exam 3 Flashcards
(43 cards)
Orientalism
A fascination with Middle Eastern cultures that inspired eclectic nineteenth-century European fantasies of exotic life that often formed the subject of paintings.
Primitivism
The borrowing of subjects or forms, usually from non-European or prehistoric sources, by Western artists in an attempt to infuse work with expressive qualities attributed to other cultures, especially colonized cultures.
Symbolism
inner meaning rather than depicting external reality
Classicism
The following of ancient Greek or Roman principles and style, generally associated with harmony, restraint, and adherence to recognized standards of form and craftsmanship, especially from the Renaissance to the 18th century.
Modernism
economic, social and political development and change in art and culture.
Modernization
economic, social and political development and change, and includes phenomena like industrialization and urbanization (ie. city).
Haussmanization
The creative destruction of something for the betterment of society.
French Revolution dates
1789-1799
1830 Revolution dates (France)
July 1830
François Boucher, Triumph of Venus, 1740
Rococo piece.
Venus on the waves is attended to by saidrs/nymphs. Fantasy, tone is airy and light.
Rococo is upbeat, light, and superfluous. Restfulness.
Middle class art emerging. The Enlightenment.
The goddess Venus emerges from the sea, carried aloft on a wave upon a mother-of-pearl shell and surrounded by admirers. Naiads, nymphs, and gods float among dolphins and doves, winged cupids floating above them.
David, Oath of the Horatii, 1785
What we see is a father handing swords to his 3 sons. To the side, there are 3 women weeping.
Story: Three Horatii brothers were sent to fight three Curiatii brothers. The drama lay in the fact that one of the sisters of the Curiatii was married to one of the Horatii, while one of the sisters of the Horatii was betrothed to one of the Curiatii. Despite the ties between the two families, the Horatii’s father exhorts his sons to fight the Curiatii and they obey, despite the lamentations of the women. One of the Horatii brothers kills his sister Camilla’s beloved from the Curatii camp, and he kills her in rage, but is later pardoned by his father.
Neoclassicism, action, reason, stoicism, realism.
David, Death of Marat, 1793
Refers to Marat (journalist, politically left). Painting very different than the illustrations of the event. Doesn’t show the action. Emotion: muted, subdued, quiet, neoclassicism.
David’s painting is tightly composed and powerfully stark. The background is blank, adding to the quiet mood and timeless feeling of the picture, just as the very different background of the Oath of the Horatii added to its drama. The color of Marat’s pale body coordinates with the bloodstained sheets on which he lies, creating a compact shape that is framed by the dark background and green blanket draped over the bathtub. David transforms a brutal event into an elegiac statement of somber eloquence. Marat’s pose, which echoes Michelangelo’s Vatican Pietà (see fig. 21–14), implies that, like Christ, Marat was a martyr for the people.
Delacroix, Liberty Leading the People, 1831 (Revolution of 1830)
Lady liberty leading a group of people. The young kid stands for the working class. The old guy stands for the upper class. She is depicted as an allegorical and real figure.
In his large modern history painting Delacroix memorialized the July 1830 revolution just a few months after it took place. Although it records aspects of the actual event, it also departs from the facts in ways that further the intended message. This dramatic example of Romantic painting is full of passion, turmoil, and danger—part real and part dream.
The revolution aspect is real, but Liberty is not.
Goya, Third of May 1808, 1814
Avant-garde: ahead of time. The essence of Romanticism.
Goya’s work seemed to have a prophetic nature, although dark. The figure in white is what the work is centered around and is incredibly important. The power comes from the passion of the people that are being shot. The French execute their prisoners. Goya was the first person to put the figures of war at the center of the painting.
The French attack in Spain and it is bloody. It was close to impossible for Goya to produce art about the war with the French still ruling. He focuses on the expressions of the people and the way they feel about their eminent death.
Courbet, The Stonebreakers, 1849
Stone breakers represent the disenfranchised peasants on whose backs modern life was being built. In academic art, monumental canvases were reserved for heroic subjects, so Courbet was asserting that peasant laborers should be venerated as heroes. Courbet saw these men by the road and asked them to pose for him. Social realism. Darker, heavier.
Courbet, Burial at Ornans, 1849
The guy recently dies, this was where he was supposed to be buried. Inspired by the 1848 funeral of Courbet’s maternal grandfather, Jean-Antoine Oudot, a veteran of the French Revolution of 1789. Courbet’s depiction has none of the idealization of traditional history painting; instead, it captures the awkward, blundering numbness of a real funeral and emphasizes its brutal, physical reality.
All real, ordinary people.
Caillebotte, The Europe Bridge, 1876
The man with the woman is a Flaneur (upper class street lounger/watcher). The woman in black is often interpreted as a prostitute. The painting shows how different social classes may meet on the streets but do not converse with one another.
Raimondi after Raphael, Judgment of Paris, c. 1520
Painter Raphael and the great Italian engraver Raimondi.
Depicted here is the incident that sparked the Trojan War: Paris being forced to decide which goddess—Juno, Minerva, or Venus—was the most beautiful. He chose Venus, seen receiving the golden apple upon promising to help him woo the most beautiful woman alive, Helen of Troy.
Manet, Luncheon on the Grass, 1863
Naked woman has no shame. The most scandalous aspect of the painting was the “immorality” of Manet’s theme: a suburban picnic featuring two fully dressed bourgeois gentlemen seated alongside a completely naked woman with another scantily dressed woman in the background. Manet apparently conceived of Luncheon on the Grass as a modern version of a Venetian Renaissance painting in the Louvre, The Pastoral Concert.
Titian, Venus of Urbino, c. 1538
For the Duke of Urbino. It is almost certainly celebrating marital love and the physical intimacy between man and wife, a supposition supported by a number of details. In her right hand, for instance, the girl holds a posy of roses, which usually symbolize love; also, the sleeping dog is a common symbol of fidelity; lastly, the maids in the background are depicted rummaging in a traditional cassone, where wives commonly stored their trousseaux. Perhaps the picture was conceived as an ideal model of behaviour for Giuliana, the Duke’s young bride.
Manet, Olympia, Salon of 1865
Manet’s Olympia was based on a Venetian Renaissance source, Titian’s “Venus” of Urbino.
Titian’s female is curvaceous and softly rounded; Manet’s is angular and flattened. Titian’s colors are warm and rich; Manet’s are cold and harsh. Titian’s “Venus” looks coyly at the male spectator; Manet’s Olympia appears indifferent. And instead of looking up at us, Olympia gazes down at us, indicating that she is in the position of power and that we are subordinate, like the black servant at the foot of the bed who brings her a bouquet of flowers.
Monet, La Grenouillère (The Frog’s Place), 1869
La Grenouillere (Frog-Pool) was a very popular bathing and boating place on the Seine close to Bougival, where Monet was living and working in 1869. During the 1860s it had become a weekend Mecca for Parisians, who enjoyed the rural surroundings and the floating restaurant. Monet was also experimenting with new ways of reflecting water – using huge broad strokes of brown, white and blue. His preference for treating forms in bold masses, juxtaposing patches of colour and suppressing unnecessary detail echoed Japanese Ukiyo-e woodcuts. Monet was the driving force behind French Impressionism.
Manet, A Bar at the Folies-Bergère c. 1882
mirror behind her.
The woman looks at us as if we are her next customer. She seems weary from her work: hands raw, sleeves rolled up, not greeting with a smile.
Her gold bracelets make it seem like she might be a consumer good, sexually.
Manet seems not to have offered a single, determinate position from which to confidently make sense of the whole.
MODERNISM.
Renoir, The Loge, 1874
Loge: opera box
beautiful face, makeup, elaborate dress. She looks slightly away from the viewer.
HOW WE SEE THINGS. The painting tells us how to see.
Are men just ones who look and paint (agents/subjects)?
Are women just ones who are looked at and painted (objects)?