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AP Art History - Mamu > Unit 4 - Later Europe and Americas (1750-1980CE) > Flashcards

Unit 4 - Later Europe and Americas (1750-1980CE) Flashcards

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1
Q

Portrait of Sor Juana Inés

A

IDENTIFICATION

  • Miguel Cabrera
  • Latin America
  • 1750
  • Oil on Canvas

FORM

  • red curtains depict higher status
  • religious garments convey the deep connection she had with her faith
  • books to communicate love for learning

CONTEXT
- Commentary on feminism; woman depicted valuing knowledge - portrayed almost heroically for it

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2
Q

A Philsosopher Giving a Lecture on the Orrery

A

IDENTIFICATION

  • Joseph Wright of Derby
  • England
  • 1763-1765
  • Oil on canvas

FORM

  • Lighting/contrast highlights the orrery and promotes realism by illuminating some faces - chiaroscuro
  • meant to depict the thirst for knowledge/scientific advancement brought about by the Enlightenment

CONTEXT
- women and children being given the option to learn highlighted here
-

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3
Q

The Swing

A

IDENTIFICATION

  • Jean Honore Fragonard
  • 1766
  • Oil on Canvas
  • Rococco
  • France

FORM

  • Realism and Naturalism
  • Lines to direct towards women
  • Depiction of woman being looked onto by her lover and a bishop
  • Idea of lust brought through Cupid and the sightline of her lover

CONTEXT
- Art = display of wealth/escape from reality of french political issues

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4
Q

Monticello

A

IDENTIFICATION

  • Virginia, US
  • 1768-1809
  • Neoclassical
  • Thomas Jefferson

FORM

  • Symmetrical around central axis line of door
  • Dome in center

CONTEXT

  • Inspired by classical forms; notably the basilica plan
  • Jefferson wanted architure that didn’t reflect British architecture (was inspired by French)

CONTEXT

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5
Q

The Oath of the Horatti

A

IDENTIFICATION

  • Jacques-Louis David
  • France
  • 1784
  • Oil on canvas
  • Neoclassical

FORM

  • Brought back idea of idealized bodies; women made with organic shapes and men made with geometric shapes
  • Rejection of Rococco

CONTEXT
- Depiction of a Roman myth; woman greiving the loss of either her husband or brother who are enemies

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6
Q

George Washington

A

IDENTIFICATION

  • Jean-Antoine Houdon
  • United States
  • 1788-1792
  • Marble sculpture in the round

FORM

  • Contraposto
  • Sword; symbolic of power and authority

CONTEXT
- Meant to imortalize his military influcence, as he was retiring from his position and presidency

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7
Q

Self-Portrait

A

IDENTIFICATION

  • Elizabeth Louise Vigee Le Brun
  • France
  • 1790
  • Oil on canvas
  • Rococco

FORM
- Naturalist; she is painting which is a commentaty on the impact of the female artist

CONTEXT

  • Worked for Marie Antoinette; an emphasis on female power
  • Not many recognized female artists of the time
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8
Q

Y no hai remedio

A

IDENTIFICATION

  • Francisco de Goya
  • 1810-1823
  • Etching
  • Spain

FORM

  • Black and white
  • Contorted bodies and a dark, deep background
  • Rifles pointed at figures, central figure blindfolded and tied up

CONTEXT

  • Protest against the French occupation of Spain by Napoleon
  • Satirizing Spanish socio-economy (mang people were in poverty)
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9
Q

La Grande Odalisque

A

IDENTIFICATION

  • J.A.D Ingres
  • Oil paint on canvas
  • 1814
  • France

FORM

  • Extension of the back to elongate the body and idealize proportions
  • Colors/accessories a suggestion of wealth/portrayal of her importance
  • Position/contortion of the body suggests the non-sensual modesty of the model

CONTEXT
- Inspired by Venus of Urbino

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10
Q

Liberty Leading the People

A

IDENTIFICATION

  • Eugène Delacroix
  • 1830
  • France
  • Oil on canvas

FORM

  • Soft rounded lines emphasizes sharpness of the ppjecta
  • shrouded in a cloud (theatrical/god-ordained)

CONTEXT

  • Glorification of the people involved in the Revolution
  • Acknowledgement of sacrifices made by civilians
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11
Q

View from Mount Holyoke, Massachusetts, after a Thunderstorm

A

IDENTIFICATION

  • Thomas Cole
  • 1886
  • oil on canvas

FORM

  • realistic but exaggerated with elongated forms and obviously darker colors for weather
  • line of perspective separates weather from nature

CONTEXT
- commentary on humanities insignificance to nature/God; God’s control over

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12
Q

The Artist’s Studio

A

IDENTIFICATION

  • Louis Daguerre
  • 1837
  • Photography
  • France

FORM
- Photographic image on a silver-plated sheet of copper; no usage of colors outside of the greyscale

CONTEXT
- Artists feared photography would supplant painting; was not considered an art form at the time though

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13
Q

Slave Ship

A

IDENTIFICATION

  • Joseph Mallord William Turner
  • 1840
  • Oil on canvas

FORM

  • Wall of grey the ship is headed towards = vengeance for the death of the innocent slaves
  • Intense colors and turbulent brushstrokes (abstract quality) convey the tension and emotion of the event

CONTEXT

  • Protest against the slavery movement; morally condemning those who support it
  • Techniques used mimic those of the impressionist movement, though this is 20+ years prior
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14
Q

Palace of Westminster

A

IDENTIFICATION

  • Charles Barry/A.W.N Pugin
  • London, England
  • 1840-1870
  • Stained glass/limestone

FORM

  • Gothic architecture
  • Early Victorian Era

CONTEXT

  • Rebuilt after it burned down in 1834
  • Seat of government/house of parliament
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15
Q

The Stonebreakers

A

IDENTIFICATION

  • Gustave Courbet
  • France
  • Oil on canvas
  • 1849
  • Realism

FORM

  • Large canvases usually reserved for important paintings; emphasizes importance of commonplace workers
  • Combination of curvilinear and structured forms to make the painting natural

CONTEXT

  • Emphasized the lack of social mobility/equality for people of the time
  • Statement on how working-class people were never portrayed in art
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16
Q

Nadar elevating Photography to Art

A

IDENTIFICATION

  • Honore Daumier
  • 1863
  • France
  • Lithograph

CONTEXT

  • Mocks Nadars willingness to photograph even under dangerous circumstances
  • Movement against the recognition of photography as “high art”
17
Q

Olympia

A

IDENTIFICATION

  • Edouard Manet
  • Oil on canvas
  • 1864
  • Realism/movement into impressionism

FORM

  • Body doesn’t fit the classical “ideal” proportions of similar art
  • Black servant behind the prostitute holds a gift from a client; she does not acknowledge it, presenting her desirability

CONTEXT

  • Depicts marginalized people (non-wealthy/racial divide)
  • Venus of Urbino but make it spicy and problematic
18
Q

The Saint-Lazare Station

A

IDENTIFICATION

  • Claude Monet
  • 1877
  • Oil on canvas
  • France

FORM

  • Synthesis of a dark environment; similar to that of a traditional landscape painting
  • Randomized shapes come together to create an image (painting not detail-oriented, meant to be viewed as a collective)

CONTEXT

  • Intended to capture the beauty of the impending industrial revolution
  • Monet carried the style of his traditional works (nature) into modernized life
19
Q

The Horse in Motion

A

IDENTIFICATION

  • Eadweard Muybridge
  • 1878
  • Photograph
  • Realism

FORM

  • Series of combined photographs in profile view
  • Elevates photography from capturing solely still moments (like artworks)

CONTEXT
- Establishes the potential for photography’s advancements

20
Q

The Burghers of Calais

A

IDENTIFICATION

  • Auguste Rodin
  • 1884-1895
  • France
  • Bronze

FORM

  • Each figure is a representation of a different emotion; details are emaciated and the details are reduced to emphasize their depravity
  • Followed realist ideals of realistic proportions/drapery

CONTEXT
- Based on the story of the Burghers

AP Art History - Mamu (5 decks)

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