Unit 4 - Later Europe and Americas (1750-1980CE) Flashcards
Portrait of Sor Juana Inés
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
A Philsosopher Giving a Lecture on the Orrery
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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The Swing
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
Monticello
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
The Oath of the Horatti
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
George Washington
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
Self-Portrait
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
Y no hai remedio
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)
La Grande Odalisque
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
Liberty Leading the People
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
View from Mount Holyoke, Massachusetts, after a Thunderstorm
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
The Artist’s Studio
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
Slave Ship
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
Palace of Westminster
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
The Stonebreakers
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
Nadar elevating Photography to Art
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”
Olympia
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
The Saint-Lazare Station
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
The Horse in Motion
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
The Burghers of Calais
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
