ARH 303 exam 2
Romaniticism
what is the stylistic period
realism
what is the stylistic period
In the 19th century, the representation of the North Africa and the Near East (i.e., the Arab world) in a stereotyped way that is regarded as embodying a colonialist attitude. Reflects European imperialism and its accompanying sense of superiority that viewed non-Christian Arab culture as not only different and exotic but also inferior—backward, immoral, violent, and barbaric.
Orientalism
a figure seen from behind
Rückenfigur
1766
What is the date
1784-1785
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1808
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1814
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1821
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1863
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1872
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1875
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1878
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1879
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1879-1883
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1884-1886
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1884-1889
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1886
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1888
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1889
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1891
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1893
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1905-1906
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1912
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1913
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1914
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1717
What is the date?
Cubism
What is the stylistic period
Fauvism
What is the stylistic period
Futurism
What is the stylistic period
Impressionism
What is the stylistic period
Modernism
What is the stylistic period
Neoclassicism
What is the stylistic period
Postimpressionism
What is the stylistic period
Proto-Dada
What is the stylistic period
Realism
What is the stylistic period
Rococo
What is the stylistic period
Romanticism
What is the stylistic period
Symbolism
What is the stylistic period
impressionism
What is the stylistic period
Rococo
What is the stylistic period?
A Sunday Afternoon on the Island of La Grande Jatte
What is the title
Bottle Rack
What is the title
Burghers of Calais
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Grainstack (Sunset)
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Grande Odalisque
What is the title
Guitar
What is the title
Impression, Sunrise
What is the title
In the Loge
What is the title
Le déjeuner sur l'herbe
What is the title
Monk by the Sea
What is the title
Oath of the Horatii
What is the title
Olympia
What is the title
Starry Night
What is the title
Still Life with Apples in a Bowl
What is the title
Summer's Day
What is the title
The Floor Scrapers
What is the title
The Hay Wain
What is the title
The Joy of Life
What is the title
The Scream
What is the title
The Stone Breakers
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The Suitor (Interior with Work Table)
What is the title
The Swing
What is the title
The Tub
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The Vision After the Sermon
What is the title
Unique Forms of Continuity in Space
What is the title
Pilgrimage to Cythera
What is the title?
1849
What's the date
Boccioni
Who is the artist
Caillebotte
Who is the artist
Cassatt
Who is the artist
Constable
Who is the artist
Courbet
Who is the artist
Cézanne
Who is the artist
David
Who is the artist
Degas
Who is the artist
Duchamp
Who is the artist
Fragonard
Who is the artist
Friedrich
Who is the artist
Gauguin
Who is the artist
Ingres
Who is the artist
Manet
Who is the artist
Matisse
Who is the artist
Monet
Who is the artist
Morisot
Who is the artist
Munch
Who is the artist
Picasso
Who is the artist
Rodin
Who is the artist
Seurat
Who is the artist
Van Gogh
Who is the artist
Vuillard
Who is the artist
Watteau
Who is the artist?
a work that combines actual three-dimensional objects to make a sculpture. Customarily involves creating forms with unconventional sculptural materials, and it is the 3D equivalent of making a collage
assemblage/construction
colored light and atmosphere that is diffused across a landscape
enveloppe
a technique that conveys a sense that a painting has been made quickly; associated with Berthe Morisot
fa presto painting
the way paint is applied to the canvas
facture
French, "amorous festival." A type of Rococo painting depicting the outdoor amusements of French upper-class society.
fête galante
eroticism centered on or aroused by persons of one's own sex
homoeroticism
prints on popular subjects rendered in crude, sharp colors, sold in France in the 19th century. They owe their name to the fact that the first publisher of such images — Jean-Charles Pellerin — having been born in Épinal, named the printing house he founded in 1796, Imagerie d'Épinal.
images d'Épinal
Very heavily applied paint to the surface, so it's raised
impasto
A painting surface with a smooth, mirror-like finish created by blending fine brushstrokes.
licked surface
the act of depicting the world and women from a masculine and heterosexual point of view
male gaze
using a part to signify the whole
metonymy
painting done outdoors; literally, painting done in the open air
plein-air painting
an ordinary object that, when an artist gives it a new context or title, is transformed into an art object
readymades
an immediate experience / feeling of the visible world
sensation
the interpenetration of the senses, which would allow color [i.e., sight] to produce sound
synaesthesia
"Art is a lie that makes us realize truth." -Picasso. Radical idea #1: Made in sheet metal, something we haven't really seen before in sculpture until this piece. The model of it before the metal one was made of cardboard, which is also radical. At the time it was a really big deal because other painters and sculptors didn't know what to make of it. They didn't even know what it was; didn't know if it was meant to be hung on the wall or what. Radical idea #2: No narrative attached to it and no real purpose. Like what his friends thought, where do you even place this? What do you do with it? Can't really classify it readily as a sculpture or a painting. This is foundation of what we call assemblage/construction: using objects or materials that're unconventional for sculpture. African art was an influence on his work. This is important because it breaks from western art, which is radical because african art isn't super common. This piece is related to an african piece that he owned. The strings don't go over the circle, which they're supposed to do. You recognize the form of it, but a lot of the front is missing as well as the tuning knobs. It's almost like a cutout or an opening up of the guitar so we think about the interior space and the opening, which was once a void, became solid because everything else was open too. He's opening up forms and making us think about the structure of an object and how we determine what an object is. Metonymy: important to all art, but african art in particular; Using a part to signify the whole. Simplification of forms can symbolize a whole. He probably thought of this in terms of african art.
Describe this
"I want to make of impressionism something solid and enduring, like the art in the museums." ~Cezanne. He wanted to bring a bit more structure and form to impressionism. What he's trying to improve about impressionism is that everything is formless, abstract, everything's fleeting and almost threatens to dissolve. He wants things to be clearer and crisp because nothing really had structure or solidity. Painted with same care for senses but had more emphasis on composition. Interested in recording a feeling or experience. Aspects of vision, color, and feeling. Worked on these paintings for very long time so he would stop using real fruit because the fruit would rot. Still about feeling, but more about form and structure (Cubists would build off of his techniques). Facture and modeling with color patches. Facture: way paint is put on canvas, brushstroke, the mark. His use of facture is short, almost quick brushstrokes; hatching. Strokes are all very parallel. Paint is thick. He's using combination of very short, parallel strokes with very thick paint to give these forms a sense of solidity; almost sculpting his forms into existence. Modeling with patches of color, choosing pure colors from the tube and shading with them. Not chromo-luminarism thought. Color modeling is giving sense of volume by changing of colors used, the use of light and dark to create volume. We don't see the world from one specific viewpoint in real life because our bodies move and our eyes move so the perspective changes. He wanted to replicate this by representing different perspectives. An example would be the tilted table. The plate with apples is almost straight on. Warped plate so that says we're looking at it from above or straight on. Bowl is supposed to recede in space but we see a highlight on its right.
Describe this
"I want to make the moderns pass by as in that frieze (the Panatheniac procession from the Parthenon), capturing their essential qualities by placing them on canvases arranged in color harmonies." ~Seurat. He wants to paint modern life like the impressionists. Seurat wanted a bit more order than Cezanne; he wanted to make it into a science, give the art a sense of classical harmony and balance that we find in classical greek art. This painting is huge as opposed to the impressionists' small ones. So he couldn't paint outside in this scale. But he still wanted to be faithful to color and light but give it monumentality, a scale that we could associate with classic or renaissance art. A lot of figures shown in profile. Sense of deliberate, orderly arrangement of things. Almost mathematically arranged. Everything is so fixed and in place. Pretty much all the figures are parallel to the plane. Lots of strong verticals and horizons. Everything is carefully arranged; he's a stage designer. Painted them on more than lifesized scale. Based on science. Painting modern people but painting them in a way that would show symmetry and balance and order of classic art. He painted this thing for two years and did multiple studies (56) in different mediums: conte crayon on ingres paper, oil on panel, and oil on canvas. Usually, people that are shown in these types of paintings as being in the same class. Working class guy reclining in this painting; we know this because he's not dressed up, sleeveless shirt and his hat. Hat of a boater. Leisurely smoking a pipe next to middle upper class people. Another prostitute represented in this; the woman with the monkey, the monkey is the clue. Was a clue because singesse was a word for prostitute: sing=monkey, gesse=female. Guy next to her is taking out the prostitute: where is his wife? Little girl with her nanny. Chromo-luminarism (color-lightism)=divisionism=pointillism (modern name of it): paint is applied in little tiny dots and line in pure color with the belief that they would mix and create more brilliant, luminous lines. This was his way of giving it a system and order. The way to make it accurate was to paint like this, based on a scientific theory of the day: the color wheel: primary and secondary colors. Instead of mixing colors on palette, would mix paint directly on the painting itself, letting the eye do the mixture. Did what's called optical mixture: would place blue dot next to yellow dot to allow the eye to mix green itself instead of mixing paint on a palette. Complimentary contrast. IN girl's orange hair, dots of blue and in her blue dress, dots of orange. They're complimentary colors, so putting them close together made them both seem brighter.
Describe this
Baudelaire wrote an essay called the Painter of the Modern Life saying that we should be painting modern life. Manet took up Baudelaire's call for this. Manet is wealthy, as seen in his dress in a self portrait. Aristocrat. He's a "dandy". This painting was not accepted in the Salon; he had not won a medal before. Napolean III created a Salon for rejected works. They had an option to show them here. Manet decided to show it there at the Salon des Refuses. People went to the salon to make fun of this painting. The two men are hanging with prostitutes. She had on modern clothing at some point. The men are wearing modern clothing. They're all looking in different directions. Naked woman is looking at us like "What are you looking at?" It's confrontation. One guy trying to talk to the other guy who is ignoring him. No safe story that can be told, nothing that can save it from the scandal. Woman looking at us is disrupting the male gaze. Manet pretty much breaks all rules but still mimics classic paintings. Not much is happening in this, no real narrative. We know who the woman is: Manet's favorite model, Victorine Meurent. She may have been a painter. Oiseaux des passages= birds of passage: slang for clients of prostitutes. Une grenouille= frog: slang for an available woman. Manet made it clear that these women are prostitutes. He chose a section of The Judgment of Paris and copied the forms. Collapsing/flattening of pictorial space. Woman in the distance should be smaller than she is. No convincing illusion of 3 dimensional space. He has destroyed all sense of scale. Woman looks like a paper cutout pasted on the canvas, breaking the rules of academic art. Loose, lush, sketchy handling of paint and brushwork. If you were gonna make a reputation in the Academy, you would not have done this. Manet is not trying to create a realistic illusion. He's announcing "I'm making a painting." and paintings are made on a flat surface with color. He's not trying to conceal how this was made. He's leaving portions of this loosely finished. People paid to come look at this because it was so radical and nothing else was painted like this. It's giant too, seven feet. He's mocking the conventions of academic art
Describe this
Brushwork used to evoke emotion. "The sight of the stars always makes me dream in as simple a way as the black spots on the map, representing towns and villages, make me dream." ~Van Gogh, Letter to his brother Theo, 9 or 10 July 1888. He always has some influence from the outside world but also incorporates something from the imagination. Did this when he checked himself into an asylum at this time. Could have seen everything except for the steeple of the Church from his window. It was something you could see in holland, not france, which is where the asylum was. Same blue we see in the sky is in the villages too. Maybe spirtitual ephereal mood in the repetition of the blue. Also see an echoing of the yellows in flickering lights of houses below. Used brushwork for expressive purposes, to show his emotions. Use of impasto. Whirling, turbulent, vibrating motion of everything. Everything is moving within the confines of a rectangular frame. Only the homes seem to be stable and static. Repetition of swirls in mountains and in the corners. Takes handle of the brush and carves into the thick green paint in the tree. Symbolism of cyprus tree: especially in france or italy, they're used as grave markers. Symbolism of death or transcendence. It's gloomy and reaching out and making physical contact with the stars. Sense of something fleeting that makes contact with the stars and the heavens, probably spiritual.
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Cythera is a greek island associated with the goddess of love (aphrodite or venus). Very dressed up figures because we're looking at a style of painting that is geared toward the upper class. Puti, angelic babies flying. Looks like they're flying towards something. Looks like a social gathering, possibly a party or entertainment for the aristocracy. Louis the XIV died. When he was alive he moved all the aristocracy to his Palace of Versailles. Nobility left the palace and built elaborate town houses in the heart of Paris; almost mini Versailles. They needed an art that would go along with this lavish and ornate ambience. French Academy of Fine Arts was established. Their leader established a hierarchy of genres: history painting (the pinnacle), portraits, genre painting, landscape painting, animal painting, and still life (the lowly). Watteau was accepted as a member of the French Academy. Had to submit a reception piece. Took him five years to get around to finishing this because he kept having commissions. Statue of Aphrodite in the right. The academy established a special category just for him called fe^te galante. Don't know if they're heading to or from Cythera. Lighthearted entertainment, romance in Rococo. Couples. Rococo was tinged with a little sadness, melancholy. Maybe they're on Cythera paying tribute to Aphrodite or they just have and are leaving. Pastel colors: mints, roses, peaches. Those are the colors characteristic of rococo. They look like they're dancing, which is where we see the influence of the performing arts. The paintings in rococo look kind of whimsical and lighthearted, almost part of a stage. Ballettic quality, almost. Figures are dainty or delicate, again going along with the notion of dancing. There's a lightness and elegant. Slightness. Small proportions in relation to the scenery.
Describe this
Fe^te galante. Again, seems to be part of the upper class because of their clothes. Her lover is blushing. He's very taken with her. He sees her skirt. There's cupid (the statue), the bishop is pulling her string on the swing, she's the mistress, the lover in the bushes, and putti (the angel statues in the background). The original artist said no, The commissioner wanted himself depicted looking up his mistress' skirt. The cupid is saying "shh", in on the secret. The bishop doesn't know. Very erotic. Pastel colors. Delicate, graceful, loosely brushed figures. Loosely painterly. Everything is in a softness or haziness. Background setting could be something you could see in an opera. Overgrown, lush bushes going along with the theme of wealth. Fertile and green, metaphor for love is blooming.
Describe this
Hand tinted black and white photograph. Lower class workers. They're breaking rocks. Manual labor, back breaking labor. Torn and tattered clothes, dirt on their hands. One guy is wearing clogs. Courbet is an artist of the upper class. When you're more wealthy, it's easier to make more radical art that challenges academic art. This would've been deeply unsettling for upper-middle class people at the time. Revolution of 1848 had just began across europe. Louis Philippe ruled and there was massive inflation and unemployment during his reign. In 1848, group of republicans, socialists, and workers united and declared a republic. Louis napoleon then became ruler, dissolved french parliament, then established second empire. Idea of communism began, as COmmunist Manifesto was published. Old man and young man are doing the same thing. You grow up breaking rocks to pave roads and you die that way too. He painted in the style of Raphael. He has this quote "Show me an angel and I'll paint one." He was saying he wanted to paint realism, what the eye can see. Huge believer that we should paint the current age, not the past. Never before had there been a painting like this. He submitted this to the Salon and it was accepted. Why? Because Courbet had already won an award there and had been accepted. Once you won a medal there, you could exhibit anything you wanted. So in a way, he tricked his way in because he originally submitted a conservative painting. It challenged academic art because of the fact that its subject is lower class workers. Painted a humble subject in a scale that would be reserved for history painting. He got the style that he used from a stylistic source called Images d'Epinal (i.e. prints on popular subjects). Using a style associated with humble graphics, often times read by people of the working class. Harsh, dirty, muddy, earthly tones. Raw and gritty. Not rich that we would see in academic paintings. Dirty colors to represent people doing dirty work with dirty hands. Appears to be shallow space, looks like there's a hill in the background, almost a wall. The figures are pressed up against the surface of the image. Flat, crudely painted figures. Suggested that he used a palette knife to apply paint. He's working crudely to emphasize the social agenda that the lower class is working so hard. These figures are painted with comprobable detail to everything else. Anonymous workers, symbolic of the condition of the laborers of the time. No central focus.
Describe this
He bought a lot of impressionist works, especially from Monet. Workers removing wax finish from the floor and preparing to re-stain it and wax it. Working class figures. Compare this to Courbet's The Stone Breakers. Faces somewhat obscured, not so much about individual person. These people are clean, well defined muscles, idealized. Doesn't look like they're sweating. Not as realistic as Courbet's piece because of that. This piece isn't really about celebrating the work, but more about celebrating and admiring the human body, but that can be debated. They seem to be dialoguing. We're looking down at these people; it's a privilege gaze, looking down at the workers from a privileged position. Caillebotte is from upper middle class. Maybe there's something homoerotic about this painting, and we're not sure, but it seems likely. We don't know Caillebotte's sexuality. The workers would've gained muscle over time so maybe Caillebotte was curious about how they looked. Wedding ring could be Caillebotte's way of trying to keep the painting safer.
Describe this
He bought this, didn't make it. He bought it and put it in an art gallery. Idea that you can take something from where it was originally and put it in a new place so that it becomes art. It didn't matter to him that anyone could go out and buy the same exact one as him because art is human expression at more than practical value. This bottle rack loses its practical value when it's in the museum. Readymades. Recontextualizing it. The art is the idea, not the object to Duchamp. What makes this art is that he selected it and transferred it from its original context. He's reacting against the sanctity of original art. Emphasis isn't on craft or technical skills. Attack on definitions of art emphasizing craft and touch. Attack on aesthetic taste: emphasis on the mind of the artist; idea that it has to conform to our common idea of aestheticism. The word for bottle in French is egouttoir (literally, "a de-dropper"). Functions as a wordplay on gout (e.g. "to remove, to take out taste").
Describe this
Image of a woman bathing. This is pastel, like chalky pastels. Looking down at the figure, maybe from a privileged or dominating point of view. Very close and intimate space. A lot of vulnerability. Voyeuristic. We don't know if she trusts him or what class she is. But we speculate that she's lower class because she's bathing herself in a humble tub; she has no attendants or servants. She doesn't seem eroticized because she has a modest pose and the everyday nature of the action and the pose. In this way, it's kind of challenging the male gaze. We don't know if it's meant to be read in an erotic way or not. Loose and soft style of art by using the chalky pastel. This sort of elevates the intimacy or the voyeuristic style. This piece was influenced by Japanese woodblock prints, and we can see that in how flat the subject is. Called ukiyo-e, images of the floating world. This really appealed to impressionists. Even the palette is similar to these prints, it being very limited or muted. Compressed space in both this and prints. Also sharp outlines. Also cropping of image as well.
Describe this
Ingres was David's best student. Odalisques are slave women that lived in a harem. Took lessons he learned about neoclassicism and applied them to his new paintings. Linear style of painting, a lot of emphasis on line. Sharp outlines. Delicately rendered paint. Chiaroscuro modeling. Licked surface, the idea that it's very smooth, reflective, glossy, almost like a mirror. No real evidence of the brush. Mainly about exotic subject but could also be condemning the near east. Reclining nude. Perfectly acceptable to paint, but in the past it was a goddess or a nymph. Idealized woman; not real woman, idea of perfect woman. No blemishes; flawless. Fluid and graceful. Impossible position of her head, her torso is super elongated. Her knee is at the dead center of the painting, creating balance and harmony. She's not a goddess, she's an odalisque. Because she's exotic, she comes from another world. She's exoticised, a representation of a woman not from the west, even though her features are very european. Could almost be a fantasy of a white european slave. Has to do with idea of orientalism. From colonialist or imperialist perspective, this is a stereotype. We can see that in her pipe, the peacock feather fan, her turbine, lush sumptuous fabrics. Bridge to romanticism. No moral behind it.
Describe this
Italy was very stuck in making things from the past but Boccioni broke through this. Futurists wanted to move italy forward in terms of artistic expression and technologically. He was originally a painter. Looks like it's running, moving. It's striding toward the future. Real sense of movement in planes or lines or sweeping movements of shards. It's not the body itself, it's the accompaniment of the shards. Maybe the shards are drapery but no real way to tell. Resistance to the natural placement of air. Basically the surrounding atmosphere and the figure are fused: plastic dynamism. Ether: idea that (oops I forgot what he said). Transformed or changed by it's interaction and continuity with space. As it moves, its body is transformed. He was celebrating speed and dynamism, inspired by automobiles. He figured out how to represent that in a sculpture and he got the idea from chronophotography: a set of photographs of a moving object taken for the purpose of recording and exhibiting successive phases of motion. Trying to replicate the modern experience. He wanted to replicate what the human eye couldn't see. Reality is not confined to what the eye can see, as Gogan thought. X-ray ran with this in a technological way. Almost muscles in movement. Since it's gold, it could be a robot, or human, or a hybrid of the two.
Describe this
Left his family after losing his job to live as an artist. Wasn't a nice guy, said bad stuff in print. "It is well to remember that a picture-- before being a battle horse, a nude woman, an anecdote or whatnot-- is essentially a flat surface covered with colors arranged in a certain order." ~Maurice Denis, "Definition of Neo-Traditionism", 1891. Pictures are just colors arranged in an order before it becomes the subject. What gives painting it's value and true meaning is color and line. Not painting the world as we see it, but as we feel it. He's very expressive in his painting. The word "vision" used in this sense and context had never been used in impressionism before. The people are in prayer and having a vision, seeing something not with the eye, but something in their mind. Their eyes are closed and their hands are clasped in prayer. They're imagining the story. The tree draws a line between reality and the mythical and not real. Separates them from the angel and Jacob. Monk dude is on the right side of the tree that looks a little like Gauguin. He's on the side of the visionary. Redness stretches into the real world. He wasn't using color to describe a scene, but to describe a feeling. Red has a symbolic power; it's a struggle here, or anger. Strong lines, simplifying things. Going towards abstraction. Idealist philosophy and the Allegory of Plato's Cave.The idea is that the phiosephor is chained to a spot. Reality is not just what the eye can see, but goes beyond it. Influence of Japanese art: strong outlines, color, compression of space. Not an attempt to create space realistically, but to flatten it and bring things closer. Pure primary colors, not a lot of shading. No sort of gradation of color. No real recession of the ground; it looks as if ground is sort of raising up
Describe this
Mary Cassatt came from very wealthy family in Pittsburg. Was able to enter into an art school. Never married, neither did Degas. They became very close. Painted in a theater because remember, it was generally unacceptable for women to go places by themselves and paint. Theater was a very popular place to paint for everyone. Acceptable for her because women of her social position would be. She's sitting up in the good seats, the row things in the air. This is a portrait of her sister Lydia. Her whole family moved to Paris to watch out for her and support her career as an artist. She's not looking at the performance, so what is she looking at? Her binoculars aren't pointed down, which they would've had to have been if she were looking at the stage. She's doing people watching. Someone is watching her, which we see as the male gaze. Some guy is spying on her, maybe checking her out. He has a similar pose to her: maybe psychology of mirroring movements of people you like? That's my idea, so don't know if it's right. She's actively looking at things. She's ignoring the guy; an empowering posture for a woman to assume. Calling male gaze into question in a different way. She's in between being checked out by the guy in the background and being checked out by the male viewer of the painting. She could be looking across the room because she knows she's being watched by him so mimics his movement as a stab at him, showing him how stupid he looks. There's another woman in the booth with him, so how is he justifying what he's doing? Perhaps she's calling into question the male gaze. Maybe even challenging what the purpose of the opera is. Maybe a critique of the society of the day.
Describe this
Matisse was part of group called the Fauvs. A lot of lines and decoration. Called wild beasts (that's what fauv is in french). There's a sort of classicism in the figures, but there's a really wild use of line and color. Not entirely psychological about it. They were at the turn of the century so lots of fears so they had a desire to get away from the stress and anguish of the world, which is really what's going on here. "What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject matter, an art... like an appeasing influence, like a mental soother, something like a good armchair in which to rest from physical fatigue." ~Henri Matisse, Notes of a Painter, 1908. Idea that art should nourish and relax the mind and soul. That's expressed most chiefly through his use of color. Color more for joy and calming rather than for description of objects in nature. Harmonious qualities of color more important than what we would see in nature. Bodies are very different in color, does not correspond with how people looked in real life except for the realistic ish people in the center. The realistic people have stark outlines in not realistic colors. Curving, decorative lines maybe borrowing from van gogh but not in a busy way. Very economical use of lines. Figures in right side seem to merge or meld together. People are like flat cutouts, same with trees. Figures are shaded but not a lot of dimensionality, emphasizing the flatness of the canvas and emphasizing the color. Scaling is whacky; person in front is smaller than figures in middle. Could have to do with representing figures from multiple points of view like cezanne but not sure if he entirely agrees with that interpretation. Abstraction is also used here. He's referencing classic art in painting some sort of arcadia, some mythological timeless past in Greece. He's reacting to art such as cezanne, poussin, and puvis. We don't have anything to tie figures to modern or ancient time except for the way they're represented. He's changing all the rules, rejecting the classic rules of painting; painting realistic colors and scale and dimensionality.
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Neo meaning new classicism or return to classicism. Precipitated the french revolution. Painting during enlightenment that led to the french revolution. Age of Enlightenment also known as Age of Reason. Enlightenment based on science or reason or logic, empirical data. History painting. Art should have a moral purpose behind it. Morals from the past could inspire action in the future. Severity of the Neoclassicism. Archaeology became a more formal profession. Renewed interest in the classic period. Even the king was concerned, he wanted it to have a moral purpose. Wanted a return to history painting as the pinnacle of art. He appointed a minister of the Fine Arts to commission young artists to paint history paintings to put in the Salon. This painting became a sort of smash hit of the salon. Painted with the king's patronage. Had the blessing from the king. Story in Livvy's Chronicles. 7th century Rome was at war with neighboring city alba. Two families, three brothers from each family, would go to war and whoever won their corresponding city would be victorious. Rome was triumphant. Three sons of the guy holding the swords; they're taking an oath to save rome. Camilla, girl in white, was engaged to one of the enemies. Sabina is girl in blue and brown was married to horatii, one of those brothers. Patriotism had greater value than family here. Inspired by renaissance version of classical world. Emphasis on muscles (like michelangelo's Creation of Adam) and similar colors to Raphael's painting (Marriage of the Virgin). Muscles definitely comes from classical art. Like michelangelo's idea of sculpting figures with their paint. Emphasis on geometry, perhaps symbolizing something. The grid on the floor: linear perspective is being used. The vanishing point is the father's hand. Roman architecture. Linear paint style, much like Renaissance painting. Return to this. Called this a licked surface because it's so smooth and glossy. No traces of the brush work. Visual evidence suggests that the women were not super important, enlightenment enforcers did not think that women could be citizens, capable of reason, too emotional, and incapable of action because they were too tied to family. They're not looking at the viewer, they look very weak compared to the men. They're drained of any positive emotion, drained of energy. Men are upright, straight, stoic. Women are soft, curvy, no muscles, limp and lifeless, doesn't look like they even have bones. Clear stark message of the role of men and women. Prioritizing reason. Important to the time because it emphasizes how men are powerful and capable of serving the country and inspires men to get up and do it themselves. That their country is the highest priority. Main point of the revolution is brotherhood, which we can see in the unity of the brothers and how one brother's arm is around another one. Broad message is that large sacrifices would be needed in order to advance the cause of the revolution. Neoclassical is filtered through the eyes of the Renaissance art.
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Painted a lot of series, bringing like fifteen canvases out and painting something with different lighting and weather affects on it. He's interested in painting atmosphere; light and how it reflects through the air. He wanted to capture how the subject changes based on the changes in the atmosphere. Use of enveloppe: colored light and atmosphere that is diffused across a landscape. The subject is insignificant; he's concerned with faithfully capturing the enveloppe. If you look closely, you can see a thick and crusty accumulation of paint as he's reworking stuff and going back over things to get the accurate colors. Diversity of color replicates the atmosphere brilliantly. Pure colors from the tube. Once he started painting this way, he kept painting this way for the rest of his life.
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She couldn't become an academic painting because women weren't allowed in the Academy. She was wealthy so that's probably why she was able to become an artist. She couldn't go to bars and cafes or paint outside because it would've been frowned upon for a woman to be unaccompanied by a man. The critics agreed that she was equal to men, as they considered her the one true impressionist. She said she was equal to men, and that was often reflected in her subject matter. Suburban leisure with women. She showed women in a different way than other impressionists. Clothed, without men, possibly a sense of boredom. They're thinking; pensive quality. Woman on left is looking out onto the water, they're not talking to each other or interacting with each other. They're literally just thinking. This is a painting about women and their interior thoughts, about how women could think. "My ambition is limited to the desire to capture something transient." -Morisot. Bright colors, painted on the spot, plein-air. Loose brushwork, sketchy. Can really see a lot of the bare canvas. Fa presto painting: a technique that conveys a sense that a painting has been made quickly. Really emphasises that she's capturing a moment in time. Everything is quickly, loosely, feathury rendered.
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Still breaking all of the rules, just like the prostitute one. It was accepted into the Salon of 1863. It was probably accepted because he got a lot of publicity with the scandal. It's considered bad because of the male gaze. Maybe males aren't okay with it because she's staring at you; it's threatening and confrontational. This is a modern, contemporary european woman. So we, in a sense, become the client. High class prostitute. We know this because she has an attendant, she's been given flowers. She's almost looking down at us, like what are you here for? Very confrontational facial expression, aggressive. Black cat and flowers, showing that sex is being shown here. She looks like a paper cutout. Again, we have painterly brush strokes. During the time, black people were thought of as uncivil and barbarous, another symbol for sex.
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Symbolists very interested in psychology and it's no coincidence that Freud was exploring psychology a few years after this painting. Idea that reality isn't just what we can see in front of us; can be something not physical, like thoughts or colors or lines can represent some idea or emotion. Moving beyond the physical to spiritual and symbolism. This is the earliest version of the Scream, ¼. Norweigan painter, came to france to study art. Looking at impressionism as stylistic source. Swirling, fluid and rhythmic patterns of the brushwork are Van Gogh-esque. He used complimentary colors to bring out the intensity of the colors. Write quote from his diary later, it's long. It's a recording of a memory of something that happened 10 years before. Not about recording present day phenomenon, but about the past. In his quote, he described how he didn't hear the scream, he felt it. The idea that sound isn't just heard, but that it can be felt: Synaesthesia: the interpretation of the senses, which would allow color (i.e. sight) to produce sound. Mixture of the senses. Color doesn't just describe the physical world, it resides within us. All these colors and brushworks, very shrill intense colors, would evoke this sound and the feeling of it. Scream is visually represented in this, the figure is emitting the sound but the colors are either emitting the same sound or just vibrating. Visual analogue of sound waves. Since he had fear of open spaces, his whole body is being consumed by the fjord and even the sky. It all seems like its coming crashing down on him. His robe could relate to mourning or melancholy or doom. Sense of isolation of figure; sharp recession of space, everything seems to be far away from him. Influenced by the eruption of Krakatoa in 1883 because the skies everywhere were red and smoky. So his quote might have been based on the actual atmospheric conditions (blood red sky). The mummy with open mouth might've influenced the figure in the painting. So it could have been influenced by physical things, but mainly psychological. Actually the first psychological self-portrait.
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This artist was very close to Gauguin. In a group called the nauvy's or something like that and everyone in it was influenced by Gauguin. Vuillard's sister on left and mom on right. Guy is suitor who was eventually marry his sister. Indoors, which is interesting because we've been looking at outdoor stuff for a long time. Women's faces are blurred and obscured while the man's has details. Man is more naturalistic or realistic. Possibility that women are just props that reflects attitudes toward women at the time. Could also be challenging the male gaze. Something psychologically about the fact we can't see women's faces. Usually if the artist wanted to express emotion, we would see gestures and facial expressions from people but we have none of that here. We don't know what they're feeling. Generally, indoors would be associated with the women. A man is interrupting this space and a man painting it. Interior space becomes metaphor for interior thoughts in the mind. Lots of browns and blacks being used. Women have bluish grayish skin and that's echoed in the fabric on the table. Man seems to be squeezed between two flat walls. Flattening of figures and forms, emphasizing the dream-like quality of everything. Everything is sort of ghostlike or apporational. Patterns are sort of merging. Dizzying sort of quality that comes from all the busy patterns that all sort of merge together. He's representing an uncomfortable interior world because of all this. Bodies are supposed to be inhabiting space but instead, they're melting into it.
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This is what gave impressionism its name. Impression was considered a rough draft, the first layer of oil paint applied to the canvas. This painting was objected to because it was displayed as a completed painting, exhibited at the first Impressionist exhibition in 1874. Painted little blocks of color as light is reflected and refracted through the atmosphere. Plein-air painting: painting done outdoors; literally, painting done in the open air. This would've been radical because the entire painting was finished outdoors, and not always in one sitting, but it was painted entirely outside instead of going inside to finish. His paintings appeared chalky because he never applied varnish to his paintings. More pure color, paint not mixed as much. Impressionists basically banned use of black paint because we don't actually see pure black shadows. He didn't try to conceal his brushstrokes at all; he wanted you to see them. Loose and sketchy brushwork. This gives us a sense of his hand as it moves across the canvas. Monet was very concerned with recording his direct experience with nature.
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Very good friends with the impressionists, and some of his techniques are derived from impressionism. Particularly how to represent fleeting life. Like history painting but it's history sculpture. Commissioned by town of Calais. In 1300s in order to save the town, king wanted 6 burghers brought to him in chains and barefoot to be executed. His wife stepped in to save them, probably because she was of french lineage. Middle guy is main dude, but the guy on the right looks more stoic which makes us more unsure. This was the point because in traditional sculpture, the person in the center is usually most important. When the piece was commissioned, people just wanted middle guy; they didn't ask for any of the other figures. This is radical idea #1: no clear hierarchy, no clear indication of where we should look or who we should look at the most. Each figure could be taken as their own sculpture; all function in their own space psychologically and physically. We could say all the figures are interesting. All figures are kind of in their own minds, even though it looks like they're having conversations, they're not entirely connected. They're worried about their city and themselves. Radical idea #2: usually if showing historic figures of importance, they won't appear worried or anxious but they do here. Not heroicized or idealized. Represented in very intense psychological states; pure mental anguish. Radical idea #3: not polished and glossy; not smooth. He calls it hollows and mounds: how light bounces off the figure. You can see traces of Rodin's hand in a plaster cast for one of the figures, much like how you can see evidence of the brush in impressionism. This gives them more life and reflects movement and the play of light as it moves across the figures. Almost like a rough draft; leaving some pits and traces of the hand. Enhances the play of light. Radical idea #4: Rodin wanted this to be directly on the ground as opposed to being on a pedestal like classical art, which is what the commissioners wanted. Modern psychology; we interact with them on our level, physically and psychologically
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Very romantic painting. Primarily landscape. One figure surrounded by sky, sea, and sand. Almost abstract. Paired down to the minimum elements and one man confronting it. Emphasis on nature being spiritual, intellectual, or emotional connection. Close to Kosegarton, a priest. He preached on an island or a coast. Figure could be friedrich, kosegarton, or some random monk. Storm present. INtended to be viewed with Abbey in an Oak Forest. Look at slides for quote from Friedrich. Representing interior feelings in this that had spiritual emphasis in hopes that the viewer might experience it as well. Wanted to convey nature as he felt it. USe of ru..ckenfigur: figure shown from behind. Emphasises isolation in relation to the sublime, the scale of the landscape, you have to get close to it which makes it more personal, maybe has something to do with mystery. Main idea though is that the figure stands in for us; he's standing where we're supposed to be and doing what we're supposed to be doing. Mysteriousness and magnitude of nature compared to the tiny human figure. Stands in for us but also interrupts our experience because without him, we'd only see nature. Impossibility of experiencing the fullness of nature, which he symbolically represents here; romanticism. Longing goes along with that. Relates to the notion of sublime: inspires feelings of awe and terror. Being overwhelmed. May bring about contemplation of high religious, moral, ethical, and intellectual considerations. He's standing in a cold, grey, gloomy landscape. Being overwhelmed by the forces of nature, we can't control it. Inspires awe because of how amazing it is but terrifying because we can't control it. Kosegarten: lutheran pastor who gave sermons on the shores of the baltic island of Ru..gen. Landscape as a metaphor for God: landscape was God's "Book of Nature".
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We are looking at a huge image of the english countryside, six feet in length. Industrial revolution had just started. Mechanization of labor had occurred. No evidence of the industrial revolution in this. Image of country life, which had already started to vanish because of this. This is where Constable grew up. This is an idealized image of his childhood. What makes it so romantic is that this lifestyle was no longer possible, but he longed for it. Longing for a past that will never return. A lot of the artists doing radical art came from wealthy backgrounds. Compilation of his greatest hits: he did a lot of painting and drawing studies to compose this. He's pretty realistic even though it's not painted on the spot. The clouds make it look more realistic as well as the glimmering water. On a sunny day after it rained with the clouds parting, he wants us to feel that. Might've gotten influence from Dutch landscape painting. Most of those paintings though were small. Landscape was way down on the hierarchy of painting; history was at the top. Yet he used the scale and size of history painting in this landscape painting. Even though it was radical, it was still well received and he was awarded for it. A humble painting that is elevated by this massive scale. Look at slide for Constable's quote. Constable said he wanted to paint freshness, breeze, and sparkle, which he did. Very loose brushwork. We can see breeze in the trees and the movement of the water. He did many many cloud studies and record the time of day and the weather conditions. The sky really gives this painting art; the clouds are his way of giving the feeling of nature
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a painting of classical subject matter (i.e. religion or mythology) with a moral lesson attached to it; the pinnacle for academic painters.
History painting