Rococo and NeoClassicism

Cornelia Presenting Her Children as Her Treasures

Christina Nguyen

The Apotheosis of Pisani Family

Christina Nguyen

Name: Grande Odalisque Date: 1814 Period/Style: Romanticism Artist: Jean-Auguste-Dominique Patron: Unknown Location: Louvre, Paris Material/Technique: Oil on canvas, dark background, attention is put on the naked girl and the way the drapery folds, mannerist cool color scheme, combination of classical form and romantic theme, Function: Brings exotic taste into art, resembles much of the neoclassicism period, shows the ideal form and careful compositional structure, shows admiration for rapheals work of the female head, figure ha a languid pose, her proportions aren't realistic ( small head, long limbs), Context: Showing the change in time and how movements are starting from certain type of portraits. Descriptive terms: deviated subject for painting, criticized, Ideas: Women shown in a different, erotic, exotic way

Daywa Hashemi

Name: The Swing Date: 1766 Period/Style: Rococo Artist: Fragonard Patron: The lover of the women portrayed in the bottom left of the canvas Location: The wallace collection, London Material/Technique: Oil on canvas, Watteau landscape setting type, resemblance of a stage scene from a comic opera, glowing pastel colors, soft light conveying themes sensuality, decorative, intriguing Function: Showing the common people who don't care for much, enjoying life and having no worries. Context: Old bishop stands on the right pushing the patrons lover. Patron is shown looking up her skirt on the bottom left, lovers foot is flinging toward cupid in a flirtatious way. Very graceful, Dark landscape with light coming through illuminating certain parts of canvas Descriptive terms: Themes sensuality, intimacy Ideas: Showing cupid, a lover, very flirty picture, dark pattern, flowy dress matching the flows and curves of the flowers.

Daywa Hashemi

Name: La Madeleine Date: 1807-1842 Artist/Architect: Pierre Vignon Period/style: French Neoclassicism Original location: Paris, France Material: marble Technique: used certain features from Byzantine and Romanesque churches Function: "temple of glory"; for Napoleon's armies and a monument to the newly won glories of France Context/relevant ideas relating to artwork: includes a high podium and broad flight of stairs leading to a deep porch in the front; those architectural features coupled with the Corinthian columns, recall Roman imperial temples; this makes La Madeleine a symbolic link between Napoleonic and Roman empires; building's classical shell surrounds an interior covered by a sequence of three domes, such as churches from the Byzantine and Romanesque periods Descriptive terms: grandiose, pagan Rome, powerful Meaning of work/message of work: Begun as church in 1807 (at the height of Napoleon's power), converted to a church after his defeat and long before its completion in 1842

Grace Park

Name: Wieskirche Date: ca. 1754 Period/style: Rococo Original location: Bavaria, Germany Material: interior: frescoes and stucco work Technique: fresco and stucco Function: a pilgrimage site; was later expanded because it was too small to house the pilgrims Context/ relevant ideas relating to work of art: decorated with the traditions of the Wessobrunner School; wanted to make the supernatural visible and sculpture and murals were combined in order to be able to see the divine in visible form; 1985-1991 it went through extensive restoration Descriptive terms: reverential, light, graceful Meaning of work/ message of artwork: a place of reverence for the Scourged Savior

Grace Park

Name: The Pantheon (Sainte-Genevieve) Date: 1755-1792 Period/Style: Neoclassicism Artist: Jacques-Germain Soufflot Patron: unknown Location: Paris, France Material/Technique: masonry, cut stone Function: Parisian church of Sainte-Genevieve; testament to the revived interest in Greek and Roman cultures. Context: Although the whole effect of the structure is Roman, the structural principles employed are essentially Gothic. This conjunction of Gothic and classical design has a structural integration that laid the foundation for a 19th century admiration of Gothic engineering. Descriptive terms: Roman grandeur, walls are severely blank, repeated garland motif, colonnaded dome, Greek-cross plan, freestanding Corinthian columns Ideas: Architects began to turn away from the theatricality and ostentation of Baroque and Rococo design and embraced a more streamlined classicism.

Jaelyn Ordonio

Name: Vierzehnheiligen Date: 1743-1772 Period/Style: Rococo Artist: Balthasar Neumann Patron: unknown Location: Stafflestein, Germany Material/Technique: masonry, cut stone Function: pilgrimage church of Vierzehnheiligen (Fourteen Saints) Context: The work of Italians Borromini and Guarini strongly influenced the ecclesiastical architecture of southern Germany and Austria. It was one of the most ingenious pieces of architectural design ever conceived and dissolved the boundaries of arts in a visionary unity. It achieved a quite different interior effect within the essential outlines of the traditional Gothic church. Descriptive terms: numerous large windows, richly decorated, continuous walls and motion, even, bright, cheerful light, complex, tangent ovals and circles, undulating space, fluidity of line, the floating and hovering surfaces, interwoven spaces. Ideas: The pilgrimage church sanctuary exhibits a vivacious play of architectural fantasy that retains Italian Baroque's dynamic energy but banishes all its dramatic qualities.

Jaelyn Ordonio

N: Les Charmes de la Vie (The Music Party) D: 1718 P/S: The Art of Enlightenment, Rococo A: Jean-Antoine Watteau Material: Oil on canvas Technique: intuitive mastery of it, melding red, black, and white to great painterly and coloristic effect Function: Between dogs and children at play a pleasant conversation unfolds while instruments are tuned. The park in the background is an invitation to stroll. Antoine Watteau's rendering of one of the more popular "innocent pleasures" of the age. Context: Watteau believed that feelings are the most natural thing to man, doesn't value science so the painting is focused solely on the feeling that music brings

Jordan Cassell

N: Madame Récamier D: 1800 P/S: The Art of Enlightenment, Rococo A: Jacques-Louis David Material: Oil on canvas Technique: curved lines, relax figure Function: portrait Context: noble simplicity, expressed by the simple dress and the Spartan decoration, is also eloquent in the open face. This might well appear more to the modern viewer DT: Jacques-Louis David and one of his numerous pupils. David started the portrait of Madame Récamier in 1800 which was never finished. (However, incidentally, this portrait helped a contemporary item of furniture to become known under her name.) When the master learned that the lady had also commissioned his pupil Gérard to paint her, he is said to have refused any further service.

Jordan Cassell

...Name: The Death of Socrates Date: 1787 Period/Style: Neoclassical Artist: Jacques-Louis David Patron: Controversial, possibly the younger of Trudaine de Montigny's two sons Location: Material/Technique: Oil on canvas Function: Details the story of Socrates' execution, as told by Plato, for criticizing Critias, the tyrant of Athens. Context: Socrates faces death calmly and uses his death as a final lesson for his pupils rather than flee. Descriptive terms: Vibrant shades of color towards center, more muted on edges; very serious theme; lack of extremely vivid colors; subdued background; individuals appear to be highly realistic and almost flawless. Ideas: The cell represents the outer word, which is where darkness and unfairness predominate; Socrates' beard symbolizes his wisdom and power. Socrates is shown as being extremely dedicated to his principals and philosophical teaching and was willing to give up his life for his ideals. Perhaps David was trying to tell his personal views on the personal dedication to ideological views that a person should have.

Juan Sanchez

Name: Assumption of the Virgin Date: 1723 Period/Style: Late Baroque Artist: Egid Quirin Asam Patron: unknown Location: monastery church at Rohr, Germany Material/Technique: marble, bronze and stucco Function: Just like Bernini's Ecstasy of Saint Teresa, the Assumption of the Virgin was made as a spiritual and holy scene that is meant to be private and not viewed by everyone Context: The Virgin is lifted up by angels and the apostles below them witness the vacant space in her tomb. The setting is ornamented and adorned like a theater, the scene being a pure opera itself. The sculpture dissolves into painting, theater, and the mass seems to be weightless from the soaring and flying. Asam used sculpture to disguise substance and function, and weight and tactility to set forth a mystical illusion. Descriptive terms: diaphanous, spiritual, holy, elegant Ideas: Asam wanted his sculpture to be like an opera so the people who view the Assumption of the Virgin feel the composition as both a holy illusion and as dramatic theater-play.

Kristina Nguyen

Name: Portrait of Jean-Baptiste Belley Date: 1797 Period/Style: NeoClassicism Artist: Anne-Louis Girodet de Roussy-Trioson Patron: Jean-Baptiste Belley(?) Location: Trianon, Versailles Material/Technique: oil on canvas Function: evokes the tensions of the NeoClassicism period Context: Jean-Baptiste Belley, a former member of the National Convention and the Council of Five Hundred of France, is depicted standing in the uniform of a Convention member. He rests on the bust of Raynal, a supporter of the abolition of slavery. The portrait of Jean-Baptiste Belley, an African-American citizen, is painted in a European aristocratic or royal style, asserting the principle of equality. Descriptive terms: anti-slavery, abolition, freedom movement, equality, European aristocratic style Ideas: The ideas of the Portrait of Jean-Baptiste Belley is a representation how although some European people allowed slavery and disliked the intent of its abolition, there are others who support anti-slavery. The portrait of Jean-Baptiste Belley represents a call for equality.

Kristina Nguyen

Name: Self-Portrait With Two Pupils Date: 1749-1803 Period/Style: Neo Classism Artist: Adélaïde Labille-Guiard Patron: Unknown Location: Unknown Material/Technique: oil on canvas Function: propaganda piece; was believed to argue for more women in the French Académie Royale, where Guiard was admitted to along with three other women. Context: the painting is very pro-feminist, as seen through the presence of her pupils and the statue of the Vestal Virgin in the background. Descriptive terms: feminist, very detailed, realistic, light and dark Ideas: women can be amazing artists as well, and they should be given the opportunity.

Natalie Montoya

Name: The Turkish Bath Date: 1862 Period/Style: Neo Classism Artist: Ingres Patron: Unknown Location: Unknown Material/Technique: oil on wood Function: depicts naked women lounging about in a Turkish Bath. Context: the painting was originally rectangular before it was changed to its tondo(circular) form. Despite its nudity, it has not provoked scandal because it has been kept in private collections for the most part, but now it rests in the Louvre. Descriptive terms: leisurely, smooth, light and dark Ideas: voluptuous female figures=attractive

Natalie Montoya

Name:Pauline Burghese as Venus by Canova Date:1805-1808 Artist/Architect:Antonio Canova Period/Style:neo-Classical Original Location:Galleria Borghese, Rome Material:White Marble Technique:Subtractive sculpture Function:it was commissioned by Pauline Bonaparte's husband Camillo Borghese and made in Rome from 1805 to 1808, after the subject's marriage into the Borghese family. Context/relevant ideas relating to the artwork: It is a matter of debate as to whether she actually posed naked for the sculpture, since only the head is a realistic (if slightly idealised) portrait, whilst the nude torso is a neo-classically idealised female form. When asked how she could pose for the sculptor wearing so little, she reputedly replied that there was a stove in the studio that kept her warm, though this may be apochryphal or a quip deliberately designed by her to stir up scandal. Meaning/message if the work:She holds an apple in her hand evoking Aphrodite's victory in the Judgement of Paris. The room in which the sculpture is exhibited at the Galleria Borghese also has a ceiling painting portraying the judgement, painted by Domenico de Angelis in 1779 and inspired by a famous relief on the façade of the Villa Medici.

Nelson Nguyen

Name: Hotel de Soubize (Salon de la Princesse) Date:1737 Artist/Architect: Germain Boffrand Period/Style: French Rococo Location: Paris, France Material/ Technique: rocaille shells, walls melt into vault, emphasis on slight curves Function: town house room Context/relevant ideas relating to artwork: irregular painted shapes, surmounted by sculpture and separated by the rocaille shells, replace the hall's cornices. Paintings, architecture, and sculpture combine into a single ensemble. French Rococo interiors were designed as lively total works of art with elegant furniture, enchanting small sculptures, ornamented mirror frames, delightful ceramics and silver, a few easel paintings, and decorative tapestry complementing the architecture, relief sculptures, and wall paintings. However the exterior of the building is plain and inviting. Descriptive terms: elaborate, elegant, gold, curves, effect of growing nature, overly decorated, subtle lines Meaning of the work/message of work: reveals the how the artist softened strong architectural lines and panels of the earlier style into flexible, sinuous curves luxuriantly multiplied in mirror reflections.

Paulina Nguyen

Name: Portrait of George Washington Date: 1785 Artist/Architect: Jean-Antoine Houdon Period/Style: Neoclassicism Location: Virginia State Capitol, Richmond, Virginia Material: marble Technique: sculpted by taking detailed measurements of Washington's arms, legs, hands and chest and making a life mask of his face Function: portrait Context/relevant ideas relating to artwork: the Virginia General Assembly commissioned a statue of George Washington, depicts a bust of George Washington later assembled into a full statue, the statue has been interpreted as invoking the imagery and ideal of an Ancient Roman dictator, Cincinnatus, with whom Washington has been compared in his decision to retire from public life following the Revolutionary War, Descriptive terms: life-like, naturalistic, Roman like, majestic, powerful Meaning of the work/message of work: depicts an exact portrait of George Washington to honor him

Paulina Nguyen

N:Death of Marat D:1793 A: Jeaques-Louies David Pa: French public, Marat in heaven M/T: Oil on Canvas P/S: Neoclassicism in France F: Served as political propaganda for the French Revolution C: The French Revolution caused much anti-King feeling. Marat, one of the most vocal of the King's critics, was killed in order to silence him. D/T: Cold neutral space above Marat's figure slumped in the tub makes for a feeling of chilling oppressiveness. the painter vivdly paints details such as the knife, the blood, the slulping body. All of these features serve to tell a narrative of the "martyr" Marat. Ideas: Matyrdoms of non religious figures. People are becoming "heroes" in art. The blackness and narrative details serve to emphasis the death of a great man.

Phillip Tran

Name: Return to Cythera Date: 1717-1719 Period/Style: French Rococo Artist: Antoine Watteau Patron: None Location: Louvre, Paris Material/Technique: Oil on canvas Function: His acceptance piece for admission to the Royal Academy. Emphasized color in paintings. Context: Represented a group of lovers preparing to depart from the island of eternal youth and love. Moved from a gracious land, awaiting a golden barge. Figural poses are unparalleled. Watteau observed slow movement from difficult and unusual angles in hopes of finding smooth, refined and poised attitudes. Descriptive terms: Colorful, varying angles, glossy Ideas: Theme of happiness is shadowed with wistfulness and melancholy. Used féte galante painting.

Return to Cythera - Antoine Watteau Vivian Vu

Name: The Sabine Women Date: 1796-1799 Period/Style: Rococo Artist: Jacques-Louis David Patron: None Location: Louvre, Paris Material/Technique: Oil on Canvas Function: The image of family conflict in the Sabines was a metaphor of the revolutionary process which had now culminated in peace and reconciliation. The painting was a tribute to Madame David, and a recognition of the power of women as peacemakers. Context: Depicted the French Revolution. Centers around a dramatic tale of conflict and strife. Used as a call for unity, peace and reconciliation, as David is urging his audience to choose love over conflict. Used geometrical shapes to emphasize peace. Descriptive terms: War piece, echoes ideas of morality and love, use of warm Venetian colors. Ideas: Overall message of peace to the world; message is still relevant till this day.

The Sabine Women - Jacques-Louis David Vivian Vu

Name: Tennis Court Oath Date: 1791 Artist: Jacques-Louis David Period/Style: French Revolution, Neoclassic Original Location: Chateau de Versailles, France Material: Pen & brown ink Technique: Brown wash with white highlights Function: Serve as an example of persistence and dedication to a cause or effort. Context/relevant ideas relating to artwork: the meeting of the Third Estate on the tennis courts of Versailles on June 20, 1789. This meeting caused a stir in France and spread the idea of revolution, and eventually led to the French Revolution. Descriptive terms: The thrust of the bodies together and toward the center stand for unity. The spectators, including children at the top right, all join the spectators. Even the clergy join in the scene. Only one person, possibly Marat, in the upper left-hand corner, turns his back on the celebration. And, in fact, David is commemorating a great moment of the Revolution on 20 June 1789, in which the deputies, mainly those of the Third Estate, now proclaiming that they represent the nation, stand together against a threatened dispersal.

Vi Tran