Test 1

Question 1

Answer 1

David

Belisarius Begging for Alms

French Neoclassical

1781

‘acceptance piece’

fall from power and grace

Question 1

Answer 1

David

Napoleaon Crossing the Alps at the St. Bernard Pass

Propaganda Art

1800-01

Propaganda art (he really rode a mule)was not even commissioned by Napoleon, but when he saw it he ordered several copies to be made

Depicts Napoleon crwwoing the St. Bernard Pass just as Hannibal and Charlemagne

Question 1

Answer 1

Brud’hon

Portrait of Empress Josephine

French Propaganda Art

1805-09

melencholgy pose depicts the empress forseeing her future divorce

Question 2

Answer 2

Gros

Pest House at Jaffa

French Propaganda Art

1804

Propaganda

Napoleon appears Christlike healer whose compassionate touch brings consolation, possibly even a cure, to his faithful soldiers

Question 2

Answer 2

Constable

The Hay Wain

British Landscape

1821

while it is a realistic scene, it actually is not

Constable would sketch small very detailed studies of specific subjects (clouds, trees, water…) during the summer and then during the winter he would create one large painting based on his different sketches

a time before industrial revolution and large factories

Question 3

Answer 3

Jefferson

Monticello

American Neoclassical

1771-82

Jefferson loved neoclassical architecture, but chose brick to be exposed because he is one of the Amerian people

Question 3

Answer 3

Turner

Slave Ship

British Landscape/Romantic

1840

depicts the awesome power of mother nature as well as the power of the dark side of the human soul

Question 4

Answer 4

Ingres

Vow of Louis XIII

French Classicism

1824

virgin and child is just like Raphael’s two most popular Madonna’s but her face is smoothed and streamlined, lending it a remote sensuality

Question 5

Answer 5

Turner

Rain, Steam, Speed-The Great Western Railway

British Landscape/Romantic

1844

the train is a symbol of modernity

trains enable people and goods to travel fast and father in larger quantities than ever before

Question 7

Answer 7

Ingres

Portrait of Napoleon on His Imperial Throne

Propaganda/Neoclassical

1806

Ingres is suggesting that Napoleon is a godlike figure

His pose is that of Jupiter, right hand the golden septor of Charlemagne and in left is the ivory hand of justice (used by French medieval kings)

Question 8

Answer 8

Canova

Portrait of Paolina Borghese as Venus Victorious

French Neoclassical

1804-08

Paolina chose to be depicted as Venus

she was famous for her beauty, strong will, and lax morals

golden apple in her hand is from story from Greek mythology

Question 8

Answer 8

Delacroix

Women of Algiers

Romantic ?

1834

colors were much more vibrant in Morroco than they were in Paris, so instead of a base color, Delacroix used white as the base

Question 10

Answer 10

Delacroix

Liberty Leading the People

Romantic and Classicism

1830

blended allegory with reality by depicting Liberty as a flesh-and-blood woman with real people alongsider her

captures the excitement of the three glorious days that marked the overthrow of teh Bourbon monarchy and the beginning of a new political era

Question 11

Answer 11

David

Death of Marat

French Propaganda Art

1793

friend of David, portrays Marat as a martyr (arm resembles that of Christ in Michelangelo’s Pieta)

Question 13

Answer 13

Girodet

The Sleep of Endymion

French NeoClassical

1791

student of David’s but so different:

sensuous, erotic character, dynamic composition with two crossing diagonals, soft male body, dark and mysterious

Question 13

Answer 13

Girodet

The Entombment of Atala

French Neoclassical

1808

speaks to tension between love of man and duty to God

the importance of religion is significant because during the revolutionary period, organized religion had been outlawed and religious themes frowed upon. Painting reflects the beginning in France of resurgence of Christiantiy.

Question 14

Answer 14

Delacroix

Pietà

French Romantic

1844

revival of major religious commissions after French revolution brought about definitve separation of church and state. Roman Catholicism was declared the religion of the majority of Frenchmen

Question 16

Answer 16

Ingres

Portrait of the Princesse de Broglie

French Romantic Portraiture

1853

Ingres would get to know his portrait subjects and would follow them around and spend much time with them before beginning painting

Question 18

Answer 18

Ingres

Portrait of Louis-Francois Bertin

French Romantic Portraiture

1832

French Romantic portraiture

epitomizeds the prosperity and self-confindence of the French middle class in this period

new degree of realism and psychological insight

interest in the character of the sitter and an emphasis on his or her emotional state mark Romantic portraiture

Question 19

Answer 19

David

The Sabine Women

French Neoclassical

1799

now shows women as courageous and bodies are more realistic and not as idealized as his past pieces

reflects the changed sociopolitical climate of the Directory

Question 20

Answer 20

Delacroix

The Death of Sardanapalaus

French Romantic

1827-28

very dramatic diagonal

Delcroix is using color emotional (dominant color is red: color of passion, blood, lust, and war)

Question 22

Answer 22

Kauffman

Cornelia Pointing to Her Children as Her Treasures

Italian Neo-Classical/Rococo

1785

Is not only a moral subject, but also embodies the worthiness of motherhood

figures monumental and contours crisp

Question 22

Answer 22

Gericault

Charging Chasseur

French Romantic

1812

dramatic diagonals and foreshortening effects, more similar to baroque painting than classical aesthetic

Question 23

Answer 23

David

The Oath of the Horatii

French Neoclassical

1785

Story from a true event that was written into a play: this painting evokes the dramtic lighting and mood of the theatre

Men are strong and must do their duty; women emotional and weak

Question 25

Answer 25

Gericault The Raft of the Medusa French Romantic 1819 unsual at the time for a major painter to depict such a current event dramatic diagonals several survivors are nude, therefore they are timeless not unlike the historical, mythological, and allegorical figures in neoclassical works

Question 26

Answer 26

Constable Salisbury Catherdral from the Meadows British Landscape 1831 The dark clouds and rainbow in the sky are portraying the crisis a faith Constable had after his wife's death

Question 27

Answer 27

Gericault *Man Suffering from Delusions of Military Rank* French Romantic 1819-22 the contrast between the illuminated left half of the face and the deeply shaded right half seems to suggest that although we can study appearance of those who suffer mental illness, our understand is limited as we can never truly penetrate the dark recesses of their minds

Question 28

Answer 28

Houdon *Geroge Washington* French Neoclassical 1786-96 column is always required in a state portrait, but what appears to be a column is actually 13 rods bound together which is also a symbol of power

Question 29

Answer 29

Ingres *Grande Odalisque* French Classicism **1814** looked at Raphael's work similar to Madonna with the Long Neck tension between what is real and what is not (boneless figure with extremely real cloth in backgroud)