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Flashcards in Rococo Questions Deck (50):

Describe Samuel Adams

John Singleton Compley. 1772. Oil on canvas.
-dressed conversatively
-glares at Governor Hutchinson (viewer)
-left hand points to charter (rule of law) and seal granted to MA by King William and Queen Mary
-right hand grasps petition prepared by citizens of Boston
-realism. head and hands dramatically lit.
-convey moral force of his demands


Describe Salon de La Princesse in the Hotel de Soubise

Germain Broffrand. 1732. Paris.
-arabesques and swirls
-silver or gold against white or pastel color


Describe Kaisersaal (Imperial Hall)

Neumann. 1750. Germany.
-illustrates great triumph in planning and decoration
-white gold color scheme and delicately curved forms


Describe The Marriage of the Emperor Frederick and Beatrice of Burgundy

Tiepolo. 1752. Germany.
-architectural painting
-presented as if theater with painted and gilded stucco curtains drawn back
-wedding presented in dazzling light
-characters suggest nobility of purpose


Describe Church of the Vierzehnheiligen

Neumann. 1772. Germany.
-"Fourteen Auxiliary Saints"
-exterior shows Rococo style with gently bulging central pavilion and delicately arche windows
-interior overlays of decoration creates visionary world where flat wall surfaces scarcely exist
-surrounded by clusters of pilasters and engaged columns and clerestory
-foliage of fanciful capitals is repeated in arabesques, wreaths, and ornamented frames of irregular panels that line vault


Describe Pilgrimage to the Island of Cythera

Jean-Antoine Watteau. 1717. Oil on canvas.
-fete galante: elegant outdoor entertainment
-dream world where beautifully dressed couples, with putti, have romantic adventures on island of love sacred to Venus


Describe The Signboard of Gersaint

Watteau. 1721. Oil on canvas.
-actually a signboard for a shop
-elegant ladies and gentlemen seem knowledgeable with paintings
-creates atmosphere of aristocratic sophistication
-left, click positioned directly over king's portrait, surmounted by allegorical figure of Fame and sheltering pair of lovers, is traditional momento mori (reminder for mortality)
-young women looking at their reflections symbolized fragility of human life
-vanitas theme


Describe The Salon of 1787

Martini. 1787. Engraving.
-freaking paintings and people everywhere


Describe Triumph of Venus

Francois Boucher. 1740. Oil on canvas.
-Venus appears near center, resting on silks and satins in giant shell, pulled through water by dolphins
-putti hover in sky, carrying shiny scarf that billows like huge banner
-robust world of sensual pleasure


Describe The Meeting

Jean-Honore Fragonard. 1773. OIl on canvas.
-From The Loves of the Shepherds.
-shows secret encounter between young man and sweetheart
-rapid brushstrokes
-bright colors


Describe The Invention of the Balloon

Clodion. 1784. Terra-cotta.
-decorated with bands of classical ornament
-rising and assisted by puffing wind god heralded by Victory
-putti stoke fire basket


Describe Charles Sackville, 2nd Duke of Dorset

Carriera. 1730. Pastel on paper.
-British aristocrat


Describe Santi Giovanni E Paolo and the Monument to Bartolommeo Colleoni

Canaletto. 1738. Oil on canvas.
-Venetian square
-shown as if viewer were in gondola on nearby canal
-roofline of church creates powerful orthogonal


Describe The Lion Bas-Relief

Giovanni Battista Piranesi. 1761. Etching and engraving.
-depicts vast, gloomy spaces spanned by remnants of monumental vaults
-motifs: barred windows, dangling ropes and tackle, torture device set sinister mood


Describe Parnassus

Anton Raphael Mengs. 1761. Rome.
-first true Neoclassical painting
-takes place on Mount Parnassus in Greece, which ancients believed to be sacred to Apollo and nine Muses
-center is Apollo holding lyre and laurel branch, symbol of artistic accomplishment
-resting on Doric column is mother of Muses, Mnemosyne


Describe Cupid and Psyche

Antonio Canova. 1793. Marble.
-illustrates loves story between Cupid and Psyche
-eroticism and senses of sight and touch


Describe Chiswick House

Richard Boyle (Lord Burlington). 1729. England.
-bilateral symmetry
-octagonal core and two entrances
-Roman temple front


Describe Rococo features

pastel colors, delicately curving forms, dainty figures, lighthearted mood


Describe Neoclassical features

classical subject matter in a style derived from classical Greek and Roman sources
intended to teach moral lessons
conveyed Enlightenment ideals


Describe The Park at Stourhead

Henry Filtcroft and Henry Hoare. 1765. England.
-mixture of elements from around the world
-mixture of Neoclassical and Romantic


Define capriccio view

artist mixed actual features, especially ruins, into imaginatively pleasing compositions


Define veduta view

naturalistic rendering of well-known tourist attraction.


Describe Romantic features

imagination and emotions
reaction against Enlightenment focus on ratoinality
celebrates individual rather than universal and object


Describe Strawberry Hill

Horace Walpole. 1776. England.
-Gothic revival
-crenellated battlements gave notched appearance
-library derived ideas from stories in books


Describe Anteroom, Syon House

Robert Adam. 1767. England.
-luxurious decorations restrained by strong geometric order imposed by plain wall and ceiling
-bright pastel colors and small-scale decorative elements stem from Rococo style


Describe Vase: The Apotheosis of Homer

Josiah Wedgwood. 1786. White jasper body with mid-blue dip and white relief
-based on scene on book illustration of Greek vase


Describe "Am I Not a Man and a Brother?"

William Hackwood for Josiah Wedgwood. 1787. Black and white jasperware.
-African man kneeling down in chains
-emblem for British Committee to Abolish the Slave Trade
-later adapted to women's suffrage


Describe The Marriage Contract

William Hogarth. 1745. Oil on canvas.
-Lord Squanderfield, right, arrages marriage of his son to daughter of wealthy merchant
-merchant gains entry for his family into aristocracy, while lord gets money he needs for Palladian house, visible from window
-wanted to please and educate audience


Describe Lady Sarah Bunbury Sacrificing to the Graces

Joshua Reynolds. 1765. Oil on canvas.
-dressed in classicizing costume
-plays part of Roman priestess making sacrifices to Three Graces


Describe the Grand Manner

form of Baroque classicism that attemped to elevate portraiture to level of history painting


Describe Portrait of Mrs. Richard Brinsley Sheridan

Thomas Gainsborough. 1787. Oil on canvas.
-shows professional singer seated informally outdoors
-sloping view into distance and use of tree to frame sitter's head
-lighter palette, feathery brushwork, integrated women into landscape
-windblown hair matches foliage
-manifests new values of Enlightenment: emphasis on nature and the natural as sources of goodness and beauty


Describe An Experiment on a Bird in the Air-Pump

Joseph Wright. 1768. Oil on canvas.
-lecturer prepares to reintroduce air into glass receiver
-boy stands ready to lower cage when bird revives
-visible moon references Lunar Society
-father, voice of reason, attempts to dispel fears
-suggests science brings light into world of darkness and ignorance through lighting


Describe Cornelia Pointing to Her Children as her Treasures

Angelica Kauffmann. 1785. Oil on canvas.
-Woman visitor shows Cornelia her jewels and requests to see hers.
-Cornelia exemplifies "good mother"


Describe The Death of General Wolfe

Benjamin West. 1770. Oil on canvas.
-depicts figures in modern dress
-glorifies British general Wolfe, who died during Seven Years' War
-depicted him in red dying under sky rather than under a tree, where he actually died
-naturalistic, but not an objective document
-poses suggest Lamentation


Describe The Nightmare

John Henry Fuseli. 1781. Oil on canvas.
-white-clad woman sprawled along divan, oppressed by erotic dream caused by incubus
-horse with phosphorescent eyes adds to erotic mood


Describe Elohim Creating Adam

William Blake. 1795. Color print.
-figures reveal influence of Michelangelo.
-presents Creation negatively
-giant worm, symbolizing matter, encircles lower body of Adam
-Elohim = Hebrew for God
-Creation is tragic because it submits spiritual human to fallen state of material existence.


Describe Pantheon (Church of Sainte-Genevieve)

Jacques-Germain Soufflot.
-most typical Neoclassical building
-attempted to integrate three traditions: Roman architecture, French and English Baroque classicism, Palladian style being revived in England
-facade modeled after temples
-radical geometry, with central-plan Greek cross


Describe The Governess

Jean-Simeon Chardin. 1739. Oil on canvas.
-finely dressed boy who listens to governess as she brushes tricorn
-scattered on floor are toys.
-shows childish pleasures that a boy leaves behind to go to his studies


Describe The Drunken Cobbler

Jean-Baptiste Greuze. 1785. Oil on canvas.
-taught lesson to public
-drunken father returns home to angry wife and hungry children
-children's gestures make clear that he spent money for food on alcohol


Describe Portrait of Marie Antoinette with her Children

Marie-Louise-Elisabeth Vigee-Lebrun. 1787. Oil on canvas.
-theme of "good mother"
-meant to counter her selfish, extravagant, and immoral public image
-affection = proof of queen's natural goodness
-alludes to allegory of Abundance, suggesting peace and prosperity of society under reign of her husband


Describe Self-Portrait with Two Pupils

Adelaide Labille-Guiard. 1785. Oil on canvas.
-painted to dispel rumors that her paintings were painted by a male
-only male is father's bust in the back
-form strong pyramidal shape


Describe Oath of the Horatii

Jacques-Louis David. 1785. Oil on canvas.
-reflects taste and values of Louis XVI.
-believed art should improve public morals.
-three sons of each side fight to the death
-contrast to upright, muscular men are group of limp and weeping women


Describe Death of Marat

Jacques-Louis David. 1793. Oil on canvas.
-radical journalist who wrote to urge the abolition of aristocratic privilege.
-aftermath of Marat's death
-likens Marat to martyred saint


Describe Portrait of Jean-Baptiste Belley

Anne-Louis Girodet-Trioson. 1797. Oil on canvas.
-combines graceful pose recalling classical sculpture with descriptive naturalism
-political dimension
-former slave sent as representative to French Convention.


Describe George Washington

Jean-Antoine Houdon. 1792. Marble.
-combined contemporary naturalism with new classicism
-serene expression and relaxed contrapposto pose derive from classical athletes
-left hand rests on fasces, bundle of rods tied together with axe face, symbol of authority in Roman times


Describe Atrial Cross

1556. Stone.
-suggests pre-Hispanic sculpture in its stark form and rich surface symbols in low relief
-entirely covered with images known as the Arms of Christ
-suggests Mesoamerican symbol of Tree of Life. blood sacrifice.


Describe Our Lady of Guadalupe

Sebastian Salcedo. 1779. Oil on panel.
-Lady of Guadalupe, the patron saint of the Americas


Describe Mission San Xavier Del Bac

-example of mission architecture
-domed crossing and flanking bell towers
-made with mortar, rather than adobe


Describe Monticello

Thomas Jefferson. 1809.
-based on English Palladian styles
bilateral symmetry


Describe Watson and the Shark

Jon Singleton Copley. 1778. Oil on canvas.
-dramatizes a shark attack
-pyramidal composition in foreground
-shark infested waters could mean colonies
-Watson's severed leg could stand for dismemberment of the British Empire