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The French Rococo exterior was often simple or even plain, but Rococo exuberance took over the interior. Rounded ceilings, no hard edges. Free flowing nature. From word Rocaille, meaning pebble in French. Referred to small stones and shells used to dec. int. grotto. |
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Salon de la Princesse 1740 GERMAIN BOFFRAND Hôtel de Soubise, Paris, France A permanently "festive" room:
Comparing the Salon de la Princesse in the Hôtel de Soubise in Paris to the Galerie des Glaces at Versailles reveals how Boffrand softened the strong architectural lines and panels of the earlier style into flexible, sinuous curves luxuriantly multiplied in mirror reflections. |
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ANTOINE WATTEAU, Return from Cythera, 1719
Watteau was largely responsible for creating a specific type of Rococo painting, called a féte galante painting. These paintings depicted the outdoor entertainment or amusements of upper-class society.
Cythera is the mythical island of love, so the people there must be returning from a voyage to that island. |
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FRANÇOIS BOUCHER, Cupid a Captive, 1754
A playful Rococo fantasy:
Boucher was an excellent portraitist, but his fame rested primarlily on his graceful allegories |
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JEAN-HONORÉ FRAGONARD, The Swing, 1766
Sensual and decorative with allusions to Venus
Aristocratic in nature, sensuous, intimate, and designed to provide pleasure; stylistically it depended upon soft, luminous colors, complex surfaces, refined textural contrasts, free brushwork, and asymmetrical compositions based upon the interplay of curved lines and masses. Produced for highly sophisticated patrons, rococo painting concentrated on aristocratic diversions, the game of love, decorative portraits, mythological and allegorical themes frequently treated in a playful manner, and idyllic pastoral scenes. |
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CLODION, Nymph and Satyr, 1775
Myths and senual intimacy. |
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JOSEPH WRIGHT OF DERBY, A Philosopher Giving a Lecture at the Orrery 1765
NATURALISM
Believed that the law of Nature grants people the natural rights of life, liberty, and property, and that the purpose of government is to protect these rights.
Empirism, learn through scientific method. Paint people in natural scenes.
Voltaire's philosophy. Advancement of human.
Uses ChiaroScuro, light/ dark. |
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JEAN-BAPTISTE GREUZE, The Village Bride, 1761
Rousseau v Voltaire
Voltaire, advancement of mankind ideal, needed
Rousseau
humanity's only salvation was to return to its original condition. The "Natural" Landscape
Naturalism is a type of art that pays attention to very accurate and precise details, and portrays things as they are. |
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ÉLISABETH LOUISE VIGÉE-LEBRUN, Self-Portrait, 1790
NATURALISM
Famous French women painter, Rococo style for queen, but neoclassical in portrait with daughter. Return to the greek style. Painted people in togas
Honor, valor, courage, resolution, self-sacrifice, and patriotism were included among the "natural" virtues that produced great people and great deeds. |
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WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode 1745
NATURALISM
The taste for the "natural" in England:
Visualizing Morality through Satire: William Hogarth expresses the taste of the newly prosperous and confident middle class in England in his moralizing satires of contemporary life. In his carefully detailed painting of the Breakfast Scene from Marriage à la Mode, Hogarth comments on the social evil of the arranged marriage. |
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THOMAS GAINSBOROUGH, Mrs. Richard Brinsley Sheridan,
1787
NATURAL
Thomas Gainsborough's portrait, painted in a soft-hued light and with feathery brushwork, shows Mrs. Richard Brinsley Sheridan dressed informally and seated in a rustic natural landscape of unspoiled beauty. Gainsborough's painting is also an example of "Grand Manner portraiture," in which the sitter is elevated and the refinement and elegance of her class is communicated through the large scale of the figure relative to the canvas, the controlled pose, the "arcadian" landscape setting, and the low horizon line. |
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BENJAMIN WEST, The Death of General Wolfe, 1771.
NEO CLASSICAL
Benjamin West's The Death of General Wolfe shows a contemporary historical subject with realistic figures in modern costume, but in a composition arranged in the complex and theatrically ordered manner of the grand tradition of history painting, which West uses to transform the heroic battlefield death into a martyrdom charged with religious emotions
Triangular composition, flag being point of apex. |
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JOHN SINGLETON COPLEY, Portrait of Paul Revere,1770
NATURAL/ REALISM
Shows the silversmith Paul Revere in working clothes and with creation. "Natural" , occupation and portrait, not in costumes. |
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ANGELICA KAUFFMANN, Cornelia Presenting Her Children as Her Treasures, or Mother of the Gracchi. 1785
NEO-CLASSICISM
Symbolism:Cornelia presenting her own sons as her jewels.
Virtuous
Angelica Kauffmann contributed to the replacement of "natural" pictures with simple figure types, homely situations, and contemporary settings with subject matter of an exemplary nature drawn from Greek and Roman history and literature. |
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JACQUES-LOUIS DAVID, Oath of the Horatio, 1784
NEO CLASSICISM
Triangular composition, simple background. Women used to portray emotion, men for strength, heroic poses.
Depicts a heroic story of courageous and patriotic self-sacrifice set in pre-Republican Rome, in which carefully modeled rigidly statuesque male figures enact a virile drama in a shallow space defined by a severely simple architectural framework. The rectilinear forms and noble virtues displayed by the men are contrasted with the curvilinear collapsing forms of the women, whose weak female nature is shown overcome by emotion and sorrow. |
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ANTONIO CANOVA, Pauline Borghese as Venus, 1808
NEO CLASSICISM
Marble
Napoleons sister as Goddess of Venus in sensual pose. |
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JOHN WOOD THE YOUNGER, the Royal Crescent, Bath, England, 1769-1775
NEO CLASSICISM
John Wood the Younger's plan for the Royal Crescent in Bath links thirty houses into rows behind a single, continuous, majestic Palladian façade in a great semiellipse
Simple symmetry, unadorned planes, right angles, and stiffly wrought proportions give it very classical and "rational" appearance. Palladion Style. |
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JAMES STUART, Doric portico, Hagley Park, Worcestershire, England, 1758
NEO CLASSICISM
Palladion Style.His design for the portico at Hagley Park reconstructs a Doric temple known as the Theseio
in Athens. Became the model of Greek Arch. Revival in Europe and America. |
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THOMAS JEFFERSON, Monticello, Charlottesville, United States. 1806
NEO CLASSICISM
Symbolic, National Palladio's style for a newly erected young republic, U.S. |
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EDMONIA LEWIS, Forever Free, 1867
NEO CLASSICISM
One of the first African American female artists. Educated at Oberline, kicked out, went to France.
Depicts struggles and emotion of African Americans which no one else was able to do. |
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ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804
ROMANTICISM
Depicts Napoleon as a heroic person, good leader. Played on emotions of people because Napoleon was slammed for ordering sick soldiers to be killed. Political purposes. Fictional Narrative. |
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JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814
ROMANTICISM
Used Ornate Eastern style, orientalism.
Nude female with exotic items. Harem girl.
Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism.
Elongated body features, not anatomically realistic. |
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GIOVANNI BATTISTA PIRANESI, Carceri 14
ROMANTICISM,
MACABRE
Inspired feelings of awe/ terror.
Giovanni Battista Piranesi's series of etched prints of imaginary dungeons, the Carceri (prisons), shows grim, infernal-looking architectural fantasies of massive arches, vaults, piers, and stairways. Within the gloomy, menacing spaces move small, insect-like human figures |
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HENRY FUSELI, The Nightmare, 1781
ROMANTICISM
Developed a Gothic taste, sadism, demonic, night time terrors. Fantasy |
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FRANCISCO GOYA, The Third of May 1808, 1814.
Romanticism
The French invasion was met with Spanish resistance. In retaliation for an attack on French troops by Spanish patriots on 2 May 1808, the French spent the next day, 3 May 1808, executing Spanish citizens. Goya painted an emotional record of the ruthless event in 1814.
Dramatic Action. Freedom through human psyche and emotions. |
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THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819
ROMANTICISM
Théodore Géricault's ambitious painting of the Raft of the Medusa shows the handful of survivors of the frigate Medusa, which, due to the incompetence of the captain, a political appointee, had run aground on a reef. This grandly conceived, large-scale painting combines a realistic attempt to record the event accurately with a Romantic taste for the drama and horror. |
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EUGÈNE DELACROIX, Liberty Leading the People, 1830
ROMANTICISM
Delacroix also painted current events, particularly tragic or sensational ones. He captured the passion and energy of the Revolution of 1830 in his painting Liberty Leading the People. He balances contemporary historical fact (the 1830 Revolution) with poetic allegory (the figure of Liberty) and, through the title and his inclusion of the towers of Notre-Dame in Paris, also locates the scene in a specific time and place |
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ANTOINE-LOUIS BARYE, Jaguar Devouring a Hare, 1850–1851
ROMANTICISM
Bronze Cast |
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CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810
ROMANTICISM
Alot of symbols, a sublime feeling of awe. Death.
Landscape painting, meant to be transcendental. Painted places with divine presences. |
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JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840
ROMANTICISM
Joseph Mallord William Turner's The Slave Ship uses the emotive power of color to convey the tragedy and cruelty of an incident that occurred in 1783, in which the captain of a slave ship ordered the sick and dying slaves thrown overboard. Turner's use of color had an incalculable effect on the development of modern art.Insurance company would only compensate those "lost at sea" |
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THOMAS COLE, The Oxbow 1836
ROMANTICISM
America's future direction?:
Thomas Cole, a member of the Hudson River School in America, painted his expansive, panoramic view of The Oxbow (the Connecticut River near Northampton, Massachusetts) with a dark stormy wilderness on the left and a sunlit and more civilized landscape on the right. |
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CHARLES BARRY and A. W. N. PUGIN, Houses of Parliament, London, England, designed 1835
ROMANTICISM
When the Houses of Parliament were rebuilt following the fire in 1834, the architect A. W. N. Pugin designed a Neo-Gothic building because of the moral purity and spiritual authenticity he associated with religious architecture of the Middle Ages. |
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J. L. CHARLES GARNIER, the Opéra, Paris, France, 1861-1874
ROMANTICISM
Neo-Baroque |
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LOUIS-JACQUES-MANDÉ DAGUERRE, Still Life in Studio,
1837.
PHOTOGRAPHY
Louis-Jacques-Mandé Daguerre, who developed the daguerreotype process, produced pictures remarkable for the perfection of their details and for the richness and harmony of their general effect. In the carefully constructed tableau Still Life in Studio, Daguerre captured the details, the subtle shapes, the varied textures, and the diverse tones of light and shadow. |
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NADAR (GASPARD-FÉLIX TOURNACHON), Eugène Delacroix, ca. 1855
PHOTOGRAPHY
Photo Portrait. Portrait characteristics shows the distinguishing traits of a person. Meant to capture their essence, not just their physical feature.
Fought for photography to be a legit art, and to be able to copyright and print for profit. |
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TIMOTHY O'SULLIVAN, A Harvest of Death, Gettysburg, Pennsylvania, July 1863
PHOTOGRAPHY
Moved dead bodies around for composition. Capture historical events.
Landscape portrayal rep. war in as well as peaceful pastoral scenes. |
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GUSTAVE COURBET, The Stone Breakers, 1849
REALISM
Realists focused attention on the experiences and sights of everyday contemporary life. Realism developed in France around the mid-century. Its leading figure was Gustave Courbet. Captured the dignity and noble spirit of the peasant life. |
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JEAN-FRANÇOIS MILLET, The Gleaners, 1857
REALISM
Realist artist HONORÉ DAUMIER (1808-1879), was a defender of t urban working classes, and in his art, he boldly confronted authority with social criticism and political protest |
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HONORÉ DAUMIER, Rue Transnonain, 1834
REALISM
Realist artist HONORÉ DAUMIER (1808-1879), was a defender of the urban working classes, and in his art, he boldly confronted authority with social criticism and political protest. |
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ÉDOUARD MANET, Le Déjeuner sur l'Herbe (Luncheon on the Grass), 1863
IMPRESSIONISM/REALISM
UNIDEALIZED NUDE WOMEN. Use of Recognizable models and actual people. Faded background, used strong colors to focus on frontal plane instead of background, but forced viewers to move eyes back and forth. Deliberate Visible brush strokes. |
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WINSLOW HOMER, The Veteran in a New Field, 1865
REALISM
Winslow Homer's The Veteran in a New Field is a simple and direct commentary on the effects and aftermath of the American Civil War. The painting also comments symbolically about death, both the deaths of the soldiers and of Abraham Lincoln. It also contributed to the continuing myths about national conditions about soldiers being able to adjust as workers and fit into society. |
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THOMAS EAKINS, The Gross Clinic, 1875.
REALISM
In the United States, Thomas Eakins was a Realist portrait and genre painter. The unsparing, brutal Realism of Thomas Eakins's The Gross Clinic shows the surgeon Dr. Samuel Gross in the operating amphitheatre of the Jefferson Medical College in Philadelphia.
Establishes surgery as a new form of medicine not amputation only. Depicts surgeons working on a femur.Science and Technology. |
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HENRY OSSAWA TANNER, The Thankful Poor, 1894
REALISM
The dignity of ordinary life:
In The Thankful Poor, the American Realist painter artist Henry Ossawa Tanner portrays with dignity the life of the ordinary people.The plight of African Americans and their humble life. |
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JOHN EVERETT MILLAIS, Ophelia, 1852
Pre-Raphaelites
In England, John Everett Millais was a founder of the Pre-Raphaelite Brotherhood, a group of artists who used Realist techniques to represent fictional, historical, and fanciful subjects. A lot of symbolism and careful detail from observation of nature. |
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DANTE GABRIEL ROSSETTI, Beata Beatrix, 1863
PRE-RAPHAELITES
DANTE GABRIEL ROSSETTI (1828-1882), well known painter and poet, was another of the founders of the Pre-Raphaelite Brotherhood. Like other members of the group, Rossetti focused on literary and biblical themes in his art.Red poppy and dove for life, death , and love. Wife died of opium overdose and painting was an ode to her. |
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CLAUDE MONET, Impression: Sunrise, 1872
IMPRESSIONISM
Sunrise was the source of the term Impressionism, which describes paintings that incorporated the abbreviated, quick, and spontaneous qualities of sketches in order to catch the sense or character of a specific moment.
Used color phenomenon. |
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CAMILLE PISSARRO, La Place du Théâtre Français, 1898
IMPRESSIONISM
Camille Pissarro's panoramic Place du Théâtre Français shows a spacious boulevard painted with blurred dark accents against a light ground to create a sense of a crowded Paris square viewed from high above street level.
Cut off frames, seemingly random composition |
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PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876
IMPRESSIONISM
Leisure and recreation:
The Impressionists also depicted scenes of leisure activities such as dining, dancing, the café-concerts, the opera, the ballet, and other forms of recreation.
A lively Parisian dance hall:
Le Moulin de la Galette by Pierre-Auguste Renoir shows a popular Parisian dance hall in which he focuses on incidental, momentary, and passing aspects of the scen |
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EDGAR DEGAS, Ballet Rehearsal, 1874
IMPRESSIONISM
Edgar Degas's Ballet Rehearsal (Adagio) shows the artist's fascination with photography, Japanese prints, and patterns of motion. He uses arbitrarily cutoff figures, patterns of light splotches, and blurriness of the images to create the effect of a single moment. Cut off frame, and influenced by Japanese composition, diagonal lines to lead eyes back and forth. Viewer is led into the painting, the foreground, onto the same plane. |
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BERTHE MORISOT, Villa at the Seaside, 1874
IMPRESSIONISM
Berthe Morisot's Villa at the Seaside shows a woman sitting with a child in the shaded veranda of a summer hotel at a seashore resort. The swift, sketchy brushstrokes and the soft focus convey a feeling of airiness. Influenced by Japanese prints. |
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CLAUDE MONET, Rouen Cathedral: The Portal (in Sun), 1894
IMPRESSIONISM
Monet painted some forty views of Rouen Cathedral, each at a different time of the day or under a different climatic condition. In each painting he captured an instantaneous representation of atmosphere and climate at that moment and also created in the series a record of the movement of light over the surfaces of the cathedral over a period of time. |
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HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895
IMPRESSIONISM
The oblique and asymmetrical composition, the spatial diagonals, and the strong line patterns with added dissonant colors in At the Moulin Rouge reveals the influence on Henri de Toulouse Lautrec of Japanese prints and photography. But each element is also emphasized or exaggerated to produce a distorted and simplified image that is expressive of Toulouse-Lautrec's perception the scene. |
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