UGA 19th Century Art History test 1
Runge, Portrait of the Hulsenbeck Children, 1805
- 3 children - children shift from being littel adults to childhood: nurturing mid 18th century - comissioned: wealthy Hulsenbeck fam - baby fat - playing - large in space - set in surrounding: bizarre proportion - fence: child height which makes children seem monumental: powerful/playful -> close to nature - baby grabbing sunflower leaf= children get their energy from nature: mystifies them
Bonington, A Fish Market, Boulogne, 1824
- Boulogne: a crossing island - international career - english painter: french background - water color (english)
Gros, Napoleon Bonaparte Visiting the Plague House at Jaffa, 1804
- Commissioned by Napoleon before he was emperor - Egypt and middle east = Orient - artists who haven't been there had to rely on written documents about the painting.... - modern history painting - visit to the plague house: hospital where certain illness was being treated - concern for naturalism - went to Israel (known as Palestine then): massacred - corpses were spreading disease -> french troops were dying -> Napoleon failed leadership -> visited plague house -> rumor that he wanted them dead because his soldiers were taking up space and resources - Gros knew to depict this in a positive way - conveyed Napoleon as though he could heal disease, not afraid (curing illness was thought that French Kings had ability -> they ruled by devine right) - landscape was a large role in Gros work
Thorwaldsen, The Lion of Lucerne monument of the Royal Swiss Guards of Louis XVI 1819-21
- Danish but German speaking - monument to guards who protected Louis XVI-> personal body guards - Lieutenet chose this sight - pond in front so its not accessable - dying lion - sculptors trained & assisted Thorwaldsen - protagonist isn't human but is representing a human (allegory to human virtue) - elevates nature - natural setting (not wilderness or urban) - romantic/unconventional - challenging heirarchy - Lieutenet wanted to honor loyalty and virtue of Swiss people
David, Le Sacre, 1805-7
- David dominated in the 1800s in France - embodied the establishment - had political power and was seen as established art - The feeling of this painting is much different than in the Marat, but it had to be because of what it is (20' x 30'6") - pomp, performance, spectacle - notre dame cathedral, Paris, Pope Pius II (reims- coronations usually performed here) - he didn't have genealogy so through art he proved his power - not simplistic or reductive -Napoleon took stuff from paris and put them in the Vatican - lots of portraits - napoleons mother isn't her real self - napoleon crowns Josephine which alludes to him already having empirical power
Nattier, mme. de Pompadour as Diana, 1750
- Diana: chaste goddess - funny because the model was the kings mistress
English Romanticism
- England: different system of art - Royal Academy 1768 (honorary body and teaching school) - American ex-patriot to England: second President of London (history painter) -portrait and landscape
Friedrich, Cross in the Mountains, Altarpiece 1807
- Friedrich studied at Academy with Runge - not christ - landscape could be religious-> divinity of nature: the devine is everywhere - didn't go on altar: just called that because of what it means - we expect to see history painting-> instead we see landscape (might seem sacrilegious) - designed frame - ordinary landscape - not sure where the viewer is in this picture: feels left out - relying on christian symbols but using them in a different way Frame.... - some western common symbols - column shapes: hybrid - medieval = religious, (golden age of spitituality) - arch = represents wheat - wheat and grapes at the bottom -" eye of God" -> freemasons and christianity - everyone thought it was original but not everyone liked it - some thought it was illegible
Pforr, The Entry of Emperor Rudolf into Basel in 1213, 1808
- German golden age - flat pattern vs. weighted forms - Friedrich's criticism -> copying other art (primative and other past) - not everything can be taught - Pforr wanted a style that represented 13th c. German history - style is relative - troubadour style
Raphael, Sistine Madonna, 1512-13
- Gesamtkunstwerk: total work of art; one that combines different forms and/ or media
Martin, The Deluge, 1834
- John Martin - friend of Turner: looked up to him - biblical reference to flood - unclear though because ark isn't clear - bloody water: red throughout - color choice is more legible
Turner, Slavers Throwing Overboard the Dead and Dying, 1840
- Master of color/ limited color palette - modern history - Slave trading w/ colonies - seascape and slavery issue - people saw slavery as cancer in British culture -forms traced in black disrupts warm color sin sky - leg/shackle/ birds&fish - color used to express rather than clarify form
Canova, Napoleon I, as mars the peacemaker 1806
- Napoleon did not like this either - oversized - commissioned - symbol of peace in hand - controposto - appeared Authoritarian - never exhibited this sculpture - conova was the best of the times - He was from Venice
Ingres, The Grand Odalisque, 1814, S
- Orientalism (turkish/ ottoman empire) - doesn't refer to classical at all - Odalisque: "white captive woman for turkish men" - herums/ concubine - sexuality, violence, opression -" the west is superior to the orient" - not a historical or didactic nude - objects of luxury: sensual - figures back is to the audience: erotic pose - 18th century exposed breast wasn't erotic because breast feeding but ankles were - complimentary colors - anatomically incorrect - proportions: new ideal - caroline Bonaparte commissioned
Turner, Dido Building Carthage, 1815
- Queen love afair w/ Aneas -> he leaves and founded Rome - sunrise: positive - new day/ beginning - landscape echos themes of birth - Turner-> inspired by Claude Lorrain's Seaport with the Embarkation of the Queen of sheba - not sure rising or setting sun - shows that Turner knew great art - copying wasn't seen as taking it was seen as learning
Girodet, The Sleep of Endymion, 1791-93
- Rome - mythological scene (beautiful Shepard) - generalized male nude figures - face isn't characterized - foliage in foreground - interesting light: backlit winged figure, twighlight other worldly, less heroic: more relationship, standards of beauty changing among students
Runge, The Rest on the Flight out of Egypt, 1805-6 (unfinished)
- Studied in Prussia - nature: new symbols - nature mysticism- pantheism: seeking new symbolism for new forms of art - interested in extreme emotional stress - complained and criticized materialistic - the diety in nature - figures out of proportion (joseph larger) - spirit creatures in tree take away point... - embedded in landscape - challenging raking of subject matter - new means of expression
Van Eyck Brothers,Ghent Alterpiece, God the Father, central cinterion panel, 1432
- Van Eyck's were Flemish Compared to Portrait of Napoleon on his Imperial throne.... - frontal - considered primitive - medieval artist (not renaissance) - considered gothic - Ingres could have seen this in person - Moonbeam light/ lunar light (like the Daymion painting and death of Hyason) - smooth/ brush strokes blended - brush strokes in eagle rug - Ingres is hostile towards novelty for novelty's sake - emphasizes the art of drawing and idea of design - form over color - harmony in color
Préault, Tuerie (slaughter) 1854 bronze from plaster model, 1834
- appears to be a fragment but there is no larger work - gaps in scale
Titian, Venus and dog, 1532
- beauty and purity: nudity (nothing to hide) - venus: goddess of beauty
Goya, Portrait of the Family of Charles IV, 1800
- became the royal family painter - self portrait w royal family (ambitious, pride)
Broc, Death of Hyacinth, 1801
- classical myth - story about a flower - student of David - dissatisfied with the Atelier competitive environment - Broc and friends left ( Les Barbus: bearded ones, or les primitifs) - they met in a sketchy place in Paris called Chaillot - vowed to support each other and collab - interested in religion (tarot religion, vegetraianism (new idea) not reflected in their art though) -mythological narriative: imagined beauty and form (idealization) - Subject: friendship or gay?: story - apollo and male mortal friendship, playing game -> flew up in air and fell down and killed Hyason - Style: cast in shadow - backlit - profile and frontal - figures aren't modeled - forms: flatter and generalized .... other aspects of ancient art are now becoming important
Ingres, Portrait of Napoleon I on his Imperial Throne, 1806
- commissioned - full-length - student of David - symbol of authority - compared to Napoleon crossing... - poses: David- dynamic, body in profile "s" shape Ingres- Nap. seated w/ cushion - static, symmetrical, frontal pose - quality of light - David: natural/ bright Ingres: cold spotlight, skin looks marble, lunar light - emperial objects: Bee: Bonapart family symbol, septor, rug (astrological signs), saying his power is more ancient and powerful, large eagle (not astrological), symbol of jupiter/zeus: Napoleon chose it as his symbol - unearthly quality -Napoleon did not like this painting: naked authoritarian feel, god-like feel
Runge, Drawing of Landscape, 1805
- debate weather or not this was drawn before or after the painting - human figure and landscape= equal importance - both can reveal spiritual ideals
Ingres, Vow of Louis XIII, 1824 S
- divided canvas into 2 realms: earthly and celestial - Ingres was a monarchist and thought this would help his career
Lawrence, portrait of Archduke Charles of Austria, 1819
- elegant -became a sir - nature= spirituality - landscape: prevalent - admired in english culture
Flaxman, Thetis Finding Achilles Mourning the Corpse of Patroclus, 1793
- emotion through pose instead of expression - seen as primitive style (reduction of form) - figures more contour: not filled in
Turner, Calais Sands, low tide: poissards collecting bait 1830
- experiments: pigments, oils, sands - view of area across english channel - some expressive colors
Ingres, Portrait of Mme. Rivière, 1805
- female portrait - Ingres considered portraits less creative - confusing proportions: implied movement
Friedrich, Woman before setting sun, 1818-20
- figure turned away - no face to give clues to meaning 1. turned away pushes us out of the picture, no intimacy 2. since they aren't personalized, we can create identity 3. it asks the viewer to fill-in and imagine
Arc de Triomphe, Paris, 1860
- figures carved in the round - planned by Napoleon: unfinished - Louis Phillipe completed it
Poussin, Lamentation over dead christ, 1656
- french, baroque - not as believable or natural-looking dead person - caravaggio, entombment of christ 1602 - similar arm to marat - similar tenebrism - David thought less is more (his reaction to this painting)
Constable, Full-sized sketch for the hay wain 1820
- he made full-size sketches - didn't feel like preparatory sketches held value - most artists didnt work from sketches, they worked from nature - Romantics liked unfinished/ incomplete works "who gets to decide when a work is finished?" - *** Constable turned away from classics, committed to landscapes, large scale, personal importance of the artist
Carus, valley of high mountains, 1822
- he wrote about painting - framing device
Feuchére, Satan 1850, from plaster
- in the round - fascination with the darker side of human nature - not sure what story this is from - humanized satan - not depicted as the bad guy or in a narrative
Overbeck, Portrait of Franz Pforr, 1810
- interested in spirituality different from Friedrich - painted hair stylized - intense state - forms around him beg for interpretation - more sincere art: pure and truthful (interpretation) - Lukasbund: bretheren of st. Luke - Nazarenes - 6 german painters studying at academy started their own group - some people thought this was a pushback to Napoleon - they were anxious about the art world = wanted to make a community
Girtin, St. Cuthbert's, Holy Island, Northumberland, 1797
- landscape became visual spectacle: panorama
David, Bonapart crossing the alps, 1801
- linear perspective - inscribed names in rock - majority of the time, weren't literate - comparing Napoleon to Hannibal
David, Napoleon holding Josephine's Crown aloft and a sword to his heart, 1805
- looks like Napoleon is going to crown himself About Daivd... - severe as a teacher - choosy because he was sucessful: the best of France - required his students to know latin and greats from the past - created the louvre museum - fostered competition in his students - only learned to draw in the Academy - had to learn to paint in the "Atalle": teaching studio - older students taught younger students - he would come by twice to give feedback
David, The Death of Marat, 1793
- member of the Academy/ taught there - voted to get rid of it as a loyal to the monarchy - assassinated by charlotte (she was loyal to the monarchy) - Jacobins: radical republican party - he was in both, she stabbed him in the bath tub -> public and private wasn't life it is today - artists signature in the painting - subject: depicts modern history - minimal clothing (not sure which time period) - simple/ basic props & environment - marat had a skin condition-> spent a lot of his day in the bath because it was painful -body in profile, head turned frontal but facial expression is peaceful like similar to christ in some entombments - believable and realistic - "A. Marat, David" : to marat - knew marat: personal connection - pen and knife juxtaposition
Géricault, The Raft of Medusa (a shipwreck) 1819
- modern 1816 scandal - slave trade - cut raft and damed everyone else to death - shocking event: to give this an image was taboo
Géricault, portrait of insane man: kleptomaniac 1822-23
- new idea: the viewer to make up their own mind
Impressionism
- new style -upsetting - people said artists were unskilled and sloppy - originally a derogatory term
Delacroix, Scenes of the Massacres at Chios, 1824 S
- orientalim - greek people were suppressed from Independance from ottoman empire - opressor: turkish horseman - nothing is ordered: not sure importance
The panorama at Leicester Square, London, Invented 1792
- painting went all the way around the room - view of london: why? to view different things
Ingres, The Dauphin Entering Paris, 1821-24
- pattern and pump - impossible anatomy of horse - Ingres is pushing his bounds -> looking at source - man who commissioned claimed to be related to man in red: was also a member of medieval parlamot painting - bust but unified by color - troubadour style (nazarene style vs. troubadour style) - style becomes relative: not only one was best
Revoil, The Tournament, 1812, S
- plain tournament - Davids student - Troubadour style (traveling musician who played and sang of battle and love) - depiction of medieval life - shows pageantry - delicate figures - moody lighting
Géricault, Charging Chasseur, 1812
- portrait and genre painting -used to be called "portrait of Mr. D" - equestrian portrait - new kind of history painting (saying something new about war) - under threat? narrative - cant tell where the battle is
Gozzoli, Procession of the Magi, 1459, fresco, medici chapel, palazzo medici Riccardi, Florence
- primitives: term given to early Renaissance artists - didn't understand linear perspective - stacked landscape to show depth - flat figures
Constable: the hay wain: noon, 1821, RA
- pure landscape: devoid of narrative - son of countryman in suffolk county, father job - commissioner of transportation on river - trained in figure painting but prefered landscape -saw as less ambitious than Turner - vernacular landscape: important to Constable - emergence of subject matter importance to artist - high degree of naturalism -painting assumes contentedness but workers actually weren't getting paid enough
Delacroix, The Woman of Algiers, 1834 S
- relied on stereotypes of hookers - women clothed : attended to by a unich of color - sensual pleasures: fans/hookah - emerging feminism
Runge, Morning from times of the day series, 1803
- series of 4 prints - he went crazy because his fame was overlooked - line contour exclusively - reduction of form - border = picture, not reality - surface quality - baby = christ? responding to the light - 2 figures = adam and eve reference leaving paradise - he wanted to hang this is a Gothic chapel with music and poetry
Turner, Snow Storm, Hannibal Crossing the Alps, 1812
- shipwrecks were the equivalent to out plane crashes - Turner didn't fit in with elite royal academy people but they recognized his talent -> he was the youngest member of his time - Carthaginians pillaging -> took from local towns - some scholars see this as a fight - difficult to read: blurred lines between victory and defeat - whirling vortex: disturbing and new - huge arching dark mass vs. usually white snow - oppressing space: obscure - inverting importance - man against nature - victory/defeat - landscape was a lower genre - style of painting is romantic: pasty texture
German Romanticism
- started in german speaking regions - not a style but an approach to conveying private feelings using nature and mysterious meaning
Turner, The Shipwreck, 1805
- sublime - watercolor - wanted landscape painting to evoke high ideals
Géricault, wounded cuirassier leaving the battlefield, 1814
- title is self explanatory - how is soldier wounded? cant tell - ambiguous because we dont see the wound - he watched a lot of horse races in italy
Rude La Marseillaise 1836
- title is the national anthem - 1789: Revolution - used allegory to represent thousands of volunteers: war genius - Phrygian cap - Romantic because Rude wasnt afraid to add personal reference
Friedrich, chalk cliffs on rugen, 1818
- vertical format to accentuate sharp cliffs - genre painting = scenes of everyday life - figures enjoying view - window
Cézanne, View of Mont Ste. Victoire, 1885
- was a part of impressionism but left to make more meaningful art - he was choosing images that were important to him-> not letting someone else choose for him -Tree in immediate foreground (we only see a fragment of it) - mountains iconography associated with difficulty, virtue, heroism, higher to heaven - Cézanne was challenging forms to challenge space and that made him innovative - was influenced by Poussin
J.S. Cotman, A Ruined House, 1809
- water color societies: less expensive/ portable
Renoir, Diana the Huntress, 1867
- École des Beaux ( School of fine arts in Paris) - Diana: mythological subject - considered religious interpretation because it was the religion of the ancients -rejected by the salon because they didn't believe the girl was a goddess, it looked like a model
Renoir, La Grenouillere (the frog pond), 1869
-"german scene" - painting of ordinary people not a portrait - modern life
Neoclassicism
-1800s artistic style - new art that tries to imitate classical art - subject importance shifted from religious or didactic to the artists self -> no longer relying on the Academy - Artists were challenging who gets to decide what and why things were important - "classicism": qualities of classical art (beauty, harmony, proportion, clarity, order) - "neo": new
Canova, Pauline Borghese as Venus Victrix, 1804
-Borghese fam were art collectors - Pauline-> one of the most beautiful women in Europe (scandalous also, said to have posed nude for this statue but people are skeptical because the form isnt anatomically correct) - it was more of emulating classical statuary - new idea: sitter reclined on bed - sculpture is an object and physical -> bed isnt real
Friedrich, Monk by the Sea, 1809
-German - stormy and dark - monks iconography associated with religion, isolation, giving up things - texture, melancholy, moody - sea-scape - small figure set below horizon line - horizon line is completely unbroken - creates sense of vastness= infinity -"sublime" = evokes strong emotions in the viewer -no conclusion or clear message
Poussin, Landscape with the Burial of Phocion, 1648
-small figures w/ narriative - rejected renaissance but was influenced by Rafael - influence was more "how did they understand?" rather than just being impacted and wanting to recreate
Constable, Study of Cirrus Clouds, 1822
-studied cloud formations - meteorology was a new field
Bronzino, Portrait of Eleanor of Toledo and her son
Compare to Portrait of Mme. Riviere - French - Royal Academy discovered in 1804 - exclusive: you could get in once someone died - 40 members at the time
David, The Death of Socrates, 1787
Compared to Napoleon Bonaparte Visiting the Plague House - figures are main forms in narrow space - female figure: wife of socrates saying goodbye -> he has to die bc he had big ideas - stage setting - courtyard view into landscape conjures exotic - warm colorscheme throughout - Napoleon wearing sash that wasn't part of french uniform - dominating other cultures - David -> figures pressed together
Hauer, The Assassination of Marat, 1794
compared to David... -more details than David's but less believable - David doesn't show killer but included letter w/ her name on it - Hauer adds killer w/ knife - Hauer -> special tub for soaking leather life shape of shoe - Hauer -> doll-like and generalized - David - naturalism (nature meant everything out in the world) - David- white drapery masks the bath really looked like (analogy between sarcophagus): emulation of classical art but doing it a new way
Freize
relief sculptures (neoclassical artists painted like sculptures) - clarity, order, legibility
