Quiz 4 Flashcards
The three brothers swearing an oath.
Artist: Jacques-Louis David
Title: Oath of the Horatii
Date: 1784
quintessential example of Neoclassicism, marked by its clean lines, balanced composition, and moral clarity. The painting depicts the Horatii brothers swearing an oath to defend Rome, embodying themes of duty, patriotism, and sacrifice, which were central to Enlightenment ideals. The stark contrast between the stoic, rigid postures of the men and the emotional collapse of the women underscores the tension between public duty and private suffering. David’s use of chiaroscuro highlights the raised swords and central figures, while the composition, framed by three arches, creates a sense of order and gravity. Painted in the years leading up to the French Revolution, the work also carries a political message, reflecting calls for civic virtue and resistance to corruption, making it a powerful symbol of revolutionary ideals.
Bloody Bathtub
Artist: Jacques-Louis David
Title: The Death of Marat
Date: 1793
Jacques-Louis David’s The Death of Marat (1793) is a powerful example of revolutionary propaganda and Neoclassical art. Depicting the murdered revolutionary leader Jean-Paul Marat, the painting combines stark realism with idealization to present Marat as a martyr for the French Revolution. The composition is stark and simple, with Marat’s lifeless body in a bathtub contrasted against a dark, empty background, evoking the imagery of Christian martyrdom, such as depictions of Christ’s Pietà. David’s meticulous attention to detail—such as the bloodstained letter and knife—emphasizes the brutality of the assassination while framing Marat’s sacrifice as noble and heroic. The work served as both a memorial and a political tool, elevating Marat’s image to that of a revolutionary saint and solidifying David’s role as the artist of the Revolution.
Monk hung
Artist: Francisco de Zurbarán
Title: The Martyrdom of Saint Serapion
Date: 1628
Francisco de Zurbarán’s The Martyrdom of Saint Serapion portrays the lifeless body of the saint after his gruesome death, evoking contemplation and reverence. The painting’s use of tenebrism, a stark contrast between light and dark, draws the viewer’s focus onto the saint’s body, dramatically illuminated against a dark backdrop. This effect is reminiscent of Caravaggio’s work, known for creating intense emotional engagement through lighting. Zurbarán, whose primary patrons were monks, created works such as this one for monastic settings, where they served as contemplative reminders of death and martyrdom. His pose is reminiscent of Christ on the cross, and the fact that Serapion willingly risked his life (as did many Mercedarians) echoes Christ’s own sacrifice.
Portrait of black man
Artist: Anne-Louis Girodet
Title: Portrait of Jean-Baptiste Belley, Deputy for Saint-Domingue
Date: 1797
Girodet’s portrait of Jean-Baptiste Belley, a pivotal figure in the Haitian Revolution and the first black deputy in the French National Convention, stands as a landmark in portraiture, marking both a political and social statement. The composition adheres to classical portraiture conventions with Belley standing in formal attire, symbolizing his official status, yet Girodet subtly incorporates elements that address Belley’s personal journey—his emancipation from slavery and active role in the fight for abolition. The bust in the background represents abolitionist Guillaume Thomas Raynal, emphasizing the intellectual and moral support for anti-slavery causes, but Belley’s assertive posture and patriotic attire reflect his own agency and accomplishments. His gaze, slightly upward and to the right, symbolizes a hopeful future for the French Republic, while the colors of his sash and hat subtly align with the French flag, reinforcing his identity as a French citizen and revolutionary. This portrait is significant not only for its historical subject but also for the way it navigates themes of race and identity in an era fraught with tensions regarding slavery and citizenship
sculpture of free slaves
Artist: Edmonia Lewis
Title: Forever Free
Date: 1867
Forever Free by Edmonia Lewis is a powerful marble sculpture that depicts the moment of emancipation following the American Civil War. It features a Black man and woman, their shackles broken, symbolizing their newfound freedom. The man is shown standing, proud and strong, while the woman kneels, her hands in a prayerful gesture, which represents both gratitude and humility in her liberation. Lewis, who was of African and Native American descent, conveyed a powerful message about emancipation, avoiding the typical imagery of enslaved people in submission. Instead, her figures embody dignity and agency, celebrating freedom with both strength and reverence. The piece was created in Rome after the Civil War, during a time when Black Americans were still fighting for their place in society, making Forever Free a poignant reminder of the struggle for equality
the weird room with mirror and a lot of people
Artist: Diego Velázquez
Title: Las Meninas
Date: 1656
Diego Velázquez’s Las Meninas (1656) is a masterpiece of Baroque art, celebrated for its complex exploration of perspective, self-representation, and the dynamics between the viewer and the painting. The scene captures a moment in the artist’s studio, where the young Infanta Margaret Theresa is surrounded by her attendants, including two ladies-in-waiting, a dwarf, and a dog. Velázquez places himself within the composition, painting a canvas that, intriguingly, does not show what he is working on. The inclusion of a mirror reflecting King Philip IV and Queen Mariana, who are ostensibly standing in the room, invites the viewer to consider their own role in the scene and the blurred lines between reality and art. The work’s mastery of space and its questioning of perception continue to fuel discussions about its meaning, positioning Las Meninas as one of the most analyzed paintings in art history
green dress
Artist: Jan van Eyck
Title: The Arnolfini Portrait
Date: 1434
Jan van Eyck’s The Arnolfini Portrait is a highly detailed and symbolic oil painting, often interpreted as a marriage contract or a portrait of Giovanni di Nicolao di Arnolfini and his wife. The lavish textures of their clothing, including furs and the glistening surface of their garments, symbolize the couple’s wealth. The inclusion of objects like the brass candelabra, the oriental carpet, and the oranges indicates their affluent status, while also possibly hinting at trade connections. The convex mirror at the back of the room reflects the couple and two figures, potentially the artist himself and witnesses to the scene, further adding layers to the work’s meaning. Van Eyck’s innovative use of oil paint and light creates vivid, realistic textures that were groundbreaking for the time, contributing to the painting’s lasting fame
jesus at the table
Artist: Caravaggio
Title: The Supper at Emmaus
Date: 1601
Caravaggio’s The Supper at Emmaus (1601) captures the moment when Jesus reveals his identity to two disciples after his resurrection. The dramatic use of light and shadow, known as tenebrism, is central to Caravaggio’s work and enhances the emotional intensity of the scene. The figures, with their expressive gestures and palpable reactions, are bathed in a stark light that isolates them from the surrounding darkness, emphasizing the miraculous nature of the moment. The naturalism in the faces and the still-life details, such as the bread and wine, adds to the scene’s intimacy, while the open-endedness of the composition invites viewers to feel part of the moment of recognition
girl self portrait painting
Artist: Artemisia Gentileschi
Title: Self-Portrait as the Allegory of Painting
Date: c. 1638-1639
Artemisia Gentileschi’s Self-Portrait as the Allegory of Painting (c. 1638-1639) stands as both a declaration of her artistic identity and a challenge to gender norms in 17th-century Italy. In this self-portrait, Gentileschi portrays herself as La Pittura, the personification of Painting, a role traditionally represented by male artists. Holding a palette and a brush, with a focused, almost confrontational gaze, she asserts her skill and mastery in a male-dominated field. The dramatic lighting and bold composition reflect the Baroque style and emphasize her intense, dynamic presence. This self-representation not only showcases Gentileschi’s technical prowess but also signals her defiance of societal expectations for women, underscoring her status as a serious and successful artist during her time
david
Artist: Gian Lorenzo Bernini
Title: David
Date: 1623–24
Gian Lorenzo Bernini’s David is a defining example of Baroque sculpture, emphasizing motion, emotion, and theatricality. Unlike Renaissance sculptures, such as Michelangelo’s David, which present a serene and idealized figure, Bernini’s David captures the moment of action—the instant before the slingshot is released at Goliath. The figure is dynamic, with David twisting his body into a powerful stance, using his entire form to prepare for the attack. This intense motion is underscored by a highly expressive face, filled with focus and aggression. The sculpture invites viewers to move around it, changing perspective and revealing new facets of the scene, which contrasts with earlier static works. Bernini’s work not only exemplifies the Baroque interest in capturing a moment of high drama but also responds to the Counter-Reformation’s emphasis on engaging the viewer emotionally
self portrait man
Artist: Rembrandt van Rijn
Title: Self-Portrait
Date: 1659
In his 1659 self-portrait, Rembrandt captures his own image with profound emotional depth. The painting reflects both the artist’s inner state and his masterful technique, highlighting the textured paintwork that brings his face to life with rich, varied tones. His deep-set eyes and furrowed brow suggest a person deeply introspective, while the sparse background and light falling on his face emphasize his presence. This self-portrait is part of Rembrandt’s extensive exploration of his own image, allowing the viewer to engage with his personal and professional journey. The work is notable for its direct confrontation with the viewer, invoking a powerful emotional connection, which Rembrandt intended by making his face the central focus of the composition
snake apple lady
Artist: Johannes Vermeer
Title: Allegory of the Catholic Faith
Date: c. 1670–1672
This painting is one of Vermeer’s rare allegorical works, created at a time when public Catholicism was outlawed in the Dutch Republic. The piece features a symbolic representation of Catholic Faith as a woman, who triumphs over the forces of evil, depicted by a snake. A tapestry is pulled back to reveal the scene, invoking the private ‘hidden churches’ where Catholics practiced in secret. Vermeer’s characteristic use of light and precise detail is still present, yet the painting’s larger theme—defiance in the face of religious persecution—provides a powerful message of endurance and hope for the Catholic community during a period of oppression
man whore lady pouring drink
Artist: Jan Steen
Title: The Dissolute Household
Date: 1664
Jan Steen’s The Dissolute Household depicts a chaotic domestic scene, full of disorder and moral transgressions. It is a quintessential example of Steen’s genre painting, highlighting the excesses of 17th-century Dutch society through humor and moral commentary. The image features numerous representations of the Seven Deadly Sins—gluttony, lust, sloth—exemplified by characters indulging in food, drink, and inappropriate behavior, such as the flirtation between a man and the maid while his wife remains oblivious. Steen even includes a self-portrait, positioning himself at the center of the chaos, perhaps to suggest his own awareness of the moral decay he portrays. The scene reflects Steen’s ability to use humor and vivid detail to convey moral lessons about societal and personal failings
ugly dude
**Rembrandt
(Rembrandt vanRijn), Portrait of Gerard de Lairesse, Dutch
1665–6
