24 Flashcards
Hogarth, Breakfast Scene from Marriage a la Mode, Rococo
Hogarth won fame for his paintings and prints satirizing English life with comic zest. This is one of a series of six paintings in which he chronicled the marital immoralities of the moneyed class.
Daumier, Rue Transnonain, Realism
Daumier used the recent invention of lithography to reach a wide audience for his social criticism and political protest. This print records the horrific 1834 massacre in a workers’ housing block.
Boffrand, Salon de la Princesse, Rococo
Rococo rooms such as this one, featuring sinuous curves, gilded moldings and mirrors, small sculptures and paintings, and floral ornamentation, were the center of Parisian social and intellectual life.
Goya, The Sleep of Reason Produces Monsters, Romanticism
In this print, Goya depicted himself asleep while threatening creatures converge on him, revealing his embrace of the Romantic spirit—the unleashing of imagination, emotions, and nightmares.
Poussin, Et in Arcadia Ego, French Baroque
Poussin was the leading proponent of classicism in 17th-century Rome. His “grand manner” paintings are models of “arrangement and measure” and incorporate figures inspired by ancient statuary.
Poussin emulated the rational order and stability of Raphael’s paintings
Courbet, Burial at Ornans, Realism
Although as imposing in scale as a traditional history painting, Burial at Ornans horrified critics because of the ordinary nature of the subject and Courbet’s starkly antiheroic composition.
Borromini, San Carlo alle Quattro Fontane, Italian Baroque
Borromini rejected the notion that a church should have a flat frontispiece. He set San Carlo’s facade in undulating motion, creating a dynamic counterpoint of concave and convex elements.
his innovative style had an enormous influence on later Baroque architects throughout Italy and beyond.
Bernini, David, Italian Baroque
Bernini’s sculptures are expansive and theatrical, and the element of time plays an important role in them. His emotion-packed David seems to be moving through both time and space.
Rembrandt, Night Watch, Dutch Baroque
Rembrandt’s dramatic use of light contributes to the animation of this militia group portrait in which the artist showed the company members rushing to organize themselves for a parade.
Gericault, Raft of the Medusa, Romanticism
Claesz, Vanitas Still Life, Dutch Baroque
In the 17th century, an important new class of patrons emerged in the Dutch Republic—successful merchants who took pride in their material possessions, the fruit of worldwide trade.
In Vanitas Still Life, references to mortality include the skull, timepiece, tipped glass, and cracked walnut. All suggest the passage of time or someone or something that was here but now is gone. Claesz emphasized this element of time (and demonstrated his technical virtuosity) by including a self-portrait reflected in the glass ball on the left side of the table. He appears to be painting this still life. But in an apparent challenge to the message of inevitable mortality that vanitas paintings convey, the portrait serves to immortalize the artist.
Bernini, Piazza of Saint Peter’s Basilica, Italian Baroque
Bernini himself referred to his colonnades as the welcoming arms of Saint Peter’s.
colonnades served visually to counteract the natural perspective and bring the facade closer to the viewer
Rubens, Arrival of Marie de’ Medici at Marseilles, French/Flemish Baroque
Rubens painted 24 large canvases glorifying Marie de’ Medici’s career. In this historical-allegorical picture of robust figures in an opulent setting, the sea and sky rejoice at the queen’s arrival in France.
Goya, Third of May, Romanticism
Goya encouraged empathy for the Spanish peasants massacred on May 3, 1808, by portraying horrified expressions on their faces, endowing them with a humanity lacking in the French firing squad.
Ingres, Napoleon on His Imperial Throne, Neoclassical
Vazquez, Surrender of Breda, Spanish Baroque
commemorate the Spanish victory over the Dutch
history paintings, including fictional representations such as this one depicting the Dutch mayor of Breda surrendering to a Spanish general.
Watteau, Pilgrimage to Cythera, Rococo
Watteau’s fête galante paintings depict the outdoor amusements of French upper-class society. The haze of color suited the new Rococo taste and was the hallmark of the Royal Academy’s Rubénistes.
David, Napoleon Crossing the Saint-Bernard Pass, Neoclassical
Ruisdael, View of Haarlem from the Dunes at Overveen, Dutch Baroque
In this painting, Ruisdael succeeded in capturing a specific, realistic view of Haarlem, its windmills, and Saint Bavo church, but he also imbued the landscape with a quiet serenity approaching the spiritual.
Zurbaran, Saint Serapion, Spanish Baroque
The light shining on Serapion calls attention to his tragic death and increases the painting’s dramatic impact. The monk’s coarse features label him as common, evoking empathy from a wide audience.
quiet and contemplative, appropriate for prayer and devotional purposes.
Derby, Philosopher Giving a Lecture at the Orrery, Neoclassical
Wright specialized in dramatically lit paintings celebrating the modern scientific instruments of the Industrial Revolution. Here, a scholar demonstrates an orrery, a revolving model of the solar system.
Greenough, George Washington, Neoclassical
In this posthumous portrait, Greenough likened Washington to a god by depicting him seminude and enthroned in the manner of Phidias’s Olympian statue of Zeus, king of the Greek gods.
Manet, Olympia, Realism
Manet, Dejeuner sur l’Herbe, Realism
Manet shocked his contemporaries with both his subject matter and manner of painting. Moving away from illusionism, he used colors to flatten form and to draw attention to the painting surface.
Friedrich, Abbey in the Oak Forest, Romanticism
Friedrich was a master of the Romantic transcendental landscape. The reverential mood of this winter scene with a ruined Gothic church and cemetery demands the silence appropriate to sacred places.
Tanner, The Thankful Prayer, Reconstruction US
Tanner combined the Realists’ belief in careful study from nature with a desire to portray with dignity the life of African American families. The lighting reinforces the painting’s reverent spirit.
Barry and Pugin, Houses of Parliament, Neo-Gothic
During the 19th century, architects revived many historical styles, often reflecting nationalistic pride. The Houses of Parliament have an exterior veneer and towers that recall English Late Gothic style.
Fragonard, The Swing, Rococo
Fragonard’s Swing exemplifies Rococo style. Pastel colors and soft light complement a scene in which a young lady flirtatiously kicks off her shoe at a statue of Cupid while her lover gazes at her.
Angelica Kauffman, Cornelia Presenting Her Children as Her Treasures, Neoclassical
architectural setting is severe, and the composition and drawing have the simplicity and firmness of low-relief carving, qualities that became hallmarks of the Neoclassical style.
Gentileschi, Judith Slaying Holofernes, Italian Baroque
Narratives involving heroic women were a favorite theme of Gentileschi. In Judith Slaying Holofernes, the dramatic lighting of the action in the foreground emulates Caravaggio’s tenebrism.
Delacroix, Death of Sardanapalus, Romanticism
Inspired by Lord Byron’s 1821 poem, Delacroix painted the Romantic spectacle of an Assyrian king on his funeral pyre. The richly colored and emotionally charged canvas is filled with exotic figures.
Blake, Ancient of Days, Romanticism
Jefferson, Monticello, Neoclassical
Jefferson led the movement to adopt Neoclassicism as the architectural style of the United States. Although built of local materials, his Palladian Virginia home recalls Chiswick House
Cortona, Triumph of the Barberini, Italian Baroque
In this dramatic ceiling fresco, Divine Providence appears in a halo of radiant light directing Immortality, holding a crown of stars, to bestow eternal life on the family of Pope Urban VIII.
Rembrandt, Hundred Guilder Print, Dutch Baroque
In Rembrandt’s moving representation of this biblical parable, light mingled with shadow directs the viewer’s attention by illuminating the father and son while largely veiling the witnesses.
Nadar, Eugene Delaroix, Realism
Nadar was one of the earliest portrait photographers. His prints of the leading artists of the day, such as this one of Delacroix, reveal the sitters’ personalities as well as record their features.
Bernini, Baldacchino of Saint Peter’s Basilica, Italian Baroque
baldacco
It marks the high altar in the nave and the tomb of Saint Peter beneath the basilica, and provides a dramatic, compelling presence at the crossing, visually bridging the marble floor and the lofty vaults and dome above. Its columns also serve as a frame for the elaborate sculpture representing the throne of Saint Peter at the far end of the nave
David, Oath of the Horatii, Neoclassical
David was the Neoclassical painter-ideologist of the French Revolution. This huge canvas celebrating ancient Roman patriotism and sacrifice features statuesque figures and classical architecture.
Rubens, Consequences of War, Flemish Baroque
Since the Renaissance, artists have left behind many letters shedding light on their lives and work. In a 1638 letter, Rubens explained the meaning of each figure in this allegorical painting.
Hals, Archers of Saint Hadrian, Dutch Baroque
In this brilliant composition, Hals succeeded in solving the problem of portraying each individual in a group portrait while retaining action and variety in the painting as a whole.
Paxton, Crystal Palace, Realism
The tensile strength of iron enabled Paxton to experiment with a new system of glass-and-metal roof construction. Constructed of prefabricated parts, the vast Crystal Palace required only six months to build.
Caravaggio, Calling of Saint Matthew, Italian Baroque
The stark contrast of light and dark is a key feature of Caravaggio’s style. Here, Christ, cloaked in mysterious shadow, summons Levi the tax collector (Saint Matthew) to a higher calling.
Hardouin-Mansart and Le Brun, Hall of Mirrors at Versailles, French Baroque
In this grandiose hall overlooking the park of the Sun King’s palace at Versailles, hundreds of mirrors illusionistically extend the room’s width and once reflected its gilded and jeweled furnishings.
Ingres, Grande Odalisque, Neoclassical
The reclining female nude was a Greco-Roman subject, but Ingres converted his Neoclassical figure into an odalisque in a Turkish harem, consistent with the new Romantic taste for the exotic.
Maderno, Facade of Saint Peter’s Basilica, Italian Baroque
Maderno’s dome appears to have no drum
elaborated on his design for Santa Susanna. The two outer bays with bell towers were not part of his plan and detract from the verticality he sought.
incorporated sculptural elements in his designs
Delacroix, Liberty Leading the People, Romanticism
In a balanced mix of history and poetic allegory, Delacroix captured the passion and energy of the 1830 revolution in this painting of Liberty leading the Parisian uprising against Charles X.
Bernini, Saint Teresa in Ecstasy, Italian Baroque
The passionate drama of Bernini’s depiction of Saint Teresa correlated with the ideas of Ignatius Loyola, who argued that the re-creation of spiritual experience would encourage devotion and piety.
Rembrandt, Anatomy Lesson of Dr. Tulp, Dutch Baroque
In this early work, Rembrandt used an unusual composition, arranging members of Amsterdam’s surgeons’ guild clustered on one side of the painting as they watch Dr. Tulp dissect a corpse.
Velazquez, Las Meninas, Spanish Baroque
Velázquez intended this huge and complex work, with its cunning contrasts of real, mirrored, and picture spaces, to elevate both himself and the profession of painting in the eyes of Philip IV.
Las Meninas is noteworthy for its visual and narrative complexity.
Turner, The Slave Ship, Industrial England
The essence of Turner’s innovative style is the emotive power of color. He released color from any defining outlines to express both the forces of nature and the painter’s emotional response to them.
Daguerre, Still Life in Studio, Realism
One of the first plates Daguerre produced after perfecting his new photographic process was this still life, in which he was able to capture amazing detail and finely graduated tones of light and shadow.
Rubens, Elevation of the Cross, Flemish Baroque
Rubens explored foreshortened anatomy and violent action. The whole composition seethes with a power that comes from heroic exertion. The tension is emotional as well as physical.
