From Rococo to Neoclassicism, 2/4 MODERN ART QUIZ 1

Louis XIV (1638-1715): The Art and Architecture of Power

Charles Lebrun (France). Portrait of Louis XIV. 1661

• Powerful monarch; powerful portrait exploring his divine right as King and his power

• Pre-Rococo style

Gianlorenzo Bernini (Italy). Model for an Equestrian Monument to Louis XIV. C. 1669

• Large, detailed sculpture depicting his power as king

• Looking UP at him, showing his honor etc

Louis Le Vau and Jules Hardouin-Mansart (France). Chateau of Versailles (aerial view). 1669-85

• The nature and gardens of Versailles were very orderly, meant to convey that the King transends all, even nature

• Louis Le Vau and Jules Hardouin-Mansart (France). 

  Chateau of Versailles (garden-side facade). 

  1669-85

Hyacinthe Rigaud (France). Louis XIV, King of France. 1701 (Janson 21.10)

• Powerful portrait of Louis XIV

• Regal robes, scepter, and sword, showing how he is portrayed as an extremely powerful man

French Rococo and Genre Painting

Antoine Watteau (France). Pilgrimage to Cythera. 1717

• After Louis XIV died, the wealthy families who were originally made to live in Versailles were allowed to leave

• They move into their own homes outside

• This results in the ROCOCO style

• Leisurely, romantic activities outdoors

• New type of painting for the intimate, private mansions people moved to

• Moves to interest in family life, slower, etc

• Freedom!

François Boucher (France). Odalisque with Brown Hair. 1745

• The woman in the painting is portrayed very intimately and specifically, as if the painting were a portrait of a particular person.

• ^{Exotic theme, perhaps of a female concubine}

Jean-Honoré Fragonard (France). The Swing.1767

• Intimate setting

• Leisurely activities outdoors

• Aristocratic luxury

• Playful eroticism

• Older husband and servant in the background

Jean-Baptiste-Simeon Chardin (France). Saying Grace. 1740

• Intimate settings, gathered around the hearth of family life

• Less regal, family interiors

Jean-Baptiste Greuze (France).The Village Bride.1761

• Intimate setting

• Gathered around hearth of family life

• Marriage

England

William Hogarth (England). Marriage à la Mode. 1743-45 (The Marriage Contract)

• Intimate setting, satirical genre painting

• Six paintings telling the story of arranged marriage

• Paintings created to be turned into engravings for prints - made it much more accessible, people can own prints to put it on their wall

• Art as tool to craft social fabrics

William Hogarth (England). Marriage à la Mode. 1743-45 (Breakfast Scene)

• Intimate setting, satirical genre painting

• Six paintings telling the story of arranged marriage

• Paintings created to be turned into engravings for prints - made it much more accessible, people can own prints to put it on their wall

• Art as tool to craft social fabrics

William Hogarth (England). Marriage à la Mode. 1743-45 (Visit to the Quack)

• Intimate setting, satirical genre painting

• Six paintings telling the story of arranged marriage

• Paintings created to be turned into engravings for prints - made it much more accessible, people can own prints to put it on their wall

• Art as tool to craft social fabrics

William Hogarth (England). Marriage à la Mode. 1743-45 (The Countess’ Morning Levee)

• Intimate setting, satirical genre painting

• Six paintings telling the story of arranged marriage

• Paintings created to be turned into engravings for prints - made it much more accessible, people can own prints to put it on their wall

• Art as tool to craft social fabrics

William Hogarth (England). Marriage à la Mode. 1743-45 (Death of the Count)

• Intimate setting, satirical genre painting

• Six paintings telling the story of arranged marriage

• Paintings created to be turned into engravings for prints - made it much more accessible, people can own prints to put it on their wall

• Art as tool to craft social fabrics

Hogarth. Four engravings of Marriage à la Mode

• Intimate setting, satirical genre painting

• Six paintings telling the story of arranged marriage

• Paintings created to be turned into engravings for prints - made it much more accessible, people can own prints to put it on their wall

• Art as tool to craft social fabrics

Thomas Gainsborough (England). Mr. and Mrs. Andrews. 1748-50

• Presented in their regal outfits

• Is this a landscape paintings? or a portrait? Combining two styles

Joshua Reynolds (England). Mrs. Siddons as the Tragic Muse.  1784

• grand manor style

• telling ancient story

Henry Fuseli (Switzerland/England). Oath of the Rutli. 1780

Henry Fuseli.The Night Mare.1781(Janson 23.17)

Spain

Francisco Goya (Spain). Family of Charles IV. 1800

• He made images/paintings of the royal family

• Did not make it super regal like Louis XIV \

• Reformatting of power- shift to detailed slice of life

• Not a POWERFUL portrait- makes us ask what is happening?

The Grand Tour and the Rediscovery of Ancient Rome

Canaletto (Italy). Riva degli Schiavoni. Venice, 1735-40

• Going to Italy was a rite of passage to become a sophisticated artist and man

• Italy, a space where ancient Rome and the BEST, most elite sort of art came from, became the subject of paintings

Giovanni Battista Piranesi (Italy).  Piazza Navona.  Rome, mid-18^th century

• Going to Italy was a rite of passage to become a sophisticated artist and man

• Prints like these were created for the rise in tourism

• Made grand illustrations of Italy to make them desirable to bring home

The Selling of Cupids. Fresco from Pompeii. c. 70 AD

• Excavation of Pompeii- entombed in 75 AD and then excavated in 1748

• Artists were able to see works written about with their own two eyes

• Frescoes like these were unearthed and then used as inspiration

Joseph-Marie Vien (France).  Selling of Cupids.  1763

• Inspo from OG Frescoe from Pompeii

• Trying to make a “modern” painting look ancient

Angelica Kaufmann (Switzerland/England/Italy).  Mother of the Gracchi (“My Children are My Treasures”).  C. 1785 (Janson 23.5)

• Supposed to look ancient, telling an old story

• old robes etc

Archaism and Neo-Classicism

• Inspo from Ancient Greece, flat figures, Frescoes on vases

Elisabeth Vigée-Lebrun (France).  Marie-Antoinette, Queen of France, and her Children.  1787 

• Intimate, small scale position of family life

• Prior to the French revolution, trying to portray herself as down to earth and like “one of the people”

• Compare. to the portraits of Louis 14th

Elisabeth Vigée-Lebrun (France).Self-Portrait with her Daughter Julie. 1787-93 (Janson 23.30)

• Intimate, familial portraits

Jacques-Louis David (France). The Combat of Mars and Minerva. 1771

• Morality and civic virtue = themes from ancient Greece and Rome

• David is painting these things in a time of political turmoil

Jacques-Louis David (France). The Oath of the Horatii. 1784 (Janson 23.27)

• Melodrama

• As revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, The Oath of the Horatii became one of the defining images of the time. In the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father. These are men willing to lay down their lives out of patriotic duty.

Henry Fuseli (Switzerland/England).  Oath of the Rutli.  1780

• Melodrama

• 
  

John Flaxman (England).  Apotheosis of Homer.  1778

L: Nicolas Poussin (France).  Death of Germanicus.  1626-28

R: Jacques-Louis David (France). The Oath of the Horatii. 1784 (Janson 23.27)