Transcript 1836 Oil on Canvas - Moorestown AP Art History

The Swing
Jean-Honore Fragonard
c.1766
Oil on Canvas
Rococo
-Known for showing scenes
of leisure
Elisabeth Louise VigeeLebrun
Self-Portrait
1790
Oil on Canvas
Naturalism/Rococo
France
-light-hearted smile/dress (Rococo
in this way)
-Self confident, economically
independent, graceful, member
of the academy (her true,
serious nature is also apparent,
giving it a “natural” feel as well)
-Painted a picture of Marie
Antoinette that won her acclaim
William Hogarth
Breakfast Scene from Marriage a la Mode
1745
Oil on Canvas
Naturalism
England
-Hogarth was famous for drawing satirical narratives, often created as a series
-this is one of 6
-Shows a marriage as it begins to fall apart
-woman has just spent the previous evening playing cards/making music
-man has just spent the night doing suspicious activities (see the woman’s bonnet the
dog sniffs in his pocket)
-accountant raises his hand to heaven as he holds unpaid bills
-Religious paintings in background hang next to a curtained ‘erotic’ painting
-Copied often in England
Thomas Gainsborough
Mrs. Richard Brinsley Sheridan
1787
Oil on Canvas
Grand Manner Portraiture/Rococo
England
-Background and dress are misty, feathery, pastel-like (Rococo)
-Grand Manner Portraiture: elevated subject with refinement and elegance
-large scale figure
-controlled contained poses
-landscape setting
-low horizon line
Benjamin West
The Death of General Wolfe
1771
Oil on Canvas
Naturalism
America
- ”Death in battle of a young military hero” theme
-Mortally wounded English soldier, after defeating the French (to win Canada)
-Lighting, composition, and naturalism create high drama and emotions, often seen in
paintings of religious martyrs
John Singleton Copley
Portrait of Paul Revere
1770
Oil on Canvas
Naturalism
America
-NOT like Grand Manner Portraiture
-English Portrait Style : DIRECT, PLAIN, CLEAR LIGHTING
-pauses while doing an every-day occupation (silversmithing)
-same attention to detail on tabletop as on the figure
-subtle red lighting reflected on the shadowed side of the figure’s face/hands
Jaques-Louis David
Oath of the Horatii
1784
Oil on Canvas
Neoclassical
-It’s a Conflict b/t LOVE and PATRIOTISM
-Retold in a popular Parisian Play
-STORY:
Rome and Alba were at war. Decided to settle it by fighting 3
brothers from each side. One of the Horatti brothers (Rome) was
married to the sister of the Alba brothers. One of the Alba
brothers was engaged to a sister of the Horatti.
-Here, Horatti swear on their swords to fight/die for Rome,
oblivious to women crying
Jaques-Louis David
Death of Marat
1793
Oil on Canvas
Neoclassical
-Radical Revolutionary / writer / friend of David
-Assassinated in 1792 by Charlotte Corday
-Shown sitting in his medicine bath (he had a painful skin disease), writing. David included their
names.
MEANT TO OUTRAGE VIEWERS/FELLOW REVOLUTIONARIES
-Cold, empty space above: creates a chilling/oppressive mood
-Knife, Wound, letter, made very clear
-Pieta position (making him a political martyr)
Jaques-Louis David
Coronation of
Napoleon
1805-1808
Oil on Canvas
Neoclassical
20x30” (Louvre)
-When Revolutionist party fell, David barely escaped with his life, and jumped at the chance when Napoleon
asked him to be his Royal Painter
-Shows Napoleon’s Coronation in 1804
-artist included himself
-takes place in Notre Dame
-wife Josephine being crowned by Napoleon
-Pope Pius VII hand is blessing the coronation
-Napoleon’s mother present in painting, though she refused to attend
Napoleon at the Pesthouse at Jaffe
Antoine-Jean Gros
1804
Oil on Canvas
-1799 Bubonic plaque hit
Romanticism
Napoleon is seen fearless
and in control (showing his
legendary ‘healing’ touch)
-Meant to counteract
negative publicity about this
event (Napoleon ordered all
infected people killed)
•Neoclassical influence: 3 archways (like Oath of Horatti)
Polarized composition (like Oath of Horatti)
artist was a student of J.L.David
•Romanticism beginnings: exotic (Muslim architecture/attire)
death/suffering, emotionalism
Grand Odalisque
Ingres
1814
Oil on Canvas
Romanticism
TRANSITIONAL PIECE FROM NEOCLASSICAL TO ROMANTICISM
-Traditional pose (Raphael face, reclining nude, mannerist body/elongated limbs, over-the-shoulder gaze taken
from J.L.David painting of “Madame Recamier”)
-Caused a “stir” because of the exotic elements (woman is a concubine, silk and ornaments are from the near
east)
Goya
The Third of May 1808
1814
Oil on Canvas
Romanticism
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French: Faceless, anonymous
Spanish: Horror/Anquish on their faces
Arms in crucifixion pose
Chiaroscuro
Blood stained hill
Painted for Ferdinand in 1814
Joseph Mallord William Turner
The Slave Ship (Slaves throwing Overboard the
dead and dying: Typhoon Coming On)
1840
Oil on Canvas
Romanticism/19th Century Seascape
-Also of the English Landscape Painter School
-Contrast with Constable, in that Turner’s style is more expressive/less delicate
-Romantic passion and energy, awe mixed with terror
-1783: Slave ship owner realized that his insurance co. would only reimburse him for
slaves who died at sea (not those who died of illness en route). So, he had the sick
thrown overboard.
-style matches the barbaric event
-scarlet clouds : blood of the dying
- tiny figures against big sun & sky = nature’s power over humans
Thomas Cole
The Oxbow (View from Mt. Holyoke,
Northampton, Massachusetts,
after a Thunderstorm)
1836
Oil on Canvas
-Hudson River School
-Shows us the country’s and the
individual’s relationship with the land
-Divided composition shows 2 sides of contemporary America (stormy wilderness and
tame civilization)
-Miniscule Artist, dwarfed by powerful landscape (nature’s power over humans)
Gustave Courbet
The Stone Breakers
1849
Oil on Canvas
Realism
-mature man and a younger man breaking stones (lowest laborers of French
Society)
-dirty browns and grays convey dreary and dismal nature of physical labor
-Response to the 1848 French worker rebellion against the bourgeois
leaders, demanding better working conditions and more property
Honore Daumier
Rue Transnonain
1834
Lithograph
Realism
(philly art museum)
•Daumier defended the urban working
Class
•His art CONFRONTED social
Issues and had him put in prison
•A civil guard was killed by a sniper during a worker demonstration
•The remaining guards stormed the worker’s housing building where the shot
came from and killed every inhabitant
-This image shows the quiet aftermath of the tragedy
-bodies lie about in violent disorder
-content of the piece is blunt and true to life (realism)
-Similar impact seen in Goya’s Third of May 1808
Edouard Manet
Le Dejeuner sur l’Herbe
(Luncheon on the Grass)
1863
Oil on Canvas
Realism
-Manet’s brother Eugene and sculptor Ferdinand Leenhof
-Victorine Meurend (Manet’s favorite model)
-unidealized figure, looks directly at the viewer without shame or flirtatiousness
-foreground is harshly lit while background alludes to traditional painting genres
-clear, flat forms made of paint and light, rather than line, acknowledge a painting’s
properties (such as the flatness of a painting surface)
Edouard Manet
Olympia
1863
Oil on canvas
Realism
-Olympia was a common “professional” name that prostitutes took
-looks at the viewer with cool indifference
-black maid presents her a bouquet of flowers from a client
-artistic style shows abrupt shifts in tonality, as compared to traditional painting
-A critic’s response: “This ‘Olympia’ is a courtesan with dirty hands and wrinkled feet …
her body has the livid tint of a cadaver displayed in the morgue; her outlines are
drawn in charcoal and her greenish, bloodshot eyes appear to be provoking the
public, protected all the while by a hideous Negress.”