Chapter 26

Question 1

Answer 1

Figure 26-1 JOSEPH WRIGHT OF DERBY, A Philosopher Giving a Lecture at the Orrery, ca. 1763–1765. Oil on canvas, 4’ 10” x 6’ 8”. Derby Museums and Art Gallery, Derby.

Question 2

Answer 2

Figure 26-2 GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740.

Question 3

Answer 3

Figure 26-3 FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century.

Question 4

Answer 4

Figure 26-4 & 26-5 BALTHASAR NEUMANN, interior (left) and plan (right) of the pilgrimage church of Vierzehnheiligen, near Staffelstein, Germany, 1743-1772.

Question 5

Answer 5

Figure 26-6 ANTOINE WATTEAU, L’Indifférent, ca. 1716. Oil on canvas, 10” x 7”. Louvre, Paris.

Question 6

Answer 6

Figure 26–7 ANTOINE WATTEAU, Pilgrimage to Cythera, 1717. Oil on canvas, 4’ 3” x 6’ 4 1/2”. Louvre, Paris.

Question 7

Answer 7

Figure 26-8 FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on canvas, 5’ 6” x 2’ 10”. The Wallace Collection, London.

Question 8

Answer 8

Figure 26-9 JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 8 5/8” x 2’ 2”. Wallace Collection, London.

Question 9

Answer 9

Figure 26-10 GIAMBATTISTA TIEPOLO, Apotheosis of the Pisani Family, ceiling fresco in the Villa Pisani, Stra, Italy, 1761-1762. Fresco, 77’ 1” X 44’ 3”.

Question 10

Answer 10

Figure 26-11 CLODION, Nymph and Satyr Carousing, ca. 1780-1790. Terracotta, 1’ 11 1/4” high. Metropolitan Museum of Art, New York.

Question 11

Answer 11

Figure 26-12 ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England, 1776–1779.

Question 12

Answer 12

Figure 26-13 JEAN-BAPTISTE-SIMÉON CHARDIN, Saying Grace, 1740. Oil on canvas, 1’ 7” x 1’ 3”. Louvre, Paris.

Question 13

Answer 13

Figure 26-14 JEAN-BAPTISTE GREUZE, Village Bride, 1761. Oil on canvas, 3’ x 3’ 10 1/2”. Louvre, Paris.

Question 14

Answer 14

Figure 26-15 ÉLISABETH LOUISE VIGÉE-LEBRUN, Self-Portrait, 1790. Oil on canvas, 8’ 4” x 6’ 9”. Galleria degli Uffizi, Florence.

Question 15

Answer 15

26-16 ADÉLAÏDE LABILLE-GUIARD, Self-Portrait with Two Pupils, 1785. Oil on canvas, 6’ 11” X 4’ 11 1/2”. Metropolitan Museum of Art, New York (gift of Julia A. Berwind, 1953).

Question 16

Answer 16

Figure 26-17 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, 2’ 4” x 3’. National Gallery, London.

Question 17

Answer 17

Figure 26-18 THOMAS GAINSBOROUGH, Mrs. Richard Brinsley Sheridan, 1787. Oil on canvas, 7’ 2 5/8” x 5’ 5/8”. National Gallery of Art, Washington, D.C. (Andrew W. Mellon Collection).

Question 18

Answer 18

Figure 26-19 SIR JOSHUA REYNOLDS, Lord Heathfield, 1787. Oil on canvas, 4’ 8” x 3’ 9”. National Gallery, London.

Question 19

Answer 19

Figure 26-20 BENJAMIN WEST, Death of General Wolfe, 1771. Oil on canvas, approx. 4’ 11” x 7’ National Gallery of Canada, Ottawa (gift of the Duke of Westminster, 1918).

Question 20

Answer 20

Figure 26-21 JOHN SINGLETON COPLEY, Paul Revere, ca. 1768–1770. Oil on canvas, 2’ 11 1/8” x 2’ 4”. Museum of Fine Arts, Boston (gift of Joseph W., William B., and Edward H. R. Revere).

Question 21

Answer 21

Figure 26-22 ANTONIO CANALETTO, Riva degli Schiavoni, Venice, ca. 1735-1740. Oil on canvas, 1’ 6 ½” X 2’ 7/8”. Toledo Museum of Art, Toledo.

Question 22

Answer 22

Figure 26-23 ROBERT ADAM, Etruscan Room, Osterley Park House, Middlesex, England, begun 1761. Victoria and Albert Museum, London.

Question 23

Answer 23

Figure 26-24 ANGELICA KAUFFMANN, Cornelia Presenting Her Children as Her Treasures, or Mother of the Gracchi, ca. 1785. Oil on canvas, 3’ 4” x 4’ 2”. Virginia Museum of Fine Arts, Richmond (the Adolph D. and Wilkins C. Williams Fund).

Question 24

Answer 24

Figure 26-25 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris.

Question 25

Answer 25

Figure 26-26 JACQUES-LOUIS DAVID, The Death of Marat, 1793. Oil on canvas,. 5’ 5” x 4’ 2 1/2”. Musées Royaux des Beaux-Arts de Belgique, Brussels.

Question 26

Answer 26

Figure 26-27 JACQUES-GERMAIN SOUFFLOT, Pantheon (Sainte-Genevieve), Paris, France, 1755-1792.

Question 27

Answer 27

Figure 26-28 RICHARD BOYLE and WILLIAM KENT, Chiswick House, near London, England, begun 1725.

Question 28

Answer 28

26-29 HENRY FLITCROFT and HENRY HOARE, the park at Stourhead, England, 1743–1765.

Question 29

Answer 29

Figure 26-30 THOMAS JEFFERSON, Monticello, Charlottesville, United States, 1770–1806.

Question 30

Answer 30

Figure 26-31 THOMAS JEFFERSON, Rotunda and Lawn, University of Virginia, Charlottesville, Virginia, 1819-1826.

Question 31

Answer 31

Figure 26-32 JEAN-ANTOINE HOUDON, George Washington, 1788-1792. Marble, 6’ 2” high. State Capitol, Richmond.

Question 32

Answer 32

Figure 26-33 HORATIO GREENOUGH, George Washington, 1840. Marble, 11’ 4” high. Smithsonian American Art Museum, Washington, D.C.

Question 33

What was the Age of Enlightenment?

Answer 33

was a cultural movement of intellectuals in the 17th and 18th centuries, which began first in Europe and later in the American colonies. Its purpose was to reform society using reason, challenge ideas grounded in tradition and faith, and advance knowledge through the scientific method. It promoted scientific thought, skepticism and intellectual interchange and opposed superstition,[1] intolerance and some abuses of power by the church and the state.

Question 34

The excavation of what two Roman cities spurred on the revival and renewed interest in classical art?

Answer 34

The excavation of two ancient Roman cities, Herculaneum and Pompeii, caused a revitalization in art and décor.

Question 35

What is going on in Hogarth’s satirical painting from Marriage a la Mode?

Answer 35

Here, the newlywed couple are both exhausted after a long night of separate pursuits; the dog sniffs at a women’s lacy cap protruding from his pocket.

The steward, his hands full of unpaid bills, rolls his eyes up in despair by the actions of his master and mistress

Question 36

What was the Industrial Revolution?

Answer 36

Industrial Revolution (technological breakthroughs utilizing newly controlled phenomena like electricity, combustion, steam power, and the discovery of oxygen.) see the first bridge constructed of iron on next slide

Question 37

What is Rococo?

Answer 37

It is a style of art that originated in early 18th Century France.

It is characterized, especially in architecture and decorative art, by elaborate ornamentation.

Light and airy

Examples of immoderate ornamentation such as scrolls, foliage and animal forms.

Question 38

What austere painting by David is considered the clearest expression of Neoclassicism?

Answer 38

Figure 26-25 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris.

Question 39

What values were associated with Neoclassicism, also adopted by the new American republic?

Answer 39

Neoclassicism was associated with morality, idealism, patriotism, and civic virtue; values adopted by the new American republic.

Question 40

Briefly discuss Parisian social and intellectual life during the Rococo.

Answer 40

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.

Wealthy and ambitious society hostesses would compete to attract the ‘Who’s Who’ to their salons for conversations elevated to a supreme art.

Artifice reigned supreme, and participants considered enthusiasm or sincerity in bad taste.

Question 41

What differentiated the American Copley’s painting from other Grand Manner portraiture?

Answer 41

In contrast to Grand Manner portraiture, Copley’s Paul Revere emphasizes his subject’s down-to-earth character, differentiating this American work from its European counterparts

The setting is plain and the lighting is clear; he sits, bent over a silver teapot in progress, when he pauses to look the viewer in the eye

When this was painted, Revere was not yet the familiar hero of the American Revolution

Question 42

Who was a key figure in returning the world to a ‘natural’ state, and helped pave the way ideologically for the French Revolution?

Answer 42

Jean-Jacques Rousseau.

Question 43

What are some common themes and motifs in Rococo painting?

Answer 43

erotic and playful

Question 44

How did Neoclassical architecture contrast with the Baroque?

Answer 44

Neoclassicism’s appeal was due to its clarity and simplicity, contrasting sharply with the complexity and opulence of Baroque.