Term
| FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century. Designed for a German hunting lodge, this circular hall delights with mirrors, crystal and stucco relief. |
|
Definition
|
|
Term
| ANTOINE WATTEAU, Return from Cythera, 1717. Oil on canvas, 4’ 3” x 6’ 4 1/2”. Louvre, Paris. This type of painting is called fête galante, depicting outdoor amusements of the French upper –class society. This is a Rococo painting. |
|
Definition
|
|
Term
| Salon de la Princesse, Hôtel de Soubise, Paris, France, 1737–1740. Hôtel means elegant, private townhouse. (1715-1723). The feminine is due to domination of the cultural sphere by women in the Rococo. |
|
Definition
|
|
Term
Jacques-Louis David, Madame Recamier, 1800, oil on canvas, 1.74 m x 2.24 m
|
|
Definition
|
|
Term
The Goodwood House, West Sussex Southern England English Interiors, Regency Decorating, Regency Furniture
|
|
Definition
|
|
Term
• Early colonial rivalry between Britain and France erupted in the Seven Years War (1756-63), shortly followed by the American War of Independence (1755-83). Despite the drain of long-distance conflicts, both Britain and France continued a programme of empire-building and exploration.
• 27-6A ANNE-LOUIS GIRODET-TRIOSON, Jean-Baptiste Belley, 1797. Oil on canvas, 5’ 2 1/2” X 3’ 8 1/2”. Musée Nationale du Château de Versailles, Versailles.
|
|
Definition
|
|
Term
| JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas |
|
Definition
|
|
Term
Ingres, Odalisque with Slave, 1839-40. Oil on canvas mounted on panel, 28 ¾ x 40”.
|
|
Definition
|
|
Term
Jacques-Louis David, Marat at His Last Breath, 1793.
Oil on canvas, 160.7 x 124.8 cm
Marat was the hero of ther movement of artisans and workers in the poor neighborhoods of the city. He was murdered in his bath by a counter-Revolutionary zealot named Charlotte Corday.
• |
|
Definition
|
|
Term
Jacques –Louis David, The Intervention of the Sabine Women, 1799. Oil on canvas, 386, x 520 cm.
The new French Republic came to be represented as a woman in white.
|
|
Definition
|
|
Term
26-11A JOSEPH WRIGHT OF DERBY, An Experiment on a Bird in the Air-Pump, 1768. Oil on canvas, 6’ X 8’. National Gallery, London.
|
|
Definition
|
|
Term
Who was Jean-Jacques Rousseau?
Rousseau placed emotion above reason. His writings were widely read and were responsible for the turning away from the Rococo and its artifice to a taste for “the natural.” Figure 26-14 JEAN-BAPTISTE-SIMÉON CHARDIN, Saying Grace, 1740. Oil on canvas, 1’ 7” x 1’ 3”. Louvre, Paris.
|
|
Definition
|
|
Term
Figure 26-20 SIR JOSHUA REYNOLDS, Lord Heathfield, 1787. Oil on canvas, 4’ 8” x 3’ 9”. National Gallery, London. In the view of Rousseau and other Enlightenment figures, “nobility” referred to noble character, not to aristocratic birth.
|
|
Definition
|
|
Term
26-15A ÉLISABETH-LOUISE VIGÉE-LEBRUN, Marie Antoinette and Her Children, 1787. Oil on canvas, 9’ 1/2” X 7’ 5/8”. Musée National du Château de Versailles, Versailles. |
|
Definition
|
|
Term
26-15A ÉLISABETH-LOUISE VIGÉE-LEBRUN, Marie Antoinette and Her Children, 1787. Oil on canvas, 9’ 1/2” X 7’ 5/8”. Musée National du Château de Versailles, Versailles. |
|
Definition
|
|
Term
26-17 ADÉLAÏDE LABILLE-GUIARD, Self-Portrait with Two Pupils, 1785. Oil on canvas, 6’ 11” X 4’ 11 1/2”.
• She painted for Louis XV’s aunts, but as a friend of Robespierre, leader of the Revolution, she was not exiled.
|
|
Definition
|
|
Term
Figure 27-26 GUSTAVE COURBET, The Stone Breakers, 1849. This painting shows Courbet’s affinity for socialism. |
|
Definition
|
|
Term
• Figure 27-30 HONORÉ DAUMIER, Third-Class Carriage, ca. 1862.
|
|
Definition
|
|
Term
• Figure 27-32 ÉDOUARD MANET, Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863
|
|
Definition
|
|
Term
• Figure 27-33 ÉDOUARD MANET, Olympia, 1863
|
|
Definition
|
|
Term
Analytical Cubism was developed by Pablo Picasso and Georges Braque from 1909-1911
Characteristics:
Limited palette
Multi-perspectival
Retains resemblance to real world
Based on a grid
Influenced by theory of Henry Bergson’s idea that time is a continuum – subject is shown painted over time from various points of view
Picasso, Portrait of Daniel-Henry Kanweiller, 1910 |
|
Definition
|
|
Term
• Synthetic Cubism – developed by Picasso and Braque between 1912-1914
Characteristics:
• Return to greater color
• Return to greater representation
• Incorporates pasted paper and collage
• Introduction of found objects
Picasso, Guitar, Sheet Music and Wine Glass, 1912, sheet music wallpaper, newspaper and a drawing |
|
Definition
|
|
Term
• Assemblage – use of poor materials to construct sculpture by assembling the materials
Picasso, Guitar, 1912, carboard, string and wire |
|
Definition
|
|
Term
• DADA – began by a group of European artists waiting out World War I in Zurich at Cabaret Voltaire, a nightclub practicing gesamptkunstwerk (total work of art) Poetry, music, dancing, visual art. Making art by chance in a world gone mad was a rejection of all that had gone before.
Marcel Duchamp, Fountain, 1917. Readymade (same as found object) |
|
Definition
|
|
Term
• The Futurists celebrate speed and energy; they cannot go fast enough. Here Balla, is less interested in portraying the bird or subject than he is in portraying speed itself. He likes to analyze speed by showing successive moments, like successive frames of a film.
Balla, Flight of the Swifts, 1913, oil on cnavas |
|
Definition
|
|
Term
John Cage, Prepared Piano, Fluxus movement, c. 1950 |
|
Definition
|
|
