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Women in the Visual Arts > Module 3 > Flashcards

Module 3 Flashcards

1
Q

TERM: Townhouses of urban wealthy where salons typically took place, rococo style.

A

Hôtel Particulier

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2
Q

Urban wealthy, aspiring host/hostess patrons of art, music, lit, host salons at their houses, to please and to educate (guests) but also themselves.

A

salon (lower case s)

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3
Q

Paris. Exhibition attended by many visitors.

A

Salon (capital S)

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4
Q

Important cultural figure. and femme savante.

Official mistress of Louis XV @ age 24 and lifelong companion.

A

Marquise du Pompadour

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5
Q

Becomes king at age 5

1715-1774 fathers 10 children, the future king Louis XVI and 6 daughters known as madam.

A

Louis XV

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6
Q

King during the revolution and married to Marie Antoinette.

A

Louis XVI

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7
Q

The design medium of colored chalk - line and color in one - quick but subtle - allowed for correction of mistake.

A

Pastel

Henrietta Johnston brings it to America. Rosalba Carriera makes it popular in France (and Italy)

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8
Q

She is the Russian empress and patron of Kaufman and LeBrun and sculptor who sculps her portrait.

A

Catherine II / The Great

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9
Q

Bejamin west & Kauffman.

Looks to the ancient world and its morals which have great meaning for contemporary life.

A

Neoclassical

Litterary, archaeological, historical knowledge is needed for a neoclassical artist to succeed.

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10
Q

36 artists, including Mary Moser and Angelica Kaufman. Not until 1936 does other women become academicians (Night). Joshua Reynolds was the first president (he is shown in a portrait by Kaufman).

A

British Royal Academy, 1768

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11
Q

She and Angelica Kaufman were the only women of the 36 at the British Royal Academy in 1768

A

Mary Moser

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12
Q

Administered by the French Royal Academy and did not admit women.

A

Ecole des Beaux Arts est. 1663

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13
Q

French. Received criticism for having women in his studio (Louvre) at the academy. He took 3 students of LeBrun while her studio was being completed. And was reprimanded.

A

Jacques-Louis David

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14
Q

The Lecture of Molière, 1728

A

TROY
By: Jean François de Troy
Represents salon culture in a wealthy, private home.

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15
Q

Marquise du Pompadour’s only painting in this module.

A

Marquise du Pompadour’s , Self-Portrait Miniature, 1754
Miniature.
Pointing at a box, containing a cameo / bracelet portrait of Louis XV indicating her
closeness with him.

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16
Q

Attributes of Painting, Sculpture, & Architecture, 1769

A

COSTER
Anne Vallayer-Coster
Morçeau de reception into the French Royal Academy

Tools essential for each of these three fields.
Belvedere torso. Similar to Chardin’s Attributes of the arts and their rewards 1766.

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17
Q

French. Famous for still-life accepted into the French Royal Academy ~1769. Painter of humble sujects. She survives French revolution, Still Life was politically neutral and she was not associated with any political parties. Cross-over subjects with Jean-Baptiste-Chardin

A

Anne Vallayer-Coster

Majority of works 1769-1787

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18
Q

White Soup Bowl, 1771

A

Anne Vallayer-Coster,

Compared to Chardin’s The Return from the Market and Bennediction.

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19
Q

Basket of Plums, 1769

A

Anne Vallayer-Coster

Still life. Like dutch, the subjects are close to the viewer. Conforms to earlier models, no vanitas meaning.
Technical skills in texture and color of the subject.

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20
Q

She is a french portraitist. patrons include Marie Antoinette of France and Madame Adelaide & Madam Vitoire’s official portraitist (aunts of Louis XVI) 1774 was exhibition debut with the Academy of St. Luke. Admitted pastel portraits featuring prominent academics, - who (could) help in her career & dispel rumors her teacher executed her works. She is a teacher of women, promoter of women’s rights. Supported the revolution and remained in Paris during the revolution.

A

Adélaïde Labille-Guiard:

Contemporary of EVLeBrun, admitted same day into the French Royal Academy as EVLeBrun. 1 of 4 seats.

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21
Q

Adélaïde Labille-Guiard in her Studio, 1808

A

by: Gabrielle Capet

Gabrielle is her student, loads paint for her, her husband standing close, Paying homage to a former teacher. Adelaide is shown painting a portrait of artist Joseph Marie Vienne. This celebrates many artistic genealogies. This is Capet’s largest painting, she typically does miniatures.

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22
Q

Augustin Pajou, Sculpting Bust of Jean Baptiste Lemoyne, 1782

A

Adélaïde Labille-Guiard,

one of her reception piece (morçeau de reception).

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23
Q

Augustin Pajou, Sculpting Bust of Jean Baptiste Lemoyne, 1782

A

Adélaïde Labille-Guiard,

one of her reception piece (morçeau de reception).

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24
Q

Adélaïde Labille-Guiard, Self-Portrait with Two Pupils,

1785

A

Adélaïde Labille-Guiard

Can be seen in the view of Salon of 1785

Portrays herself as a teacher. Students here: Cappet & Carlo de Rosumund. They look upon with excitement and warmth.
Statue of virgin background, virtue is essential for any female painter. Bust of father also and another sculpture. Advertisement of her painting and teaching skills, not an artist at work.

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25
Q

Here you can see Adélaïde Labille-Guiard, Self-Portrait with Two Pupils,
1785 hung left-center.

A

View of the Salon of 1785 Salon

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26
Q

Here you can see Adélaïde Labille-Guiard, Madame Adelaide of France, 1787

A

View of the 1787 Salon

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27
Q

Madame Adelaide of France, 1787

A

Adélaïde Labille-Guiard,
her offical portraitist

The relief depicts her dead parents and her late brother. Document convent of Versailles, she is the director. Collection of the Pheonix art museum. Can be seen in the view of the 1787 Salon (and was shown there)

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28
Q

She is an Italian portraitist
From Venetian painter family. patrons include the young Louis XV

I year in pairs. Introduces pastel portrait to Italy and France and helps popularize the rococo manner.
Accepted into studio’s at St. Luke’s, Bologna, Florence Her self-portrait hangs in the Uffizi.

A

Rosalba Carriera

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29
Q

Rosalba Carriera, Self-Portrait with Portrait of her Sister, 1709, Uffizi

A

Rosalba Carriera
Uffizi
Pastel

Carriera painting a portrait of her sister who assisted her

30
Q

Louis XV as Dauphin with the Order of the Saint-Esprit (Le Cordon Bleu), 1720-1721

A

Rosalba Carriera
Pastel, Paris, portraits great demand. Royal family subjects. Fashion for pastel portraits in Paris and made it popular there. 10 years old here.

31
Q

Young Lady with a Parrot, c. 1730

A

Rosalba Carriera

Allegorical. She looks directly. Lavishly dressed. The pleasure of both painter and subject obvious

32
Q

She was one of the first women to work extensively from Life, M/F figure.
Little known of her.
Uffizi has her portrait.
Lots of male nudes in her collection.

A

Giulia Lama

33
Q

Standing Male Nude, c. 1730

A

Giulia Lama

One of her nudes. Here, seen from below, foreshortened, a contrast of light and dark exaggerating muscles

34
Q

Portrait of Gabrielle-Émilie le Tonnelier du Breteuil, Marquise du Châtelet, 1745-49

A

Marie-Anne Loir

The portrait makes reference to the Marquise du Châtelet’s scientific and mathematical interests. True love, Voltaire, is the carnation.

35
Q

She was an awesome woman. Voltaire relationships. Wrote about sexism. Appeal for female education. Supported by Madame du Pompadour.

A

Gabrielle-Émilie le Tonnelier du Breteuil, Marquise du Châtelet

36
Q

Sculpture of Catherine II, 1769

A

By Marie-Anne Collot,

The bust is sculpted from life, Catherine the Great, she is 40 y/o here. Conveys energy characterized her reigh.

37
Q

She is a French sculptor who went to Russia for a commission of Peter the Great.

A

Marie-Anne Collot

38
Q

She is an English sculptor. Strawberry Hill. Lord Nelsons. Many famous patrons.
Transgression of boundaries. Her wealth and social stature allowed her some flexibility from criticism sculpting male nudes and transgressed social boundaries.

A

Ann Dahmer

39
Q

Elizabeth Farren The Countess of Derby) as Thalia, c. 1789

A

Anne Seymour Damer
Portrait / Sculpture
Typical of her work
They had a romance

40
Q

Damerian Apollo, 1789 (Chadwick: 151)

A

References the sculptor

Ann Dahmerin in front of a nude.

41
Q

Portrait. of Mrs. Samuel Wragg, 1708

A

Henrietta Johnston

This is done the year after arriving in America.

42
Q

She is the first professional woman artist from America. Painter. South Carolina, from Dublin. It was rough there. She supports her family there. Brings pastel to America.

A

Henrietta Johnston

43
Q

She is an American sculptor
and first American professional sculptor. east coast. Went to London, famous patrons. But fell from favor because she supported the revolution. Spy. .

A

Patience Lovell Wright

44
Q

Wax and wood sculpture of William Pitt, Earl of Chatham, 1775

A

Patience Lovell Wright

Wax and wood, Pitt was sympathetic to revolutionists, died giving a speech and was buried in Westminster, which is where this ‘was’ installed.

45
Q

She is a French portraitist, portrays women and children. Born under Louis 15 reign, self-taught
Memoirs, emphasize society more than art.

15 y / o professional, a licensed painter with St. Luke by 19. She hosted salons at her house.

Membership to French Royal Academy 1783

She flees from the revolution. Exiled for 12 years. Italy, Austria, Germany, Russia, London, Switzerland.
Patron was also Catherine the Great.

A

Elisabeth Vigée-LeBrun

1783-1789 - most productive time

Contemporary with Adélaïde Labille-Guiard. Accepted into the French Royal academy with her.

46
Q

Elisabeth Vigée-LeBrun, Self-Portrait in Straw Hat, 1782

A

Elisabeth Vigée-LeBrun
Young, beautiful, confident
Shows she can move in the level of society along with her patrons, as an artist. Modeled herself on Peter Paul Ruben’s portrait of his young wife: asserts herself and her place in the history of art.

47
Q

Peace Leading Abundance, 1780

A

Elisabeth Vigée-LeBrun,
Reception piece into the French Academy. Allegorical
Symbolism, olive branch, dark and mysterious is Peace. More precise line, severe dress. Contrast and harmony.
Voluptuous in light colors is Abundance. Yields easily. Terrestrial. breast = fertility. Cornucopia. Fruits of earth. Wine. Pleasures of the people. Health vigor and joy.

48
Q

Marie Antoinette and Her Children, 1787

A

Elisabeth Vigée-LeBrun,

Most important commission, shown in the Salon same year.
Politically significant as history painting. Virtue of queen, as monarch and loving mother in maternal piety. Pyramid of renaissance altarpiece of Raphael.

49
Q

The Marquise de Pezay and the Marquise de Rougé With Her Sons Alexis and Adrien, 1787

A

Elisabeth Vigée-LeBrun,

Exhibited at the salon of the same year. Tribute to friendship and material love. Widows, idealized in family resemblance although there is no relation. Materials of garments separate them.

50
Q

Hubert Robert, 1788 (Chadwick: 162)

A

Elisabeth Vigée-LeBrun,
Painter, Hubert Robert landscape and ruin painter
Pallet and brushes, wild hair, active mind represented by scarf and look.
Energized this model through color. References Rembrandt self portrait.

51
Q

Self-Portrait with Daughter, 1789

A

Elisabeth Vigée-LeBrun

One child
Tender, mother and child, references high Renaissance and Rafael. Idealized view of sweetness and simplicity of life. Theme of the good mother.

52
Q

Self-Portrait at Easel, 1790, Uffizi

A

Elisabeth Vigée-LeBrun,

Tracing a figure of the queen in white chalk ( Marie Antoinette)
This was painted in exile, Italy
Entered into the Uffizi.

53
Q

Countess Golovin, 1797-1800

A

Elisabeth Vigée-LeBrun

Painted in Russia.
The countess maid of honor of imperial court, married to count. Reputation ruined. Her hair tumbles.

54
Q

Elisabeth Vigée-LeBrun, Self-Portrait, 1800

A

In exile, Russia.
She becomes a member Russian Academy of Fine Arts.
This is her reception piece.
Diploma was given to her here as a member, and it’s a great memory.
Turbin, st. Petersburg.
Portrays working on empress maria Fedorova. Wearing a lesser imperial set.

55
Q

Portraits in the Characters of the Muses in the Temple of Apollo (The Nine Living Muses of Great Britain), 1778
Celebrates 9 of GB’s women

A

Richard Samuel,

Muses, personifying the arts and sciences
Classical style, with the god of art Angelica Kauffman sits to an easle and is the only artist shown here.

56
Q

She is an Italian painter, made famous in England. Neoclassical. Of international fame. Friends with Benjamin West

She studied Renaissance and Baroque. Sang as well. She was given a room at the Uffizi to study old masters.

A

Angelica Kauffmann

57
Q

Self-Portrait, Hesitating between the Arts of Music and Painting, 1791

A

Angelica Kauffmann

Choosing between a career of art or a career of singing. She goes with art, in blue red, and yellow primary colors toward the fame at the top of the hill, but the road to get there is so rocky and rough.

58
Q

Self-Portrait in the Character of Painting Embraced by Poetry, 1782

A

Angelica Kauffmann
She is the character of panting in white.
Poetry holds a lire. Wing of imagination.
She wants to be a literary and historical painter, this references the broad literary knowledge she’ll have to have to succeed.

59
Q

Joshua Reynolds, 1767

London,

A

Angelica Kauffmann

She and West are the foremost neoclassical painters in GB.
Reynolds a leading painter - Historical.
Here, bust of Michelangelo and books of British authors.
He admires her.

60
Q

Augusta, Duchess of Brunswick, 1764

A

Angelica Kauffmann

Neoclassical portrait
Sister of KGeorge III
Blends portraiture and history painting, she references the ancient world. Taste and travel.
On the urn is inscribed reference to the Duke (her husband)

61
Q

Cornelia, Mother of the Gracchi, Pointing to her Children as her Treasures, c. 1785

A

Angelica Kauffmann

Theme, domestic neoclassical. Children as treasures. For English patron, George Bowels. Modesty, education of her children. These are my most precious jewels.

62
Q

Design, 1779

A

Angelica Kauffmann

Painted for an allegorical ceiling - Theoretical basis of the arts @ the new HQ for the Royal Academy. Lecture hall ceiling. Artist sketching Belvedere torso. Disheveled hair, la pietura. Columns represent classical greece and rome.

63
Q

Academicians of the Royal Academy, 1771 (Chadwick: 6)

A

Johann Zoffany

Great Britain. Depicting the 36 founding artists studing the male nude but Mary Moser and Angelica Kaufman who were 2 of the 36 could not join due to their sex and they are represented by their portraits on the right.

64
Q

La Salle des Saisons, 1802-3

A

Hubert Robert,
Rome, artists flocked here to study old architecture and sculpture. Robert is Kaufman friend. Louvre galleries. Woman intent on her work sketching crouching Aphrodite.

65
Q

Young Female Artist and Her Chaperone in a Life Class, 1800

A

Jacques Albert Sénave

66
Q

A first to admit women to draw after the male nude in their drawing classes or known as “Life Class”. One of the most famous painters of the 18c.

A

Jack-Louis-David

67
Q

The Studio of Abel de Pujol, 1836

A

Adrienne Grandpierre-Deverzy

Well run studio’s for women, this represented here by Adrienne GD of a class given to women by her husband Abel de Pujol. A pupil of David. Critique of student, this is a social activity of the studio, male nude is turned around. Proper. Study separate from men. Copies of Pujol’s work on the wall.

68
Q

A Painter’s Studio

A

Louis-Leopold Boilly,
Neglected and board female students. Speaks to the lack of care by their masters. Charged a higher fee for the privilege of being there.

69
Q

She was David’s student, she also studied with VE Lebrun and Guierre.
She showed at the salon with history paintings. Hubs waws a Royalist lawyer, they were in danger during the revolution and later he became a government official. Her husband’s work got in her way as an artist which made her mad. Her last salon was in 1812.

A

Marie Benoist

French

70
Q

Portrait of a Negress, 1800

A

Marie Benoist
1800 salon.
Here, the subject is unknown. Famous work. African or Afro-Caribbean woman that her brother brought to France with him. Wears political colors, high Parisian fashion, reference to liberty - her breast. She is not a slave we know because of the length of her headdress.

71
Q

Atelier of a Woman Painter, Probably Mme. Vigée-LeBrun and Her Pupil, 1796

A

Marie-Victoire Lemoine

Holding art stuff, she’s looking over her student, shown here opposite of the other picture of boredom, with attentiveness. Also not as Guierre’s portrait with the students watching - she is not observing but actively engaged.

72
Q

Portrait of Mme. Charlotte du Val d’Ognes, c. 1801 (Chadwick: 27)

A

Marie-Denise Villiers

MOMA, Originally thought to be by David. And received praise. Re-Attributed to one of his students.

Then finally attributed to Marie-Denise Villiers. Might be a self-portrait.

Women in the Visual Arts (5 decks)

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