Art His II FINAL

Coalbrookdale bridge

THE ENLIGHTENMENT Abraham Darby III and Thomas F. Pritchard, iron bridge, England, 1776-1779. - The first use of iron in bridge design was in this bridge over the Severn River. The Industrial Revolution brought engineering advances that changed architectural construction; leading to expansion of cities - Abraham Darby III ran his family's cast-iron business; The Darby family helped evolution of the iron industry in England: new ways to use material. - creation of cast-iron rails and bridge elements inspired Darby to work with architect Thomas F. Pritchard in designing - cast-iron armature that supports the roadbed springs from stone pier to stone pier - The style of the graceful center arc echoes the grand arches of Roman aqueducts. At the same time - exposed structure was popular; ex. eiffel tower

The marriage Contract from Marriage a la mode

THE ENLIGHTENMENT Hogarth; oil on canvas; 1745; England - Hogarth's favorite device was to make a series of narrative paintings in a sequence in a book following a characters in their encounters with some social evil - is one in a sequence of six paintings that satirize the marital immoralities of the moneyed classes in England. - shows an arranged marriage between the son of bankrupt Earl Squanderfield and the daughter of a wealthy but miserly city merchant. - Construction on the Earl's new mansion, visible through the window, - The gouty Earl proudly points to a picture of his family tree, rising from William, Duke of Normandy. The son views himself in the mirror, showing where his interests in the matter lie. - The distraught merchant's daughter is consoled by the lawyer Silvertongue while polishing her wedding ring. Two dogs chained to each other in the corner mirror the situation of the young couple.

Oath of the Horatii

THE ENLIGHTENMENT Jacques-Louis David, 1784. Oil on canvas, France - David was the Neoclassical painter of the French Revolution. - celebrating ancient Roman patriotism and sacrifice features statuesque figures and classical architecture. - He championed a return to Greek style • A distant relative of Boucher, he followed the Rococo painter's style until a period of study in Rome won the younger man over to the classical art tradition. - David favored the great Renaissance masters as models; "perfect form" - depicts a story from pre-Republican Rome - the leaders of the warring cities of Rome and Alba decided to resolve their conflicts in a series of encounters waged by three representatives from each side. - shows the Horatii as they swear on their swords, held high by their father, to win or die for Rome, oblivious to the anguish and sorrow of their female relatives. - Neoclassical style. Not only does the subject matter deal with a narrative of patriotism and sacrifice excerpted from Roman history, but the painter presented the image with force and clarity. - scene in a shallow space much like a stage - He deployed his statuesque and carefully modeled figures across the space, close to the foreground, in a manner reminiscent of ancient relief sculpture. • Great talents of france to the public • Patriotic identity

Death of Marat

THE ENLIGHTENMENT Jacques-Louis David, 1793. France; Oil on canvas • depicted the revolutionary Marat as a tragic martyr, stabbed to death in his bath. Although the painting displays severe Neoclassical spareness, its convincing realism conveys pain and outrage. • When the French Revolution broke out in 1789, David believed that art is important tool for educating public - dramatic paintings emphasizing patriotism and civic virtue would prove effective as propaganda • instead of artworks focused on scenes from antiquity, began to portray scenes from the French Revolution • intended Death of Marat not only to serve as a record of an important event but also to provide inspiration to the revolutionary forces. • The painter vividly placed narrative details—the knife, the wound, the blood, the letter with which the young woman gained entrance—to sharpen the sense of pain and outrage and to confront viewers with the scene itself. - based the figure of Marat on Christ in Michelangelo's Pietà; The reference to Christ's martyrdom

Harmony in Red

20th C ART Henri Matisse, 1908-1909.Oil on canvas, France - Matisse of the Fauve group believed that color could play a primary role in conveying meaning; believed painters should choose compositions and colors that express their feeling s - Matisse's canvas is different from traditional paintings of domestic interiors - Fauve painter depicted objects in simplified and schematized fashion and flattened out the forms. For example, Matisse eliminated the front edge of the table, making the table as flat as the wall - colors contrast richly and intensely - Initially, this work was predominantly green, and then painted it blue. but painted red because it was the right color for the "harmony" - Folk art was a common theme, as in this picture.

Nude Descending a Staircase, no 2

20th C ART Marcel Duchamp, 1912. Oil on canvas, - combines elements Cubist and Futurist movements. DADAISM - By attacking convention and logic, the Dada artists unlocked new avenues for creative invention, - in portrait, seemingly depicts a figure demonstrating an abstract movement - The discernible "body parts" of the figure are composed of conical and cylindrical abstract elements, assembled together to suggest rhythm and convey the movement - Dark outlines limit the contours of the body while serving as motion lines that emphasize the dynamics of the moving figure - depicts motion by successive superimposed images, similar to stroboscopic motion photography.

Guitar

20th C ART Pablo Picasso, 1912. Cardboard, string, and wire - model for a sculpture of sheet metal, Picasso presented what is essentially a cutaway view of a guitar, allowing the viewer to examine both surface and interior space, both mass and void. - As in his Cubist paintings, this sculpture operates at the intersection of two- and three- dimensionality - Picasso seems to have transformed the anatomical features of African masks into a part of a musical instrument—dramatic evidence of his unique, innovative artistic vision

Guernica

20th C ART Pablo Picasso, 1937. oil on canvas, - Spanish Republican government asked Picasso to produce a major work for the Spanish Pavilion at the Paris International Exposition - he did not formally accept this invitation until he received word that Guernica, had been almost totally destroyed in an air raid by nazi bombers - The event jolted Picasso into action. - Picasso made no specific reference to the event in Guernica—no bombs, no German planes. Rather, the collected images in Guernica combine to create a visceral outcry of human grief. - In the center, along the lower edge of the painting, lies a slain warrior clutching a broken and useless sword. A gored horse tramples him and rears back in fright as it dies. - Overlooking the destruction is a bull, which, according to the artist, represents "brutality and darkness." - used aspects of his Cubist discoveries to expressive effect; fragmentation of objects and the dislocation of anatomical features. - Cubist fragmentation gave visual form to the horror. paralleled what happened to people in real life. - To emphasize the scene's severity and starkness, reduced palette to black, white, and shades of gray.

Improvisation 28

20th C ART Vassily Kandinsky, 1912. Oil on canvas; munich - Der Blaue Rieter period - no narrative and no representational objects because he is portraying a feeling instead of an image. - These new ideas forced people to revise radically how they understood their world; Thus, intellectuals countered 18th- and 19th- century assumptions about progress and reason with ideas challenging traditional notions about the physical universe, the structure of society, and human nature. - Scientists' exploration of atomic structure, for example, convinced Kandinsky that material objects had no real substance, thereby shattering his faith in a world of tangible things. - artists must express the spirit and their innermost feelings by orchestrating color, form, line, and space. - for enlightened and liberated society emphasizing spirituality.

yombe mother and child*

AFRICAN Kongo, late 19th century. Wood, glass beads, brass tacks, and pigment, - The mother in this Yombe group wears a royal cap and jewelry and displays her chest scarification. - The image may commemorate an ancestor or, more likely, a legendary founding clan mother. - mother- and-child groups of the Yombe in the Democratic Republic of Congo may reflect the influence of Christian Madonna-and- Child imagery. - some call these figures "white chalk," a reference to the medicinal power of white kaolin clay. - Kongo figure is naturalistic magnified the size of the head for emphasis. - Hierarchical proportion; Head: seat of knowledge; Torse: seat of heart/circulatory system; Limbs: smaller - Queen mother; portraited as fertility object

Big Self- Portrait

ART SINCE 1945 Chuck Close, 1967-1968. Acrylic on canvas - Close's goal was to translate photo- graphic information into painted information. - large scale forces the viewer to focus on one area at a time. - Close felt his connection to the Photorealists was tenuous, because for him realism was the result of an intellectually rigorous, systematic approach to painting. - Because he aimed simply to record visual information about his subject's appearance, - deliberately avoided creative compositions, flattering lighting effects, and revealing facial expressions. - close painted anonymous and generic people, mostly friends. - he could focus on employing his methodical presentations of faces, thereby encouraging the viewer to deal with the formal aspects of his works.

Supermarket Shopper

ART SINCE 1945 Duane Hanson, 1970. Polyester resin and fiberglass polychromed in oil, with clothing, steel cart, and gro- ceries, life-size. - Hanson used molds from live models to create his Superrealistic life- size painted plaster sculptures. - many viewers initially mistake for real people. - depict stereotypical average Americans, striking chords with the public precisely because of their familiarity. - The subject matter that I like best deals with the familiar lower and middle- class American. -- To me, the resignation, emptiness and loneliness of their existence captures the true reality of life for these people.

Painting

ART SINCE 1945 Francis Bacon, 1946. Oil and pastel on linen - imposto, violent - Painted in the aftermath of World War II, this intentionally revolting image of a powerful figure presiding over a slaughter is Bacon's reflection of war's butchery. - man with a gaping mouth and a vivid red stain on his upper lip, as if he were a carnivore devouring the raw meat - may have based his depiction of this central figure on news photos of similarly dressed European and American officials. The umbrella in particular recalls images of Neville Chamberlain - added to the visceral impact by depicting the flayed carcass hanging behind the central figure as if it were a crucified human form. - work is an attempt to remake the violence of reality itself,

Just What Is It That Makes Today's Homes So Different, So Appealing?

ART SINCE 1945 Richard Hamilton, 1956. Collage; london, england - exemplifies many of the attitudes of British Pop Art. - fantasy interior reflects the values of modern consumer culture through figures and objects cut from glossy magazines. - includes references to mass media (the television, the theater marquee outside the window, the news- paper), advertising (Hoover vacuums, Ford cars, Armour hams, Tootsie Pops), and popular culture (the girlie magazine, body- builder Charles Atlas, romance comic books) - stimulated the viewer's wide-ranging speculation about society's values, and this kind of intellectual toying with mass-media meaning and imagery typified Pop Art in England and Europe.

Hopeless

ART SINCE 1945 Roy Lichtenstein, 1963. synthetic polymer paint on canvas - Comic books appealed to Lichtenstein because they were a mainstay of American popular culture, meant to be read and discarded. The Pop artist immortalized their images on large canvases. - subject was one of the melodramatic scenes common to popular romance comic - used the visual vocabulary of the comic strip, with its dark black outlines and unmodulated color areas, and retained the familiar square dimensions - printing technique, ben- day dots, called attention to the mass-produced derivation of the image. - ben day dot system involves the modulation of col- ors through the placement and size of colored dots. Lichtenstein thus transferred the visual shorthand language of the comic book to the realm of monumental painting.

Travelers among Mountains and Streams

CHINA ARTIST: Fan Kuan; Northern Song period, early 11th century. Hanging scroll, ink and colors on silk - Song dynasty also marks the apogee of Chinese landscape painting, - Chinese landscape painters did not aim to produce portraits of specific places. They did not seek to imitate or to reproduce nature but sought to capture the essence of nature and of its individual elements - Fan Kuan, a Daoist recluse, studyed the effects of light on rock formations and trees. He was one of the first masters at recording light, shade, distance, and texture. - painted a vertical landscape of massive mountains rising from the distance. - The overwhelming natural forms dwarf the few human and animal figures, which the artist reduced to minute proportions - 7ft silk hanging scroll - The shifting perspectives lead the viewer on a journey through the mountains. To appreciate the painted landscape fully, the viewer must focus not only on the larger composition but also on intricate details and on the character of each brush stroke. - "texture strokes" help model massive forms and convey a sense of tactile surfaces.

Guan Yu Captures General Pang De

CHINA ARTIST: ShangXi, Ming dynasty, ca.1430. Hanging scroll, ink and colors on silk - The official painters of the Ming court lived in the Forbidden City and specialized in portraiture and history painting. - represents historical Guan Yu, renowned for his loyalty to his emperor and his military valor, being presented with the captured enemy general Pang De. - used color to focus attention on Guan Yu and his attendants - Bright colors/illusionistic like in court paintings; reserve of the paintings - Guan Yu is the most noble of the military officials - Ming is eclecistism.

The Three Friends of the Cold Season

CHINA ARTIST: Zhao Mengjian (Southern Song, 1260); ink on paper - a descendant of the first Song emperor. A learned man, skilled in both calligraphy and poetry, he won renown as a painter of horses and of landscapes. - symbolize the pine, bamboo, and plum; Culturally, the Three Friends of Winter—pine, bamboo, and plum—are grouped together in the context of winter because they all flourish at that season - Together they symbolize steadfastness, perseverance, and resilience - They are highly regarded in Confucianism and as such represent the scholar-gentleman's ideal

Auspicious Cranes

CHINA Attributed to Huizong, Northern Song period, 1112. Ink and colors on silk, - Huizong (emperor) brought the country to near bankruptcy and lost much of China's territory to the armies of the Tartar Jin dynasty - An accomplished poet, calligrapher, and painter, Huizong required the study of poetry and calligraphy as part of the official training of court painters. - displays the emperor's style as both calligrapher and painter - They are made up of thin strokes, and each character is aligned with its neighbors to form neat vertical rows. - The painting depicts cranes flying over the roofs of Bianliang. It is a masterful combination of elegant composition and realistic observation. - The painting was a propaganda piece commemorating the appearance of 20 white cranes at the palace gates during a festival in 1112. - The Chinese regarded the cranes as an auspicious sign, proof that Heaven had blessed Huizong's rule.

Founding of the Nation

Dong Xiwen; 1952-53; oil on canvas - example of socialist realism - greatests artworks of china - commemorate mao zhe doing announcing the founding of the people of china; formation of the new country - not exactly realism - tianan men square didn't exist yet; Mao's future vision - landscape and horizon line is flipped up - in order to give sense of monumentality; makes it seem like we're up on a tower; suggests a much greater distance - Mao is portrayed as the tallest man in the room; subtle hierarchical scale - Assembled people to the communist party are over half of them are not the original people painted; fell out of favor with Mao so he had them overpainted.

Templo Mayor*

GLOBAL SOUTH Aztec, Tenochtitlán, Mexico City, Mexico, ca. 1400-1500 - Center of Aztec ritual life - a temple-pyramid honoring the Aztec god Huitzilopochtli and the local rain god Tlaloc. - Two great staircases originally swept upward from the plaza level to the double sanctuaries at the summit. - The Great Temple is a remarkable example of superimposition, a common trait in Meso-american architecture. The excavated structure, composed of seven shells, indicates how the earlier walls nested within the later ones. - Mexican pyramids were typically expanded by building over prior ones, using the bulk of the former as a base for the latter, as later rulers sought to expand the temple to reflect the growing greatness of the city of Tenochtitlan. - sacrifices top of stairs, fall down to Coyolxauhqui

Coatlicue*

GLOBAL SOUTH Aztec, Tenochtitlán, Mexico City, Mexico, ca. 1487-1520. Andesite - colossal statue may have stood in the Great Temple complex. The beheaded goddess wears a necklace of human hands and hearts. Enwined snakes form her skirt. All her attributes symbolize sacrificial death. - the Aztecs produced freestanding statuary. - some scholars believe it was one of a group set up at the Great Temple. - From between her legs emerges another serpent, symbolic perhaps of both menses and the male member. - Like most Aztec deities, Coatlicue has both masculine and feminine traits. - Aztec thought, this mother of the gods combined savagery and tenderness, for out of destruction arose new life

Llama Figurine*

GLOBAL SOUTH Inka (1400-1532); gold - Andean peoples have beliefs that invisible world that can be represented by miniature objects. - The Incas had no cows, sheep, pigs, chickens or goats. Their only domesticated animal guinea pig and llamas - Miniature figurines wrought in hammered gold were deposited as offerings to accompany high-altitude human sacrifices made in the course of the Inca state ritual of CAPACOCHA - The Inca revered gold, believing it to be the sweat of the sun and that it represented the sun's regenerative powers. All gold belonged to the ruler - the king - who claimed to be descended from the sun god. - Llamas were often sacrificed in large numbers to the gods. - This llama is important because very few Inca gold objects remain. After colonisation, the Spanish melted them all down

Machu Picchu*

GLOBAL SOUTH Inka, Peru, 15th century. - built for king as a summer retreat - The imperial Inka were great architects. Although they also worked with adobe, the Inka were supreme masters of shaping and fitting stone. - 9,000 feet above sea level. - the site remained unknown to the outside world until an American explorer, discovered it in 1911. - The accommodation of its architecture to the landscape is so complete that Machu Picchu seems a natural part of the mountain ranges that surround it on all sides. The Inka even cut large stones to echo the shapes of the mountain - Stone terraces spill down the Peruvian mountainsides. Precisely placed windows and doors facilitated astronomical observations.

Gopini

INDIA 1935-40; Jamini Roy;Tempera on cloth - most celebrated faces of Modern Indian Art movement. - mythological references; gopini = women who hung out with Krishna -Jamini Roy restricted his palette to seven colours- Indian red, yellow ochre, cadmium green, vermillion, grey, blue and white. These were mostly earthy or mineral colours. - adopted the simplification of the forms, the bold, flat colours and the medium, material and themes of local folk paintings. - discarded expensive canvas and oil paint and opted for the more inexpensive material and medium of the folk artist

Akbar and the Elephant Hawai

INDIA ARTIST: Basawan and Chatar Muni, folio 22 from the Akbar- nama (History of Akbar) by Abul Fazl, ca. 1590. Opaque watercolor on paper, - The Mughal rulers of India were great patrons of miniature painting. - painter: Basawan, Colorist: Chatar Muni - showing the young emperor Akbar bringing the elephant Hawai under control - The young ruler viewed the episode as an allegory of his ability to govern; to take charge of an unruly state. - Basawan chose the moment of maximum chaos and danger - composition is bold, with a very high horizon and two strong diagonal lines formed by the bridge and the shore. - these devices tend to flatten out the vista, but also created a sense of depth by diminishing the size of the figures - artist was master of vivid gestures and anecdotal detail.

Jahangir Preferring a Sufi Shaykh to Kings

INDIA ARTIST: Bichitr, ca. 1615-1618. Opaque watercolor and gold ink on paper, - The impact of European art on Mughal painting is evident in this allegorical portrait of the haloed emperor Jahangir on an hourglass throne, seated above time, favoring spiritual power over worldly power. - After the establishment of the East India Company, British ambassadors & merchants were frequent visitors to the Mughal capital, and Jahangir, like his father, acquired many luxury goods from Europe, including globes, hourglasses, prints, and portraits. - As the sands of time run out, two cupids (clothed, unlike their Europe an models more closely copied at the top of the painting) inscribe the throne with the wish that Jahangir would live a thousand years. - Bichitr portrayed his patron as an emperor above time and also placed behind Jahangir's head a radiant halo combining a golden sun and a white crescent moon, indicating that Jahangir is the center of the universe and its light source. One of the inscriptions on the painting gives the emperor's title as "Light of the Faith." - Hindu painter Bichitr himself, wearing a red turban.

Taj Mahal

INDIA Agra, India, 1632-1647. - Monumental tombs were not part Hindu or Buddhist traditions but in Islamic architecture. - Jahangir's son, built the immense mausoleum as a memorial to his favorite wife, - The Taj Mahal, the most famous building in Asia, is a Mughal mausoleum. - The tomb may have been conceived as the Throne of God perched above the gardens of Paradise on Judgment Day. - The Agra mausoleum seems to float magically above reflecting pools Reinforcing the illusion that the marble tomb is suspended above the water - The Taj Mahal follows the plan of Iranian garden pavilions, - The pointed arches lead the eye in a sweeping upward movement toward the climactic dome, shaped like a crown (taj). - The architect achieved this delicate balance between verticality and horizontality by strictly applying an all-encompassing system of proportions. - The Taj Mahal (excluding the minarets) is exactly as wide as it is tall, and the height of its dome is equal to the height of the facade.

Krishna and Radha in a Pavilion

INDIA c. 1760; Opaque watercolor on paper; Pahari painting - One of the most popular subjects for Rajput paintings was the amorous adventures of Krishna, the "Blue God," the most popular of the avatars, or incarnations, of the Hindu god Vishnu, who descends to earth to aid mortals - His favorite lover was Radha. - The 12th-century poet Jayadeva; Jayadeva's poem was the source for hundreds of later paintings - lovers sit naked on a bed beneath a jeweled pavilion in a lush garden of ripe mangoes and flowering shrubs. - It is night, the time of illicit trysts, and the dark monsoon sky momentarily lights up with a lightning flash indicating the moment's electric passion. Lightning is a standard element used in Rajput and Pahari miniatures to symbolize sexual excitement.

Evening Bell at the Clock

JAPANESE ARTIST: Harunobu (c. 1765); woodblock print - peeking above the wall; two ladies out on a pourch - brocade print - textile raised patterns - conceives folds of patterned cloth - NISHIKI-E (brocade pictures) took their name from their costly pigments and paper. The rich color and flatness of the objects, women, and setting in this print are characteristic haranobu - Sold in small shops and on the street, an ordinary print went for the price of a bowl of noodles. - A highly efficient production system made this wide distribution possible. everyone can have art - focuses on a particular time of day or year. daily life of beautiful young women - the artist transformed the great temple bell into a modern Japanese clock.

Actors Making Love

JAPANESE ARTIST: Harunobu (ca. 1769); woodblock print - Japanese woodblock print artist, one of the most famous in the Ukiyo-e style. He was an innovator, the first to produce full-color prints in 1765 - rendering ukiyo-e—"pictures of the floating world," a term that suggests the transience of human life - The main subjects came from the realms of pleasure, such as the brothels and the popular theater, but Edo printmakers also frequently depicted beautiful young women in domestic settings - The ukiyo-e movement express an idealisation of contemporary urban life and appeal to the new chōnin class. Following the aesthetics of everyday life, Edo period shunga varied widely in its depictions of sexuality.

The Great Wave of Kanagawa

JAPANESE ARTIST: Hokusai, Edo period, Wood block print, ink and colors on paper - manga = little sketches - part of series called 36 views of mount fuji; lone volucanic mountain by tokyo - Against a background with the low horizon line typical of Western painting, Hokusai placed a threatening wave in the foreground, painted using the traditional flat and powerful graphic forms of Japanese art. - Depicted in very nonconventional view - This contrast and the whitecaps' ominous fingers magnify the wave's threatening aspect. - draws on Western techniques and incorporates imported pigments from west: Prussian blue, it also engages the Japanese pic- torial tradition. - Takes place during spring during the migratory time of the bonito tuna

Boat Bridge writing box

JAPANESE ARTIST: Koetsu, Edo period, Lacquered wood with gold and lead overlay, - Meant to hold the ink grinding stones - The growing urbanization in cities led to an increase in the pursuit of sensual pleasure and entertainment in the brash popular theaters and the pleasure houses - Lead characters that are examples of Koetsu's calligraphy; band on top is a bridge; abstract boat floating underneath - exhibits motifs drawn from a 10th-century poem about the boat bridge at Sano - describes the experience of crossing a bridge; reflection on life's insecurities. - shows the dramatic contrasts of form, texture, and color that mark RINPA aesthetics; the juxtaposition of the dark metal with gold

Kogan Tea ceremony water jar

JAPANESE Taian Tea House, Myokian Temple, Sen no Rikyu/Kogan, late 1500s, Shino ware with underglaze design - the vessels used in the Japanese tea ceremony reflect the concepts of wabi, the aesthetic of refined rusticity, and sabi, the value found in weathered objects. These qualities suggest the tranquility achieved in old age. - name means "ancient stream bank," comes from the painted design and coarse texture and rough form, reminiscent of earth cut by water - These glazes are predominantly white when fired but can include pinkish red or gray hues. - prominent crack in one side and sagging contours suggest the accidental and natural, qualities essential to the values of wabi and sabi.

The Kiss

POST IMPRESSIONIST 1907-1908. Oil on canvas, ARTIST: Gustav klimt - Viennese fin- de-siècle painting revealed only a small segment of body. The rest dissolves into shimmering, flat patterning. • The increasingly large middle classes strove to live "the good life," which evolved into a culture of decadence and indulgence. Characteristic of the fin-de-siècle period was interest with sexual drives, powers, and perversions. - This patterning has clear ties to Art Nouveau and to the Arts and Crafts movement and also evokes the conflict between 2 & 3 dimensionality intrinsic to the work of Degas and other modernists. - captured fin-de-siècle spirit conveyed by opulent and sensuous images.

Casa Milá

POST IMPRESSIONIST Antonio Gaudi, Casa Milá, Barcelona, Spain, 1907. - The Spanish Art Nouveau architect Antonio Gaudi conceived this apartment house as if it were a gigantic sculpture to be molded from clay. Twisting chimneys cap the undulating roof and walls. - create a style that was both modern and appropriate to his country. Taking inspiration from Moorish-Spanish architecture and style of his native Catalonia, developed a personal aesthetic. - master who invented many new structural techniques that facilitated construction of his visions. - free-form mass wrapped around a street corner; Devoid of classical influence - The rough surfaces of the stone walls suggest naturally worn rock. The entrance portals look like eroded sea caves, but their design also may reflect the excitement that swept Spain following discovery of Paleolithic cave paintings - felt that each of his buildings was symbolically a living thing.

At the Moulin Rouge

POST IMPRESSIONIST Henri de Toulouse-Lautrec, 1892-1895. Oil on canvas, - The influences of Degas, Japanese prints, and photography show in this painting's oblique composition, but the glaring lighting, masklike faces, and dissonant colors are Toulouse-Lautrec's. - deeply admired Degas and shared the Impressionists' interest in capturing the sensibility of modern life. - japanese print, and of photography in the oblique and asymmetrical composition, the spatial diagonals, and the strong line patterns with added dissonant colors; lack of perspective and shadow, the flat areas of strong color, and the compositional freedom gained by placing the subject off-centre, mostly with a low diagonal axis to the background. - He included himself in the background—the tiny man with the derby accompanying the very tall man, his cousin.

Mont Sainte-Victoire

POST IMPRESSIONIST Paul Cézanne, 1902-1904. Oil on canvas, - Cézanne replaced the transitory visual effects of changing atmospheric conditions, a focus for the Impressionists, with careful analysis of the lines, planes, and colors of nature. - His aim was not truth in appearance, especially not photographic truth, nor was it the "truth" of Impressionism. - he sought a lasting structure behind fleeting visual information the eye absorbs. Instead of employing the Impressionists' random approach Cézanne developed a more analytical style. - He sought to achieve Poussin's effects of distance, depth, structure, and solidity not by using traditional perspective and chiaroscuro but by recording the color patterns and optical analysis - explored the properties of line, plane, and color and their interrelationships. He studied the effect of every kind of linear direction,

Night Café

POST IMPRESSIONIST Vincent van Gogh, 1888. Oil on canvas, France - In Night Café, van Gogh explored the abilities of colors and distorted forms to express emotions. The thickness, shape, and direction of his brush strokes create a tactile counterpart to the intense colors. - wanted the painting to convey an oppressive atmosphere/madness - billiard table depicted in such a steeply tilted perspective that it threatens to slide out of the painting into the viewer's space. - communicated the "madness" of the place by selecting vivid hues whose juxtaposition highlighted their intensity. - He often moved the brush back and forth or at right angles, giving a textilelike effect, even squeezing dots or streaks directly onto his canvas from his paint tube. This bold, almost slapdash attack enhanced the inten- sity of his colors.

The Gross Clinic

REALISM Thomas Eakins; 1875; Oil on canvas; - too-brutal realism of Eakins's unsparing depiction of a medical college operating amphitheater caused rejection of this painting from the Philadelphia exhibition celebrating America's centennial. - liked showing the realities of the human experience. Eakins studied both painting and medical anatomy in Philadelphia before study under French artist Jean-Léon Gérôme - aimed to paint things as he saw them rather than as the public might wish them portrayed. This attitude was very in tune with 19th-century American taste, combining an admiration for accurate depiction with a hunger for truth. - depict this event testifies to the public's increasing faith in scientific and medical progress. Dr. Gross, with bloody fingers and scalpel, lectures about his surgery on a young man's leg. The patient suffered from a bone infection. Watching the surgeon are colleagues, all of whom historians have identified, and the patient's mother, who covers her face. - believed that knowledge was a prerequisite to his art.

Olympia

REALISM Édouard Manet,1863.Oil on canvas, • Manet scandalized the public with this painting of a nude prostitute and her black maid carrying a bouquet from a client. Critics also faulted him for using rough brush strokes and abruptly shifting tonality. • Challeneges convention even if she' quotes Venus of Urbino - a young white prostitute (Olympia was a common "professional" name for prostitutes) reclining on a bed that ex- tends across the foreground. - Olympia meets the viewer's eyes with a look of cool indifference. - the shamelessness of her look that verges on defiance shocked viewers. depiction of a black woman was also not new, inclusion of both a black maid and a nude prostitute as evoking moral depravity, inferiority, and animalistic sexuality. - The contrast of the black servant with the fair-skinned courtesan also made reference to racial divisions

Sunrise

REALISM/IMPRESSIONISM Claude Monet,, 1872. Oil on canvas, france - A hostile critic applied the derogatory term "Impressionism" to this painting because of its sketchy quality and clearly evident brush strokes. Monet and his circle embraced the label for their movement. - Impressionist paintings do incorporate the qualities of sketches—abbreviation, speed, and spontaneity. - Impressionism operated at the intersection of what the artists saw and what they felt. - "impressions" these artists recorded in their paintings were neither purely objective descriptions nor solely subjective responses but the interaction between the two; personal responses to nature. - Monet carried the systematic investigation of light and color further than any other Impressionist, but all of them recog- nized the importance of carefully observing and understanding how light and color operate.

Le Moulin de la Galette

REALISM/IMPRESSIONISM Pierre Renoir, 1876. Oil on canvas, - Parisian dance hall is dappled by sunlight and shade, artfully blurred into the figures to produce the effect of floating and fleeting light that the Impressionists cultivated. - new industrialized Paris that drew the Impressionists' attention was the leisure activities of its inhabitants. - Scenes of dining, dancing, the café-concerts, the opera, the ballet, and other forms of urban recreation were mainstays of Impressionism. - With the advent of set working hours, people's schedules became more regimented, allowing them to plan their favorite pastimes - Some crowd the tables and chatter, while others dance energetically. - lively atmosphere that the viewer can virtually hear the sounds of music, laughter, and tinkling glasses. - The painter dappled the whole scene with sunlight and shade, artfully blurred into the figures to produce just the effect of floating and fleeting light - Renoir's casual, unposed placement of the figures and the suggested continuity of space; position the viewer as a participant rather than as an outsider. - Whereas classical art sought to express universal and timeless qualities, Impressionism attempted to depict just the opposite—the incidental, momentary, and passing aspects of reality

Le Déjeuner sur l'Herbe

REALSIM Édouard Manet, 1863. Oil on canvas, France - Manet was widely criticized for both his shocking subject matter and his manner of painting. - Moving away from illusionism, he used colors to flatten form and to draw attention to the painting surface. - depicts two women, one nude, and two clothed men enjoying a picnic of sorts. Consistent with Realist principles, Manet based all of the foreground figures on living people. - The seated nude is Victorine Meurend (Manet's favorite model at the time), brother Eugène (with cane) and sculptor Leenhof - The two men wear fashionable Parisian attire of the 1860s, and the foreground nude not only is a distressingly unidealized figure type but also seems disturbingly unabashed and at ease, gazing directly at the viewer with- out shame or flirtatiousness. - represent ordinary men and promiscuous women in a Parisian park. - Manet surely anticipated criticism of his painting, but shocking the public was not his primary aim. His goal was more complex and involved a reassessment of the entire range of art. - references many painting genres—history painting, portraiture, pastoral scenes, nudes, and even religious scenes. - critique of the history of painting. - The public only a crude sketch without the customary finish

Family of Charles IV

ROMANTICISM Francisco Goya, 1800. Oil on canvas, - Goya painted the family of the Spanish king Charles IV while serving as Pintor del Rey. • Charles IV promoted him to First Court Painter in 1799 - Velázquez's Las Meninas was the inspiration for this image of the king and his queen, Maria Luisa, surrounded by their children. - As in Las Meninas, the royal family appears facing the viewer in an interior space while the artist included himself on the left, dimly visible, in the act of painting on a large canvas. - Some scholars see this painting as a naturalistic depiction of Spanish royalty. Others believe it to be a pointed commentary in a time of Spanish turmoil. - Little evidence exists as to how the royal family reacted to this painting. Although some scholars have argued that they disliked the portrait, others have suggested that the painting confirmed the Spanish monarchy's continuing presence and strength and thus elicited a positive response from the patrons. • Queen was running the country; shows as a progressive monarchy; because the queen is raising the children

Third of May

ROMANTICISM Francisco Goya, 1808, 1814-1815. Oil on canvas, • Goya encouraged empathy for the massacred Spanish peasants by portraying horrified expressions and anguish on their faces, endowing them with a humanity lacking in the French firing squad. • The Spanish people, finally recognizing the French as invaders, sought a way to expel the foreign troops. On May 2, 1808, in frustration, the Spanish attacked Napoleon's soldiers in a chaotic and violent clash. In retaliation and as a show of force, the French responded the next day by executing numerous Spanish citizens. • depicted the anonymous murderous wall of French soldiers ruthlessly executing the unarmed and terrified Spanish peasants. The artist encouraged empathy for the Spanish by portraying horrified expressions and anguish on their faces, endowing them with a humanity absent from the firing squad. Moreover, the peasant about to be shot throws his arms out in a cruciform gesture reminiscent of Christ's position on the cross. • Goya enhanced the emotional drama of this tragic event through his stark use of darks and lights and by extending the time frame depicted. • captured the specific moment when one man is about to be executed, he also depicted the bloody bodies of others already lying dead on the ground. Still others have been herded together to be shot in a few moments. Its depiction of the resistance and patriotism of the Spanish people notwithstanding • looseness of brushstrokes has a sense of violence to it • latern is intended to save lifes but his one takes lives • tight triangle • shifted from artists painting for their patrons (giving patrons point of view ot the public) to artist expressing their own ideological point of view in their own paintings -> going to modernity

Grande Odalisque

ROMANTICISM Jean-Auguste-Dominique Ingres, 1814.Oiloncanvas • mannerist proportion; venus of urbino • diagonal composition • The reclining female nude was a Greco-Roman subject, but Ingres converted his Neoclassical figure into an odalisque in a Turkish harem, consistent with the new Romantic taste for the exotic. • Orientalism: tendency to see as alluring other cultures (exotic and erotic) • ngres's subject, the re- clining nude figure, followed the tradition of Giorgione and Titian. The work also shows Ingres's admiration for Raphael in his borrowing of that master's type of female head • The figure's languid pose, small head and elongated limbs, and the generally cool color scheme reveal his debt to Parmigianino and the Italian Mannerists • This rather strange mixture of artistic allegiances—the combination of precise classical form and Romantic themes—prompted confusion. Critics initially saw as a rebel in form and content

The Slave Ship

ROMANTICISM Joseph Mallord William Turner, Typhoon Coming On), 1840. Oil on canvas, - The essence of Turner's innovative style is the emotive power of color. - He released color from any defining outlines to express both the forces of nature and the painter's emotional response to them. - The incident involved the captain of a slave ship who, on realizing that his insurance company would reimburse him only for slaves lost at sea but not for those who died en route, ordered the sick and dying slaves thrown overboard. - The slave ship moves into the distance; The relative scale of the minuscule human forms compared with the vast sea and overarching sky reinforces immense power of nature over humans. - His discovery of the aesthetic and emotive power of pure color were important steps to- ward 20th-century abstract art, which dispensed with shape and form altogether - Blue = implication of hope for the future

Ancient of Days

ROMANTICISM William Blake, frontis piece of Europe: A Prophecy, 1794. Metal relief etching, hand colored - ideal classical anatomy merges with the inner dark dreams of Romanticism. - against planned religion - if there is rules then creativity is restraint` - Blake greatly admired ancient Greek art because it exemplified for him the mathematical and thus the eternal - Blake derived the inspiration for many of his paintings and poems from his dreams; explore spiritual side of human nature - For Blake, this figure united the concept of the Creator with that of wisdom as a part of God. - The speaker in that Bible chapter is Wisdom, who tells the reader how she was with the Lord through all the time of the Creation Energy fills Blake's composition. The Almighty leans forward from a fiery orb, peering toward earth and unleashing power through his outstretched left arm into twin rays of light. - These emerge between his spread fingers as might an architect's measuring instrument. - juxtaposed it with a quotation ("When he set a compass upon the face of the deep") from Proverbs 8:27 in the Old Testament.

The Orrery

THE ENLIGHTENMENT Joseph Wright of Derby, ca. 1763-1765. Oil on canvas, England • Wright specialized in painting dramatic candlelit and moonlit scenes. • He loved subjects such as the orrery demonstration - In the painting, a scholar demonstrates a mechanical model of the solar system called an orrery, in which each planet (represented by a metal orb) revolves around the sun (a lamp) at the correct relative velocity. • Light from the lamp pours forth from in front of the boy silhouetted in the foreground to create dramatic light and shadows that heighten the drama of the scene. • increase drama by using circular composition echoing the device's orbital design. • Wright's celebration of the inventions of the Industrial Revolution; wonders of science mesmerize everyone present. • Wright's realism appealed to the great industrialists of his day. To them, Wright's elevation of the theories and inventions of the Industrial Revolution to the plane of history painting was exciting and appropriately in tune with the future.