18th Century Final Flashcards
- Fragonard, Psyche showing her Sister her Gifts from Cupid, 1753, oil on canvas
- Compare to Natoire below
- Cherubs above Psyche
- Behind her is a representation of envy because her sisters are envious of her
- Columns in the background come from the Medici Luxembourg Palace—Rubens
- Also compare to Boucher’s reception painting—Rinaldo and Armida
- History painting
- Channeling Rubens
Charles- Joseph Natoire, Psyche Giving Treasures to her Sisters, 1739
- Much more calm compared to Fragonard’s above
Fragonard, Grand Priest Coresus Scarifies Himself to Save Callirhoe, Exhibited at the Salon of 1765, oil on canvas
- Scene from a play or opera
- Greek priest to the left who is in love with the maiden; he thinks that she should be sacrificed and when the moment comes for the sacrifice he takes the knife and stabs himself
- History painting
- Did not paint many history paintings
- Fragonard, The Swing, 1767, oil on canvas
- Swings in art are not usually depicted
- Swings represent eroticism
- Woman with one show is erotic—loosening of inhibitions
- Sculpture is shooshing
- Compare to the Progress of Love
- Motif of the painting is looking up the woman’s skirt
- Landscape, eroticism, fet gallant – Watteau
- Think about Watteau and Boucher
- The cupid is a reference to sculpture—Menacing cupid
- Fragonard, The Progress of Love: The Pursuit, 1771-73, oil on canvas
- Madame de Berry commissioned these
- They were set back and Fragonard keeps them in the house of his cousin in the south of France
- Sense they are being interrupted by the girls pose
- What you would see when you went out to the garden
- Fragonard, The Progress of Love: The Meeting, 1771-73, oil on canvas
- Figures look like Madam de Berry and Louis XV
- What you would see when you went out to the garden
Fragonard, The Progress of Love: The Lover Crowned, 1771-73, oil on canvas
- He is really the only artist painting in this style
- What you would see inside the garden/ after the garden
Fragonard, The Progress of Love: Love Letters, 1771-73, oil on canvas
- What you would see inside the garden/ after the garden
Fragonard, Waterfalls at Tivoli, c. 1761-1762, oil on canvas
- Looking at Italian scenery
- Effect of people standing on an old tower with laundry above their heads
- Compare to impressionist painting with light traveling through the paint
- In Rome; interested in going to country side and
Hubert Robert, Washerwomen at the Fountain in the Grotto
- Compare to Fragonard’s Italian landscape
- In Italy in the same time as Fragonard
Hubert Robert, Laundress and Child, 1761
- Returns to Rome in the mid 60s
- Did not receive formal schooling
Hubert Robert, Project for the Arrangement of the Grande Galerie of the Louvre, 1796
- Plans to make the Louvre
- How artists would see artwork
Hubert Robert, Pont du Gard, 1786
Greuze, The Village Bride, 1761
- Middle class drama; instructive episodes in the life of the middle class people for the upper class people
- They are exchanging something
- Looks like they are alone but they aren’t
- They are getting married, signing contracts, exchanging property
- The mother and the sister are at the Bride’s side, they are crying
- The woman to the right looks at the bride with envy
- People in contemporary society in humbler or quieter ways
- Telling a story
- Simple farm people
- The facial expressions may be based upon French history paintings
Greuze, The Punished Son, 1778
Greuze, The Father’s Curse, or The Ungrateful Son, 1777
- Genre paintings to the academy but wanted to get the strong emotion of a history painting
Greuze, Septimius Severus Reproaching Caracalla, 1769
- Accepted as a genre painting even though this is a history painting
- Does not exhibit this is the Salon he exhibits it in his own studio
- Reception piece to academy
Saint-Aubin, A Street Show in Paris, c. 1760
- Take of fete galante
- Italian setting
- Light showing through painting (hole)
Etienne-Maurice Falconet, Falconet (Menacing Cupid), 1757
- Shown at the Salon of 1757
- Commissioned by Madame du Pompadour
- Rococo looking
- Shown
- In Fragonard’s The Swing which helped promote it
Falconet, Equestrian Statue of Peter the Great, 1782
- Artist dies in 1791
Clodion, Nymph and Satyr Carousing, ca. 1780-90
William Hogarth, Marriage à-la-Mode: 1. The Marriage Settlement, c. 1743
- Showing his pedigree
William Hogarth, Marriage à-la-Mode: 2. The Tête à Tête (Shortly after the Wedding), c. 1743
- Attention to that these people are living lavishly and the man to the left is there to collect items, the dog biting the man to the right’s fabric suggesting it doesn’t belong to him
- The spot on the mans neck suggests that he is sick
- A cupid playing music on the mantle piece
- The status has his nice knocked off and glued on again
- Absorbing French influence
- Not just seeing this scene, seeing the previous seen, and what happens later—the mark on the man’s neck
- Based on an engraving
- One of the only artists who engraved his own paintings
- Artist is controlling what the reproduction looks like
Hogarth, Marriage à-la-Mode: 4. The Toilette, c. 1743
Hogarth,Marriage à-la-Mode: 6. The Lady’s Death, c. 1743
- The woman has killed herself
- The doctor checking her pulse is taking her ring
- The baby has contracted the disease that her father has
Hogarth, Miss Mary Edwards, 1742
Hogarth, The Shrimp Girl, c. 1740-45
- In a lower class and is innocent to the corruption of contemporary society
Hogarth, Painting of Six Servant’s Heads, after 1750s
Joshua Reynolds, Mrs. Siddons as the Tragic Muse, 1784
- Thomas Gainsborough, The Mall in St. James’ Park, c. 1783
- His take on Fete galante- Wattaeu
- Different from his usual later works
Joseph- Marie Vien, Merchant of Love, Cupid Seller, 1763, oil on canvas
- A woman is selling love to another woman
- Based on an engraving found in Pompey
- Erotic art that is present in Roman art and bringing it to France
- Neo classical
- His earlier work is more Baroque looking; the coloration, the darkness, rich imposto
Anton Raphael Mengs, Parnassus, 1761
- Ceiling painting
- German painter
- Channeling Raphael as a source of classicism
Benjamin West, Agrippina Landing at Brundisium with the ashes of Germanicus, 1770
- Shows this at the royal academy
- American
- History painting
- Quoting the Ara Pacis
- Quoting classical sculpture
- Neo- classical
Benajmin West, The Death of General Wolfe at Quebec, 1770
- Showing people in contemporary clothing
- Quoting history and Native Americans
- Bit more Romantic over classical
John Singleton Copley, Death of Major Peirson, 1782-84
- The patron started a Shakespeare gallery
- Battle of Jersey, a channel island, invasion of French troops
- Peirson in the center who had just been shot
Joseph Wright, Widow of an Indian Chief watching the Arms of her deceased Husband, Indian Widow, 1785, oil on canvas
- Sublime- the fear of the landscape and the unknown, vastness beyond human comprehension
Henry Fuseli, The Nightmare, 1781, oil on canvas
- Exhibited at the royal academy
- Realm of psyche
- Young woman’s sexual fantasy—darker, passion, dangerous side of human experience
