18th century midterm Flashcards
1
Q
A
Giovanni Battista Tiepolo (1696-1770), The Triumph of Marius, 1729, oil on canvas
- Trained by artists who are from the 17th century so this is a transitional group
- Influenced by the great past of Venetian art
- Fresco painting is one of Tiepolo’s strongest mediums
- Originally supposed to be placed in a palace
- Marius was a Roman general; Marius is the man in the white
- History painting
- Reminds the viewer of a procession
- Venetian painting is more about color as opposed to contour
- Not using 17th century tenebrism- using darkness to dramatize a scene
- Using bright colors
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2
Q
A
Tiepolo, Miracle of the Holy House of Loreto, c. 1743, Modello for the ceiling fresco for the Church of Santa Maria di Nazareth, Venice, oil on canvas
- Loreto is where the Virgin Mary was supposedly born
- Lilly’s are a symbol for the Virgin
- More sense of open movement
3
Q
A
Giovanni Battista Tiepolo, Wedding of Frederick Barbarossa and Beatrice of Burgundy, fresco, 1751-1752, wurzburg germany
4
Q
A
- Giovanni Domenico Tiepolo, A Dance in the Country, c. 1755, oil on canvas
- Venetian blues in the sky
- Italian comedy figures
- In the center is wrightsman
- Genre scene
5
Q
A
- Louis de Boullogne (1654-1733), Diana Resting, 1707, oil on canvas
- Goddess Diana, goddess of the hunt
- Woman in the back washing shares the pose with Wattaeu
- Great sense of color and movement
6
Q
A
Jean- François de Troy, Before the Ball, 1735, oil on canvas
- Depictions of scenes from upper-class life with an emphasis on sumptuous costumes, opulent interiors, and hints of amorous intrigue.
7
Q
A
- Watteau, Diana Bathing, c. 1715-16, oil on canvas
- Alluding Diana at Rest, Louis Boulogne
- We know it’s Diana because arrows to the side
- Casual landscape
8
Q
A
- Jean- Antoine Watteau (1684-1721), Pilgrimage to (or from) Cythera, 1718, oil on canvas
- Lively and playful
- Painting people in costume or fancy clothes
- Reception piece to the academy
- Venetian art of the landscape
- Statue of Venus with cupid
9
Q
A
Jean- Antoine Watteau, Mezzetin, 1718-20, oil on canvas
- Serenading someone
- Figure in the back almost looks real
- Evoking music, looking upwards, and having the statue
- Is he serenading the statue?
- Conveying universal message
- Statue implying a narrative à modern
10
Q
A
- Watteau, Pierrot, or Gilles, c. 1718-19, oil on canvas
- The people are in different lighting
- Depth of the characterization
- Odd man out in the Italian comedy
11
Q
A
- Watteau, Gersaint’s Shop Sign, 1721, oil on canvas
- Dated to the year of his death
- The portrait is Louis XIV—the king is being packed away and modern society is coming?
- Fourth wall is gone—stage convention
- Pavement in the foreground—hay, dog
- Dog from Rubens
- Representations of contemporary life
- Mixture of classes
12
Q
A
- Jean- Baptiste Pater, The Fair at Bezons, c. 1733
- Looking at other printings of fair scenes
- Carriage in the background
- More figures than Watteau
13
Q
A
- Boucher, Rinaldo and Armida, 1734, oil on canvas
- Story is that the crusaders (Rinaldo) and Armida lures her away from the war and then the crusaders come and take Rinaldo back
- Sophisticated yet playful
- Cherip holding a swan
- Peace between two lovers and is going to be disturbed à clouds, swans
14
Q
A
- Boucher, Triumph of Venus, 1740, oil on canvas
- Cherips holding a cloth
- Venus in the center
- Venus is a little paler
- Can be considered Rococo – pink and white drapery that has no reason in the painting
- Compare to Noël-Nicolas Coypel, Rape of Europa, 1727, oil on canvas
15
Q
A
- Boucher, The Setting of the Sun, 1753, oil on canvas
- Apollo to the right
- History painting
- Shows at the Salon of 1753
- Not well received by the critics of the Salon for the excess
16
Q
A
Boucher, Diana Bathing, 1742, oil on canvas
- Compare to Watteau
- The game to the left looks like a still life
- Dog
- Softer figures
- Thinner figures
17
Q
A
- Boucher, The Interrupted Sleep, 1751, oil on canvas
- Combining contemporary costumes into everyday life
- Pastoral
- Studied naturalist
- Prepared spontaneity
- Things look very natural while having a specific meaning
- The woman doesn’t look really asleep
- Hanging bird cage—idea of open bird cage vs. closed bird cage—erotic connotation
- Light across her chest
- Dog looking at the couple
- Sheep in the background
- Suggesting flirtation from flowers
18
Q
A
- Boucher, The Four Seasons, 1755, oil on canvas
- Evolved the idea of the pastoral
- Pastoral building
- Non-moving mill suggests frozen
- Greys, whites, and blues
- Man behind the sled; looking at the woman, symbolism of color of his cape
- Her expression looks cold
19
Q
A
- Boucher, The Luncheon, 1739, oil on canvas
- Decorative décor
- Boucher is known to have collected Chinese décor
- Showing contemporary life
- Window on the left is seen in Dutch paintings
- Taking a Dutch idea and putting it in another scene
- Reflection of the mirror; puts the viewer into the room
20
Q
A
- Boucher, Madame de Pompadour, 1756
- Bookcase behind her
- Cupid statue
- Mirror puts viewer into the scene
- Not being shown in a formal context
- Roses is her symbol—on her dress and on the floor
- Broken seal on letter—responding to a letter
- Curtains—frame of the mirror
- Open book shows she is learning and cultured
21
Q
A
- Jean-Baptiste- Siméon Chardin, The Ray, 1725-26, oil on canvas
- Submits to the academy in 1728
- Recognized and accepted into the academy in the same day
- Painting a still life
- Accepted into animal and fruit paintings which is the lowest category of membership
- Knife hanging over the edge give it a more realistic taste
- Shiny blood is the only thing that is of a different palate
- Primary subject matter of artist is still life
22
Q
A
- Chardin, Woman Sealing a Letter, 1733, oil on canvas
- Possibly pressured to have a higher title in the academy so he makes figural subjects
- Dutch background – Vermeer
- “Baroque” looking
- Dutch genre scenes are the principle source for genre paintings in the 18th century
- In Chardin paintings people are usually never looking at the viewer
23
Q
A
- Chardin, Girl with a Shuttlecock, 1737
- Dressed much older than she is
- Holding playful items but posed very seriously
- Different attitude towards childhood; in childhood you begin to get a sense of what your adulthood will be like
24
Q
A
- Chardin, The Cistern, c. 1734, oil on wood
- Looks analogous to a figure/ portrait
- Portrait of an object
- Predominant presence above the other objects
- Taking a lesser subject matter and putting it at a higher level
25
Q
A
- Chardin, La Pourvoyeuse (Return from Market), 1739, oil on canvas
- Cistern making a presence
- Similar to Dutch genre painting – activity happening in the background
- Woman preparing a meal
- Face is lit
- Woman in the background and suggesting someone at the door speaking to the girl
- Narrative?
- Maybe she is listening to a background conversation?
- The French like Dutch painting
26
Q
A
- Chardin, The Diligent Mother, 1740
- You can see the connection between the mother and child
- Middle class subjects that are not acquired by middle class people
- Sense of humor in the painting—the crossed feet, the blue socks, the dog looking out at us
27
Q
A
- Chardin, Saying Grace, 1740, oil on canvas
- Servant rather than a mother
- Artist entered the Academy as a still life painter; wanted to make figure paintings in order to move up in the academy
- Probably a little boy sitting in the front
- Mother looking at the boy solemnly and the girl looking at the scene
- Metallic surfaces—Dutch painting
- The chair was in the inventory of Chardin’s possessions
28
Q
A
- Chardin, Still life with Plums, c. 1730, oil on canvas
- Basic background of the stonewall
- Simplicity of the background, the objects are more visible
29
Q
A
- Chardin, Still Life with basket of Wild Strawberries, 1761, oil on canvas
- Circular objects
30
Q
A
- Chardin, The Attributes of the Arts and their Rewards, 1765
- Larger paintings
- Statue is Jean-Baptiste Pigalle, Mercury, 1744
31
Q
A
- Chardin, Self-Portrait, 1775, pastel on paper
- Towards the end of artists life
- Looking out at us
- A sense of humor or imagination
