99. - 152. Later Europe and the Americas
127. The Steerage, Alfred Stieglitz
Form: Literal separation from upper class and lower class. Function: Gives a journalistic voice to photography. Captures the American Dream and how people can be of any social standing and still make it in America. Content: single image both a formative document of its time and one of the first works of artistic modernism. Ship traveled from America to Europe. Context: Early photography, seen as one of the best photos of all time.
116. The Saint-Lazare Station, Claude Monet
Form: Monet's agitated application of paint contributes to the sense of energy in this urban scene Function: Depicts the everyday life of one of Paris's busiest train stations. Paintings captured the area's energy and vitality; the train emerging from the steam and smoke it emits, comes into the station. Content: depicts a dominant aspect of Parisian life. The expanding railway network had made travel more convenient bringing throngs of people into Paris. Context: 1877, 29.5 by 49 inches. Oil on Canvas.
117. The Horse in Motion, Eadweard Muybridge
Form: Photography. Function: To show not only how the horse moves but how photography can capture individual moments. Content: A horse running. At one point the horse is completely off the ground. Context: Photography is new revolutionary. People didn't know if they could call photography art.
101. The Swing
Form: bright colors, the painterly brushwork, and the light hearted subject matter. Function: Fragonard painted this for a wealthy patron who wanted to keep this in his private collection for decoration. Likely the man in the bottom left. Content: A playful rococo painting, the girl is being pushed on the swing by a suitor, while her lover is hiding in the bushes looking up her skirt with her legs spread. It is indicative of the rococo in its emphasis of movement with both the swing and the man taking action to look up his lover's dress. Context: 1767, French Rococo, considered one of the masterpieces of the Rococo period.
143. Dream of a Sunday Afternoon in Alameda Central Park, Diego Rivera
Form: Function: Response to the Mexican revolution. Power to the People. Content: Context: Would paint his dreams, people unsure if its a nightmare or something pleasant. Angsty relationship with Kahlo, married then divorced then remarried.
152. House in New Castle County
Form: "cardboard cutout" appearance, strongly asymmetrical, multiple floors, kitschy colors, mainly white Function: home for a professor and a music teacher, who were both bird watchers Content: post modern, venturi borrowed from distinct periods and places, juxtaposing, collaging, and reinterpreting ideas Context: Venturi wrote "complexity and contradiction in architecture," which criticized inconsistencies in architectural history, venturi studied architecture in Rome and was especially influenced by post-renaissance architecture, particularly mannerist and baroque Italy
148. Narcissus garden, Yayoi Kusama
Form: 1,500 mass produced plastic silver balls, tightly arrange to create a reflective field, created distorted feelings and images of artists, viewers, and landscape Function: forces the onlooker to come to terms with their own vanity and ego, kusuma acted as a street vendor which emphasized the influence that money has on art. Content: reinstallation of the piece in different locations has taken away kusuma's criticism and replaced it with monetary value and worth. Context: Kusuma thought everyone else was a narcissist, led the way for minimalist movement but later transitioned to pop art.
124. Carson, Pirie, Scott and Company Building, Louis Sullivan
Form: 1st 2 floors are decorated in low-relief iron casting. The other 6 floors are in horizontal orientation. Iron was painted Rust Green, the it was Gilded, then Black, now today, it's Gray. Function: A company building. Content: Unique use of the exterior has no effect on the infrastructure of the building; instead, it serves an entirely decorative purpose. It has a horizontal composition to mimic the flow of floor space. Context: Built from 1899-1904 Despite the many names, designed by Louis Sullivan. Today called the Sullivan Center. Inspired by Sullivans love of architecture. Revolutionary use of Iron to cast.
144. Fountain, Marcel Duchamp
Form: A standard urinal of the time, placed upside down and painted with false name. Function: To question what art truly is, to push the boundaries that (mainly european) classical art has set so rigidly and make the viewer see art with new eyes. Content: "r mutt" was Duchamp's fake name, he entered the piece into the exhibition but it was rejected, then he created a buzz about it with several articles interviewing his alter ego. Context: Entered into art show held by Duchamp and his artist friends who claimed that any art piece would be allowed in, but they rejected this piece, claiming that it was disgusting and unsuitable for the ladies' eyes
102. Monticello
Form: Began as a Palladian two-story pavilion,after re-imagining it gives the impression of a symmetrical single-story brick home under an austere Doric entablature. Function: Meant to inspire to Teach, to Delight, and To Move Content: Has "Here was buried Thomas Jefferson Author of the Declaration of American Independence of the Statute of Virginia for religious freedom" Engraved into his grave marker. Father of the University of Virginia Context: 1768, one of the earliest proponents of neoclassical architecture in the United States. Jefferson believed that the Wren-Baroque aesthetic common in colonial Virginia was too British for a North American audience. Based partly on the "Hôtel de Salm"
136. Composition with Red, Blue and Yellow, Piet Mondrian
Form: Brushwork is still visible, albiet minimal. Features a harmony of contrasts that signify both balance and the tension of dynamic forces.Subtle changes in the colors, making them a shade lighter or darker, leads to a more flawless harmony. Function: Nonrepresentational theme. Meant to depict the underlying structure of reality. Content: black horizontal and vertical lines, areas of white and primary colors, asymmetrical in perfect harmony Context: "Pure abstract art becomes completely emancipated, free of naturalistic appearances." —Piet Mondrian, 1929. Combined unique abstract composition with his own philosophies to give new life to otherwise "pointless" paintings.
130. The Portuguese, Georges Braque
Form: Combined rope and typography into the background. Use of stencil to repeat the same shapes. Function: An analytical scene of an emigrant man from Portugal. Content: Many differing vantage points all looking at one scene of a sailor on the dock of his ship playing guitar. Context: 1911, Revolutionized Cubism.
126. Les Demoiselles d'Avignon, Pablo Picasso
Form: Consists of flat, inconsistent shapes and asymmetrical bodies. Heads have lopsided "masks" for faces. Function: To shock the Parisian bourgeoisie who felt that the subject matter should not be depicted on canvas. Content: Brothel scenes had been painted before but not in the way Picasso had done. Combined the blue period and the rose period. Depicts five naked prostitutes, two push away curtains while the rest strike evocative, seductive and erotic poses Context: 1907, Oil on Canvas, 2.4 m x 2.3 m. Post impressionist, beginning of modernism. Founder of cubism.
110. Still Life in Studio, Louis-Jacques-Mandé Daguerre
Form: Daguerre arranged his objects to reveal their textures and shapes clearly. Daguerre could not alter anything within arrangement to create a stronger image. Function: Daguerre's sculptural and architectural fragments and the framed print of an embrace suggest even art is vanities and will not endure forever. Content: Photo Context: 1837, France, Photography, daguerreotype
108. Liberty Leading the People, Eugène Delacroix
Form: Dramatic. Light use of color, very muted. Lady Liberty is illuminated by the background. Function: Commemoration of the July Revolution of 1830, which overthrew Charles X of France and ascension of Louis Philippe. Delacroix gave emphasis to freely brushed color. Content: Liberty is personified using a woman holding the French flag in one hand and a musket in the other. Fighters are represented from all social classes, shared by a fierce determination in the eyes. Tower of Notre Dame can be seen from a distance. Context: 1830. Oil painting.
119. The Burghers of Calais, Auguste Rodin
Form: Emphasis on movement. Function: Commissioned by the city as a war memorial. Content: Six principal citizen of Calais were ordered to come out of their besieged city with head and feet bare, Ropes around their necks, Keys of town and the caste in their hands . Context: 1884 - 1895 CE. Bronze. Town council of Calais commissioned Rodin to create an sculpture commemorate an episode in the hundred years war
139. Fallingwater, Frank Lloyd Wright
Form: Geometric, modern, Function: A living space. Content: Its a house, over a waterfall. Context: Over the waterfall to avoid desensitizing the family from the beauty of the waterfall. Streamlined a lot of cheaper architectural methods.
106. There's Nothing to be Done, Goya
Form: Grotesque. Nuanced shades of light and dark that capture the powerful emotional intensity of the horrific scenes in the disasters of war, intense hopelessness and despair. I love it. Function: Protest against the french occupation of Spain by Napoleon Bonaparte. Originally commissioned to "record the glories of Spain's citizens in the face of French atrocities." Content: A blindfolded man with a downcast head stands bound to a wooden pole. off kilter position signifies heroic defeat- is about to die but the white clothes symbolize his purity. The Executioners are represented only by the barrels of their guns aiming menacingly from the right end of the frame Context: Etching and dry point. Goya worked as a court artists for Joseph Bonaparte (brother of Napoleon) who was appointed King of Spain by his brother. There was also a war between France and Spain.
120. The Starry Night, Vincent van Gogh
Form: Heavy emphasis on movement. Function: Expression of emotions. Content: Communicated feelings through the sky view. Provide Van Gogh's insight into death, his opinion on death before he dies Context: 1889. Oil on Canvas. Probably the opposite of Neo-Classicism. Used physical 3-D rather than making everything super smooth. Painted one year before he died, when he committed to an asylum near Aisles
121. The Coiffure, Mary Cassatt
Form: Limited color pallet. Function: A non sexualized woman doing something mundane. Outside of the norm for art at the time. Content: Woman adjusting her hair in the mirror. Revealing back in a non sexualized way. Context: 1890, Dry point and aquatint. American Female artist.. Deep influence from Japanese block printing.
125. Mont Sainte-Victoire, Paul Cézanne
Form: Looks unfinished as bits of the canvas peaks through. Function: depict a mountain in France (Sainte-Victoire) Content: formed with "hash marks" very unique and directly attacking traditional landscapes. Context: Oil on Canvas. classified as a "Post impressionist" Inspiration for cubism. Unlike impressionism, this piece focuses more on the geometric shape of the mountain rather than the refraction of light and its effects on colors.
114. Nadar elevating Photography to Art, Honoré Daumier
Form: Mark making, wide value scale. Function: To show how photography has changed so drastically. Content: Depicts Nadar, one of the most prominent photographers in Paris at the time, capturing the first aerial photographs from the basket of a hot air balloon. Context: Is Photography an art or a science? Artists from the Renaissance onwards used a camera obscura (Latin for dark chamber), or a small hole in the wall of a darkened box that would pass light through the hole and project an upside down image of whatever was outside the box. However, it was not until the invention of a light sensitive surface by Frenchman Joseph Nicéphore Niépce that the basic principle of photography was born. Photographers in the 19th century were pioneers in a new artistic endeavor, blurring the lines between art and technology. Frequently using traditional methods of composition and marrying these with innovative techniques, photographers created a new vision of the material world. And now we have Photoshop.
100. A Philosopher Giving a Lecture on the Orrery
Form: Modeled, Focus on the children and the educator. Function: Content: An educated individual, likely a Philosopher or at least an Enlightenment thinker, stops to clarify a point to the note-taker, while speaking to a mixed group (middle class children & adults) about the planetarium theory. Context: Joseph Wright of Derby. c. 1763-1765 C.E. Oil on canvas. Neo-Classicism
131. The Goldfish, Henri Matisse
Form: Muted colors in the background, emphasis the fish in the foreground. Function: Believes goldfish provide "an art of balance, of purity and serenity, devoid of troubling or depressing subject matter, an art that could be [...] a soothing, calming influence on the mind, something like a good armchair that provides relaxation from fatigue." Content: Goldfish symbolize a tranquil state of mind. Context: 1912, Goldfish had only been recently introduced to Europe.
105. Self Portrait, Élisabeth Louise Vigée Le Brun
Form: Naturalistic and light hearted in the lighting. Function: Rococo epitomized a fashionable ideal, wherein perpetual youth was libertine and pleasure-loving, its sexual gratification taken without guilt or consequence. Content: She depicts herself as attractive, elegant, cheerful, & well dressed as she confidently paints Marie-Antoinette. Context: 1790, Oil on canvas. Vigée most known for her paintings of Marie-Antoinette. Rococo. She was one of the few women admitted to France's Royal Academy of Painting and Sculpture
113. The Stonebreakers, Gustave Courbet
Form: No sense of flattery, not making them strong or heroic. No idealization. Function: Political motivations for piece. Revolt for better conditions and distribution of wealth. Content: Rural setting, with rubble. clothes threadbare and worn. Context: 1870, inspired by the 1848 peasant revolt in France, many died and French army put down uprising. National awareness, gained publicity.
118. The Valley of Mexico from the Hillside of Santa Isabel, José María Velasco
Form: Oil on canvas. Function: Mexico sought to establish its identity through artistic means. Led to lots of landscape paintings. Content: Two volcanoes, from legend in the background to show Spanish nationality. Context: After 1821 war of independence from Spain. The two volcanoes were main characters of a romantic legend in mexico.
137. Illustration from The Results of the First Five-Year Plan, Varvara Stepanova
Form: Photo collage piece, Function: to promote the soviet union's success, boast of its accomplishments within five years, they're not agrarian anymore, they've industrialized themselves Content: Features Photographs, text, words, newspaper clippings Context: a result of a Tsar Regime to the USSR underline. Female Artist. Early "Photoshop" Post WWI. 1932
99. Portrait of Sor Juana Inés de la Cruz
Form: Portraiture, likely modeled after the scholars Cabrera would study and Saint Jerome himself. Likely included some of his own features as well. Function: Admiration artwork, painted 55 years after her death to demonstrate strength & education of this literary figure. Content: Portrait of admiration of Sor Juana Inés de la Cruz, the pens, paper and books symbolized her love of learning and the rosary, habit and cross symbolized her devotion to religion. Context: Done by Miguel Cabrera. c. 1750 C.E. Oil on canvas. Spanish Colonies of Americas (Mexico) Sor Juana Inés de la Cruz was a Creole woman who became a nun in 1669, published books that were widely read, wrote poetry & theatrical pieces, instrumental in educating females in male-dominated world so she had to impersonate a man so she could continue to study. (Pronounced Sor-HANA ee-nay dela Cruz)
109. The Oxbow, Thomas Cole
Form: Produced departing dark clouds and edge of mountain. Contrasts the 2 sides split in the middle by use of foreground and background as well as the river itself. Function: Painted for exhibition at National Academy of Design in New York. Cole considered it one of his "view" paintings, which were usually small, although this one is monumental. Content: Left is the wild/unknown feeling. Right is the hand of man. Artist is supposedly on top watching over. Shows industrial and western expansion. Context: Alternate title View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm.
123. Where do we come from? What are we? Where are we going?, Paul Gauguin
Form: Read from Right to Left, showing infancy, to middle age, to death. Function: Expression of primitive life. Content: Expression of the life in Tahiti, vied as "primitive." Context: 1897-1898. Painted in Tahiti whilst it was still a French Colony.
112. Palace of Westminster, Charles Barry, A.W.N. Pugin
Form: Romanticism/ Gothic Revival Function: A governmental building. Content: Enormous structure of 1,100 rooms, 100 staircases, 2 miles of corridor; Modern office building cloaked in medieval clothes; Barry a classic architect, accounts for regularity of plan; Pugin a Gothic architect, added Gothic architectural touches to the structure; profusion of Gothic ornament is greater then would appear in an original Gothic building Context: Also known as The Houses of Parliament. Located in London England. Constructed 12840-1870. A competition was held in 1835 for a new Houses of Parliament after the old one burned down; 97 entrants in the contest.
104. George Washington
Form: Sculpted of marble. Function: To honor George Washington Content: A sculpture of an american hero. Context: 1784, the Governor of Virginia, Benjamin Harrison V, asked Thomas Jefferson, a Virginian who was then in Paris as the American Minister to France, to select an appropriate artist to sculpt Washington. Jefferson decided to commission Jean-Antoine Houdon. Main reason a foreigner painted
140. The Two Fridas, Frida Kahlo
Form: Symmetrical and contrasting. Their exposed hearts are connected, one holds a locket and one holds medical scissors Function: describes frida's post-divorce with diego rivera sentiments, how she felt she had been ripped into two by his absence. Content: The left features a colonial Frida, the right features the mexican. The hearts are connected. Colonial is cutting the arteries of the heart, separating the two bodies. European's dress is torn around her dress, whereas the left Fridas heart sits above her clothes. Contrast in the two bodies, in the European she is more "feminine" and has european features (eye shape, lips, lighter skin). and the right has more natural features (her eyebrows, and upper lip). Context: Kahlo married to Rivera, Kahlo didn't get famous until after her death. She was bedridden often due to her various sickness's leading to a lot of self-portraits. Painted in 1939.
134. Memorial Sheet of Karl Liebknecht, Käthe Kollwitz
Form: Three part composition, top is the densely packed heads, middle focuses on the kneeling man, and the bottom focuses on the body itself. Function: A lamentation of the Communist leader Karl Liebknecht. Although Kollwitz was not a communist, she admired Liebknecht as a leader. Content: An early form of printmaking. The top section is densely packed with figures. Their faces are well modeled and have interesting depth in themselves, but the sense of space is very compressed. It gives the impression of multitudes coming to pay their respects, without changing the individuality of the subjects. The middle strata contains comparatively fewer details, further emphasizing the crowding at the top of the printing plate. This section draws attention to the specific action of the bending mourner. His hand on Liebknecht's chest connects this section to the the bottom most level of the composition, the body of the martyred revolutionary. The bottom section is just the body of Karl Liebknecht. Context: Post WWII, printmaking was used for making political statements as it was cheaper and can be widely reproduced.
142. The Jungle, Lam
Form: Top heavy. Wide variety of value. "flat" background/unclear locations. Function: By combining the bodies with the sugar cane, Lam is making the statement that the people of Cuba are only being viewed as their products. Content: Uses human features to show the sugar cane. Dense top, very open bottom. Context: To show the realistic side of Cuba and more than just the tourism side/what the Americans want to see. 1943. Surreal.
107. La Grande Odalisque, Jean-Auguste-Dominique Ingres
Form: Turns body away from the master's gaze. Looks erotic and aloof. Cool blues of couch and curtain at right heighten effect of her warm skin. The tight crumpled sheets contours her form. Function: Portrait of a woman. Content: : Although Ingres's commitment to fluid line and elegant postures was grounded in his Neoclassical training, he treated a number of Romantic themes, such as odalisque, almost Mannerist fashion. Elongated woman's back, widened her hip, and her tiny boneless feet are anatomically incorrect by aesthetically pleasing. Context: Neoclassical. Located in Le Louvre, Paris. Oil. c. 1790
111. Slave Ship, Joseph Mallord William Turner
Form: Typhoon symbolizes that slavery is bad-turner is stating his opinions on slavery. Evocative. Bright beautiful colors. Function: Awe inspiring theme of nature- romanticism, Response to the slave trade and industrial revolution. Content: beautiful at first, then horrible once you realize what is going on. Context: 1840, Oil on canvas, Based on a poem from the widely read book title "the history of the abolition of the slave trade"
122. The Scream, Edvard Munch
Form: Used color, line and distortion as emphasis. Function: Spiritual link to symbolism. Content: Man standing on the bridge to deter from reality. Skin pulled over skeleton, very bone-y. Expression mimicked in background. Context: Tempera and pastels on Cardboard.
133. Self-Portrait as a Soldier, Ernst Ludwig Kirchner
Form: Vibrant colors, heavy use of the primaries. use of foreground and background. Function: A complicated coming of age moment. Content: Psychological drama, Kirchner stands in his studio with an amputated, bloody arm and a model behind him. Context: In 1905, Kirchner, together with several other young artists from Dresden founded the German Expressionist group Die Brücke (The Bridge). With the mission statement of "We call all young people together, and as young people, who carry the future in us, we want to wrest freedom for our actions and our lives from the older, comfortably established forces."
129. The Kiss, Constantin Brancusi
Form: angular, symmetrical. Heavily textured. Function: To use "primitive" methods to create modern art. Content: The Kiss is an early example of his take on non-literal expression Context: Made out of directly carved Limestone. Heavy influence from cubism. The first version of The Kiss, created in 1907, marked a major departure from the emotive realism of Rodin's famous handling of the same subject. -> is the 1916 version.
149. The Bay, Helen Frankenthaler
Form: applied paint using coffee can with a hole cut in it, which allowed her to create puddles that could be left as is or spread on the surface, blended foreground and background, color and plane Function: with this piece of abstract expressionism, it is important to focus on the physical aspect of the piece rather than possible social and historical contexts. Content: purely optical, thinned down colors call attention to texture of canvas itself, provokes response to color Context: abstract expressionism/color field painting, inspired by drip method of Jackson Pollock
146. Seagram Building, Ludwig Mies van der Rohe, Philip Johnson
Form: copper and glass, i-beams placed over horizontal beams for texture Function: hq for seagram liquor company during prohibition Content: greek classical influence adapted to modern architecture, balance of old and new, resembles greek columns Context: most expensive building of its time, architect designed similar structures but this was the first to be produced, 56th and 8th street.
128. The Kiss, Gustav Klimt
Form: intense use of color, space and line in the face. the scale and pattern leads to some contrast between the two people and unity in the colors. weird perspective, differing patterns, brightly colored attire, inspired by Arts & Crafts movement Function: aesthetics. Content: Two people, one kissing the other, the one being kissed look uncomfortable. Context: This signifies the period that comes to close the 19th Century. At this time, there was much though about humanity as a whole. Oil on canvas.
145. Woman I, Willem de Kooning
Form: messy, tumultuous, stark highlights of red in earth tones Function: may criticize women for their scattered/unrealistic expectations of appearance, or illustrate an understanding of the raw fear and power of women. Content: emphasized breasts, broad shoulders, strange legs, no hair, 80 other paintings of de kooning's underneath this one Context: 1950-1952, oil on canvas. Origin of "action painting," very aggressive, very physical technique
135. Villa Savoye, Le Corbusier
Form: minimum interruption, open plan, three floors. Function: To articulate the essence of modern architecture as well as provide a living space. Content: White in color, large windows meant to stream in a lot of natural light. Provides a machine aesthetic with the simplification of forms and no decoration. Context: 1930, Located just outside of paris. The Villa Savoye offered an escape from the crowded city for its wealthy patrons. Its location on a large unrestricted site allowed Le Corbusier total creative freedom.
147. Marilyn Diptych, Andy Warhol
Form: oil, acrylic, and silkscreen enamel on canvas Function: show two sides to marilyn, her persona vs her interior self Content: visual and emotional flatness, marilyn fades out from left to right, as she faded from being a huge star to committing suicide, repeated exposure to her face Context: she died shortly before this painting was done, part of an exhibition called "death in america"
151. Spiral Jetty, Robert Smithson
Form: over 6,000 tons of basalt rocks and earth, 1,500 feet long, winds counterclockwise off shore, temporal art- changed by time, process art-forever changing. Function: Built on the salt lake because of the reactions between the salt and the earth over time Content: part of the environment, also interacts and changes with environment around it, giving idea that a form is constantly changing and molding to factors around it Context: prehistoric influence, most famous large scale earthwork of the period, epitomizes land art
138. Object (Le Déjeuner en fourrure), Meret Oppenheim
Form: porcelain tea set covered first in glue, then in fur, tactile yet repulsive Function: "Not a manifestation of an idea, but the thing itself" to envoke reaction. Statement piece. Content: organic, dreamlike, inverted, surrealism, juxtaposition of two separate objects Context: discovered in Brown and Black Fur. Surrealist. "I wish fur was covered on everything.it was very spontaneous which reflects its strange appearance
132. Improvisation 28 (second version), Vasily Kandinsky
Form: seemingly random. Actually very thought out. Function: In both Sketch for Composition II and Improvisation 28 (second version) Kandinsky depicted—through highly schematized means—cataclysmic events on one side of the canvas and the paradise of spiritual salvation on the other Content: In the latter painting, for instance, images of a boat and waves (signaling the global deluge), a serpent, and, perhaps, cannons emerge on the left, while an embracing couple, shining sun, and celebratory candles appear on the right Context: 1912, oil on canvas. Avant-garde
141. The Migration of the Negro, Panel no. 49, Jacob Lawrence
Form: six figures sitting in restaurant setting, some are looking at menu, some are eating, but the black people and the white people are separated by a golden barrier Function: art of a series depicting the hardships that black americans faced as they migrated from the south to the north during economic hardship Content: they can all see what's on the other side but none of them can go over, the black people seem to be more aware of the barricade than the white people are, the white people are larger and one smokes a cigar, they are unconcerned about wealth Context: Segregation and racism in the north. 1940s. Shows whites sitting at tables with a divider. Gold rope divides the people. White people on the left are more defined than the black people on the right.
150. Lipstick (Ascending) on Caterpillar Tracks, Claes Oldenburg
Form: tank-shaped base inspired by caterpillar tractors, missile/bullet/phallus shaped lipstick, could originally inflate to call attention to a speaker on the platform Function: symbol of coeducation, used as a rally platform for student protests Content: explores themes of death, power and desire, incorporates male and female forms, could be seen as feminist uprising and protest. Context: placed on campus in 1969 in secret in midst of anti war protests, students reacted to perceived violence of the govt. in response to needs and wishes of people.
103. The Oath of the Horatii
Form: uses Grand Manner style, which is linear and idealistic in physical features. The composition is theatrical and the stoicism and rigid stances of the sons prove Rome's unwavering backbone. Function: Neoclassical works emphasize personal sacrifice for the nation and exemplum virtutis of the figures' virtue and courage. Content: The three Horatii sons salute their father who holds their swords as they prepare to protect Rome from the Curiatii of Alba Longa. Context: 1785, 10' x 14' Inspired by Roman tradition where rather than all out wars they would elect people to duke it out to settle the dispute. Neo-Classicism
115. Olympia, Édouard Manet
Function: Raised the issue of prostitution in contemporary France. Content: Shes nipple-less. Borrowed the pose from Titan's Venus of Urbino except it was controversial because of the lack of academic technique and mythology and depicted a prostitute whose features weren't 'perfected'. The women painted has unnaturally small feet along with other "imperfections" such as a tummy and especially long legs. Context: 1863, The painting was largely unpopular but its unconventionality became popular with the avant-garde. Immediately roused caricatures and paintings, other artists also appreciated the painting.
