Final

Question 1

Jules Hardouin-Mansart, Hall of Mirrors, Versailles

Answer 1

• Rococo style
• Louis 14 built, he and the style were over the top, many symbols here alude to him
• to keep his enemies close
• mirrors reflected the windows (also a symbol of wealth)
• paintings glorifies Louis 14 as sun king (sitting on eagle, etc)

Question 2

Fragonard, The Swing, 1766

Answer 2

• Rococo style (stereotypical example)
• Pastel colors and doll faces
• themes of love and flirting
• repetative frilly forms of her dress and the trees
• lover is looking up her dress, many cupids in the scene
• risque work, rejected by comissioner

Question 3

Hogarth, The Marriage Settlement, c. 1743

Answer 3

• In reaction to Recoco
• a saterical work
• told stories through a sceries of paintings
• very popular, in demand for cheap printed versions >> published as engravings
• marriage between old and new weath, artist believed marriage should be based on love
• 1st scene of “Fashionable Marriage”
• bride is flirtasious, goon shows signs of siffolous

Question 4

David, The Oath of the Horatii, 1784

Answer 4

• Neoclassicism
• Artist known for verstility, heroic and propoganda paintings
• painted origionally for the monarchy, then became symbol for the revolutionistic cause, then for nepolian
• a scene from pre republican rome where 3 representatives are chosen from each size to fight a war
• women will lose either way (wife of one, sister of the other situation)
• shows shows sacrifice and patirotism for the greater good
• in the government salon that controled the success of artists.

Question 5

Ingres, Grande Odalisque, 1814 (p. 157)

Answer 5

• Romanticism (more of movement than style)
• Depicts a harem from the near east (orientalism trend)
• people did not like as it it was not private but in the salon, but she was not french, western rules do not apply to her so it’s ok. Not for nudity but for her proportions
• not neoclasisism because proportions are incorrect (to bring out the essence)

Question 6

NAME

Answer 6

** Delacroix, Liberty Leading the People, 1830**

• romanticism
• depicts the french revolution, diversity of people coming together to storm the baracades
• hat is a symbol from the freed slaves
• holding tri-color, then a symbol of the revolution

Question 7

Goya, The Third of May, 1808, 1814

Answer 7

• spanish romantic
• court painter for the spanish king
• modern history painting (same epic scale, but modern story)
• french killing spaniards when napolian was there
• can see faces on spansih men, french are a machine and evil
• man in spotlight is lit, pure, innocent, jesus on the cross
• painted so that the scene would not be repeated

Question 8

Cole, The Oxbow, 1836

Answer 8

• landscape painting (part of romanticism)
• Cole is an american landscape painter, sence of national pride
• most of country unexplored

–half is wild and untamed, the other half is cultivated pastural landscape

Question 9

Courbet, Stonebreakers, 1849

Answer 9

• realism (exploring new subject matter, life is truthful and unvarnished, showed lower classes)
• socialist belifs
• displayed in large format, lower classes are heros
• they work the hardest to make a new society, but benefit the least
• boy: dark future, old man: withering past (both are faceless)

Question 10

NAME

Answer 10

Manet, Le Déjeuner sur l’Herbe, 1863

• controversial for style (unfinished) and provocative subjects
• part of opening of new salon for the rejected, public could decide if it was bad or not
• historical subject, (titian), but confused people because it was set in the present

Question 11

Monet, Impression: Sunrise, 1872

Answer 11

• Impressionists
• morning fog in harbor, impression of light and color
• painted completely outside
• color shading, sketchy feel

Question 12

Rodin, The Kiss, 1886

Answer 12

• Impressionist (shows movement)
• also made the thinker
• distorted forms to komvey more meaning
• commisioned by the french government

Question 13

Cassatt, The Child’s Bath, 1893 (p. 345)

Answer 13

• Impressionist/ Japonisme (slanted viewpoints, flat blocks of color, stark outlines, busy patterns)
• american painter
• floor is not in perspective with rest
• blocks of color, almost flat, only patterns shows dimention
• multiple perspectives

Question 14

Cézanne, Mont Sainte-Victoire, c. 1886-8

Answer 14

• post impressionist (expressive aspects of formal elements of art)
• nature reduced to geometric shapes
• trees echo the form of the mountain
• little depth, colors mixed for focus (mountain brought to print)

Question 15

Van Gogh, Starry Night, 1889

Answer 15

• post-impressionist
• church is symbol of his his personal struggles iwth religion (he tried to be a minister)
• stabalizing cypress tree (symbol for death and eternal life

Question 16

Gustave Eiffel, Eiffel Tower, 1889

Answer 16

• an experiement with new materials
• land mark for the world’s fair, entrance and main attraction
• when completed highest structure, required an elevator
• was supposed to be temporary, but saved by a radio antenna

Question 17

Toulouse-Lautrec, La Goulue at the Moulin Rouge, 1891

Answer 17

• Art Neuveau
• post-impressionist
• paresian night life, low class entertainment
• advertisement for night club (lithograph to advertise la goulue glutton)
• flat colors, curved line motion

Question 18

Matisse, Joy of Life, 1905-6

Answer 18

• fauvism
• NOT realistic, very expression
• nude figures in trees, bold and saturated color, strange colors for humans
• strong blue lines create rhythm

Question 19

NAME

Answer 19

Picasso, Le Demoiselles d’Avignon, 1907

• begining of cubism
• females soft and sentual, but not here. faces not invitine more like masks (african influence primatism)
• in historical venus poses

Question 20

Modersohn-Becker, Self-portrait with Camellia, 1906-7

Answer 20

• expressionist, independant (not die grucke or der blaue reiter
• lived in artists colony, artistic goal of simplicity
• self portrait, geometric symplification
• wants to get closer to natural world, she is nude

Question 21

Kandinsky, Improvisation #30 (Cannons), 1913

Answer 21

• Expressionist (Den blaue reider) goal of spiritualism, inner nature
• 1ST COMPLETE ABSTRACTION IN PAINING
• named after music
• response to WW1

Question 22

Duchamp, Fountain, 1917 (P. 270)

Answer 22

• DADA
• READYMADE: found object, claimed as art
• was rejected from a jury-less show
• art cannot be based on concept alone

Question 23

Miró, Object, 1936

Answer 23

• surrealism
• ASSEMBLAGE (sculptural collage)

Question 24

Boccioni, Unique Forms of Continuity in Space, 1913

Answer 24

• Futurism (italian cubism)
• TECHNOLOGY AND SPEED masculine
• break solid form, convey motion and space
• body bursts into flames of energy

Question 25

 Malevich, Suprematist Painting (Eight Red Rectangles), 1915

Answer 25

- abstraction/ suprematism (abstract geometric free from the world) - active and strong, looks like collage but is a painting - imperfect, feels natural

Question 26

 Brancusi, Bird in Space, c. 1941

Answer 26

- inspired by primitivism (capture essence more than form) - 1st abstraction in sculture - court battle if it was art or not

Question 27

 NAME

Answer 27

**Jackson Pollock painting in his Long Island studio, 1950** ## Footnote - Abstract Expressionism, first modern movement in the US, shift from Paris to New York - action painter, about process of creation

Question 28

 Rothko, Untitled, 1949

Answer 28

- abstract expressionist - color field painter - goal to show human emotion as directly as possible, through color (to represent deep things)

Question 29

 Warhol, Thirty Are Better than One, 1963

Answer 29

- pop art - silkscreen, consumer attitude - recognizable object, so usually don't look again - is the mona lisa valuable if there is many of them?

Question 30

 Judd, Untitled, 1967

Answer 30

- minimalism (reaction to abstract expressionism, remove artist from the art) - someone else installed the world - no case exists in real space

Question 31

 Kosuth, One and Three Chairs, 1965

Answer 31

- conceptual art - intersection between language and image (abstract idea vs the thing) - semionics (signs vs the actual object)

Question 32

 Graves, Portland Public Service Building, 1980

Answer 32

-post modern architecture (less steril, referance to collumns of ancient rome

Question 33

 NAME

Answer 33

**Weems, You Became a Scientific Profile & A Photographic Subject, 1995** ## Footnote - Multiculturalism - society constructs identity - she was 'studied' to shown being lesser with no identity, but she is also a photographic subject

Question 34

 Rist, Ever is Over All, 1997

Answer 34

- postmodern/identity - themes of gender, sexuality and human body - saturate, fairytale colors with calm music, comfortable chairs - strong images, happy and nonconfrentational - comments on rules that govern society, she hates cars and how they are unquestioned