AP Art Test 4 Term 2

112. Palace of Westminster (House of Parliament). London, England. Charles Barry and Augustus W. N. Pugin (Architects). 1840-1870 CE. Limestone masonry and glass.

Form: -Hammer Beam Construction in the Westiminster Hall -Romanticism -classical building with a Gothic exterior, Gothic revival -limestone, masonry, glass Content: -central lobby -westiminster hall (oldest section) Function: -where the House of Lords and Commons meet -rebuilt because a fire burned down old palace that was originally there Context: -London, England -architect: Charles Barry -designer: Augustus Pugin -1840-70 CE

100. A Philosopher Giving a Lecture at the Orrery. Joseph Wright of Derby. 1763-1765 CE. Oil on canvas.

Form: -Tenebrism now used in secular aspects (mimicking Caravaggio) -Chiaroscuro: contrast between light and dark Content: -lunar society of Birmingham -orrery: model of the solar system (heliocentric) -philosopher explain something to people in painting (education is sacred) Function: -introduction to science -celebrates access to knowledge -shift from religion to science -philosophical groups emerging Context: -1763-1765 CE -artist: Joseph Wright of Derby

164. Transformation mask. Kwakiutl. northwest coast of Canada. Late 19th century. CE Wood, paint, and string.

Form: -animal and human share -symmetrical Content: -pull string causing mask to open up -bird=crow Function: -used in Potlatch -Potlatch: used to memorialized the dead, mark union of families through marriage -help tell a story, dance around Context: -Kwakiutl (N. Coast of Canada) -late 19th century CE

244. The Swing (after Fragonard). Yinka Shonibare. 2001 CE. Mixed Media installation.

Form: -based on Fragonard's Swing -global contemporary/post modern -3D version of the painting Content: -viewer becomes apart of the piece (we become the peeper in the painting) -fabric used in the piece is Dutch Wax Fabric (Vlisco) -textile worn in Africa -deep respect for African Ancestors -headless which refers to the Reign of Terror when French aristocracies were publicly beheaded Function: -pictures the increasing disparity between economic classes and the growing culture of paranoia, terror, and xenophobia (fear of immigrants) in post 9/11 world Context: -artist: Yika Shonibare -2001

97. Spaniard and Indian Produce a Mestizo. Attributed to Juan Rodriguez Juarez. 1715 CE. Oil on canvas.

Form: -casta painting (displays mother, father, and child) possibly modeled after the Holy Family -text is the title of the piece -enlightenment Content: -woman wearing traditional Indian clothing and white father with their mixed race son (Father wearing French-style European clothing) -servant carrying the son -family appears content -racial purity=whiteness Function: -displays social status (tied up in one's racial makeup)- helped maintain European power and control Context: -artist: Juan Rodriguez Juarez -1715 CE (height of slave trade)

102. Monticello. Virginia, US. Thomas Jefferson. 1768-1809 CE. Brick, glass, stone, and wood.

Form: -classical and enlightenment ideals (neoclassical) combining Italian Renaissance and French Classical architecture -domestic -symmetrical -brick, glass, stone, wood Content: -expresses American virtue of a Republic through architecture -two column deep extended portico that support triangular pediment decorated by a semicircular window (doric columns) -shallow dome Function: -plantation house for Jefferson Context: -Virginia, USA 1768-1809 -Romanticism/Classicism on the rise

110. Still Life in Studio. Louis-Jacques-Mande Daguerre. 1837 CE. Photograph.

Form: -classical art -daguerreotypes record precise detail -photography Function: -elevate photography to art Content: -reversed image -long exposure and can't record movement -upstairs underneath the skylight due to no flash -fills his photos with plaster casts (angels) Context: -artist: Louis Jacques Maude Daguerre -1837 CE (earliest dated photography)

104. George Washington. Jean-Antoine Houdon. 1788-1792 CE. Marble.

Form: -contrapposto -neoclassicism (influenced by essence of Greek art as opposed to Rococo) -realistic -idealistic Content: -captured the duality of Washington (private citizen and public soldier) -bundle of 13 rods (symbolizes not only power but strength found through unity Function: -commemorate momentous occasion after the revolutionary war Context: -artist: Jean-Antoine Houdon (commissioned by Jefferson) -1788-92 CE made by foreigner

165. Painted elk hide. Attributed to Cotsiogo (Cadzi Cody). Eastern Shoshone. Wind River Reservation, Wyoming. 1890-1900 CE. Painted elk hide.

Form: -elk skin Content: -animal hide painting of the Sun Dance Function: -record history Context: -Constigo -Wyoming

154. Mesa Verde cliff dwellings. Montezuma Country, Colorado. Anasazi. 450-1300 CE. Sandstone.

Form: -indigenous North America -geometric designs on murals -sandstone Content: -living in communities -harmonizes with landscape for functional reasons -summer sun doesn't hit the pueblos, but winter light warms it -painted murals Function: -residential places -storage places -ritual places -Kiva: communal gathering, ritual purpose for men Context: -Montezuma, County, Colorado -450-1300 CE -pueblo people, descendants are Hopi and Zuni -Anasazi tribe

98. The Tête à Tête from, Marriage à la Mode. William Hogarth. 1743 CE. Oil on canvas.

Form: -looks like French Rococo (uses to make fun of the French Content: -critques upper-class for getting married because of bloodlines and family -shows the couple is married but not faithful to eachother -man being sniffed by dog because smell of another woman's perfume -woman has been out all night trying to become popular -part of a series (arranged marriages end badly, marriage should be about love) -sign that sex occurred before husband came back home (flipped over chair) -merchant gives up on couple because they won't take finances seriously Function: -satire from British to French -art being made for the growing middle class Context: -artist: William Hogarth (social critic) -1743 CE

103. The Oath of Horatii. Jacques-Louis David. 1784 CE. Oil on canvas.

Form: -neoclassical (physicality and intense emotions) -dramatic, rhetorical gestures -geometric forms with the contrasting curvy formed women -single light shined upon them at the heightened drama of the scene Content: -"what are you willing to die for?" -3 brothers saluting towards the swords which are held by their father (take oath to defend Rome) -woman grieving in back ground because they have to deal with consequences of war (either lose husband or their bro) -sacrifice oneself for good Function: -challenge aristocracy Context: -Jacques-Louis David 1784 (before the revolution) -commissioned by King of France (Louis 15th)

163. Bandolier bag. Lenape (eastern Delaware) tribe. 1850 CE. Beadwork on leather.

Form: -new art form resulting from trade for beads among Anglo-Americans -rounded forms -beadwork Content -decorations vary based on status Function: -worn primarily for decoration -show social status -worn by men and made by women Context: -Lenape Tribe (eastern Delaware) -1850 CE

105. Self-Portrait. Elizabeth Louise Vigee Le Brun. 1790 CE. Oil on canvas.

Form: -oil on canvas -portrait -light brushwork and colors (Rococo style) -Enlightenment Content: -shows her in process of creating the self portrait of Marie Antoinette (she was her court painter) -holding palette and paint brush (showing she is skilled) -interrupts her but she welcomes the interruption Function: -shows that she is a painter -several different version Context: -artist: Elizabeth Louise Vigee Le Brun -1790 CE, Rococo-Neoclassicism (in between)

109. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm) Thomas Cole. 1836 CE. Oil on canvas.

Form: -romanticism -Manifest Destiny -not based of a real place -oil on canvas Content: -reverence for nature -filled with life -based on real life area -divides the painting into two unequal sections -one shows sublime view of land untouched by man (wild, untamed) -other side shows land humankind has taken over (overtaken by agriculture) -self portrait of himself wandering Function: -landscape painting -shows respect for nature Context: -Northampton, Massachusetts -artist: Thomas Cole (leader of Hudson River School) -1836 CE (19th century)

108. Liberty Leading the People. Eugene Delacroix. 1830 CE. Oil on Canvas.

Form: -romanticism -seems as though it is overpowered by chaos but filled with subtle order -oil on canvas Content: -people of both the working class and middle class join in the fight against the government -lady carrying the French flag meant to serve as an allegory, in this case a moral or political idea of Liberty (looking back to make sure people are following, represents an idea) -background: Notre Dame Function: -allow us to believe anyone can be a revolutionary Context: -artist: Eugen Delacroix -1830 CE

107. La Grande Odalisque. Jean-Auguste-Dominique Ingres. 1814 CE. Oil on canvas.

Form: -romanticism (exoticism) -classical figure -proportions are messed up -oil on canvas Content: -physically unreal body -peacock fan, turban, enormous pearls, hookah (eroticism based on exotic content) Function: -what a French male's fantasy would look like Context: -artist: Jean-Auguste-Dominque Ingres (court painter for Napoleon -1814 CE

111. Slave Ship (Slaves Throwing Overboard the Dead and Dying, Typhoon Coming On). Joseph Mallord William Turner. 1840 CE Oil on Canvas.

Form: -romanticism (sublime) -combines a beautiful and horrible scene together -rich colors -loose brushwork -oil on canvas Content: -beautiful seascape looking at first but if u look close you see slaves drowning and being eaten alive -disease breaks out on ship and overthrows all the dead and sick overboard so they can get insurance (money is motivator for what they did) Function: -political and social activist piece Context: -artist: Joseph Mallord William Turner -1840 CE -inspired by a book

101. The Swing. Jean-Honoré Fragonard. 1767 CE. Oil on Canvas.

Form: -style: Rococo- love, pastels, aristocracy, arabesques, delicate paint application -oil on canvas Content: -ideal love gardens with sculptures -cupid whispering -attendant swinging her=elite -foot with expensive shoe -French garden -"peeping tom" in lower left Function: -made for aristocrats to decorate buildings -show the pleasures and decadence enjoyed by the elite Context: -1767 CE (18th century) -artist: Jean-Honore Fragonard -Enlightenment

106. Y no hai remedio (And There's Nothing to be Done), from Los Deastres de la Guerra (The Disasters of war). Plate 15. Francisco de Goya. 1810-1823 CE. Drypoint etching.

Form: -style: romanticism (challenging power and oppression) -etching, drypoint Content: -part of series of 82 called Disasters of War -what human beings capable of -government misuse of power on helpless victims -man is blindfolded with head down tied to wooden pole (christ-like) -recently deceased corpse with extreme detail of his grotesque face (behind body on pole is a dead body on pole) Function: -pictures the atrocities of war -visual indictment and protest against French occupation of Spain Context: -publish 1863, made 1810-1823 CE -artist: Francisco Goya (trained by Rococo)