Chapter 19 vocab
Romanticism
At the heart of this style is the belief that reality is a function of each individual's singular point of view, and that the artist's task is to reveal that point of view. Individualism reigned supreme in Romantic art. For this reason, this style sometimes seems to have as many styles as it has artists. What unifies the movement is more a philosophical affirmation of the power of the individual mind than a set of formal principles.
Neoclassicism
Identify instead with the public-minded values of Greek and Roman heroes, who placed moral virtue, patriotic self-sacrifice, and "right action" above all else. A new Classicism—soon supplanted the Rococo.
chinoiserie
Meaning "all things Chinese." In turn, Chinese artists learned the art of perspective from trade with Europeans.
slipshod
Nature of Manet's painting technique. He painted in broad visible strokes. The body of the seated nude in Le Déjeuner was flat. The painting's sense of space was distorted, and the bather in the background and the stream she stands in both seemed about to spill forward into the picnic.
sublime
Of such excellence, grandeur, or beauty as to inspire great admiration or awe.
Post- Impressionists
Style that explored the symbolic possibilities of both line and color . A number of other painters—among them Paul Gauguin, Georges Seurat, and Paul Cézanne—embarked on this style of painting, each dedicated to redirecting the Impressionist enterprise.
Impressionism
Style where painters painted so that their work should at least appear to have been done spontaneously, recording fleeting appearances and the effects of light. They were less interested in social criticism than the Realist painters of the previous generation, instead favoring the pleasures of life as subject matter.
Rococo
a word derived from the French rocaille, referring to the small stones and shells that decorate the interiors of grottoes, the artificial caves popular in landscape design at the time. Deeply indebted to the Baroque sensibility of Rubens. It was, in some sense, the Baroque eroticized, conceived to lend an erotic tone to its environment. Marie-Louise- Élisabeth Vigée-Lebrun's portrait of The Duchess of Polignac (Fig. 19‐5) combines in exquisite fashion all of the tools of the Baroque sensibility, from Rembrandt's dramatic lighting to Rubens's sensual curves and, given the musical score in the duchess's hand, even Bernini's sense of the theatrical moment.
