Art History Exam 3

Veduta

"View" paintings- different scenes of Venice, sort of like postcards for people's grand tours of Europe. People bought them while on tour to remember their trip, artists such as Canaletto used camera obscuras to capture exact details, like a photograph.

Rembrandt van Rijn, The Company of Captain Frans Banning Cocq (Night Watch), 1642.

Amplifies complexity of group portrait, not a nocturnal scene, however still a very dark painting bc of the varnish he used. Rembrandt uses light in a masterful way, and dramatic lighting helps the image. Dutch artists produced many civic-guard group portraits at the time. Not an organized piece, but instead portrays the chaos act of getting ready for action. Shows three most important stages of loading musket, which probably pleased his patrons.

Salon/Salon Culture

Artists held "Salon" expositions where paintings were hung floor to ceiling, people came to look at them and admire them.

Francois Boucher, Cupid a Captive, 1754.

Boucher defines the Rococo period, he loved painting Madame de Pompadour and he copied some of Watteau's works. Uses fun, happy colors of rococo, but also uses some baroque elements of drama. glazes of color fill in the outlines, lots of curvilinear forms swirling around, playful and fun, meant to be looked at for pleasure alone. Boucher painted a pyramid of fleshy rosy figures set against cool, leafy background.

Vigee-Lebrun, Marie Antoinette, 1787.

Even though the subject is royalty, she is portrayed very naturalistically. This portrait was meant to counter some of the negative ideas about the queen by portraying her as a loving mother sitiing with her loving children. Antionette was hated because she was young, rich and frivolous, which people didn't like. The French hated her bc she was Austrian. The idea of good mothers being educated comes from the enlightenment, which is what Vigee-LeBrun references here. She is portrayed in hall of mirrors in her home at Versailles. Originally meant to be shown in the salon, this piece was pulled by the artist bc people still had such negative opinions of the queen.

Jean-Honore Fragonard, The Swing, 1766.

Fragonard was student of Boucher whose skill was even greater than his master's. Rococo was often intimate in scale like this piece, small enough for viewers to come close and peer in at the scene. "The Swing" embodies the Rococo style-rich people doing pleasurable activities and just genuinely enjoying themselves and their wealth! These paintings are about people who have time for swinging and merry making and lovemaking, like the couple pictured here. Slightly sexual untertones, playful, romantic- it's an Intrigue painting set up almost like a stage. The guy at her feet could be a secret lover, but who is the older man pulling the strings behind the swing making her go higher and higher?! Also an important diagonal goes from his hand to her crotch (reference to sex oh my!)

Francois de Cuvillies, Hall of Mirrors, early 18th century.

French Rococo style quickly spread beyond Paris, in the Amalienberg, German lodge, the French architect Francios de Cuvilles built the Hall of Mirrors with impressive architecture, stucco relief, mirrors and crystal. the hall dazzles and reflects a shit ton of light which weaves rhythmically around walls and ceilings. Everything seems organic, growing, and in motion, an ultimate refinement of illusion that the builders created. Some fou-fou shit.

ancien regime

French for "old order". Used to describe the political, social and religious order in France before the Revolution at end of 18th century.

John Singleton Copley, Paul Revere, 1770.

In this painting, Revere is working at his craft of silversmithing as he looks up almost as if he is in conversation with the viewer. The painting is masterful, as can be seen in the precise folds of the shirt, which are impressively shaded and built up with many paint layers. The painting emphasizes practicality, usefulness, and de-emphasizes frivolity.

Angelica Kauffmann, Cornelia Presenting Her Children as Her Treasures, or Mother of the Gracchi, 1785.

Kauffman was a founding member of the Academy, this piece embodies the enlightenment's ideal of educated motherhood. Cornelia is the ultimate simple, yet educated mother, whose children are her "jewels". In contrast, the other mother cares too much about her riches, and her child is learning these foolish ideas from her.

Charles LeBrun

Louis the 14ths personal art advisor, not an architect himself but an art manager of sorts. Became the artistic dictator for France, knew Poussin and respected him, so he thought art should represent noble acts of man. Not emotional, thought that shit needs to be suppressed! (stoicism) Only paint intellectually! this became ideal for all of France, the worst artists were ones who worried too much about sensuosness.

Hendrick ter Brugghen, Calling of Saint Matthew, 1621.

Most patrons in Dutch republic preferred genre scenes, still lives and portraits, Brugghen also did religious scenes. Admirer of Caravaggio, he copied his naturalistic depiction and the moment of the narrative, but used his own contrasts and colorful palette to express his style. Put figures into small space in order to appear more intimate, unlike Caravaggio.

Naturalism during the 1600s & on

Naturalism is different now than it was, less about painting nature and more about just painting the reality of the world around you, whether it is natural or urban. After Rococo, artists decided to pursue naturalism again, no foufou shit, no imaginary stages like Rococo. Just people living their lives.

Antoine Watteau, Pilgrimage to Cythera, 1717.

Not a portrait, landscape, or mythological scene, but a new type of genre called "fete galante" (amorous festival) paintings. Depicts outdoor entertainment or amusements of French high society. It is not a battle scene, not religious, just nice and sensuous. it can reference mythology but it is not mythologial. Watteau uses color but tones down Ruben's characters. This piece shows lovers sneaking away for an afternoon delight on the island of loooove (sexy Cythera) It is light and airy, height of Rococo, but it is also slightly serious because we see one couple caught up in their lovemaking but the others are leaving and breaking the spell. Mainly just nice to look at, but also has some meaning.

William Hogarth, Breakfast Scene from Marriage a la Mode, 1745.

Part of a series of paintings and engravings satirizing middle class marriage- "Marriage a la Mode". Moralizing satires and characters became popular at this time, and Hogarth was drawn to English social conventions. This is a breakfast scene showing a couple who is disconnected, their marriage is falling apart. Butler holds stack of unpaid bills and throws his hands up, man is slouched in his chair after returning home from a night of debauchery (he has lacy panties in his pocket which the dog sniffs at), woman just woke up. Chairs are knocked over, paintings are uncovered on wall, everything in disarray. Hogarth is poking fun at these rich folks- they may have money but they don't got they shit together! They dumb af! You can have money and it still doesn't mean you have taste of class.

Rembrandt van Rijn, Anatomy Lesson of Dr. Tulp, 1632.

Rembrandt uses members of the surgeon's guild clustered on the cadaver's left side to show the lesson of Dr. Tulp dissecting the man. Corpse is placed diagonally and foreshortened. One, at top of Rembrandt's pyramid, gazes at viewer instead of at the Operating Table. Each student's pose and expression suggests the varying degrees of their seriousness and participation. Rembrandt was just 26 when this was painted, his innovative approach to group portraiture is very impressive.

Frans Hals, Archers of St. Hadrian, 1633.

Represents each militia member satisfactorily yet retains action and variety in piece. each member of troop has ordered and distinctive depiction, one can choose whether to be stern, animated, basic etc. each individual has distinct physiognomy, builds off form with color. Even with uniforms, the piece still has spontaneity. Like Rubens, he builds up forms with color and movement.

Peter Paul Rubens, Elevation of the Cross, 1610.

Rubens studied the classical masters in Italy before going home to Flanders, Belgium to be a part of the counter reformation movement there, painted scenes for churches. heroic composition, huge, at least life-size. Rubens has not forsaken the original rules- he has a pyramid organization, just not an isoceles triangle. Ruben;s explores anatomy, violent action, power, emotion. Inspired by Michelangelo's twisting figures, Rubens does the same. Emotional AND physical power & tension pulls viewers in.

Jaques-Louis David, Oath of the Horatii, 1784.

This piece absolutely embodies Neoclassicism! It is a historical story put into a more contemporary context, the boys are declaring allegiance to their father. it celebrates ancient Roman patriotism and sacrifice by featuring statuesque figures and classical architecture.

Jan Vermeer, Allegory of the Art of Painting, 1675.

Vermeer's stylistic precision and his commitment to his work are evident here, artist himself appears in painting w/ back to viewer and dressed in historical attire. Hard at work on a painting of a woman who holds trumpet and book, both references to Clio the muse of history. Mysterious light coming from left window and falling on his paper can be interpreted as allusion to artistic inspiration. Many scholars interpret piece as an allegory- a reference to painting inspired by history.

Enlightenment

Western Philosophy based on empirical evidence, dominated 1700s. Independent of tradition and religion, all about critical thought. Notions of the French Revolution came from the Enlightenment, it is almost the equivalent of Humanism, but so much more! The main point is the importance of understanding things and being intelligent, knowledge and education will improve human life. It is "The age of reason".

Jean Baptiste Simeon Chardin, Saying Grace, 1740

antithesis to Rococo painting, Chardin embraced naturalism and celebrated the simple goodness of everyday people, especially mothers and children far from the frivolity of Rococo. Rococo is slowly phased out as the lower classes grow and this style becomes more popular during the coming of the French Revolution. Chardin still portrays middle-upper class people, but they are doing morally right things now instead of the silly antics of Rococo. Here, a comfortably iddle class woman instructs her children on how to say grace.

fete galante

french for "amorous festival" - type of Rococo painting depicting outdoor fun and play of upper class French people.

Camera Obscura

latin for "dark room," an ancestor of modern cameras. tiny pinhole acts as lens and projcts image onto a screen or wall or box. used by artists in 17-19th centuries to help draw realistically from nature.

"Grand Manner" portraiture

type of 18th century portrait or painting designed to show someone's grace and honor through certain standardized conventions, Poussin was big believer in it. He said paintings must be ordered, mathematical, classically structured, and subject must be grand, such as battlescenes etc. Not emotional.

Rococo

After Baroque comes Rococo, which is less dramatic, more sensuous, all about touch, romance, robins egg blue and bubbly pink! Everything light and airy, all abut pleasure, organic forms, rich people having a good ol time. Sexual play, and meddling in people's lives was very IN at this time. Experiment, be merry! Did Rococo come from Baroque or is it a movement in response? Mostly, it develops from it. Boucher, Wattau and others dominated in this period. It is a style of painting dominated by women, feminine men, fashion, ballet, playfulness, and other foufou shit. Vanitas themes are sometimes referenced with clocks, candles, skulls, and other things referencing the end of life. Paintings are often small and intimate, can be "Intrigue" paintings as well, or "fete galante," a genre of paintings showing elegant entertainment. Holy roman empress Madame de Pompadour, along with other women, dictated much of the art world at this time. word comes from french word "rocaille" (pebble) which were used to decorate lavish grotto interiors.

Peter Paul Rubens, Consequences of War, 1639.

An allegorical painting Rubens created about his opinion on the 30 years war. each figure is symbolic. Women are light while men are dark- contrast is traditional. fluidity of articulated forms, energy coming from piece shows Rubens's mature style. Mars the god of war is central,being pulled in opposite directions by his mistress Venus, who he ignores, and a Fury. Pestilence and Famine are represented by monsters on the side of war, and Harmony and a mother lie on the ground unable to survive in this war-stricken place. Woman on far right with torn clothes and no ornaments represents Europe, which has suffered for too long.

Rembrandt van Rijn, Self Portrait, 1660.

Carried over spiritual quality to his portraits, light and dark are not in conflict, but rather merge softly and quietly. Artist depicts himself as strong, but also as anxious and concerned. his distinctive use of light and color are evident. Rembrandt painted many self-portraits, which show his personal connection to his craft. Circles on wall behind him may refer to the legend of an artist's ability to draw a perfect circle. All of this alludes to his interest in providing humans with a pathway to the soul.

Hyacinthe Rigaud, Louis XIV , 1701.

Conveys image of an absolute monarch, King is posed elegantly. Ermine robes hang to side, suggesting haughtiness. Louis draws back garment to show off his toned legs from doing ballet as a youth. Portrait's majesty derives in large part from the composition, which centers on the king Although Louis was short af and invented heels to make up for his lack of height, Rigaud shows him looking down on viewers which adds even more to this illusion. Carefully detailed environment also adds to the grandeur. The painting stood in place of Louis when he was gone, no one allowed to turn back in its presence.

Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen, 1670.

Depiction of dutch landscape with precision and sensitivity. Church in background and people stretching linen in foreground reflects the pride the painter had in recording his homeland accurately. Inhabitants and dwellings are important but they also blend into land itself because the atmosphere is most important. captures appearance of specific locale but also injects work with almost spiritual serenity.

Philosophes

French for "thinker, philosopher" but not philosophers, just young men who believed in and followed the ideals of the enlightenment- questioned everything, were critical of ideas, commented and criticized France, which was falling apart. Examples are Voltaire and Jean-Jacques Rousseau, who came up with the idea of educated women being better mothers, a backhanded compliment.

Jaques-Louis David, Death of a Marat, 1793.

Here, David depicts the revolutionary Marat as a tragic martyr, after he was stabbed to death in his bathtub. The painting displays severe Neoclassical sparseness, but also conveys convincing pain. He based the figure on Christ in Michelangelo's Pieta sculpture, which makes the piece a sort of altarpiece for the new "civic" religion, inspiring the French people with their saintly dedication of their slain leader.

Benjamin West, Death of General Wolfe, 1771.

Heroic battlescene death, typical! West went to Rome to study and copy famous old work for inspiration. The battle shown is is the English vs the US in Canada, 1st time exhibited is at the academy. West was official painter for the king. Here, Wolfe has been stabbed but is still holding onto his life. Subject is fairly recent, so clothing is contemporary. It is slightly Baroque-esque with a mysterious light source and intense drama. The body of the British general is splayed out awkwardly, not unlike Saint Teresa's in Bernini's Ecstasy of Saint Teresa, which West certainly studied along with other classical sources of inspiration. West shows the hero's death as a tribute to his service, which is part of self-sacrifice, a big theme in the upcoming style of Neoclassicism.

Judith Leyster, Self Portrait, 1630.

One of Frans Hals's students, Leyster, was quite impressive herself. She developed a thriving career on her own as a portraitist, she was well trained in preciseness, detailed accuracy involved in the spontaneous nature of her master's works. She communicates here that she is an artist, but also that she came from wealth and contentment in life. she is very relaxed and chill painting herself painting, and her expression gives the impression that she knows how skillful she really is.

Jules Hardouin-Mansart & Charles LeBrun, Galerie des Glaces (Hall of Mirrors at Versailles palace), 1680.

Hundreds of mirrors to reflect gilded and jeweled furnishings extended space and add to grandeur. Made to enhance the extravagance of Louis's parties, but it is also the passageway from his apartment in the palace to the chapel, which meant people who wanted to catch him and talk could often find him there. The sun streams in during daytime and at night shutters block it out so chandeliers and candles can be lit during dances. It is a fantastically illuminated space bc of the mirrors, basically like walking into the fckin sun gotdamn! LeBrun was Louis's personal artistic consultant even though he was not an architect himself, which meant he basically became the artistic dictator of france.

Nicolas Poussin, Et in Arcadia Ego, 1655.

Looks kindof like Rafael, Poussin was main proponent of classicism in 17th century, his paintings were all "grand manner'- meaning, subject matter was grand (like battles, heroism, divine things) and they are arranged and measured so that figures may look natural and harmonious. Emphasis on curving lines, "grand manner" paintings consist of a grand theme/subject, thought, structure and style. Poussin applied these principles to paintings like this with perfect proportional figures.

Diego Velazquez, Water Carrier of Seville, 1619.

One of the most famous artists of his time, Velazquez painted a detailed scene of this humble water carrier. Velazquez renders the figure with clarity and dignity and uses lights/darks, only reason why he could do this shit is Caravaggio, who Velasquez studied, because Caravaggio was the first to paint other lower-class people's portraits. Everyone copied Caravaggio bc he was the fckin best! We see the water carrier at the exact moment he has poured the glass out, with water droplets on the clay vessel. VERY detailed, VERY REAL portrait.

Nicolas Poussin, Burial of Phocion, 1648.

Ordered and arranged almost mathematically, Poussin painted scenes from stuff that's been written. Saint John in foreground, decaying buildings suggest the decline of great empires to be replaced by Christianity in a new era. Background is painted with distinct clarity, ignoring rules of atmospheric perspective. Poussin's landscapes are not of specific places, but rather imaginary settings constructed according to the classical rules of design. His clouds, for example, echo the contours of the hills. Poussin loves the idea of stoicism- who cares about feeling, endure the pain!

Intrigue Paintings

Part of Rococo, are playful, sometimes sexual or allusions to other cultures- which is why they are intriguing, new, exciting!

Clara Peeters, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611.

Some Flemish artists in 17th century specialized in still lives. Peeters won renown for her still lives- here she displays her skills. It's a breakfast piece that reveals her ability to depict objects convincingly such as the reflective surfaces and the soft flowers. She uses a dark background in her pieces to negate deep space, but enhances the depth in foreground by letting the painting enroach into the viewer's space by way of the leaves on flower creeping close to edge of painting.

Jean Baptiste Greuze, Village Bride, 1761.

Specialized in still lives, middle class life, moral values are important. Here a "good girl" leaves the home with her new husband. Everyone is happy for her but sad to see her go, except for her jealous older sister who is not as virtuous and has been unable to find a husband. The moral is that happiness is the reward for being virtuous. This kind of painting appeals to ordinary hard-working people as something to inspire to. Beginning of enlightenment.

Neoclassicism

Style of art and architecture emerging in late 18th century, general revival of interests in classical cultural that adopts themes and styles from ancient Greece and Rome. new classics, virtuous behaviors like self-sacrifice celebrated, shift from battlefield to kitchen.

Peter Paul Rubens, Arrival of Marie de' Medici at Marseilles, 1625.

This is one of many panels Rubens did about the glorification of the Queen of France, Marie de' Medici. His interaction with royalty allowed him to fully understand the drama of the baroque style that appealed to the rich. The magnificence and splendor of baroque reinforces the idea that some have the authority and right to rule. He pumps his paintings full of some of this grandeur. In painting, Marie returns to Southern French Port after sea voyage from Italy. allegorical personification of France dressed in fleur de lis cape welcomes her, sea & sky rejoice at her arrival. Neptune & his daughters salute, and "fame" swoops overhead. In the galley under The Medici (France's) coat of arms stands the imperious commander of the vessel, whose stillness and sternness lend contrast to the rest of the swirling colors.

Antonio Canaletto, Riva degli Schiavoni, 1740.

This piece looks like a fckin photograph, basically. Extremely detailed and precise landscape scenes were a big part of Canaletto's style. At this time, many people were traveling the world as part of a "world tour" that would make them more intelligent and educated, thus adhering to the standards of the Enlightenment. The tours emphasized classical italian landmarks. This painting is a Vedutta, a type of small scene or view of Venice-sortof like postcards, people collected them. they were products of the grand tour. Artists like Canaletto used camera obscuras, little boxes of light which projected the image onto one side of the box, to depict this intense realism. He wanted to capture everything exactly as it was, and cared far less about human interaction with the space, as he was just drawing what he saw.

Gerrit van Honthorst, Supper Party, 1620.

Uses mundane tavern setting & dark lighting to be dramatic, frequently placed a hidden light source. group portrait, caravaggesque although there is far too much use of line , the fat man eating represents gluttony, the woman feeling him represents lust (she is a prostitute). It's a warning scene against the sins. Dutch Calvinists do not approve of such interpretations, but instead just apreciate the skill.

Diego Velazquez, Las Meninas (The Maids of Honor), 1656.

Velazquez's greatest & most famous work, Las Meninas has long been the subject of debate. Although it is an "everyday" scene. it portrays great wealth. Setting is the artist's studio in the palace and he represents himself before a canvas. The Princess and her maids in waiting are shown, along with the other servants & a reflection of her parents in the background. But what exactly is being portrayed according to various interpretations? Could be a portrait of the infanta (princess) and her entourage, could be a portrait of King Philip & Queen Mariana shown in the background mirror, could be a REFLECTION of a portrait he is painting. Never resolved, but painting uses unrealistic blue-green shadows to represent white/cream. By placing himself among the royals in equal honor, Las Meninas elevates Velazquez as a painter bc it acknowledges the royal presence and dignifies his profession.

Elisabeth-Louise Vigee-Lebrun, Self Portrait, 1790.

Vigee-LeBrun was one of two women admitted to the Royal Academy of Painting and Sculpture. After the revolution her membership was revoked but she still went on to do great things. Here, she paints herself painting the likeness of Marie Antionette. Vigee-LeBrun was a big proponent of this naturalistic impulse emerging in 18th century art. She is caught in the act of painting, but stops for a moment to observe us. Her decorative clothing is reminiscent of Rococo, but nothing about her pose or mood speaks of it. She is self-confident, she's made it in society. Her soft curls and natural skin emphasize the naturalism.

Caravaggio, Calling of Saint Matthew, 1601.

caravaggio had short, violent life, refused to follow rules of renaissance, called "antichrist of painting". here, christ is cloaked in mysterious dark shadow, identifiable by halo, and summons st. matthew (previously levi the tax collector) to a higher calling. placement of his hand and wrist are similar to adam's in michelangelo's creation fresco, even though the outstretched arm is reminiscent of the lord's arm in michelangelo uses tenebrism, emulated by caravaggesque artists. reference to adam is appropriate bc the traditional roman cath. church considered christ to be the second adam.

Poussinistes

members of the royal french academy who were followers of Poussin, excited about linear forms, structure, non-sensory art, draftsmanship and the appeal to one's mind. insist that form is most important part of painting.

Rubenistes

members of the royal french academy who were followers of Rubens, excited about sensory forms, emotion, and bright colors! insist that color is the most important part of painting.