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Artist: Hyacinthe Rigaud
Title:Portrait of King Louis XIV
Date:1701
Medium: Oil on canvas
Comments:
-CH 2, Louis XIV was the sun king and ruled 1643-1715 "I am power"
-all details are meticulously staged to show his authority including stance, royal septum, crown, garments
-fleur de li on garments symbolized the sectors of people in France
-red heel was something you could only have if you were the king, shows how noble he is (relates to Christian Loubittons)
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Artist: Jules Hardouin-Mansart and Charles Le Brun
Title: la Galerie des Glaces (the Hall of Mirrors), Versailles
Medium: N/A
Date:(begun 1678)
Comments:
-opulence meant power
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Artist: Antoine Watteau (1684-1721)
Title:Pilgrimage to the Island of Cythera
Date:1717
Medium:Oil on canvas
Comments:
-the rococo brought a revival of aspects of the baroque
-the view is directed all over the canvas, not one central focal point it is dispersed
-chateau is put in for patron
-Watteau was known for painting scenes of idyllic charm and acts of theatricallity
-people enjoyed pleasure time known as fete galante in this social scene
-Cythera in Greece is known as the birth place of Venus or the Island of Venus |
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Artist:François Boucher
Title:The Rape of Europa
Date:1747
Medium:Oil on canvas
Comments:
-a pivotal painting that characterized Rococo
-it was very criticized because people were not ready to see such trivialization |
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Artist: Jacques-Louis David
Title: The Oath of the Horatii
Medium: Oil on canvas
Date: 1785
Comments:
-this painting is based on the classic story of ancient Rome and contemporary play, Cornille
-male figures alsmot architectural while female are sinuous
-royal commission but David puts his own spin on the history painting |
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Artist: Jacques-Louis David
Title: The Death of Socrates
Medium: Oil on canvas
Date: 1787
Comments:
-Neoclassicism, what came before it is Rococo
-David had an apprenticeship with Francois Boucher and went on to win the coveted Rome Prize and has a close relationship with student, Drouais |
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Artist: Jacques-Louis David
Title: The Death of Marat (Marat at His Last Breath)
Date: 1793
Medium: Oil on canvas
Comments:
-whole upper part of painting is abstract creating a void= indescribable people entering state of power and constrasting bottom
-detailed brushstrokes and abstraction to convey the great unknown of the revolution
-on the same day David paints Marie-Antoinette |
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Artist: Jean-Aguste-Dominique Ingres
Title: Napoleon on the Imperial Throne
Date: 1806
Medium: Oil on Canvas
Comments:
-Ingres wins the Rome Prize like David but cannot go because France is in the middle of the Napoleonic war
-he tries to load up Napoleon with history in the same way as David
-Frontal pose, compressed space, and clear ground are all Davidian elements
-Napoleon hated this painting because he saw it as overdone and thought it exposed vulgarity of him trying to be emporer, he much preferred David's Napoleon at the St. Bernard Pass
-Ingres leaves for the French Academy in Rome and leaves David's practice and becomes "Mr. Classicism" |
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Artist: Jean-Auguste-Dominique Ingres (1780-1867)
Title: Grande Odalisque
Date: 1814
Medium: Oil on canvas
Comments:
-brings up the idea of orientalism but holds onto classical
-gives prominence to contour rather than succumbing to romantic brushstroke, almost photographically pure in comparison
-Essential subject is a concubine with exotic finery around her
-scene is layering
-in classicism, nude has all these preconceived ideals but now this is invoking new
-For David, anatomical correctness would have been crucial, but Ingres has different prioirities (e.g. long spine)
- Parisian male audience, not about something else, conditioned for local Paris audience
-Reveals French art at crossroads- idealization of oriental subject, neoclassical treatment of romanticism
-describes himself as history painter but is known for portraiture
-Orientalism comes out of massive campaign of imperialism
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Artist: Francisco de Goya
Title: The Family of Charles IV
Date: 1800-01
Medium: Oil on canvas
Comments:
-last great painting before Las meninas
-there is an element of self-reflectivity where people are seeing themselves being seen
-the image of king and queen looks so homely, it is unsure as if they are looking in the mirror and looking over their shoulder bringing about an idea of uncertainty of power
-Use of shadow of new modern psychological element depicting uncertainty
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Artist: Francisco Goya (1746-1828)
Title: From Los Caprichos, plate #43, The Dream of Reason Brings Forth Monsters
Date: 1799
Medium: etchings and aquatints
Comments:
-Reason is the enlightenment, when there is a pause in that you get madness
-this depicts Goya
-Owls/bats resemble collective ignorance but could also be a dream or fear of the artist |
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Artist: Francisco de Goya
Title: The Family of Charles IV
Date: 1800-01
Medium: Oil on canvas
Comments:
-The last "great painting" before this was Diego Velázquez's Las Meninas 1656
-there is an element of self-reflectivity as the people see themselves being seen
-the image of the king and queen look homely and unsure as if they are looking in the mirror and looking over their shoulder bringing about an idea of uncertainty in power
-use of shadow is a new modern psychological element depicting uncertainty |
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Artist: Francisco de Goya
Title: The Third of May, 1808
Date: 1814
Medium: oil on canvas
Comments:
-all figures are anonymous
-evokes the idea of the anonymity of killing
-Spanish rebels on hills outside Madrid getting slaughtered for rebellion
-brushstroke becomes a force of expression of the painting
-The figure in white is Christ like with all the figures pointed toward him |
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Artist: Theodore Gericault (1791-1824)
Title: The Raft of Medusa
Date: 1818-19
Medium: oil on canvas
Comments:
-reaction to recent event where a government ship called Medusa crashed off West Africa with 400 aboard, the captain gave all the life boats to wealthy people forcing the others to build their own raft
-highlights human horrors such as cannibalism to stay alive as the people do not think they will make it day after day
-Gericault draws on what he sees in the museums, baroque art
- self-conscious structure reporting on something immediate
-aspect of some dimensions of classicism, utter realism |
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Artist: Eugene Delacroix
Title: Death of Sardanapalus
Date: 1827
Medium:Oil on canvas
Comments:
-last Assyrian king, has all he needs but is too lazy to fight back
-offended everyone in the salon because David wiped out |
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Artist: John Constable
Title: The Haywain
Date: 1821
Medium:Oil on canvas
Comments:
-romantic landscape
-Constable is the most innovative painter of this time in naturalist landscape
- he is reporting on things that are happening in the world |
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Artist: Joseph Mallord William Turner (1775-1851)
Title: Slave Ship (Slavers Throwing Overboard Dead and Dying- Typhoon Coming On)
Date: 1840
Medium: Oil on canvas
Comments:
-Turner wanted to represent sublime
-he wanted to be the non-constable and turn his art to a major tradition participating in art history at large
-this piece specifically demonstrates Turner's increasing abstraction which people started to dislike because it was too much abstraction |
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Artist: Edouard Manet
Title: Olympia
Date: 1863
Medium: Oil on canvas
Comments:
-seeks to recode the idea of the nude
-takes idea and replaces with prostitute (a commodity, luxury at the time) therefore updating the nude
-Venus of Urbino
-client has sent her flowers (clearly store bought) hat maid delivers, little gesture toward orientalist sources but is a modern commodity life
-has her looking at us, returning faze |
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Artist: Edouard Manet
Title: A Bar at the Folies-Bergeres
Date:1881-82
Medium:Oil on canvas
Comments:
-there are several still lives throughout, e.g. corsage
-repetition to represent mass modern production
-vacant view of woman and image that doesn't match
-Idea of seeing and being seen, reflexivity becomes part of modern life
-social construct of ambiguity |
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Artist: Jean-François Millet
Title: The Gleaners
Date: 1857
Medium: Oil on canvas
Comments:
-given permission to pick up what is left
-part of situation unlike in Daumier's work
-turned to poor country folk and elevated them with profound humanist dimension
-see visible strokes |
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Artist: Gustave Courbet
Title: The Stonebreakers
Date: 1849-50
Medium: Oil on canvas
Comments:
-have their backs to us not giving faces individual identities gives us universal condition these people are every man
-clothing registers their labor too
-nether should be working at this age bringing about a trajectory of life by having young and old
-address to lower classes at the salon |
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Artist: Gustave Courbet
Title: A Burial at Ornans
Date: 1849-50
Medium: Oil on canvas
Comments:
-when poor farmers began to find that they could not sustain themselves
-image of collective distraction as no one is looking at the grave
-women wearing peasant like hats even though they are middle class
-the grave is cut in half= most shocking, technically we are standing in the grave as the viewer, the cut is almost photographic, no one would paint this because it is disturbing realism
-quality of inattention across blank faces
-scale is shocking, almost life size |
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Artist: Edgar Degas
Title: The Tub
Date: 1886
Medium: pastel on card
Comments:
-cropped, brush cutting into space
-created keyhole view
-element of nakedness which is vernacular vulgar aspect as opposed to nude= academic classicizing art historical model |
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Artist: Georges Seurat
Title: A Sunday Afternoon on the Island of La Grande Jatte
Date: 1884-1886
Medium: Oil on canvas
Comments:
-opposite of bathing place because it is bourgeois class
-aspires to classical athenian frieze
-divisionism is optical separation of color that then recombines on your retina, difference is the color is not mixed on palette, pure color placed gives incredible optical effect
-sunny afternoon with light breaking brushstrokes but Seurat disciplines it |
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Artist: Van Gogh
Title: The Night Cafe, Arles
Date: 1888
Medium: Oil on canvas
Comments:
-alarming red and green to express the terrible passions of humanity
-starts with canonical green and varies across canvas to more charged off greens
-floor perspective- almost tipped up, angular representation of room contents almost slide
-uses color arbitrarily
-versus Gauguin Night Cafe, Gauguin's is close up symbolist idea where people become symbolic and monumental in their own way, evokes same idea of red and green, field is more dramatically cut up by forms from Japanese prints |
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Artist: Paul Cezanne
Title: Sugar Bowl, Pears, and Blue Cup
Date: ca. 1866
Medium: Oil on canvas
Comments:
-reinvented and completely changed idea of still life, no longer objects artfully arranged on table, uses broad irregular patches of color that somehow build up fruit and vessels
-adopted this rough style for short period calling it quiat or ballsy
-turned this into something of a manifesto by positioning it in the background of portrait of his father |
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Artist: Gauguin
Title: Vision After the Sermon, Jacob Wrestling with the Angel
Date: 1888
Medium: Oil on canvas
Comments:
-curving sinuous lines of tree and bonnets of women, vibrant red seems to thrust forward
-paradox of unnatural color
-cloisonne: enamel painting/ stained glass window effects, idea a little like van gogh's separation wood cut structures |
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Artist: Gauguin
Title: Mahana no atua (day of God)
Date: 1894
Medium: oil on canvas
Comments:
-division of composition into 3 parts, 3 figures= birth life and death, relatively naturally posed |
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