Exam 1
FRIEDRICH, German, Abbey in the Oak Forest, 1809-10 Romanticism
(Above) go together. Monks, funeral - carrying coffin into ruins, rituals about to be preformed. Depth - Dawn? Dusk? vagueness of the sky presence. Past and Present. Gothic ruin. Winter. Trees stripped. Abandon. Used for cemetery. Assumption - death of fellow monk. Nature has reclaimed its space - overtaking. Lifeless plants. Politically - long ago was concurred by napoleon. French dominance over France. Dead Germany. Oak tree symbol of Germany. Hope for the rebirth of Germany. Germany being smothered by french troops. Looking back to medieval and gothic past, reaction to classical dominance by Napoleon.
FRIEDRICH, German, Monk by the Sea, 1809-10 Romanticism
(below) go together, hung side by side. Looking into the mind of god, he created landscape. Low horizon (both). Small figures (both) Saphage figures - shows us the vastness. Monk - alone, contemplating. Minimal landscape - clarity = infinity. The sea that goes on forever. Calm. Broad look feeling the size. For its lack of concern with creating the illusion of depth, The Monk by the Sea was Friedrich's most radical composition. The broad expanses of sea and sky emphasize the meager figure of the monk, standing before the vastness of nature and the presence of God.
Anne-Louis GIRODET de Roussy-Trioson, French Sleep of Endymion, 1791 Neo-Classicism
A new era. DAVIDs student. Literature. A new found love of the gods. Relaxed and recumbent male with female like curves. alternative representation of male body. Greek ideal of physical beauty. Moon falls in love with his beauty. Lighter side about love and erotics - anti-DAVID. Nature all around him. atmosphere. No line. Body is caressed by the rays of the moon. The sensuous, erotic character of this painting differed from the virtuous, edifying nature of DAVIDs work. Dynamic composition - two crossing diagonal lines.
Jean BROC, French Death of Hyacinth, 1801 Neo-Classicism
Art embracing the literature in the classic. God fallen in love with a human. Bisexual god. Androgynous bodies of two figures are curved and soft - nothing in common with DAVIDs Horatio brothers. Embrace - sensuality. Is dreamlike quality opposite of DAVIDs clarity. In front of them is the discus which caused Hyacinth's death, which was thrown by Apollo himself.[1] The discus had been blown off course by the west wind Zephyrus, who was also in love with young Hyacinthos and was jealous of Apollo.
Francisco de GOYA, Spain Disasters of War: Great Heroism! With Dead Men!, 1810-1820 Romanticism
Artist obsession with the brutality of war. Three men castrated and body part hung from trees. French or Spanish? Emphasis on horror of war. he body decays - fragile bodies. title - mocking. great heroism - French -supposed to be intellectual, look how they treat another human being.
Jacques-Louis DAVID, French The Intervention of the Sabine Women, 1799 Neo-Classicism
Classical nudity, they are so perfect that they are not human. Usually in sculpture but not paintings at the time. The painting was considered indecent because of the male nudity. Marks a new turn on the male dude body. Had an admission fee to see it, selected towards wealthy people. Inspired the new fashion for empire waist line dresses.
Francisco de GOYA, Spain Clothed Maja, 1798-1805 Romanticism
Clothed. looser sheerness fabric shadow for pubic hair. The painting carries many of the traditions of depictions of the nude in Spanish art, but marks a clear break in significant ways, especially in her bold gaze.
William BLAKE, English The Tyger from Songs of Innocence, 1789 Romanticism
Contains profound meditations on good and evil - suggested not only in the poetry but also in the illustrations. It is drawn with dark colors. "The Tyger" is the sister poem to "The Lamb" (from "Songs of Innocence"), a reflection of similar ideas from a different perspective (Blake's concept of "contraries"), "The Tyger" presents a duality between aesthetic beauty and primal ferocity, and Blake believes that to see one, the hand that created "The Lamb", one must also see the other, the hand that created "The Tyger": "Did he who made the Lamb make thee?" The struggle of humanity is based on the concept of the contrary nature of things, Blake believed, and thus, to achieve truth one must see the contraries in innocence and experience. Experience is not the face of evil but rather another facet of that which created us.
Jacques-Louis DAVID, French Coronation of Napoleon, 1805-1808 Neo-Classicism
Crowning his wife because crowning yourself is a power grab. His mother was not actually at the coronation. because she did not like Napoleons wife who was not a virgin but a widow. It took four years to make this picture and DAVID made accurate sketches of everyone there after the real coronation.
INGRES, French The Grande Odalisque, 1814 Academic Art
DAVIDs pose. Caroline, living woman, not allegory. When and why - 1814 - position herself in relation to brother - Napoleon. She supports her husband. Pulling away from NB. Articulate separation from him. Napoleon living in exile. Moment of radical break. Exhibited in 1819 - critics didn't notice oriental theme. Odalisque - private meant for wealthy men. History painting hung as. People were alarmed. Artist says it a 10yr roman girl. Ew. Strange - female nude - no narrative - Distortion of anatomy = Back and arm strange. Knee comes out of nowhere. Body can't exist in reality. Face - symmetry. Perfection of the flesh - DAVID. Turban, ostrich face, hooka, orient - to be possessed. Perfection (classical aesthetic) mixed with distortion.
Francisco de GOYA, Spain Los Caprichos: Out Hunting for Teeth, 1799 Romanticism
During the war their were hanged people in the street. Return of superstition. enlightenment. witches would harvest the teeth of dead men. magic woman - grossed out tooth hold power witchcraft Spanish Inquisition looking at him pulled off shelf
FRIEDRICH, German, Wanderer Above the Sea of Fog, 1817-1818 Romanticism
Figure from behind - Ruben figure. Here for conduit for vision, stand in for us, also blocks our vision. Right where we want to be looking. Mastery over landscape, yet he is still small and insignificance. Wanderer - hiker = purpose. German philosopher died around this time - human mind at the center of our universe - only through our own experience. You cannot imagine the landscape without figure. We cannot experience/think about landscape without human perspective. Its about experience and thought.
Jean-Baptiste GREUZE, French Filial Piety (The Paralytic), 1761 Neo-Classicism
GREUZE is known as a 'master on melodrama'. This painting is depicting a serious moment about familial obligations. The figures demonstrate their love for the old man. Depicting how society should act to their elders, the artist is speaking to the people. It is a Genre painting with high moral aspirations. Focused on contemporary middle-class life and its issues. Made during the time of the enlightenment - intellectual movement emphasizing reason, individualism, and skepticism.
Francisco de GOYA, Spain Black Paintings: Saturn Devouring His Children, 1820-23 Romanticism
God looks starved - aged. sexual appetite for flesh. devouring of adult body. figure Spain itself. war itself. statement of human condition? In dining room. Grotesque - Spanish version. Myth of Roman god Saturn Told a child will dethrone him. He eats them. Face distorted with hatred and fear Mankind is ultimately self-destructive. To kill ones offspring is to kill ones future. Various interpretations of the meaning of the picture have been offered: the conflict between youth and old age, time as the devourer of all things, the wrath of God and an allegory of the situation in Spain, where the fatherland consumed its own children in wars and revolution.
Jean Auguste Dominique INGRES, French Portrait of Napoleon on his Imperial Throne, 1806 Neo-Classicism
Has a middle ages feel like Charlimane because of his septar, staff, sword. Criticism from audience because the robes were swallowing him. It was not commissioned by the emperor. In the Salon. Halo around his head. Ties to the god of Jupiters pose which is a classical god. INGRES suggests NB is a godlike figure. Shows him as a ruler and judge.
Eugène DELACROIX, French The Women of Algiers, 1834 Romanticism
He goes to a herim. Muslim. Against law for christian men to enter herim. Herim - from other Mediterranean. Possibly used Jewish models to look like muslim women. Narcoticised environment. Live in perpetual laziness, servant show hierarchy. Hot house - close together, smell, silks, luxury - sensual. Side by gender - male viewer. In Salon - Algerian setting. 1834 - France makes Algeria french. Sets an analogy. Political is sexual power. Waiting for rival of strong presence. Waiting for France to take. Bought by politician.
TURNER, Snow Storm: Hannibal Crossing the Alps, 1812 Romanticism
Historical landscape. Hannibal's army crossing the alps to invade Italy. Inspired by turner's trip to Switzerland and. Napoleon invading Italy. Poem. New Hannibal is NB. Moment of darkness takes over the sky. People trying to escape Hannibal's army. Swirl - the threat pointing where we need to focus. It symbolizes that even Hannibal will die because he is small. In a time when Napoleon is losing power. Ultimately he will die too. Hannibal taking on history - Idea of dynamic forces that we cannot see. Hannibal - historical. Reflection on napoleon. Current - contemporary Napoleonic Wars between Britain and France - through 1815.
Théodore GÉRICAULT, French Charging Chasseur, 1812 Romanticism
Illustrated the change in France. Represents a cavalry officer on a rearing horse ready to attack. Represents the horse diagonally from the rear in a tour-de-force. Jumping away from attacker. A powerful sense of space different from the more relief like effect of DAVIDs paintings. Dramatic foreshortening effect. Has an effect similar to baroque paintings. Freedom of brushwork (not very smooth like DAVIDs). Was exhibited two years before Paris fell to allied troops. portraying a mounted Napoleonic cavalry officer who is ready to attack. The painting was Géricault's first exhibited work and it is an example of Géricault's attempt to condense both movement and structure in its art. non-classical characteristics of the picture include its dramatic diagonal arrangement and vigorous paint handling.
Jacques-Louis DAVID, French Madame Récamier, 1800 Neo-Classicism
Known as a beautiful smart woman in real life. DAVID goes out of his way to not sexualize her. The pose matter. Daybed portrait. It is an unfinished work of art (background). Another portrait of her was made by DAVIDs student that sexualized her. Her dress is classical.
Jacques-Louis DAVID, French The Lictors Returning to Brutus the Bodies of his Sons for Burial, 1789 Neo-Classicism
Inviting the viewer to think about mans conflicting loyalties to family and society. Brutus killed his two sons because they were plotting against him. DAVID dresses the moral question in Brutus. It shows the interior of his home and his sons bodies being brought in. Brutus is turning his back to the entrance. His gesture indicates tension. His wife and daughters are devastated. Light is important in this painting because it adds a dramatic impact. Brutus is dark which is about his mood and inner stiff. The grieving women are strongly lit. The allegorical statue of Rome and the sewing basket contrast each other. They are the representation of family and nation, love and duty. Critics think this work is "sublime" and focus on the praising the chiaroscuro effects.
Antoine-Jean GROS, French Napoleon at the Pest House at Jaffa, 1804 Neo-Classicism
Israel 1798 during his campaign in the middle east. Plague. Makes himself look like a christ figure. It is propaganda and it never actually happened. It was rumored he poisoned the men so they could leave. No one knows what actually happened in history when it comes to Napoleon. Makes himself look compassionate.
Francisco de GOYA, Spain Family of Carlos IV, 1800-1801 Romanticism
Last Goya painting of royalty. Center is the queen. King, Queen, Heir. Heir holding hand of woman who's turned away. Soon to be betrothed. Didn't happen. Queen - not popular woman. Not very pretty - no teeth. Wears the pants - bosses king around. Family portrait. Emblems of distinction. Doughy faces - mushy. Not very regal. The children have the pure face. Light of this painting. Exposed the rifts of the court.
Théodore GÉRICAULT, French Pity the Sorrows of a Poor Old Man, 1821 Romanticism
Lithography because it is cheap and quick to make and sell. It is set in London - during industrial bustle - created poverty at the time. It has a grimy texture to it of smoke, smog. The poor man is in front of a bakery. Shows the overlooked people in society.
Eugène DELACROIX, French Massacre of Chios, 1824 Romanticism
Makes you have sympathy for the islanders. There is energy and movement in the painting. No rational of space - DLELACROIX style. It is multiple moments in one. It was a subject that was in the newspapers at the time. Chios is supposed to be the birthplace of western civilization and the birthplace of Homer being decimated by the Turks. It is highlighted what will happen to the women. Shows the torment of women. Heroism being massacured.
Jacques-Louis DAVID, French Death of Marat, 1793 Neo-Classicism
Marat was a Jacobin journalist who was murdered in his bathtub. Was killed by a woman. Had a skin disease, he wrote in the tub. He was stabbed in the heart. DAVID represents the national hero in an odd way. Not like other memorial images. He is transforming the ridiculous into the sublime. Vertical canvas so Marat's body stand out dramatically. Minimized the gore. Face expresses serenity and dignity. Invites the viewer to compare Marat's death with christ (Michelangelo's).
Henry FUSELI, Swiss Thor Battering the Mitgard Serpent, 1790 Romanticism
Masculine. Norse mythology. Northern example. Super heroic imagery - not a well known subject at the time. Forces thinking. Political change - made for revolution. God and human figure. The serpent looks falic. The sexual body is a metaphor.
Francisco de GOYA, Spain Naked Maja, 1798-1805 Romanticism
Modern nude. Trace of pubic hair. Sexual - taboo - human. Personality. Confident. Free and open with sexuality refine public room covered naked one reveal naked when women leave the room see naked figure behind. sexual elements. Intimacy - he knows the figure underneath. to hang in his private collection in a separate cabinet reserved for nude paintings. The painting is renowned for the straightforward and unashamed gaze of the model towards the viewer. It has also been cited as among the earliest Western artwork to depict a nude woman's pubic hair without obvious negative connotations (such as in images of prostitutes).
John CONSTABLE, English Dedham Vale, 1802 Romanticism
Picturesque methods and ways of painting. Repoussoir - circular composition. Loose brush stroke. Constable painted everything within four square miles of his home. Has "constable snow" which are white flex. Dedham Vale supports a viable and diverse agriculture with a mix of farm sizes. The majority of the land in the valley is still farmed despite development pressures. Napoleon made the french people trapped in France so they could only travel in France.
Jean-Auguste-Dominique INGRES, French Comtesse d'Haussonville, 1845 Academic Art
Portrait. Women gave a greater challenge in portraiture. Frances upperclass, small smile, calm, known flirt, liberal, independent, wild, untamed. moment frozen in time. Just retuned home - drape. Props to create a world. Cards visitors would leave - curved corner (voicemail). Anatomy - arms large to body. Angle of the reflection off off (can see finger). Mirrors symbolize the truth - analogy to painting or artist -Ingres his new view - updated idealized beauty. Done after the invention of photography - allows painting to do something else. Inserting his control over subject mater - his rules - compositional outcome.
Jean Auguste Dominique INGRES, French Apotheosis of Homer, 1827 Neo-Classicism
Raise on high - divine. Allegory. Homer at the center. A lot of well known individuals from different point in time come together. Tradition of disegno - build up, countor line, idealized beauty.
Francisco de GOYA, Spain Los Caprichos: The Sleep of Reason Produces Monsters, 1799 Romanticism
Set of prints. Moral function human habits - weakness. Looseness of his hand. Romanticism- come from his own mind. Creating poetry through form. title - moto - take home moral. Allegorical self. Portrait of Goya. Turning point from genre scene to dark supernatural. Monsters - symbols of folly - ignorance. Rational mind asleep. Opposite of enlightenment. Culture of fear. Interpreted in opposite way - attacked by irrational Irrational = creativity owl - wisdom cat - sees in the dark Balance. quote - desk - tomb like table marder of reason.
James BARRY, Irish King Lear Weeping of the Body of Cordelia, 1786-88 Romanticism
Shakespeare plays. Medieval - Sublime - Nationalism - looking to the greats. Climactic moment. Connection to King George III - madness. His despair is echoed in the nature of the thunderstorms. Stonehenge would have been new at the time of the tale.
Jean Auguste Dominique INGRES, French Oedipus and the Sphinx, 1808 Neo-Classicism
Shows Oedipus is a battle of wits with a sphinx. The narrative focuses on the mind while the image focuses on the male nude body. Freudian - subconscious repression. Classical story. The swollen foot in the corner = Oedipus = name. Idea of line elevates in nature. Outline = essence = ideal.
Eugène DELACROIX, French Liberty Leading the People, (July 28, 1830), 1830 Romanticism
Shows a contemporary event with an allegorical figure. Forcing the abdication of Charles 10th. The boy symbolizes a youthful revolt. His hat is a symbol of rebellion. He is rousing the troops. The dead figure is alluding to the french troops killing people in their beds and dragging them into the street. The other dead body - they are paired opposites. Shows all classes coming together. The message is that they will rise together with unity. Liberty is evoking the revolution. Women helped in the revolution. Her underarm hair suggests she's not allegorical. It is a modern subject. Romantic because they sky is on their side "nature arguing for freedom". Not perceived well by salon.
Jacques-Louis DAVID, French Death of Socrates, 1787 Neo-Classicism
Socrates being condemned to death by the athenian government. David made Socrates better looking and younger than he actually was to represent his moral strength. Shows one good pupil listening putting aside emotion. The focal point is created by the light in a moment where so much is going on. He is making his famous argument about souls immortality (gesture pointing upwards). Contrast b/w him and students represent philosopher belief about duality of mind and body.
Eugène DELACROIX, French The Barque of Dante (Dante and Virgil), 1822 Romanticism
The divine comedy. They are traveling through hell. Bodies of the damned treeing to wreck their boat. Focus on the bodies of the damned and they are detailed. Romantic because it is ugly and uncomfortable. one of the works signalling a shift in the character of narrative painting from Neo-Classicism towards the Romantic movement. smoke to the rear and the fierce movement of the garment indicate a strong wind.
Jacques-Louis DAVID, French Oath of the Horatii, 1784 Neo-Classicism
The image is about triplets fighting their triplet cousins in a battle to the death. This is the moment where they are swearing to win or die. It is a classical (myth) story. It is about civic virtue. One brother wins. Rome is saved. The story behind this is the brother kills the sister for crying over her husbands death and he kills her for crying. It is a combination of classicism and modern scientific because the rendering of the veins transcend reality. Time - demand for art that could improve public morality and strengthen the nation. minimum action and maximum drama. Contrast between the men and women exemplify the two contrasts of war. glory and triumph / loss and despair. To the nation or to the family.
Eugène DELACROIX, French The Death of Sardanapalus, 1827 Romanticism
There is an stability of space thats irrational. The brooding king highlights power and corruption. It is supposed to give the viewer an emotional impact. Movement in the painting. Everything is being destroyed before him. Looseness to the stroke. Violence and eroticism. White women being controlled by colored men. Moment without blood but the red symbolizes blood. Reminds us of the raft of the medusa. This scene is chaotic and violent, as showcased by the movement, weapons, and the colors used. the antithesis of neoclassical traditions, which favored subdued colors, rigid space, and an overall moral subject matter (not neoclassical).
Jacques-Louis DAVID, French Bonaparte Crossing the Alps at Saint Bernard Pass, 1800 Neo-Classicism
This is an image connecting to the past. Overcoming natural forces. Saying he is a great general. Inflation of scale because the horse is small. Asserting his image.
Jean-Léon GÉRÔME, French The Slave Market, 1867 Academic Art
This is truthful representation by the way it was made. Genre painting. Come from North Africa. Fascinating because the life is unknown. Light skin woman as a slave. Like livestock, sexualized. Sets a value - she's available. Way you don't have to be respectful to her. Return to the greek (white) slave you want to save. Acceptability of nude body.
John CONSTABLE, English Dedham Vale, 1828 Romanticism
This one is over grown and people have messed with the land. Their are many more farms then in 1802.
TURNER, English Rain, Steam and Speed--The Great Western Railway, 1844 Romanticism
Turner - proponent of tech. Embraces industry. Tech is a metaphor for Britain. Iron bridge vs stone bridge. Travel is so fast now - excitement. Feeling of rain - diagonal force. People on shore and in a boat. People would love to wave to trains - excitement. Train - red - fire. Hair running - speed - rabbit will not win this race. Loose strokes - thickness - forces coming out textually. Plow in a traditional way. Left = new way, future. Right = old ways.
Théodore GÉRICAULT, French The Raft of the Medusa, 1819 Romanticism
Well know story at the time. Was a real life event. The eye is drawn diagonally (light -> dark). Contemporary event. is centered on the male nude. Shows a moment before being saved and shows the desperation of the people. Turned journalism into art. Is between realism and idealism because its what happened but didn't show the mutilated starving bodies.
Théodore GÉRICAULT, French Man Suffering from Delusions of Military Rank, c.1823 Romanticism
When he made portraits of the inside people. Thought that their facial expressions showed their madness or inner mind. A spike in the interest in psychology. reading the internal self. Possibly an allegory? because military decline of the time. Romantic because of the madness and irrational and unconfined.
Henry FUSELI, Swiss The Nightmare, 1781 Romanticism
Woman having a bad dream - uncomfortable position. Mara - creature that causes nightmares on her chest. Horse symbolizing nightmare. Sublime terror - repulses and fascinates the viewer. Dream Psychology - more studied during this time. Link between dreaming and sexuality. Symbol of male labido. Dreaming virgin scared of sexuality. Horse - symbol of the act of sex. Representing the dream from the outside.
Théodore GÉRICAULT, French Wounded Cuirassier Leaving The Field of Battle, 1814 Romanticism
a single anonymous soldier descending a slope with his horse. different view of battle than the generally done views of entire battles or of famous generals bravely fighting. On display just a few months after Napoleon's fall from power, this life-size painting symbolized the French defeats and Napoleon's failure. no visible wounds on the soldier.
Francisco de GOYA, Spain Disasters of War: This is The Truth, 1810-1820 Romanticism
final print in serious. what Spain will be when French leaves. projects over the other prints. truth of the future. new direction of Spain. mother figure. food breasts - nurturing. image of plenty and bounty
John CONSTABLE, English The Hay Wain, 1821 Romanticism
large scale pastoral landscape scene. constable family lands - river. evokes halcyon days of summer. everything moves at a leisurely pace. makes city people long for peace and quiet in country life. time of rural unrest. riots - not truthful representation. nostalgic reconstruction of idyllic past. composed of paintings inside his studio. Was made to show to city people. Dog point our eye in direction we need to see. We look at landscapes from bottom to top. He is recording nature faithfully. The painting reflects nature. Luddites - fear/distrust of new technology. Agrarian Scene.
TURNER, English Slave Ship (Slavers Throwing Overboard the Dead and Dying - Typhoon Coming On), 1840 Romanticism
recent British event in history. slavery abolished in Britain. early 1780s. comment on all man's inhumanity against man for the sake of profit. red hints at blood. black - disaster. brush strokes - nature of event. represent - pictorial freedom happening. Reformist political stance. Triangle trade. Britain "above the slave trade." Turner saying we are not opposing the institutions that uphold slavery. Turner pointing out Britons involvement. Take out insurance slaves - kill them (ill or troublesome) to get collect insurance. Can see the metal chains. Fish eating them. Sympathize with the slaves against the cruelty. Thinking about people as money. The ship is going into darkness - Sublime. Individuals think they have power but nature is stronger.
Francisco de GOYA, Spain The Third of May 1808, 1814 Romanticism
rounded up men. central figure. monk praying in retaliation. troops very close for gun shooting. cruelty - intensity. happen throughout the night. peasants - hundreds. course- echoing the gesture of central figure. central - light, terror - severe emotion. we empathies with him. Jesus like quality - marks on hands. these are the innocent. close proximity of the monk. shadow - like the Madonna - cradling something. vague suggestion. another plain of existence. she too mourns. looseness - radical. much before our French artists are connection to other romantic artists. rebellion - revolution. even if they will die. collective stand up - only to be mowed down.
William BLAKE, English Albion Rose (Glad Day), 1794 Romanticism
the mythical story of the founding of Britain, The name derives from the ancient and mythological name of Britain, Albion. The poem tells about a young boy who, using reason, realizes that humans are selfish, and that "naught loves another as itself".
