Art History Final

Tughra

(THE OTTOMANS) A calligraphic seal or signature of an Ottoman sultan that was affixed to all official documents and correspondence. It was also carved on his seal and stamped on the coins minted during his reign.

Manet, Olympia, 1863

-Manet Impressionism -caused a lot of controversy: controversial gaze, prostitution -stages a set of power relationships between viewer and viewed that becomes a part of modernism

Realism

A 19th century artistic movement in which writers and painters sought to show life as it is rather than life as it should be

Impressionism

A French 19th century art movement which marked a momentous break from tradition in European painting. The Impressionists incorporated new scientific research into the physics of colour to achieve a more exact representation of colour and tone. The sudden change in the look of these paintings was brought about by a change in methodology: applying paint in small touches of pure colour rather than broader strokes, and painting out of doors to catch a particular fleeting impression of colour and light. The result was to emphasise the artist's perception of the subject matter as much as the subject itself. Impressionist art is a style in which the artist captures the image of an object as someone would see it if they just caught a glimpse of it. They paint the pictures with a lot of color and most of their pictures are outdoor scenes. Their pictures are very bright and vibrant. The artists like to capture their images without detail but with bold colors. Some of the greatest impressionist artists were Edouard Manet, Camille Pissaro, Edgar Degas, Alfred Sisley, Claude Monet, Berthe Morisot and Pierre Auguste Renoir.

Seurat, Sunday Afternoon on the Island of La Grande Jatte

A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île de la Grande Jatte) painted in 1884, is Georges Seurat's most famous work.[1] It is a leading example of pointillist technique, executed on a large canvas. Seurat's composition includes a number of Parisians at a park on the banks of the River Seine. PLEIN AIR system of painting developed by 19th century french painter seurat that separated colors into their components and applied them as tiny dots and the image became viewable only at a distance example: seurat's sunday on la grande jatte

Minaret

A distinctive feature of mosque architecture, a tower from which the faithful are called to worship.

Post-Impressionism

A late nineteenth-century style that relies on the Impressionist use of color and spontaneous brushwork but that employs these elements as expressive devices.

Flaneur

A man of leisure, who strolls about. Associated with impressionist paintings.

Fauvism

A painting style developed by Henri Matisse in 1905 that formally lasted until 1908. The means "fierce animal." The style rejects Neo-Impressionism and expresses flat, bold, un-naturalistic color with impulsive brushwork; sometimes the blank canvas shows between brushstrokes.

albumen silver print

A photograph made from a solution of egg white, salts, and silver nitrate; a common printing method in the 19th century.

Calotype

A photographic process in which a positive image is made by shining light through a negative image onto a sheet of sensitized paper.

FSA Photography

A project of the Farm Security Administration (FSA) during the Great Depression to document the plight of migrant workers and the rural poor. The FSA photographers, who included Walker Evans and Dorothea Lange, used straight photographic methods to produce "documentary" photographs, but they were not attached to the "purist" ideals of the f/64 Group.

Japonisme

A style in French and American nineteenth-century art that was highly influenced by Japanese art, especially prints.

Neoclassicism

A style of art and architecture that emerged in the later 18th century. Part of a general revival of interest in classical cultures, Neoclassicism was characterized by the utilization of themes and styles from ancient Greece and Rome.

Rococo

A style of interior design that appeared in France around 1700. lavish decoration, small sculptures ornamental mirrors easel paintings tapestries wall reliefs paintings furniture . Derived from french word for pebble and referred to small stones and shells used to decorate grotto interiors

Aspects of Negro Life: From Slavery through Reconstruction

Aaron Douglas. Aspects of Negro Life. Mural series comprised of four panels: Song of the Towers, From Slavery Through Reconstruction, An Idyll of the Deep South, and The Negro in an African Setting. Oil on canvas, 1934. The New York Public Library, Schomburg Center for Research in Black Culture, Art and Artifacts Division. Aaron Douglas inseparable from Modernism, and no one else captured this powerful pairing, emblematic of the Jazz Age, with the rigor and strength of Aaron Douglas (1899-1979), a painter, muralist, and illustrator who is considered the foremost visual artist of the Harlem Renaissance. Douglas's use of African design and subject matter in his work brought him to the attention of W.E.B. Du Bois and Alain Locke, who were pressing for young African American artists to express their African heritage and African American folk culture in their art. His work was published regularly in The Crisis, as well as in Opportunity and Vanity Fair. His most famous illustrations were for James Weldon Johnson's book of poetic sermons, God's Trombones (1927). Alain Locke called Douglas a "pioneering Africanist" and used his illustrations in his famous anthology, The New Negro (1925), in which Locke's classic essay "The Legacy of the Ancestral Arts" appeared.

Grant Wood, American Gothic, 1930

American Regionalism

Regionalism Art

American Regionalism is an American realist modern art movement that included paintings, murals, lithographs, and illustrations depicting realistic scenes of rural and small-town America primarily in the Midwest and Deep South. It arose in the 1930s as a response to the Great Depression, and ended in the 1940s due to the end of World War II and a lack of development within the movement. It reached its height of popularity from 1930 to 1935, as it was widely appreciated for its reassuring images of the American heartland during the Great Depression.[1] Despite major stylistic differences between specific artists, Regionalist art in general was in a relatively conservative and traditionalist style that appealed to popular American sensibilities, while strictly opposing the perceived domination of French art.[2]

William Henry Fox Talbot, The Open Door (1843)

Among the most widely admired of Talbot's compositions, The Open Door is a conscious attempt to create a photographic image in accord with the renewed British taste for Dutch genre painting of the seventeenth century. In his commentary in The Pencil of Nature, where this image appeared as plate 6, Talbot wrote, "We have sufficient authority in the Dutch school of art, for taking as subjects of representation scenes of daily and familiar occurrence. A painter's eye will often be arrested where ordinary people see nothing remarkable." With this concept in mind, Talbot turned away from the historic buildings of Lacock Abbey and focused instead on the old stone doorframe and simple wooden door of the stable and on the humble broom, harness, and lantern as vehicles for an essay on light and shadow, interior and exterior, form and texture.

fete galante (amorous festival)

Amorous festival, depicting outdoor amusements of upper french class society

Surrealism

An artistic movement that displayed vivid dream worlds and fantastic unreal images

Primitivism

An early 20th century artistic movement which was attracted to the directness, instinctivness and exoticism nonurban cultures

European Avant-Garde

Avant-garde is a French phrase used to refer to people or actions that are novel or experimental, particularly with respect to the arts and culture. Avant-garde in French was first used in the military sense from the 15th until the 18th century, meaning front guard, advance guard, or vanguard.Jan 1, 2019

Aniconic

Definition of aniconic. 1 : symbolic or suggestive rather than literally representational : not made or designed as a likeness trees, boulders, and other aniconic objects of primitive worship an aniconic image. 2 : without idols or images : opposed to the use of idols or images an aniconic religion.

Honore Daumier, Third-Class Carriage 1862

French painter best known for his satirical lithographs of bourgeois society

Mexican Modernism

From the start of the Mexican Revolution in 1910 to the aftermath of World War II, artists and intellectuals in Mexico were at the center of a great debate about their country's destiny. The exhibition tells the story of this exhilarating period through a remarkable range of images, from masterpieces by Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros, Frida Kahlo, and Rufino Tamayo to transfixing works by their contemporaries Dr. Atl, María Izquierdo, Roberto Montenegro, Carlos Mérida, Manuel Álvarez Bravo, and many others.

Mosque

House of worship for Muslims

Monet, Impression: Sunrise, 1872

Impressionism Historical: painting that gave the style its name, working in front of subject and capturing the moment, Stylistic: oil on canvas Landscape: real place, painted at critical time Patriotic message: rebirth of France after war Unfinished surface = metaphor Impressionism = climax of Painterly technique returns/ beginnings of abstract art

Mary Cassatt, In the Loge, 1878

Impressionism In the Loge was the first of Cassatt's Impressionist paintings to be displayed in the United States. When it was shown in Boston in 1878, critics described the picture as "striking," adding that Cassatt's painting "surpassed the strength of most men." [1]The canvas, then entitled At the Français—A Sketch, depicts a fashionable lady dressed for an afternoon performance at the Comedie Français, a theater in Paris. Entertainments like the theater, the opera, and the racetrack were extremely popular among Parisians, who enjoyed such diversions not only for the show, but also for the opportunity to see—and to be seen by—their peers. The Impressionists took delight in painting these spectacles of modern life, and the theater, with its dazzling variety of lights and reflections, was an especially appealing subject.

sublime

In aesthetics, the sublime (from the Latin sublīmis) is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation.

BAROQUE Diego Velazquez - Las Meninas (Maids of Honor)

Las Meninas shows a large room in the Madrid palace of King Phillip IV of Spain . Several people are in the painting, and we know who they are. Some are looking at one another and others are looking out from the painting at the viewer (the person who is looking at the painting). The person who stands in the middle is the Infanta Margarita (the princess, daughter of the king and queen). She has two maids of honour, one on each side of her, a chaperone, a bodyguard, two dwarfs and a dog. Velázquez has also painted himself, standing just behind the princess and her companions. He is standing at the artist's easel. He has stopped painting for a moment and looks straight out at the viewer. At the back of the room is a mirror in which we can see the top halves of the bodies of the king and queen. This means that the king and queen are the viewers who are looking at the painting. The king and queen are probably being painted by Velázquez, but not everybody agrees with this.

Impressionism

Major Western artistic style that gained prominence in the second half of the 1800s and into the 1900s.Against Realism, visual impression of a moment, style that seeks to capture a feeling or experience, often very colorful.

POST IMPRESSIONISMManao Tupapau (Spirit of the Dead Watching)

ManauSpirit of the Dead Watching (Manao tupapau) is an 1892 oil on burlap canvas painting by Paul Gauguin, depicting a naked Tahitian girl lying on her stomach. An old woman is seated behind her. Gauguin said the title may refer to either the girl imagining the ghost, or the ghost imagining her.[1][a]

Modernity in Art

Modernism refers to a global movement in society and culture that from the early decades of the twentieth century sought a new alignment with the experience and values of modern industrial life. Building on late nineteenth-century precedents, artists around the world used new imagery, materials and techniques to create artworks that they felt better reflected the realities and hopes of modern societies.

JL David, Oath of the Horatii, Neo-Classical 1784

Oath of the Horatii (French: Le Serment des Horaces), is a large painting by the French artist Jacques-Louis David painted in 1784 and now on display in the Louvre in Paris.[1] The painting immediately became a huge success with critics and the public, and remains one of the best known paintings in the Neoclassical style. It depicts a scene from a Roman legend about a seventh-century BC dispute between two warring cities, Rome and Alba Longa,[2] and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome,[1] are shown saluting their father who holds their swords out for them.[3] Of the three Horatii brothers, only one shall survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he allows the three fighters to chase him, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying whilst sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, in any case, she will lose someone she loves.

AMERICAN MODERNISM John Sloan, Sixth Avenue and Thirtieth Street, New York City, 1907

Oil On Canvas

ROMANTICISM Goya, The Third of May 1808, 1814

On May 2, 1808, hundreds of Spaniards rebelled. On May 3, these Spanish freedom fighters were rounded up and massacred by the French. Their blood literally ran through the streets of Madrid. Even though Goya had shown French sympathies in the past, the slaughter of his countrymen and the horrors of war made a profound impression on the artist. He commemorated both days of this gruesome uprising in paintings. Although Goya's Second of May (above) is a tour de force of twisting bodies and charging horses reminiscent of Leonardo's Battle of Anghiari, his The Third of May, 1808 in Madrid is acclaimed as one of the great paintings of all time, and has even been called the world's first modern painting.

Portrain of a German officer Marsden hartley Modernism

Openly gay Moves to germany where he feels home Portrait of a german officer Abstract but predates nazi

Napoleon Bonaparte

Overthrew the French revolutionary government (The Directory) in 1799 and became emperor of France in 1804. Failed to defeat Great Britain and abdicated in 1814. Returned to power briefly in 1815 but was defeated and died in exile.

Tenebrism

Painting in the "shadowy manner" using violent contrasts of light and dark as in the work of Caravaggio

Photography and American Pictorialism

Pictorialism is an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries. There is no standard definition of the term, but in general it refers to a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph as a means of "creating" an image rather than simply recording it. Typically, a pictorial photograph appears to lack a sharp focus (some more so than others), is printed in one or more colors other than black-and-white (ranging from warm brown to deep blue) and may have visible brush strokes or other manipulation of the surface. For the pictorialist, a photograph, like a painting, drawing or engraving, was a way of projecting an emotional intent into the viewer's realm of imagination.[1] Pictorialism as a movement thrived from about 1885 to 1915, although it was still being promoted by some as late as the 1940s. It began in response to claims that a photograph was nothing more than a simple record of reality, and transformed into an international movement to advance the status of all photography as a true art form. For more than three decades painters, photographers and art critics debated opposing artistic philosophies, ultimately culminating in the acquisition of photographs by several major art museums.

POST IMPRESSIONISM Van Gogh, Starry Night 1889

Post-Impressionism The Starry Night is an oil on canvas by the Dutch post-impressionist painter Vincent van Gogh. Painted in June 1889, it describes the view from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise, with the addition of an ideal village.[1][2][3] It has been in the permanent collection of the Museum of Modern Art in New York City since 1941, acquired through the Lillie P. Bliss Bequest. Regarded as among Van Gogh's finest works,[4] The Starry Night is one of the most recognized paintings in the history of Western culture.[5][6]

French Revolution (1789)

Reacting to the oppressive aristocracy, the French middle and lower classes overthrew the king and asserted power for themselves in a violent and bloody revolution. This uprising was inspired by America's independence from England and the Enlightenment ideas.

REALISM Gustave Courbet, The Stone Breakers, 1849

Realism and reality If we look closely at Courbet's painting The Stonebreakers of 1849 (painted only one year after Karl Marx and Friedrich Engels wrote their influential pamphlet, The Communist Manifesto) the artist's concern for the plight of the poor is evident. Here, two figures labor to break and remove stone from a road that is being built. In our age of powerful jackhammers and bulldozers, such work is reserved as punishment for chain-gangs.

Blue Quran

The Blue Qur'an (Arabic: المصحف الأزرق al-Muṣḥaf al-′Azraq) is a late 9th to early 10th-century Fatimid Tunisian Qur'an manuscript in Kufic calligraphy, probably created in North Africa for the Great Mosque of Kairouan.[1] It is among the most famous works of Islamic calligraphy,[1] and has been called "one of the most extraordinary luxury manuscripts ever created."[2] Art historian Yasser Tabbaa wrote that the "evanescent effect" of the gold lettering on indigo "appears to affirm the Mu'tazili belief in the created and mysterious nature of the Word of God."[3] History Although scholars generally agree on its provenance and dating, recent scholarship by Alain George dates the manuscript rather earlier, to the early Abbasid caliphate;[4] it has also been dated as late as 1020 CE and placed in Córdoba as well as Qairawan.[5] The Blue Qur'an is also one of the only extant Fatimid Qur'ans.[3] Even older Qur'anic manuscripts are the Sana'a manuscript,[6] Samarkand Kufic Quran,[7] and Topkapi manuscript.[8] It is written in gold and decorated in silver (that has since oxidized) on vellum colored with indigo, a unique aspect of a Quranic manuscript, probably emulating the purple parchment used for Byzantine Imperial manuscripts.[1][9] Red ink is also used.[10] A Maghribi script Qur'an manuscript written in gold on blue paper has been dated to the 13th or 14th century, inviting comparison to the Blue Qur'an. The Maghribi manuscript's parchment is a lighter tone than the Blue Qur'an and is more heavily decorated, having a foliage motif throughout.[4]

J.L. David, The Death of Marat, 1793

The Death of Marat (French: La Mort de Marat or Marat Assassiné) is a 1793 painting by Jacques-Louis David of the murdered French revolutionary leader Jean-Paul Marat. It is one of the most famous images of the French Revolution. David was the leading French painter, as well as a Montagnard and a member of the revolutionary Committee of General Security. The painting shows the radical journalist lying dead in his bath on July 13, 1793, after his murder by Charlotte Corday. Painted in the months after Marat's murder, it has been described by T. J. Clark as the first modernist painting, for "the way it took the stuff of politics as its material, and did not transmute it". Marat (24 May 1743 - 13 July 1793, 18th century France) was one of the leaders of the Montagnards, the radical faction ascendant in French politics during the Reign of Terror until the Thermidorian Reaction. Charlotte Corday was a Girondin from a minor aristocratic family and a political enemy of Marat who blamed him for the September Massacre. She gained entrance to Marat's rooms with a note promising details of a counter-revolutionary ring in Caen. Marat suffered from a skin condition that caused him to spend much of his time in his bathtub; he would often work there. Corday fatally stabbed Marat, but she did not attempt to flee. She was later tried and executed for the murder.

BAROQUE Peter Paul Rubens - Elevation of The Cross Antwerp

The Elevation of the Cross altarpiece is a masterpiece of Baroque painting by the Flemish painter Peter Paul Rubens. The work was originally installed on the high altar of the Church of St. Walburga in Antwerp (since destroyed), and is now located in the Cathedral of Our Lady in Antwerp. This triptych (a painting—usually an altarpiece—comprised of two outer "wings" and a central panel) is impressive in its size, measuring 15 feet in height and 21 feet wide when open. The original frame, unfortunately lost, would have made the painting even more impressive in size! Due to its very size, Rubens actually painted it on-site behind a curtain. Four saints associated with the church of St. Walburga can be found on the exterior of the wings (visible when the altarpiece is closed): Saints Amandus and Walburga on the left and Saints Catherine of Alexandria and Eligius on the right.

IMPRESSIONISM Manet, A Bar at the Folies-Bergere, 1882

The Folies-Bergère was one of the most elaborate variety-show venues in Paris, showcasing entertainment ranging from ballets to circus acts. Another attraction was the barmaids, who were assumed by many contemporary observers to be available as clandestine prostitutes. By depicting one of these women and her male customer on an imposing scale, Manet brazenly introduced a morally suspect, contemporary subject into the realm of high art. By treating the topic with deadpan seriousness and painterly brilliance, Manet staked his claim to be remembered as the heroic "painter of modern life" envisaged by critics like Charles Baudelaire. In addition to the social tensions evoked by the painting's subject, Manet's composition presents a visual puzzle. The barmaid looks directly at the viewer, while the mirror behind her reflects the large hall and patrons of the Folies-Bergère. Manet seems to have painted the image from a viewpoint directly opposite the barmaid. Yet this viewpoint is contradicted by the reflection of the objects on the bar and the figures of the barmaid and a patron off to the right. Given such inconsistencies, Manet seems not to have offered a single, determinate position from which to confidently make sense of the whole.

jacob lawrence migration of the negro 1910s

The Migration Series, originally titled The Migration of the Negro, is a group of paintings by African-American painter Jacob Lawrence which depicts the migration of African Americans to the northern United States from the South that began in the 1910s.[1][2] It was published in 1941 and funded by the WPA. Lawrence conceived of the series as a single work rather than individual paintings and worked on all of the paintings at the same time, in order to give them a unified feel and to keep the colors uniform between panels.[3] He wrote sentence-long captions for each of the sixty paintings explaining aspects of the event. Viewed in its entirety, the series creates a narrative, in images and words that tell the story of the Great Migration. influeced my meixcan muralism

Great Mosque, Cordoba, Spain - Moorish - Andalusia - Abd ul Rahman - mimicing mosque of damascus syria - Ummayad - 786

The Mosque-Cathedral of Córdoba[1][2] (Spanish: Mezquita-Catedral de Córdoba), also known as the Great Mosque of Córdoba[3][2][4] (Spanish: Mezquita de Córdoba) and the Mezquita,[5][6][7] whose ecclesiastical name is the Cathedral of Our Lady of the Assumption (Spanish: Catedral de Nuestra Señora de la Asunción),[8] is the Catholic cathedral of the Diocese of Córdoba dedicated to the Assumption of the Virgin Mary and located in the Spanish region of Andalusia.[9] The structure is regarded as one of the most accomplished monuments of Moorish architecture. According to a traditional account, a small Visigoth church, the Catholic Basilica of Saint Vincent of Lérins, originally stood on the site.[10][11][12] In 784 Abd al-Rahman I ordered construction of the Great Mosque, which was considerably expanded by later Muslim rulers. Córdoba returned to Christian rule in 1236 during the Reconquista, and the building was converted to a Roman Catholic church, culminating in the insertion of a Renaissance cathedral nave in the 16th century.[13][14] Since the early 2000s, Spanish Muslims have lobbied the Roman Catholic Church to allow them to pray in the cathedral.[15][16] This Muslim campaign has been rejected on multiple occasions, both by the church authorities in Spain and by the Vatican.[15][17]

ROMANTICISM Theodore Gericault, The Raft of the Medusa, 1819

The Raft of the Medusa (French: Le Radeau de la Méduse [lə ʁado d(ə) la medyz]) - originally titled Scène de Naufrage (Shipwreck Scene) - is an oil painting of 1818-19 by the French Romantic painter and lithographer Théodore Géricault (1791-1824).[1] Completed when the artist was 27, the work has become an icon of French Romanticism. At 491 cm × 716 cm (16' 1" × 23' 6"),[2] it is an over-life-size painting that depicts a moment from the aftermath of the wreck of the French naval frigate Méduse, which ran aground off the coast of today's Mauritania on 2 July 1816. On 5 July 1816, at least 147 people were set adrift on a hurriedly constructed raft; all but 15 died in the 13 days before their rescue, and those who survived endured starvation and dehydration and practised cannibalism. The event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain.

Realism Daumier, Nadar Raising Photography to the Height of Art 1862

The caption beneath this 1862 lithograph by French caricature artist Honoré Daumier reads "Nadar elevating Photography to the height of Art." The print comically typecasts Gaspard-Félix Tournachon (known as Nadar) as a mad scientist or absent-minded professor figure who—in his excitement to capture the perfect shot—is unwittingly about to lose his top hat. Below him, inscribed on every building in Paris, is the word "Photographie." In many ways, this satirical depiction of one of the most prominent photographers in Paris works to capture the essence of the 19th century debate over whether or not this new medium of photography could be considered "art." At the time this print appeared in the journal Le Boulevard, Nadar was already well known for taking the first aerial photograph of Paris four years earlier in 1858. He likewise "had a flair for showmanship, and was much in the public eye as a balloonist" (Gernsheim 57). When Nadar later came out with a popular series of aerial photographs, Daumier seized the opportunity "to mock at Nadar's claims of raising photography to the height of art" (Gernsheim 58).

wet collodion process

The first practical means of coating glass plates for recording images; discovered by Frederick Scott Archer in 1851; exposed plates also had to be developed, fixed, and washed before the collodion dried.

BAROQUE - Caravaggio, Calling of St. Matthew - 1597- 1601 Contarelli Chapel , San Luigi de Francescei , ROME

The painting depicts the story from the Gospel of Matthew (Matthew 9:9): "Jesus saw a man named Matthew at his seat in the custom house, and said to him, "Follow me", and Matthew rose and followed Him." Caravaggio depicts Matthew the tax collector sitting at a table with four other men. Jesus Christ and Saint Peter have entered the room, and Jesus is pointing at Matthew. A beam of light illuminates the faces of the men at the table who are looking at Jesus Christ.

NEO CLASSISM JL David, Napoleon Crossing the St. Bernard Pass / Napoleon Crossing the Alps

The story behind the Napoleon Crossing the Alps painting began when in November of 1799, Napoleon decided he wanted to extend his reach beyond France to Italian territory that had been taken by the Austrians. Napoleon wanted to use the element of surprise by emerging from the trans Alpine route onto where the Austrian troops were waiting. Because of Napoleon's efforts France gained a victory in Italy and Napoleon secured a spot in history.

Paris Street, Rainy Day Gustave Caillebotte 1877 IMPRESSIONISM

This complex intersection, just minutes from the Saint-Lazare train station, represents the microcosm of the changing urban middle of late nineteenth-century Paris. Gustave Caillebotte grew up near this district when it was a relatively unsettled hill with narrow, crooked streets. As part of a new city plan designed by Baron Georges-Eugène Haussmann, these streets were relaid and their buildings razed during the artist's lifetime. In this monumental urban view, which is strikingly captured in a vast, stark modernity, complete with life-size figures strolling into the foreground and wearing the latest fashions. The painting's highly crafted surface, rigorous perspective, and grand scale pleased Parisian audiences accustomed to the official aesthetic of the Salon official. On the other hand, its asymmetrical composition, unusually cropped forms, rain-washed moods, and candidly contemporary subject stimulated a more radical sensibility. For these reasons, the painting dominated the celebrated Impressionist exhibition of 1877, organized by the artist himself. In many ways, Caillebotte's frozen poetry of the Parisian bourgeoisie prefigures Georges Seurat's luminousSunday on The Great Jatte-1884 , painted less than a decade later.

Timothy O' Sullivan, A Harvest of Death, Gettysburg, Pennsylvania, 1863

This photograph of the aftermath of the Battle of Gettysburg appears in the two-volume opus Gardner's Photographic Sketch Book of the War (1865-66). Gardner's publication is egalitarian. Offended by Brady's habit of obscuring the names of his field operators behind the deceptive credit "Brady," Gardner specifically identified each of the eleven photographers in the publication; forty-four of the one hundred photographs are credited to Timothy O'Sullivan. Gardner titled the plate Field Where General Reynolds Fell, Battlefield of Gettysburg. But the photograph, its commemorative title notwithstanding, relates a far more common story: six Union soldiers lie dead, face up, stomachs bloated, their pockets picked and boots stolen. As Gardner described the previous plate, aptly titled The Harvest of Death, this photograph conveys "the blank horror and reality of war, in opposition to its pageantry."

Qibla

This wall in a mosque always faces Mecca.

Baroque Art

Traditional blanket designation for European art from 1600- 1750. Uppercase Baroque refers to the art of this period, which features dramatic theatrically and elaborate ornamentation in contrast to simpliciity of renaissance art and is most appropriately applied to italian art of this period. In its most typical manifestations, Baroque art is characterized by great drama, rich, deep colour, and intense light and dark shadows, but the classicism of French Baroque painters like Poussin and Dutch genre painters such as Vermeer are also covered by the term, at least in English.[4] As opposed to Renaissance art, which usually showed the moment before an event took place, Baroque artists chose the most dramatic point, the moment when the action was occurring: Michelangelo, working in the High Renaissance, shows his David composed and still before he battles Goliath; Bernini's Baroque David is caught in the act of hurling the stone at the giant. Baroque art was meant to evoke emotion and passion instead of the calm rationality that had been prized during the Renaissance. Lowercase baroque describes similar stylistic features found in art of other periods, ie Hellenistic in ancient greece. Derives from Barocco

Tughra of Suleiman the Magnificent

Tughra (Insignia) of Sultan Süleiman the Magnificent (r. 1520-66),ca. 1555-60 The Ottoman tughra is a calligraphic emblem of the sultan's authority that was included in all official documents, such as firmans (royal decrees), endowment papers, correspondence, and coins. Used by the first Ottoman sultan in 1324, it later developed into a more complex form that included three vertical shafts and two concentric oval loops on the left. It consists of the name of the reigning sultan, his father's name, his title, and the phrase "the eternally victorious." This unique calligraphic emblem was not easily read or copied. Therefore, a specific court artist was designated to draw the undecorated, standard tughra. A court illuminator assisted him in the exquisite decoration of the tughra on certain imperial documents. The illuminator's delicate scroll design and naturalistic flowers enhance the harmonious lines of calligraphy, creating a colorful voluminous effect.

JMW Turner, The Slave Ship, 1840

Turner depicts a ship, visible in the background, sailing through a tumultuous sea of churning water and leaving scattered human forms floating in its wake. History J.M.W. Turner was inspired to paint The Slave Ship in 1840 after reading The History and Abolition of the Slave Trade[2] by Thomas Clarkson. In 1781, the captain of the slave ship Zong had ordered 133 slaves to be thrown overboard so that insurance payments could be collected. This event probably inspired Turner to create his landscape and to choose to coincide its exhibition with a meeting of the British Anti-Slavery Society. Although slavery had been outlawed in the British Empire since 1833, Turner and many other abolitionists believed that slavery should be outlawed around the world. Turner thus exhibited his painting during the anti-slavery conference, intending for Princ

Eadweard Muybridge, The Horse in Motion, 1878

When a horse trots or gallops, does it ever become fully airborne? This was the question photographer Eadweard Muybridge set out to answer in 1878. Railroad tycoon and former California governor Leland Stanford was convinced the answer was yes and commissioned Muybridge to provide proof. Muybridge developed a way to take photos with an exposure lasting a fraction of a second and, with reporters as witnesses, arranged 12 cameras along a track on Stanford's estate. As a horse sped by, it tripped wires connected to the cameras, which took 12 photos in rapid succession. Muybridge developed the images on site and, in the frames, revealed that a horse is completely aloft with its hooves tucked underneath it for a brief moment during a stride. The revelation, imperceptible to the naked eye but apparent through photography, marked a new purpose for the medium. It could capture truth through technology. Muybridge's stop-motion technique was an early form of animation that helped pave the way for the motion-picture industry, born a short decade later.

Stieglitz Circle

a constellation of artists grouped around the photographer-gallerist Alfred Stieglitz and his 291 Gallery— exemplified here by Georgia O'Keeffe—that formed an early, semi-abstract avant-garde in close dialog with European artistic developments in the early twentieth-century United States

Hypostyle

a hall in an that has a roof supported by a dense thicket of columns . The hypostyle hall was a large room with columns. Most of the room was dark except for the centre aisle which was lit by small windows cut into the roof. This hall represented a marsh in the beginning of time. It was filled with columns that looked like papyrus plants.

Romanticism

a movement in the arts and literature that originated in the late 18th century, emphasizing inspiration, subjectivity, and the primacy of the individual.

Mihrab

a niche in the wall of a mosque, at the point nearest to Mecca, toward which the congregation faces to pray.

Vanitas

a still-life painting of a 17th-century Dutch genre containing symbols of death or change as a reminder of their inevitability.

American Modernism

an artistic and cultural movement in the United States beginning at the turn of the 20th century, with a core period between World War I and World War II.

Cubism (Analytic and Synthetic)

an early 20th-century style and movement in art, especially painting, in which perspective with a single viewpoint was abandoned and use was made of simple geometric shapes, interlocking planes, and, later, collage.

Readymade

an everyday object presented as a work of art

Daguerrotype

an obsolete photographic process, invented in 1839, in which a picture made on a silver surface sensitized with iodine was developed by exposure to mercury vapor.

Dada

artistic movement in which artists rejected tradition and produced works that often shocked their viewers EARLY 20TH CENTURY

Migrant Mother 1930s nipoma valley

famous Dust Bowl image of mother and children taken by Dorothea Lange

Calligraphy

fancy handwriting for muslims because images are forbidden

Dome of the Rock, Jerusalem 691 CE

he Dome of the Rock (Arabic: قبة الصخرة‎ Qubbat al-Sakhrah, Hebrew: כיפת הסלע‎ Kippat ha-Sela) is an Islamic shrine located on the Temple Mount in the Old City of Jerusalem. It was initially completed in 691-92 CE at the order of Umayyad Caliph Abd al-Malik during the Second Fitna on the site of the Second Jewish Temple, destroyed during the Roman Siege of Jerusalem in 70 CE. The original dome collapsed in 1015 and was rebuilt in 1022-23. The Dome of the Rock is in its core one of the oldest extant works of Islamic architecture.[2] Its architecture and mosaics were patterned after nearby Byzantine churches and palaces,[3] although its outside appearance has been significantly changed in the Ottoman period and again in the modern period, notably with the addition of the gold-plated roof, in 1959-61 and again in 1993. The octagonal plan of the structure may have been influenced by the Byzantine Church of the Seat of Mary (also known as Kathisma in Greek and al-Qadismu in Arabic) built between 451 and 458 on the road between Jerusalem and Bethlehem.[3] The Foundation Stone the temple was built over bears great significance in Judaism as the place where God created the world and the first human, Adam.[4] It is also believed to be the site where Abraham attempted to sacrifice his son, and as the place where God's divine presence is manifested more than in any other place, towards which Jews turn during prayer. The site's great significance for Muslims derives from traditions connecting it to the creation of the world and the belief that the Prophet Muhammad's Night Journey to heaven started from the rock at the center of the structure.[5][6] A UNESCO World Heritage Site, it has been called "Jerusalem's most recognizable landmark,"[7] along with two nearby Old City structures, the Western Wall, and the "Resurrection Rotunda" in the Church of the Holy Sepulchre.[8]

BAROQUE Gianlorenzo Bernini - Ecstacy of St Theresa Cornaro Chapel Santa Maria Vittoria ROme 1645-1652

he effects are theatrical,[6] the Cornaro family seeming to observe the scene from their boxes,[7] and the chapel illustrates a moment where divinity intrudes on an earthly body. Caroline Babcock speaks of Bernini's melding of sensual and spiritual pleasure in the "orgiastic" grouping as both intentional and influential on artists and writers of the day.[8] Irving Lavin said "the transverberation becomes a point of contact between earth and heaven, between matter and spirit".[9] As Bernini biographer Franco Mormando points out, although Bernini's point of departure for his depiction of Teresa's mystical experience was her own description, there were many details about the experience that she never specifies (e.g., the position of her body) and that Bernini simply supplied from his own artistic imagination, all with an aim of increasing the nearly transgressively sensual charge of the episode: "Certainly no other artist, in rendering the scene, before or after Bernini, dared as much in transforming the saint's appearance."[10]

plein air painting

painting in the open, painting in nature

Frida Khalo Self-Portrait at the Borderline 1932 Oil on Canvas

straddling old world new world industrialism ancient mexican past struggling to come to grips with identity etc

Degenerate Art

the label Nazis placed on the avant-garde art. Hitler persecuted many artist confiscated and placed them in a Degenerate Art Show and subjected them to ridicule.