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Rococo Questions Flashcards

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1
Q

Describe Samuel Adams

A

John Singleton Compley. 1772. Oil on canvas.

  • dressed conversatively
  • glares at Governor Hutchinson (viewer)
  • left hand points to charter (rule of law) and seal granted to MA by King William and Queen Mary
  • right hand grasps petition prepared by citizens of Boston
  • realism. head and hands dramatically lit.
  • convey moral force of his demands
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2
Q

Describe Salon de La Princesse in the Hotel de Soubise

A

Germain Broffrand. 1732. Paris.

  • arabesques and swirls
  • silver or gold against white or pastel color
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3
Q

Describe Kaisersaal (Imperial Hall)

A

Neumann. 1750. Germany.

  • illustrates great triumph in planning and decoration
  • white gold color scheme and delicately curved forms
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4
Q

Describe The Marriage of the Emperor Frederick and Beatrice of Burgundy

A

Tiepolo. 1752. Germany.

  • architectural painting
  • presented as if theater with painted and gilded stucco curtains drawn back
  • wedding presented in dazzling light
  • characters suggest nobility of purpose
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5
Q

Describe Church of the Vierzehnheiligen

A

Neumann. 1772. Germany.

  • “Fourteen Auxiliary Saints”
  • exterior shows Rococo style with gently bulging central pavilion and delicately arche windows
  • interior overlays of decoration creates visionary world where flat wall surfaces scarcely exist
  • surrounded by clusters of pilasters and engaged columns and clerestory
  • foliage of fanciful capitals is repeated in arabesques, wreaths, and ornamented frames of irregular panels that line vault
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6
Q

Describe Pilgrimage to the Island of Cythera

A

Jean-Antoine Watteau. 1717. Oil on canvas.

  • fete galante: elegant outdoor entertainment
  • dream world where beautifully dressed couples, with putti, have romantic adventures on island of love sacred to Venus
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7
Q

Describe The Signboard of Gersaint

A

Watteau. 1721. Oil on canvas.

  • actually a signboard for a shop
  • elegant ladies and gentlemen seem knowledgeable with paintings
  • creates atmosphere of aristocratic sophistication
  • left, click positioned directly over king’s portrait, surmounted by allegorical figure of Fame and sheltering pair of lovers, is traditional momento mori (reminder for mortality)
  • young women looking at their reflections symbolized fragility of human life
  • vanitas theme
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8
Q

Describe The Salon of 1787

A

Martini. 1787. Engraving.

-freaking paintings and people everywhere

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9
Q

Describe Triumph of Venus

A

Francois Boucher. 1740. Oil on canvas.

  • Venus appears near center, resting on silks and satins in giant shell, pulled through water by dolphins
  • putti hover in sky, carrying shiny scarf that billows like huge banner
  • robust world of sensual pleasure
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10
Q

Describe The Meeting

A

Jean-Honore Fragonard. 1773. OIl on canvas.

  • From The Loves of the Shepherds.
  • shows secret encounter between young man and sweetheart
  • rapid brushstrokes
  • bright colors
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11
Q

Describe The Invention of the Balloon

A

Clodion. 1784. Terra-cotta.

  • decorated with bands of classical ornament
  • rising and assisted by puffing wind god heralded by Victory
  • putti stoke fire basket
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12
Q

Describe Charles Sackville, 2nd Duke of Dorset

A

Carriera. 1730. Pastel on paper.

-British aristocrat

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13
Q

Describe Santi Giovanni E Paolo and the Monument to Bartolommeo Colleoni

A

Canaletto. 1738. Oil on canvas.

  • Venetian square
  • shown as if viewer were in gondola on nearby canal
  • roofline of church creates powerful orthogonal
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14
Q

Describe The Lion Bas-Relief

A

Giovanni Battista Piranesi. 1761. Etching and engraving.

  • depicts vast, gloomy spaces spanned by remnants of monumental vaults
  • motifs: barred windows, dangling ropes and tackle, torture device set sinister mood
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15
Q

Describe Parnassus

A

Anton Raphael Mengs. 1761. Rome.

  • first true Neoclassical painting
  • takes place on Mount Parnassus in Greece, which ancients believed to be sacred to Apollo and nine Muses
  • center is Apollo holding lyre and laurel branch, symbol of artistic accomplishment
  • resting on Doric column is mother of Muses, Mnemosyne
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16
Q

Describe Cupid and Psyche

A

Antonio Canova. 1793. Marble.

  • illustrates loves story between Cupid and Psyche
  • eroticism and senses of sight and touch
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17
Q

Describe Chiswick House

A

Richard Boyle (Lord Burlington). 1729. England.

  • bilateral symmetry
  • octagonal core and two entrances
  • Roman temple front
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18
Q

Describe Rococo features

A

pastel colors, delicately curving forms, dainty figures, lighthearted mood

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19
Q

Describe Neoclassical features

A

classical subject matter in a style derived from classical Greek and Roman sources
intended to teach moral lessons
conveyed Enlightenment ideals

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20
Q

Describe The Park at Stourhead

A

Henry Filtcroft and Henry Hoare. 1765. England.

  • mixture of elements from around the world
  • nostalgic
  • mixture of Neoclassical and Romantic
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21
Q

Define capriccio view

A

artist mixed actual features, especially ruins, into imaginatively pleasing compositions

22
Q

Define veduta view

A

naturalistic rendering of well-known tourist attraction.

ACCURATE.

23
Q

Describe Romantic features

A

imagination and emotions
reaction against Enlightenment focus on ratoinality
celebrates individual rather than universal and object

24
Q

Describe Strawberry Hill

A

Horace Walpole. 1776. England.

  • Gothic revival
  • crenellated battlements gave notched appearance
  • library derived ideas from stories in books
25
Q

Describe Anteroom, Syon House

A

Robert Adam. 1767. England.

  • luxurious decorations restrained by strong geometric order imposed by plain wall and ceiling
  • bright pastel colors and small-scale decorative elements stem from Rococo style
26
Q

Describe Vase: The Apotheosis of Homer

A

Josiah Wedgwood. 1786. White jasper body with mid-blue dip and white relief
-based on scene on book illustration of Greek vase

27
Q

Describe “Am I Not a Man and a Brother?”

A

William Hackwood for Josiah Wedgwood. 1787. Black and white jasperware.

  • African man kneeling down in chains
  • emblem for British Committee to Abolish the Slave Trade
  • later adapted to women’s suffrage
28
Q

Describe The Marriage Contract

A

William Hogarth. 1745. Oil on canvas.

  • Lord Squanderfield, right, arrages marriage of his son to daughter of wealthy merchant
  • merchant gains entry for his family into aristocracy, while lord gets money he needs for Palladian house, visible from window
  • wanted to please and educate audience
29
Q

Describe Lady Sarah Bunbury Sacrificing to the Graces

A

Joshua Reynolds. 1765. Oil on canvas.

  • dressed in classicizing costume
  • plays part of Roman priestess making sacrifices to Three Graces
  • contrapposto
30
Q

Describe the Grand Manner

A

form of Baroque classicism that attemped to elevate portraiture to level of history painting

31
Q

Describe Portrait of Mrs. Richard Brinsley Sheridan

A

Thomas Gainsborough. 1787. Oil on canvas.

  • shows professional singer seated informally outdoors
  • sloping view into distance and use of tree to frame sitter’s head
  • lighter palette, feathery brushwork, integrated women into landscape
  • windblown hair matches foliage
  • manifests new values of Enlightenment: emphasis on nature and the natural as sources of goodness and beauty
32
Q

Describe An Experiment on a Bird in the Air-Pump

A

Joseph Wright. 1768. Oil on canvas.

  • lecturer prepares to reintroduce air into glass receiver
  • boy stands ready to lower cage when bird revives
  • visible moon references Lunar Society
  • suspenseful
  • father, voice of reason, attempts to dispel fears
  • suggests science brings light into world of darkness and ignorance through lighting
33
Q

Describe Cornelia Pointing to Her Children as her Treasures

A

Angelica Kauffmann. 1785. Oil on canvas.

  • Woman visitor shows Cornelia her jewels and requests to see hers.
  • Cornelia exemplifies “good mother”
34
Q

Describe The Death of General Wolfe

A

Benjamin West. 1770. Oil on canvas.

  • depicts figures in modern dress
  • glorifies British general Wolfe, who died during Seven Years’ War
  • depicted him in red dying under sky rather than under a tree, where he actually died
  • naturalistic, but not an objective document
  • poses suggest Lamentation
35
Q

Describe The Nightmare

A

John Henry Fuseli. 1781. Oil on canvas.

  • white-clad woman sprawled along divan, oppressed by erotic dream caused by incubus
  • horse with phosphorescent eyes adds to erotic mood
36
Q

Describe Elohim Creating Adam

A

William Blake. 1795. Color print.

  • figures reveal influence of Michelangelo.
  • presents Creation negatively
  • giant worm, symbolizing matter, encircles lower body of Adam
  • Elohim = Hebrew for God
  • Creation is tragic because it submits spiritual human to fallen state of material existence.
37
Q

Describe Pantheon (Church of Sainte-Genevieve)

A

Jacques-Germain Soufflot.

  • most typical Neoclassical building
  • attempted to integrate three traditions: Roman architecture, French and English Baroque classicism, Palladian style being revived in England
  • facade modeled after temples
  • radical geometry, with central-plan Greek cross
38
Q

Describe The Governess

A

Jean-Simeon Chardin. 1739. Oil on canvas.

  • finely dressed boy who listens to governess as she brushes tricorn
  • scattered on floor are toys.
  • shows childish pleasures that a boy leaves behind to go to his studies
39
Q

Describe The Drunken Cobbler

A

Jean-Baptiste Greuze. 1785. Oil on canvas.

  • taught lesson to public
  • drunken father returns home to angry wife and hungry children
  • children’s gestures make clear that he spent money for food on alcohol
40
Q

Describe Portrait of Marie Antoinette with her Children

A

Marie-Louise-Elisabeth Vigee-Lebrun. 1787. Oil on canvas.

  • theme of “good mother”
  • meant to counter her selfish, extravagant, and immoral public image
  • affection = proof of queen’s natural goodness
  • alludes to allegory of Abundance, suggesting peace and prosperity of society under reign of her husband
41
Q

Describe Self-Portrait with Two Pupils

A

Adelaide Labille-Guiard. 1785. Oil on canvas.

  • painted to dispel rumors that her paintings were painted by a male
  • only male is father’s bust in the back
  • form strong pyramidal shape
42
Q

Describe Oath of the Horatii

A

Jacques-Louis David. 1785. Oil on canvas.

  • reflects taste and values of Louis XVI.
  • believed art should improve public morals.
  • three sons of each side fight to the death
  • contrast to upright, muscular men are group of limp and weeping women
43
Q

Describe Death of Marat

A

Jacques-Louis David. 1793. Oil on canvas.

  • radical journalist who wrote to urge the abolition of aristocratic privilege.
  • aftermath of Marat’s death
  • likens Marat to martyred saint
44
Q

Describe Portrait of Jean-Baptiste Belley

A

Anne-Louis Girodet-Trioson. 1797. Oil on canvas.

  • combines graceful pose recalling classical sculpture with descriptive naturalism
  • political dimension
  • former slave sent as representative to French Convention.
45
Q

Describe George Washington

A

Jean-Antoine Houdon. 1792. Marble.

  • combined contemporary naturalism with new classicism
  • serene expression and relaxed contrapposto pose derive from classical athletes
  • left hand rests on fasces, bundle of rods tied together with axe face, symbol of authority in Roman times
46
Q

Describe Atrial Cross

A
  1. Stone.
    - suggests pre-Hispanic sculpture in its stark form and rich surface symbols in low relief
    - entirely covered with images known as the Arms of Christ
    - suggests Mesoamerican symbol of Tree of Life. blood sacrifice.
47
Q

Describe Our Lady of Guadalupe

A

Sebastian Salcedo. 1779. Oil on panel.

-Lady of Guadalupe, the patron saint of the Americas

48
Q

Describe Mission San Xavier Del Bac

A

1797.

  • example of mission architecture
  • domed crossing and flanking bell towers
  • made with mortar, rather than adobe
49
Q

Describe Monticello

A 
Thomas Jefferson. 1809.
-based on English Palladian styles
-portico
-classical
bilateral symmetry
50
Q

Describe Watson and the Shark

A

Jon Singleton Copley. 1778. Oil on canvas.

  • dramatizes a shark attack
  • pyramidal composition in foreground
  • shark infested waters could mean colonies
  • Watson’s severed leg could stand for dismemberment of the British Empire

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