sufferings and wildness of his personality
• Gaugin inbetween christ& beast, shows importance of humanity and artistic adventure 

Grande Odalisque, 1814

• Jean Ingres, in the Louvre
• Shifts toward exotic Romanticism
• criticized for its elongated proportions and lack of anatomical realism
• favored long lines to convey curvature and sensuality

Spirit of the Dead Watching, 1812

• Paul Gauguin
• Mysterious, open to interpretation, ambiguous
• figure in the back represents the Grim-Reaper

The Night Cafe, 1888

• Vincent van Gogh
• Stayed up 3 nights & slept during the day in order to paint
• portrays mental instability & anxiety with blurry and menacing figures

Night Cafe at Arles, 1888

• Paul Gauguin
• reinterpreted van Gogh's paintings of the Night Cafe & the portrait of Madame Ginoux
• signs the painting twice, marble table & billiard table

The Potato Eaters, 1885

• chose difficult composition to prove himself as a painter
• faces are coarse and bony to depict harsh reality of country life

Vision after the Sermon, 1888

• Paul Gauguin
• Depicts a scene from the Bible where Jacob wrestles an angel, through a vision the women are experiencing after a church sermon
• developed the idea of non-nautralistic landscapes

The Tempietto, 1502

• Donato Bramante, courtyard of San Pietro
• High Renaissance Italian architecture
• commissioned by Ferdinand and Isabella
• One of the most harmonious buildings of the Renaissance

Prayer in Cairo, 1865

• Jean-Leon Gerome
• Illustrates the many positions and procedure of the prayer
• depicts a positive image

The Harem Bath, 1859

• Jean Ingres
• Elongated torso represents idealized aesthetic of women at the time
• threatening facination with hints of lesbian undertones 
• popular orientalist fantasy: idea of white slave trade, white wife kidnapped in Istanbul & put into a Harem

Harem Bather, 1960

• Jean Ingres
• Similar to Harem Bath: elongated torso, Orientalist white slave trade fantasy

Three Women, 1921

• Ferdinand Leger
• Version of Delacroix's "Women of Algiers"
• Bodies are simplified into rounded, dislocated forms, firm & buffed
• Machine-like Precision represents faith in Modern Industry

Algerian Woman-Odalisque, Half Length, 1923

• Henri Matisse
• Expressionism
• Postcards for male tourists
• offensive bc the color green was for the Prophet & is a privilege afforded to the descendants of Muhammed

Street in Rain, 1877

• Gustav Caillebottle
• Embodies Haussmannization
• Space in the city, sidewalks exist now
• dramatic change in environment, people will go out even in the rain
• disposable income of upper middle class allowed them to buy paintings

Church of the Redeemer, 1577-1599

• Andrea Palladio
• Built to thank Christ for deliverance of Venice from the Plague