Art Hist Final

Boucher, Portrait de Madame de Pompadour, 1758

- B. supported by king's mistress, Madame de Pompadour - not necessarily depicted as mistress, but as an intellectual (supporter of Enlightenment values) --> extensive book collection - foregrounding his pictorial mastery in rendering elaborate costumes of luscious silk - the way he uses light makes the texture look tangible (quality of the fabric)

Degas, Mlle Bécat at the Café des Ambassadeurs, Paris, 1877-78, Lithograph on wove paper

- electrical light : new effects - lit up in weird ways -> transfigured into sth beyond human

Courbet, Woman with a Parrot, 1866

- female nude - C. becoming mainstream - C. painting on the demands of collectors of erotica

Millet - Gleaners - 1857

- gleaning the leftovers from the harvest - more conservative than Courbet - monumental figure like Giotto - more closely finished - female figures represented as barely humans

Goya, The Sleep of Reason Produces Monsters, etching from Los Caprichos, 1797 and 1799,

- personifies confrontation of dark side - used to work w/ Rococo style - start to explore absurdity of Western society in a series of etching, popular prints - cat becomes scary & night creatures - things that felt comfortable during the day feel different at night - return of Gothic (NOT Renaissance) - disappointed in enlightenment

Delacroix, Scenes from the Massacre at Chios, 1824

- response to political controversy that generated journalistic outrage - scene from Greek war of independence against Ottomans - ppl who ran away encouraged ppl of Chios to join the war (few supported the war BUT most killed/enslaved by Ottomans) - what moment do you choose? - generated lots of support for Greek -> pressure on the Turks - most controversy had to do w/ the way he painted - does NOT look coherent - collection of the fragments drafted together to make a monumental composition - comparable to Rubens' Allegory of war (stormy sky, flames, violence) - deliberate composition but discontinuity

Van Gogh Starry Night, 1889

- sense of energy coming from the plants - inlfuenced by physics & light - nature being alive & communicating - swirls of light in the night skies -> motion of light

Antoine-Jean Gros, Bonaparte Visiting the Plague House at Jaffa, 1804

- student of David - part of myth created around Napoleon - N. conquers Egypt - N. appears a god-like figure who has sacred power associated w/ medieval kings - touching victims of the plague will cure illness - blatant propaganda to counteract the rumor that N. has set the fire - anti-enlightenment - influential because it depicts Egyptian (oriental) subjects - new terrain in Euro art (classical tradition is not enough) - importance of empire - rationalization of Western interference & intervention in near East, Africa, America and other parts of world - orientalism is the symptom of 19th in particular - the most important thing in the picture is Fr. flag (signifying Fr. domination of the world)

Watteau, "Pierrot" 1719

- underscores the fact that figures in W. paintings come from mixed social backgrounds - always element of performance & disguise (role-playing) - many were costumes - extends the category of portrait (it's a portrait of nobody : anonymous) - doesn't work with already established academic terms

Monet, Impression: Sunrise, 1872

- you don't get a single sense of politics in impressionist painting - yr after horror of commune - showing unglamorous horizon

Jacques-Louis David, The Lictors Bring to Brutus the Bodies of His Son, 1789

- 1789 : beginning of Fr. Rev - national assembly established - royal saw salon as incendiary public space - did not want paintings that agitated ppl on view - ban several pictures - created outrage from the public - Brutus (Roman reader) led the revolution in Rome & realized that his son tried to re-establish the monarchy - B. orders his own son to death to maintain republic - B. seen as heroic defender of republic at the cost of his son - painting served as republican symbol - neo-classical style becoming semi-official voice of the rev. in Fr.

Boucher, Cupid a Captive, 1754. Oil on canvas

- B. wanted to improve on nature - mythological genre scene - cupid surrounded by female figures - emphasis on pink, rosy nudes in imaginary gardens - set off & put into relief by cold leafy background (green & blue) - falling drapery emphasizes the nude figures (teasing effect -> being exposed & cover at the same time) - sexual innuendo - amorous activity - Baroque strategies : diagonal (But in much more playful & less dramatic way) -> curvilinear forms -> slanting recessions - dissected powerful Baroque curves into a multiplicity of decorative flourishes, dissipating Baroque drama into sensual playfulness

FRAGONARD, The Swing, 1766. Oil on canvas

- Boucher's pupil - famous for semi-fictional, picturesque images - used to paint conventional historical paintings when first accepted into academy - moves away from this & shows interest in later Rococo - color & light conveying sensuality - right in the middle of the painting - instance of light, rosy, pink depicted w/ light fabric - set off by cool tones of the background - sometimes called papillotage --> flickering light aesthetic - shimmering landscape that have hazy patches of light that suggest influence of stage scenery - resembles a stage scene for comic opera - playful nature of this encounter accentuated by taking the shoe off - glowing pastel colors & soft light convey the theme's sensuality - Again, Diderot didn't like this over-embellished reality

David, The Intervention of the Sabine Women, 1796

- D : pageant painter to the rev. - D in jail after Jacobins gone (new form of gov : Directory) - gigantic, spectacular composition - idolized Poussin (painted abduction of Sabine Women : same subject) - major warfare btw Romans & Sabines - crawling babies (children of Sabine) - one of the Sabine women gets in the middle & puts the babies in the middle to stop them - paralyzing effect (Romulus - wolf) - woman holding up the child in front of the army - outdoing Poussin (perfect classical principles) - reddish-brown & restricted palette - soldiers are all naked (classical beauty) - dedicated painting to wife as act of reconciliation - Fr. public started to look at the painting openly

Delacroix, The Sultan of Morocco and his Entourage, 1845

- D. abandons politics in his later yrs - take up literary subjects (still emulation of heroic quality from the past - wants to be new David BUT does not want to paint like him - decides to paint the east - Islamic culture more authentic and close to antiquity (closer to primitive stage & nature) - he think the ancient Greeks were more like this - emulate Rubens' oil sketch - wants to be a pure classicist

Gauguin, Sleeping Child, 1881

- G. born in Lima -> conscious of exotic origin - describes himself as Inca - paints scenes of his own life (his own child in a bed) - very casual, unassuming painting - few things that are pointers to key concerns of G's life later on - wallpaper w/ birds -> more than a wallpaper (becomes the dream of a child) - toy : fetish object (ppl invest identity, memory, or magical properties) - looks creepily alive

Mengs, Parnassus in Villa Albani 1761

- Italy in 18th : pilgrimage destination for aristocrats all over Euro (NOT for leisure, but for educational purpose) - Enlightenment - new approach to the past & archaeology - possible to access ancient w/o mediation of Renaissance artworks - excavations of ancient cities - new interest in learning about ancient Roman civilization - rise of Neo-classicism --> central figure : Winckelmann - signifies conception of history as story of the human search for liberty & truth - privilege Greek art - motivated by political structure of Greece (important connection btw politics & art) - favored Raphael ---------------------------------- - first Neo-classical painting - Parnassus : birthplace of poetry --------------------------------------- - Rome : center of tolerance & progressive thoughts - papacy losing its power - As strategic defense, church supports these values

Manet, Music in the Tuileries, 1862

- M : associated w/ artistic avant-garde - outrage ppl - unreadable (smears don't add up to anything obvious) - sky is reduced & slashing trees through composition - elimination of compositional hierarchy (equal attention to faces as to the trees and other objects) - lack of perspective - unfinished dabbing of paint, rendering of paint - lots of black colors - seen as dehumanizing (the way little girls are painted) - painting of leisure - translates the visual impression into dabs of paint (NOT really like photograph though) - matter of technique to capture the sense of modern life - subject matter is NOT obviously political (repressive social env.) - japanese culture & chinese ceramics (trade open up) - artists who wanted to break from Western tradition embraced Jap. woodblock prints - how the trees slash through the composition -> ideas from Japanese composition

Manet, Monet in his Floating Studio 1874

- M's most impressionist picture - broken brushstroke & light-filled canvas painted outdoors - background : cozy, picture-perfect landscape

Goya, the massacres of the Third of May, 1814

- Napoleonic invasion of Spain -> completely changed the career of G. - subject is the ppl shot by Fr. ppl (NOT a particular hero) (most NOT involved in the uprising) - protest his innocence - absolutely cursory style - base his style on prints (popular, journalistic modes of rethinking what history painting is) - painting of everyday atrocity & political outrage

Jacques-Louis David, Death of Marat, 1793

- No longer depicting antiquity / history painting - BUT depicting a scene from the rev. itself - records important moment - commemorates assasination of Marat (rev. figure & writer) - shows M. as a martyr of rev - skin disease not shown (idealization) - solemnity & severity underscored by tombstone inscription - emotionally oppresive image - figure is said to based on Michalengelo's pieta - D. was admirer of Caravaggio (light, dramatic qulaity) - pick up older traditions - rhetoric that D. uses takes on militaristic tone - describes his painting as an act of vengeance - death of monarchy was an act of iconic plasm that he's engaging w/ in his paintings - ultimate death of Rococo

Fuseli - The Nightmare 1781

- Romanticism : post-enlightenment reaction (failure of En. premises) -> go back to monarchy -> science seen as going too far --> ppl giving on confidence of reason (Euro under wars -> dark energy) ------------------------------ - certain artists in neo-classical traditions reacting against official mission of neo-classical art - draped figure who's having sexual nightmare - nightmare signified by ferocious creature (medical theory : nightmares accompanied by pressure on the chest) - phallic horse's head thrusting through the curtains - hugely popular painting - signs of Romanticism already existent in 18th - Romanticism is NOT a style, BUT an attitude

Friedrich, The Wanderer

- Romanticism is situated in the way of feeling -> nothing to do w/ subject matter -> paradoxical feelings - existential - lonely human being in godless universe facing down nature - indifference of nature to him in existence (portrayed from the back) - antithesis of the landscape painting

GREUZE, The Father's Curse, 1777

- Severus reproaching his son Caracalla for leaving the family to join the army (son : sole support for the family) - odd-looking - emperor S. appears small & sickly w/o force - ambiguous emotion on son's face (does not look defiant/ashamed) - submits to the academy as a history painting, but they accepted it as a genre picture - when the son returns, the father is dying - recalls Poussin's treatment of similar subject (Germanicus poisoned by the father) - interest in naturalism -

Ingres, The Oath of Louis XIII, 1824

- VM led the victory during the Fr. civil war when nobility rose up against monarchy - clone composition of painting by Raphael -

WATTEAU, Signboard of Gersaint, 1721. Oil on canvas

- W : most fashionable artist in paris - works for aristocrats & mid-class - begins as decorative painter in salons (vignette) - most closely associated with Rococo style (main subject : lifestyle of Fr. aristocracy) - open shopfront (space of consumption) - space covered w/ paintings for sale - conjures up the world - exquisite figures draped in silk (delicate, 마네킹like figures) ---------------------------------- - royal academy is the main organ of royal & aristocratic patronage - salon : official state organized exhibition which the academy sponsored - new emphasis on social spaces (mingling of classes) - haze of color - subtly modeled shapes - gliding motion - air of suave gentility tinged w/ nostalgia - wealthy patrons carefree at leisure

Watteau, Pilgrimage to Cythera, 1717

- W. submits this as a history painting to the academy - academy doesn't know what to do w/ the painting (new genre. NOT really a history painting) --> change the category it falls into : fetegalante - depicts outdoor entertainment of Fr. high society - gathering of fashionable ppl w/ fancy costumes - tradition that embraces ideas of love & romance - Cythera : birthplace of Aphrodite (=island of eternal youth & beauty) - NOT sure whether the couple has just arrived / about to leave - boat : sign for transit - establishes important features of Rococo painting -> cupids : unavoidable connotations of love (he doesn't have to do anything bc love is already fully in bloom) -> statue of growing roses & vines -> poses of the figures blend elegance & sweetness (-> hallmarks of W. style) - 2 competing doctrines w/i academy (18th) -> Rubenists (supremacy of color) vs Poussinist (form is the most important element. color is just an added effect) - W. : considered Rubenists in the academy - embrace color as the central aspect of his works

FRAGONARD, Corésus et Callirhoé, 1765

- When Fragonard tackled the history picture - a rare occasion - it, like his other paintings, was animated by love. - The large Corésus sacrificing himself to save Callirhoé - effort to combine his own tendencies with academic requirements. - this sort of machine was replaced by brilliant, witty decorations, positive riots of cupids and bathers, kissing lips and torn clothes, which always express love in action. - The Corésus is negative love, sublime self-sacrifice, and in effect useless passion. - - excite the composition by sending waves of smoky clouds and excited winged figures to fill the space between the two pillars not occupied by the strangely feminine priest and the swooning heroine - herself almost as if ravished by love. - Everything about this is theatrical, from the stage-like setting, to the dramatic lighting, to the expressions and posture of the subjects, to the fact that the act is essentially being witnessed by an audience.

ADAM, Etruscan Room, Osterley Park House, Middlesex, England, begun 1761.

- antidote to rooms in Rococo style - "pompeian" style - inspired by the frescoes of the 3rd &4th styles of Roman mural painting - took decorative motifs from Roman art and arranged them sparsely w/i broad, neutral spaces and slender margins - this new neoclassical style almost entirely displaced the curvilinear Rococo in the homes of the wealthy after midcentury

Giovanni Battista Piranesi, Pyramid of Caius Cestius. 1748

- archaeologist & printmaker - personifies enlightenment in Rome - engravings of megalomaniac visions of ancient ruins that greatly exaggerate their scales - human figures made smaller to dramatize power & terrifying quality - associated w/ sensation of fear & awe - reminds of Jewish Cemetery by Ruisdael & few Dutch landscape painters - hypered-version of antiquity

Daumier, Rue Transnonain, April 15, 1834

- art facing the world - D : political illustrator - outlets are journals & newspapers (NOT galleries or salons) - utterly rejects traditions of history paintings that Delacroix and others embraced - confrontational imagery of contemporary political outrage - worker's demonstration in the poor neighborhood & everyone shot by the army of Louis Phillip - fueled outrage toward tyranny - L.P. ordered destruction of copies of this print, but survived

Manet, A Bar at the Folies-Bergère, 1882.

- blank stare - space of entertainment & pleasure (consumption) : another great topic of impressionist paintings - night-life of Paris - consumables of all kind from all over Euro - judgmental, sophisticated look right into you

Van Gogh, Sower, 1888

- bright blue field w/ blue shadows - compare w/ Sower by Millet - japanese composition (tree across the painting to divide up the pictorial space) - exaggerated glaze of the sun w/ thick yellow paint

DEGAS, The Dance Class, 1874

- cares about the figure - rethink the way in which artists paint the figure - interested in figures in motion - dancers : becomes the way out of formulas he tries to resist (classical) - ballet more popular medium than now - served up to the public on an industrial scale - dancers treated like workers & used up - teenage girls from working class

Manet, The Railway, 1872-3

- casual gaze of a stranger w/ mild curiosity - randomness of city life : what impressionists tried to convey - composition : looking for alternative solution -> japanese woodblock print

Church of the Fourteen Saints, Germany, 1743-72

- churches are more like opera houses - spaces for display & performances of music - spaces of delightful sensation - decorated in new, light cultural style -------------------- - philsophes : Voltair, Diderot, Rousseau - Enlightenment - public interest - skeptics who challenge perceived ideas (why is king be the anchor of the state?) - R : family should be that - very important period in history

Gericault, study of hands and feet

- collected human body parts in medical schools & made still life out of arms and legs - Delacroix: "a painting does not need a subject: the painting of arms and legs by G."

Toulouse-Lautrec, Ball at the Moulin Rouge 1889-90

- commercial entertainment district at this time : Moulin - sense of freedom - mingling of classes - painter of the night life of Moulin Rouge - paintings are short stories about characters

Gericault, Portraits of the Insane, 1822-23

- commissioned by G's friend who is a psychiatrist - portraits of his insane patients - pervasive scientific theory that the particular mania could be seen in faces (symptoms could be read) - insanity enter physiological terms (mental illness) - others saw insanity as a reaction to social conditions (political upheaval) - against the logic of portraits (identity) - faces of ppl whose personalities have been erased -> What is the identity here?

David, Napoleon at St. Bernard Pass 1801

- commissioned by Napoleon Bonaparte - N. creating mythologies himself - ironic conclusion to the revolution (military leader becomes an emperor) - horse is Rubens-like (full of energy) - sky w/ storm clouds - absoulutely wild landscapes of Alps - D. is the court painter to Napoleon

Jacques-Louis David, sketch of The Oath of the Tennis Court, 1790-4

- commissioned by society of friends of constitution - more associated w/ extremist ideas (Jacobian) - never completed bc Jacobians eliminated some of the more moderate assembly members expressed in the sketch - unity that was meant to be symbolized in the tennis court no longer existed in 1792 - highlights the problem D. had to face (creating history painting when it draws subjects from contemporary events) - end of history painting? (limits of history paintings underscored -> new imperative to depict what's actually happening) --> D. turns away from history paintings to focus on real-time public spectacle

Gauguin, Vision after the Sermon (Jacob Wrestling with the Angel), 1888

- complete departure from impressionist & modernity - back to the countryside - compared to Courbet who looked at the countryside in terms of social class, G. idolizing of exotic ppl - G. creates whole system of mythical belief, which projects onto these ppl (may / may not have anything to do w/ their own beliefs) - rejects any relationship btw color & description - red is symbolic of symbol (symbol is becoming universal dream-like, all-purpose signification) -> does not really designate anything in particular (except that we're going beyond visual reality) -------------------------------------- - away from ind. civilization - wants sth more primal & authentic - goes to rural province of W. Fr (poor) - way of life way behind time (culture onto itself) - wildly colorful - view of rural Cath. (more primitive subjects) - more connected to Christ. roots - NOT sth that he witnesses - coming out of the church, they all have vision of St. Jacob - red background - creating mythology

Turner, Rain, Steam and Speed - The Great Western Railway, 1844

- confront facts of Ind. Rev. - landscapes that show the railway & machines - not much landscape shown in the painting - how vision is transformed by new tech. moving at a very fast pace - distinctively modern approach - shocked ppl (NOT finished painting!)

Courbet - A Burial at Ornans - 1849-1850

- confuses everybody (what is this about?) - scene of village life (NOT about peasants) - this is Fr. as well - middle-class citizens at Ornans w/ the clergies - nothing sentimental that seems appropriate for funeral - ppl have to go to funerals in small towns even if they don't really know them - no emotion investment in death of some person - portray forgotten aspect of rural society that no one is paying attention to - full of anecdotes & conversations among figures - no one is idealized - no sense of religious sense either (C. hates to paint religious subjects) - C : reality of burial of romanticism

Ingres, Great Bather, 1808

- continuer of the tradition of antiquity - populating his pictures w/ nudes - Raphael head (R. female type of nude from behind) : same turbine

Ingres, Oedipus and the Sphynx, 1808-25

- continuer of the tradition of antiquity - populating his pictures w/ nudes - strict profile - code from Poussin in the background

Gauguin, Spirit of the Dead Watching, 1892

- depiction of a girl w/ frightened expression - figures sitting (person? statue?) - nude female - inspired by his 14-yr old native life - fear brought about by himself - critical attention (many compared it to Olympia) - unconventional, provocative departure from the conventions of female nude

Charles Barry , New Houses of Parliament ,1840

- design a new, efficient building -> catastrophic (took too long) - supposed to be functional - Pugin responsible for Gothic style - not too symmetric (Gothic) - enormous clock tower based on Neth. town halls - random spirals inspired by Neth. landscapes

John Singleton Copley, Paul Revere, ca. 1768-1770

- early American artist - paints Paul Revere before he becomes famous in the Am. Revolution - C. interest in plainness (depict life as it's actually experience, fidelity to visual effect) - clear lighting (similar to Chardin) - reveals moment of contemplation looking at a teapot (engaged in work he's doing) - high degree of illusionistic realism (reflection of wood - diff from what we would see in Chardin's painting)

Toulouse-Lautrec, At the Moulin Rouge, 1892-93

- emphatic frontality - alarming face make-up by electrical light - cropping face in a provocative way - fragments & momentary : leading theme in the arts of realism & impressionism

Constable, The Hay Wain, 1821,

- enormous, idealic scenes of English landscapes - praised for contemporary quality - Eng pastoral life - actually going through Ind. Rev. in which landscapes were torn apart - shimmering - seem to break away from the classical language of landscapes from Poussin and others - more and more Raphael-like

Van Gogh, The Sower, 1888

- exaggerated glaze of the sun w/ thick yellow paint - striking silhouette of a woman w/ blazing yellow background

Henry Flitcroft and Henry Hoare, the park at Stourhead, England, 1743-65

- example of 18th picturesque garden - response to enlightenment ideals of return to natural values (<-> formal, rigidity of nature in Versailles) - illusion to antiquity - ancient bridge of Rome - shows the impact of the grand tour & rise of Neo-classicism (brings back to life classical values & arts)

Watteau, L'Indifferent, 1716

- example of a single figure composition - elegance of figures (similar to Pilgrimage to Cythera) - attention to light that creates alluring shimmering effect - elegant costumes & pose - attention to motion (just taken a step out to dance/move) - W. interested in capturing the threshold state

Manet, Olympia, 1863.

- exhibited in the official salon (horrified by ppl) - scene of sex work (prostitute confronting the client w/ her maid) - she is staring back w/ fearless gaze - cat arching its back - makes no attempt to show her beautiful hair (merge w/ the background) - ironic citation of tradition (Titian's Venus of Urbino : idealized Ren. woman) - different impression of how the figure addresses herself to the viewer - realism of Goya is being associated w/ what M. is doing - NOT like an odalisque

Jacques-Louis David, The Death of Socrates, 1787

- expresses certain type of commitment to an ideal in art (ideal of classical art) & in politics - Socrates accused of denying the god & corrupting youth - renounce / death - shown S. as preparing to die (still entirely committed to his belief) - critics rage about this work - as good as Michalengleo / Raphael - Diderot : pure antique - how David is incorporating ideals of classical antiquity into his work -> valued by contemporary commentators

Degas, Dancers in the Rehearsal Room with a Double Bass, ca. 1882-85

- figures bend & twist - figures hard to recognize (faces not shown) - pure kinetic energy - compoisition : long, horizontal format (unusual perspective) - much stronger sense of structure than other impressionist painters

Jacques-Louis David, Andromache Mourning Hector, 1783

- follower of Boucher originally - introduced to ideas of W. by Mengs (promote ideas of Greek art & antiquity) - becomes known as greatest neoclassical painter - subjects of heroism - story from Homer's Iliad (Hector killed by Achiles) - uses color & composition to guide the viewer through the central narrative - NO flowery embellishment in the background - light immediately to the scene - focused composition (hand) - resonated w/ Poussin (Germanicus)

Delacroix, Liberty Guiding the People, 1830

- forces to drive out the monarchy grew : rev - ppl of Paris achieve victory -> new liberal constitution - D. makes a relevant history painting - combination of fragments of observation - social types that you could see on the streets of Paris - elements from the repertoire of historical and allegorical painting -> half-naked dead bodies like in raft of medusa -> allegorical figure of liberty - she does NOT look real like figures that surround her (heroine figure from the classical tradition) - women participate in the rev (female heroism really there) - working class teenager - bourgeois man (from diff class) - Fr. laborer - mingling of classes - Impressionist painting

Courbet. The Stone Breakers. 1849 (destroyed during World War II)

- forefront of social upheaval - Fr. as a whole is transformed (NOT just Paris) - Industrialization produces many unemployed peasants - famine & starvation - "historical art by nature is contemporary" - tendency in the 1840s to idealize the peasants - conditions of living for rural workers was in total transformation - poor but not starving, healthy workers -> reality was very different and shown through C's work - landless rural poor were put to work to break the stones all day for construction of roads - child labor - don't see their faces (dehumanizing) * Proudhon : "Stone breakers" is an irony directed against ind. which is incapable of freeing man in the most unpleasant tasks. Ind. has not created the redistribution of the income. --> They failed and capitalism has made things worse

Cuvillies: Hall of Mirrors in the Amalienburg, Munich

- german court has their own hall of mirrors - decorated in new style of late Fr. Baroque - colors suggesting ceramics - blue and gold - spaces smaller & more intimate - get together w/ friends & talk about newspapers

Degas, Young Spartan Girls Challenging Boys, 1859

- goes through a period where he paints classical figures in a non-classical way - ancient Sparta - athletic contest btw boys & girls - diff ver of antiquity - sexual polarization BUT not based on physical strength / stereotypes of gender

Gauguin, Ia Orana Maria (Hail Mary), 1891

- goes to Polynesia - far away w/ the West (science drive Euro society) - uncontaminated native culture completely obliterated by process of colonization & international trade & diseases - many Christianized - had to reinvent lost civilization - starts using local Tahitian language as a title - if these ppl cannot embody authentic, primitive experiences for him, he will channel it for them (project it upon them) - fascinated w/ idea of Cath. fusion w/ native pagan, animistic religion - VM&child reembodied as a Tahitian woman & small child in exotic setting (local plants) - paintings sent back to Fr. to support living of him & his family that he left behind (-> raise very little..) - signs that he's making things up -> nothing to do w/ Tahitian culture -> base figures on photograph in Java (for him, java culture = tahitian culture) - same attitude towards availability of images - art generated from reproductive image

Trioson, The Entombment of Atala, 1808

- heroin languidly draped - composition centered on passive body lit up from the top-right - sun is coming down - burial scene - holding a cross - scene from a popular novel the "genius of Christianity" - sentimental - native Americans join the repertoire of exotic ppl (become subjects of art) - neoclassical composition - broadening of subject matter --> Romanticism

Ingres, Napoleon on His Imperial Throne. 1806

- icon of napoleon - shown in the salon (Ingres seen as way too radical) - Gothic -> use of linear, crisp lines - icon-like effect that N. portrayed as Roman emperor (imperial ego evokes god/Christ of 15th Euro art) - absolute, pristine finish (NOT a paint stroke visible)

Monet, Boulevard des Capucines, 1873-74

- impressionists are not doing sth disturbing (NOT radical) - paints the new city of Paris - new boulevard to improve circulation - typical enjoyment of the city - alienating (ppl are reduced to smears) - hard to recognize the individual element of the painting - flatness about impressionist paintings - city itself is reduced to machine for circulation of capital and delivery of goods and services - city devoted to pleasure & consumption but you don't know where you are

Van Gogh, The Potato Eaters, 1885

- in spirit of Courbet in that he paints social reality - life of the poor whose diet consists entirely of potatoes - absolutely unromantic - direction towards caricature of rural workersn - painted in unrelenting brown & dark colors

Degas, Little Fourteen-Year-Old Dancer, c. 1881

- later starts to lose eyesight -> work mainly through sense of touch - dancers become one of his topic - small bronzes - shocks everybody - forbidden thing : casting the figure nude, lack of finish on teh surface - puts a dress on the figure -> real, dangerous blurring of commercial culture - mixing up : NO - obvious defiance of the way that sculpture is an higher art (supposed to present itself) - NOT a glamorous portrayal of a child

Ingres, Self-portrait at age 24, 1804

- models on self-portrait of Raphael - sign of emulation (I am the new Raphael)

Jean Chalgrin, Arc de Triomphe, Paris, 1806.

- neo-classicism (in the middle of 18th) --> return to the purity of classical tradition --> official language of Fr. empire (empire style) - erected as a monument to Napoleon & his armies and his military victories - massive allegorical sculptures - commemorate various episodes of last decade in which Napoleon was involved - based on ancient triumphal arches of Rome (but much larger)

Millet , The Sower, 1850

- never-changing labor - paints like daumier - heroic looking, massive figure of peasants scattering the seed - closer to Courbet in terms of portraying dehumanizing aspects of physical labor - very poorest member of rural social scene (landless peasant)

Ingres, La Grande Odalisque, 1814

- odalisque : beautiful woman lay around in opulent interior (orientalist subject painted by classicists) - Raphael head - bizarre body (endless spinal chord) - one arm is longer than the body & weird legs - total fantasy creation - undefined, malleable female body <-> male body (normative, structured, gov. by ideal proportion) - criticized harshly (NOT close to nature. erotic. decadent creation)

A. Avelin after Mondon le Fils. Chinese God. An engraving from the ouvrage «Quatrieme livre des formes, orneė des rocailles, carteles, figures oyseaux et dragon» 1736

- orientalism - fantastic ideas of Chiense arts and culture - ceramics - chinese gods - paris is setting the trend in fashion & interior design

Van Gogh The Night Café in Arles, 1888

- owner looks at you - blaze of electric light - place for violence - contrast of red & green

Monet, from Rouen Cathedral series, 1890s

- paint the same facade of the church at different times of the day - color theory - impacted by scientific research of light & perception -> any color has complementary color in its shadow - subjectivity of perception - associated w/ emotions (NOT just observation) -> become concerns for next generation : post-impressionists

Degas, The Tub, 1886

- pastel chalk - intense interest in structure - body presented form unexpected, unforseen angle

Boucher, The Vegetable Vendor, ca. 1735

- pastoral, bucolic image in rural paradise (ideal site for young lovers) - couple engaged in activity of courtship - vegetables on display have obvious sexual connotations ex) carrots (fallic form), flower cabbage, onions - at first glance seem innocent, but underneath highly charged w/ sexuality & interest in amorous love - Boucher's paintings faced criticisms in his later career (Diderot : seemed immoral compared to traditional paintings and disguise the truth)

Goya, Disasters of War Plate 18: Enterrar y callar (Bury them and keep quiet).

- piles of corpse - caption : sentiment coming from characters w/i the scene - similar style of etching & painting

Goya, The Family of Charles IV, 1800-1801

- portrait of Spanish royal family - quotation from Velazquez (canvas against the wall) - unflattering (portrayed as mean & stupid) - asked to paint more, however

GREUZE, Village Bride, 1761. Oil on canvas

- portray everyday life - simple, unadorned room - father giving dowry for his daughter to husband - sentimental take on simple country romance (emotion of bride's family shown) - simple story depicted - moralizing aspect --> do what a good young girl should do (get married) - Diderot turns against G. when he tries to make an impact as an history painter - artists try to invest themselves in history painting bc of how they're valued in the academy

Seurat, A Sunday Afternoon on the Island of Grande Jatte. 1884-86

- post-impressionism : a loose-labeled term -> pursue very different path - interested in science of objects - ppl from all over Paris gather on Sundays - seen as commentary on the formation of modern working week - organization of leisure - strict demarcation from workdays & weekends - many workers in Euro do a 6-day week (Sunday the only day for leisure) - grouping of ppl in strict silhouette - faceless figures & ghostly presence - NO brushy paint strokes / dabs of paint of regular size like Monet's - NO handwriting of impressionist paintings - tries to produce optical mix through dots - almost as if pixelated - elimination of brushstrokes -> seen as expressive & too emotional & subjective - wants to reproduce optics of color (complementary color) - mix the dots in your eyes (approximation of visual reality) - strange, scientific digital transformation of visual reality - movement towards abstraction - alienation commented by many ppl - supposed to be portraying ppl having a good time -> NOT really the message you get - produce sense of distance & detachment - refusal of empathy w/ the figures

Batoni, Portrait of Sir Wyndham Knatchbull-Wyndham, 1758-9

- ppl often bring portraits as souvenirs for the grand tour - B. is the central portraitist - illusion to ancient Rome in the background -

CHARDIN, Saying Grace, 1740. Oil on canvas

- preferred by Diderot (didn't like Watteau, Boucher, Fragonard : over-embellished reality) - restricted himself to still life & ordinary scenes of domestic life - interest in ordinary, conveying unadorned view of middle class life - depict bourgeois ppl than the haughty aristocrats - sincere & authentic (alternative to previous Rococo artists) - embodies the value of Rousseau : arts & science have corrupting influences on man. --> R. interested in returning man to primitive, uncultured original condition (<-> Voltaire : scientific dev good) - in the tradition of 17th Dutch genre scenes - mother & children : seem far from the corrupting cultures of Fr. at this time - simple, modest room - mood of queit attention is at one w/ the hushed lighting & mellow color - highlight moment of instruction in pious ritual - worn surfaces & floor - items on floor - suggests lived-in qualities (domestic) - NOT materials put on display - simple composition highlights the simplicity of the life that C. is presenting

Courbet, The Painter's Studio : A Real Allegory of a Seven Year Phase in my Artistic and Moral Life, 1855

- rejected from the exhibition, so created his own - c. himself at the center painting a landscape accompanied by not idealized model - ppl around him : include figures from C's social world (radicals, progressives, avant-gardes) - ppl seem to be fragments of social reality from all over Euro brought together - parts standing for the whole - larger social reality - (metonymy) : major trope of realism

Manet, Luncheon on the Grass , Oil on Canvas, 1863

- rejected from the salon BUT accepted to other exhibition - Zola : this is so marvelous & about us now in the 19th Paris - scene of urban life (green space w/i the city) - to more natural state w/ ind. machines around you - shocking for various reasons - juxtaposition of defiant looking nude (disturbing & inappropriate) and two young men - morally loose lifestyle - sexual commerce in Paris this time - liberal critics found this alienating bc of the fruits that had attachments to faces (dehumanization) - lack of emphathy - cursory landscape & flat ppl that looked unfinished - M. conscious in traditions -> put composition together from works of art in Ren. tradition (like the painting by Giorgione) -> critics : how are they different? -> two figures based on print of Raphael - BUT M. is not doing this in a normal way - M. tries to represent the reality around him

Boucher, Blonde Odalisque,1752

- represents the portrait of Louise O'Murphy, a young Irish woman who worked as Boucher's model and who, in 1753, was briefly the mistress of Louis XV. - does not present her as a Venus of classical beauty but portrays her instead in a provocative pose of unambiguously erotic persuasion as a sweet child-woman. - In spite of the high esteem in which Boucher was held by the public of the day they frequently criticized the artificiality of his "porcelain heads" and his delicately coloured interiors. - Here, too, his handling of colour is delicate in the extreme, creating a powdery surface with- out depth in which the hues are brought together by the use of white as a common ground. - There are neither deep shadows nor sombre contrasts of light and shade. The white ground also takes the edge off the primary triad of red, yellow and blue, diluted here to discreet shades of pink, pale yellow and light blue.

GÉRICAULT, The Raft of the Medusa, 1818-19

- rethinking of history paintings - large format pictures BUT unorthodox in their choice of subjects - Instead of classical subjects, contemporary event - fragments of larger pieces - commemorates contemporary scandal (ship was drawing a raft w/ survivors from other shipwreck -> cut the raft in the middle of nowhere) - have seen a ship & trying their best to attract attention - covered up BUT leaked to the newspapers - liberals & bonapartist attacked gov of Louis XVIII - organized on a diagonal (Rubens) - can't resist the temptation to portray the male nudes - figure of son & father (influenced by follower of David who is ultra-Poussinist) - deliberately portrayed moments of cannibalism - hated by many - BUT praised pick up of political theme - seen as metaphor for Fr. (whole country on raft of medusa) - corrupt gov w/ talentless officials

Canova, Pauline Bonaparte (Borghese) as Venus Victorious, 1808

- return of the female nude - C. wanted to portray N's sister as Diana (goddess of chastity & virtue) - married into Roman aristocratic family & they traced her ancestry way back to Venus (rationale for portrayed as Venus) - scandalous (emperor's sister portrayed as Venus) - contrast to Bernini (formal, strict) - tension btw idealization & erotic

Friedrich, The Abbey in the Oakwood, 1809-10, Schloss Charlottenburg, Berlin

- ruined church - Gothic architecture -> whole painting is gray - G. taken up as an alternative to classicism & for patriotic reason

GÉRICAULT, An Officer of the Chasseurs Commanding a Charge, 1812, Musée du Louvre, Paris

- salon is the center of the art world - artworks that were too experimental & original NOT shown - represents new spirit in painting - classical portrait (Napoleonic) - oriental, Gothic - return to energetic Rubensian style w/ loose paintwork & lots of motion - conscious of David's painting of Napoleon (rethinking that composition) - make it more lively & energetic than fossilized, crisp Davidian image of Napoleon - fire & blaze - hated by everyone later - NO longer paints portrait later (subject/history paintings. comment on contemporary events) - interested in painting anti-hero & brutal facts of life - think about history paintings after fall of napoleon - romanticist attitude (G. becomes patron saint of Romantic movement)

Monet, Women in the Garden 1866

- scenes of contemporary life - no obvious social comment - painting outdoors/ on-site under sunlight - sub-urban garden - very light palette (<-> deep rich p of Delacroix and old academic traditions or Courbet's heavy p) - painting on a light surface (lots of white) - monumental, history painting-scaled painting of next to nothing - usual complaints : so bright it hurts our eyes - not finished (rendered in dabs of paintings) - paintings produced in tubes -> can carry around (don't have to be in studios anymore)

CHARDIN, The Young Schoolmistress, 1735-36

- similar theme of instruction (from Saying Grace) - figures focused on what they're doing - simple, pictorial space - non-identifiable background

CHARDIN, The House of Cards, 1736-7

- simple, quiet moment of single figure engaged in his acts - sense of inwardness - fully focused on their tasks - as if they're unaware that they're being painted - NO direct engagement w/ the viewer - fully enclosed in fictional space - "absorption" - Diderot appreciates these aspects of C.'s works (simple reality) - C. makes few comments about art - forget everything about how obejects are perceived by others (interested in his engagement w/ the object & rendering them in a realistic manner)

Daumier, The Third-class Carriage, 1862-4

- social reality - Fr. life in terms of class - railway magnifies class differences (different prices of tickets) - poor bourgeoisie (third class) - massively overcrowded - "Il faut être de son temps"(It must be of its time) : manifesto of realism (anti-romantic) * focused on Fr. bc the salon sets the of art (worldwide) ------------------------------- - realism is NOT a style (attitude) - being contemporary & seeing things as they are (getting out of the studio w/ modals & plastic casts, trying to see different things) - photography developed (has industrial & scientific purpose)

Turner, Slavers throwing overboard the Dead and Dying — Typhoon coming on. 1840

- specialist in landscapes - throw overboard the conventions of naturalistic depiction & classical landscape - language of watercolor - represent atmosphere (light, air) - famous for seascape - politically charged subjects (slave ships throwing slaves overboard to collect insurance money) - painted to support international cause against slavery - abolished in England but not in other part of world - liquidation of classical landscapes - series of blur w/ central light

Jacques-Louis David, Oath of the Horatii, 1784

- starts to attract support from the aggresives & anti-monarhists in France - depicts a story from pre-republican Rome (leaders of cities in war decide they're going to resolve conflicts by sending 3 rep from each side) - oath of 3 sons to the father - display willingness to die for their cities (political commitment) - oath signifies link btw family & state - underscores roles of man & woman (polarized) - father back against woman - woman excluded from the ritual - woman in smaller scales relatively - total avoidance of Baroque rhetoric - main figures stand up strong & tall (NO dramatic diagonal) - expresses certain type of commitment to an ideal in art (ideal of classical art) & in politics

Trioson, The Sleep of Endymion, 1793

- strict currency in male nudes during the rev (male vulnerability, especially Christ. images are replaced w/ images of heroism & masculinity) - NOT really a military hero, BUT more of an erotic subject - moon goddess Diana falls in love w/ Endymion & puts him to eternal sleep s.t. he can keep his youth - E. bathed in moonlight - painted right during the rev - praised as an appropriate rendering of ancient mythological subject - steamy (vapor rising from the forest) - shows nude of neo-classicism - Winckelmann keeps on affirming males types of ultimate beauty (mean are more beautiful than women)

Delacroix, The Death of Sardanapalus, 1827

- subject from contemporary literature - orientalist - connotation of perversity & violence - Sardanapalus's kingdom destroyed by Persians & under siege in his palace - orders massacres of women & favorite horses - anesthetized horrible acts of cruelty - homage to Rubens (violence) -> unfused brushstrokes -> sketchy quality -> combination of humans & animals - raging red - figures in black & brown but king in white clothes - comment on the current regime

Gauguin, Self-Portrait with Halo and Snake 1889

- wants to make himself look like an idol (Inca god) - very self-conscious - martyr of his own art - casts himself as prophet (jesus-like attributes) - illusions to saintly status & myth of the fall (adam & eve and the garden) - abstract, schematic ver. of his own portrait - firey yellow & orange

Tourlouse-Lautrec, Cabaret posters, 1880s

- way of painting influenced by advertising (mass culture) - characters afraid of nothing - satire - japan all over this - like geisha figures & actors of kabuki theaters