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The University of Alabama - Tom Wegrenowski - Exam 3 - 3 Exam
Pieter Paul Rubens
A Flemish painter of the 17th century and a key figure in Western art. He synthesized elements from Italian Renaissance and Baroque masters like Michelangelo, Titian, Carracci, and Caravaggio. He served as court painter to various European nobles and was entrusted with important diplomatic missions.
Nicolas Poussin
A key figure in French Baroque painting, known for his classicism and focus on order and clarity. His works often depict historical and mythological themes, aiming to convey moral and philosophical messages. He emphasized carefully structured compositions, geometric arrangements, and a restrained color palette, using light to enhance form. His influence shaped academic painting in France, establishing foundational principles for future artists and emphasizing the philosophical depth of art.
Nicolas Poussin
Who is credited with ultimately being responsible for establishing classical painting as an important component of 17th-century French art?
Dutch Baroque Vs. French Baroque
One is marked by a focus on everyday life and individual experience, while the other is characterized by grand themes and royal influence, reflecting the power dynamics and cultural values of their respective societies. Each movement produced art that resonated deeply with the social and political contexts of the time.
Louis XIV
A French art patron of the 17th century, using art as a tool for political strategy and propaganda to consolidate his power. He maintained control over the nobility through a mix of benefits and strict oversight, asserting his authority through the concept of divine right. Along with his adviser, Jean-Baptiste Colbert, he aimed to organize art and architecture to promote the state's interests.
Louis XIV
Who was the preeminent art patron of 17th-century France?
Dutch Landscapes
Characterized by their detailed realism and the celebration of the natural world, this genre flourished during the 17th century, reflecting the growing wealth and appreciation for everyday life. They were focused on capturing the light, atmosphere, and expansive skies of the Dutch countryside, often integrating elements of human activity within the landscapes.
French Academy and Academic Art
Portrayed as a pivotal institution in shaping art standards in France from the 17th to the 19th centuries. Founded in 1648 it established rigorous guidelines for artistic practice, promoting an idealized classical style based on the works of ancient Greece and Rome. Its art emphasized clarity, balance, and idealized forms, often prioritizing history painting as the highest genre. Artists were trained in a structured environment, focusing on drawing, composition, and the study of anatomy.
French Academy and Academic Art
While it upheld traditional values, it faced challenges from emerging movements like Romanticism and Realism, which sought to break away from its constraints. Ultimately, its influence shaped artistic training and standards for generations, leaving a lasting impact on Western art.
Dutch Group Portraiture
In the Dutch Republic, particularly through the works of Frans Hals, this reflects a shift from traditional conventions used in depicting status and authority. As the middle class emerged, portrait painting faced challenges due to Calvinist values that favored simplicity and modesty. Hals overcame these constraints by creating lively and spontaneous portraits that captured the individuality of his subjects. Hals's approach involved using light and rapid brushstrokes, giving his paintings an immediacy and intimacy. His other artworks exemplify this technique. Unlike earlier Hals portrayed each militia member with unique expressions and movements, creating a dynamic composition. The uniform attire did not hinder his ability to inject energy into the scene; instead, he used it to establish a lively rhythm throughout the artwork.
Versailles
Highlighted as a quintessential representation of French Baroque architecture and art, commissioned by Louis XIV to reflect the power and grandeur of his reign. The palace symbolizes the absolute monarchy and is noted for its elaborate design, extensive gardens, and artistic embellishments. Key features, such as the Hall of Mirrors, are discussed for their opulence and the interplay of light and reflection, enhancing the grandeur of the space. The gardens are characterized by their formal symmetry and intricate water features, reinforcing the idea of man's control over nature.
Versailles
This place served as a center for political power and cultural life in France, playing a significant role in the court of Louis XIV and influencing European art and architecture. The palace is portrayed not only as an architectural marvel but also as a cultural icon that encapsulates the ideals of the Baroque period.
Long Line of Mirrors
At the palace of Versailles, what device was used in the Galerie des Glaces to illusionistically expand that room's width?
Frans Hals
Notable for his group portraits, painting not just wealthy individuals but also groups of Dutch citizens. His work is a prime example, featuring Calvinist women engaged in charitable activities. Unlike his more relaxed male portraits, this piece conveys a stern, puritanical atmosphere, with the women depicted as individuals showing expressions ranging from disinterest to concern. The painting employs a somber, monochromatic palette appropriate for its serious commission, highlighting the contrasting roles of women in both public and family life during that period.
Jan Vermeer
Renowned for his interior scenes, which provide insights into the lives of prosperous, cultured citizens of the United Provinces. Although he painted landscapes, he mainly gained fame for depicting domestic life. Despite his current acclaim, much of his income came from his work as an innkeeper and art dealer in Delft. He produced around 35 identifiable paintings, mostly for the same private patron. Initially focused on biblical and historical themes, he shifted to portraying elegant, tranquil interiors of middle-class homes, featuring women, men, and children engaged in everyday activities. Unlike earlier Flemish artists who included sacred figures, his work emphasized the beauty of domestic life.
Allegory of the Art Painting
Which painting did Johannes Vermeer consider his most important, retaining it as a display piece in his studio?
Jan Vermeer
Which artist was ahead of his time in understanding color science and recognizing that shadows are not colorless?
Rembrandt van Rijn
Hals’s younger contemporary and the leading Dutch painter of his time, was an undisputed genius—an artist of great versatility, a master of light and shadow, and a unique interpreter of the Protestant conception of holy scripture. Born in Leiden, he moved to Amsterdam around 1631, where he could attract a more extensive clientele than possible in his native city. He had trained as a history painter in Leiden, but in Amsterdam he immediately entered the lucrative market for portraiture and soon became renowned for that genre.
Rembrandt van Rijn
Which Dutch artist trained as a history painter in Leiden and became known as a master of light and shadow as well as a proponent of the Protestant conception of scripture?
Rembrandt van Rijn
The use of light and shade to convey emotional differences in theater and film is a contribution of which artist?
Vanitas and Momento Mori
One means Latin, “reminder of death.” In painting, a reminder of human mortality, usually represented by a skull. The other is explored as a genre in Dutch Baroque painting that reflects on the transient nature of life and the futility of earthly pleasures. It works often feature symbolic objects, such as skulls, hourglasses, wilting flowers, and decaying fruit, to remind viewers of mortality and the inevitability of death.
These paintings serve as moral lessons, urging viewers to reflect on the impermanence of material wealth and the importance of spiritual values.
The Gold Watch
Which of the ornamental objects in Kalf's Still Life with a Late Ming Ginger Jar would qualify the work as a vanitas painting?
Rococo
The death of Louis XIV in 1715 marked significant changes in French high society. The elite shifted their focus from the court of Versailles to urban life, and a resurgence of aristocratic power emerged in the early 18th century. Nobles began to reassert their traditional privileges while expanding their influence, particularly in the cultural sphere as art patrons. Parisian hôtels (elegant townhouses) became centers for this style, which flourished during the regency and the reign of Louis XV. This style embodied the lighthearted elegance that the wealthy sought in their luxurious homes.
Paris
Which city was the artistic center of the Rococo style?
Rococo
The conclusion of the debate in the French Royal Academy between advocates of color and advocates of form resulted in the ascendance of which style?
The Enlightenment
The 18th century introduced a critical worldview that prioritized reason and empirical evidence over religion and tradition. This shift led to significant political, social, and economic changes, including the American and French revolutions and the Industrial Revolution in England. It also sparked renewed admiration for classical art and architecture, as their geometric harmony reflected Enlightenment ideals. Ancient Greece and Rome were seen as models of civilized society, embodying principles of liberty and civic virtue, making them particularly relevant during a time of political upheaval.
Rococo Painting
Characterized by its playful and ornate style, it emerged in France during the early 18th century. This movement is associated with the reign of Louis XV and is marked by themes of romance, leisure, and the pleasures of the aristocracy. Artists favored light colors, delicate brushwork, and intricate details, often depicting idyllic scenes of outdoor gatherings, flirtation, and mythical or allegorical subjects. It reflects the tastes of a wealthy elite seeking to escape the formality of Baroque art. Its emphasis on grace, charm, and intimacy highlights a shift towards more personal and decorative art forms, setting the stage for the later Neoclassical movement that would arise as a reaction.
Benjamin West
Gained prominence in England after studying art on the continent. He became a founding member and later president of the Royal Academy of Arts and served as official painter to George III during the American Revolution. The composition, reminiscent of traditional history painting, arranged figures in a dramatic manner, suggesting the death of a saint. He aimed to present Wolfe’s death as a martyrdom for the state, combining traditional heroic elements with modern realism, influencing history painting into the 19th century.
Benjamin West
Who became the official painter to King George III and was a founding member of the Royal Academy of Arts?
Voltaire
He played a key role in introducing Newton and Locke's ideas to French intellectuals and vehemently opposed despotic rule, noble privileges, religious intolerance, and the injustices of the ancien régime. Through his numerous writings, often censored and condemned, he protested against government persecution of thought and religion, advocating for an enlightened society to foster human progress. His active resistance to political and religious authority lent credibility to his views, inspiring a generation to seek fundamental change, which inadvertently laid the groundwork for the French Revolution. However, he did not support the notion of universal equality espoused by thinkers like Rousseau and Jefferson.
Voltaire
Which philosopher believed that the betterment of humanity lay in the advancement of science and the rational improvement of society?
Jean-Jaques Rousseau
This man argued that arts, sciences, and civilization had corrupted "natural man." He advocated for a return to the simplicity and happiness of humanity's primitive state, emphasizing that feelings and emotions precede reason. Rousseau believed that humans are inherently good but become corrupted by society, asserting that progress in arts and sciences leads to moral degradation. His celebration of feeling over reason and the idealization of the peasant's simple life contributed to a shift away from the Rococo style in the arts, fostering a taste for the "natural" over the artificial and frivolous.
Taste for the “Natural”
Describes a late 18th-century shift in art that emphasized authenticity, emotion, and everyday life. Influenced by Enlightenment thinkers like Rousseau, artists moved away from Rococo ornamentation and Neoclassical formality, focusing instead on realistic depictions of individuals and their environments. This transition paved the way for Romanticism, celebrating individual feelings and the sublime in nature. Reflecting societal changes, this movement highlighted a desire for simplicity and emotional depth, marking a significant departure from traditional artistic conventions.
Neoclassicism in painting and architecture
Emerged in the late 18th century, inspired by ancient Greek and Roman ideals. In painting, it emphasized clarity, order, and moral themes, exemplified by artists like Jacques-Louis David, who focused on heroic subjects and balanced compositions. In architecture, it featured symmetrical designs, columns, and domes, reflecting Enlightenment values of reason and civic virtue, with notable figures like Thomas Jefferson adopting these principles. Overall, it aimed to offer moral clarity and cultural pride, contrasting with the excesses of Baroque and Rococo styles.
Joshua Reynolds
Recognized as a prominent British portrait painter and a key figure in the development of the Grand Manner style. As the first president of the Royal Academy, he played a significant role in shaping artistic standards in Britain. He advocated for a blend of idealized forms and classical themes, encouraging artists to draw inspiration from antiquity and the Old Masters.
Joshua Reynolds
His portraits are characterized by their rich colors, dramatic lighting, and a focus on capturing the character and emotions of his subjects. He often portrayed sitters in dignified and elevated poses, aiming to elevate their social status through art. His writings on art theory emphasized the importance of imagination and the moral purpose of art, further establishing his influence on the artistic community. His legacy endures in the realm of portraiture and academic art, making him a foundational figure in 18th-century British art.
John Singleton Copely
This person developed his painting skills in the Massachusetts Bay Colony before moving to England, where he adopted the fashionable English portrait style. However, his work reflects a sense of directness and honesty that resonated with late-18th- and early-19th-century American tastes. At the time of the painting, Revere was not yet a celebrated hero of the American Revolution; instead, he is depicted as a working silversmith in a plain setting, wearing shirtsleeves and holding a teapot. He captures Revere’s gaze directly, emphasizing his character while meticulously rendering reflections on the tabletop and detailing the tools and teapot. This informality connects the piece to contemporary European portraits, yet its spare style and focus on Revere’s grounded nature distinguish it as distinctly American.
Jaques-Louis David
The artist who became the painter-ideologist of the French Revolution. He is generally considered the greatest Neoclassical master. He followed the Rococo painter’s style until a period of study in Rome won the younger man over to the classical art tradition. He favored academic teachings about using the art of the ancients and of the great Renaissance masters as models. He, like Winckelmann, rebelled against Rococo style as an “artificial taste” and exalted the “perfect form” of Greek art.
Neoclassicism
Jacques-Louis David's Oath of the Horatii can be said to be a paragon of which style?
Thomas Jefferson and Neoclassicism
Associated with values like morality, idealism, and civic virtue, became the architectural style of choice for the new American republic, largely due to Thomas Jefferson . A statesman, economist, and amateur architect, Jefferson admired Palladio and studied 18th-century French classical architecture while serving as minister to France. Inspired by his European experiences, he remodeled Monticello, his Virginia home, to reflect Palladio’s Villa Rotonda and Chiswick House, using local wood and brick. Jefferson aimed to create a country villa reminiscent of the classical ideals.
Jean-Auguste-Dominique Ingres
Generally considered David’s greatest pupil, he arrived at the Neoclassical master’s studio in the late 1790s. His study there was to be short-lived, however, as he soon broke with David on matters of style. He adopted what he believed to be a truer and purer Greek style than David’s. The younger artist employed linear forms approximating those found in Greek vase painting, and often placed the main figures in the foreground of his composition, emulating classical low-relief sculpture.
Jean-Auguste-Dominique Ingres
Which Neoclassical artist of the first part of the 19th century looked firmly to the arts of Greek antiquity for his subjects and compositions?
Romanticism
Neoclassicism supported Enlightenment rationality, particularly Voltaire's ideas, while this style was influenced by Jean-Jacques Rousseau, especially his notion that “Man is born free, but is everywhere in chains!” This encapsulates the Romantic desire for freedom—political, emotional, and intellectual—believed to be achieved through imagination and feeling rather than reason. The term emerged among German literary critics in the late 18th century to distinguish modern traits from Neoclassical ones. Generally, it is recognized as an art movement that thrived between 1800 and 1840, positioned between Neoclassicism and Realism.
Francisco Goya
A key figure in the transition between traditional and modern art. He was a leading Romantic artist known for his deeply emotional and personal style, as well as his critical stance on social and political issues. Serving as a court painter, he also critiqued the Spanish monarchy and explored the horrors of war, most notably in The Third of May, 1808. His innovative techniques, especially in etchings and his later "Black Paintings," influenced modern artists and movements, making him a pivotal figure in the evolution of Western art.
Romantic concept of the Sublime
This refers to the overwhelming power of nature that evokes awe and fear. Artists depicted vast, uncontrollable landscapes—such as storms or mountains—that highlight human vulnerability in the face of nature's grandeur. The Sublime is about the emotional intensity and awe inspired by nature’s magnitude and mystery.
Daguerreotype
One of the first photographic processes, invented by Louis Daguerre in 1839. It produced a single, detailed image on a silver-plated copper sheet, popular for portraiture due to its affordability. However, its limitations included long exposure times and the inability to create duplicates. It played a crucial role in revolutionizing visual culture by capturing reality with unmatched accuracy, influencing both art and documentary practices in the 19th century.
Hudson River School
The first American art movement flourished in the mid-19th century. It focused on depicting the grandeur and beauty of the American wilderness. Influenced by Romanticism, the movement celebrated nature’s sublime power and pristine landscapes, reflecting both a spiritual connection to nature and the idea of manifest Destiny. Later artists expanded the scope to include dramatic scenes from the American West and beyond, helping shape American identity through art.
Gustave Courbet
He was the leading figure of the Realist movement in 19th-century art. In fact, even though he shunned labels, he used the term “Realism” when exhibiting his own works. The Realists’ sincerity about scrutinizing their environment led them to paint mundane and trivial subjects that artists had traditionally deemed unworthy of depiction—for example, working-class laborers and peasants, and similar “low” themes. By depicting these subjects on a scale and with a seriousness previously reserved for historical, mythological, and religious painting, realist artists sought to establish parity between contemporary subject matter and the traditional themes of “high art. ”Although today Realism seems an obvious goal for an artist, in the mid-19th century, it was the vanguard of artistic experimentation, an affront to academic norms.
Gustave Courbet
Which Realist painter relies on a naturalistic style that does not romanticize or idealize the everyday lived realities that his contemporary subjects endured?
Realism
Advances in industrial technology during the early 19th century reinforced Enlightenment faith in the connection between science and progress. Both intellectuals and the general public increasingly embraced empiricism and positivism. To empiricists, the basis of knowledge is observation and direct experience. Positivists believed that scientific laws governed the environment and human activity and could be revealed through careful recording and analysis of observable data. Comte’s followers promoted science as the mind’s highest achievement and advocated a purely empirical approach to nature and society.
Edouard Manet
This artist significantly advanced Realist principles by depicting daily life in industrialized Paris. His painting Le Déjeuner sur l’Herbe (Luncheon on the Grass), initially rejected by the 1863 Salon jury, later gained attention at the Salon des Refusés. Manet’s approach diverged from conventional pastoral scenes, replacing idealized figures with ordinary characters and commenting on the societal shifts post-1848 revolution. This audacious portrayal outraged the public, with critics labeling it a shameful spectacle. Additionally, his loose painting style, soft focus on the background, and stark contrasts in lighting were criticized for lacking the finish expected in Salon paintings. Despite its initial controversy, Le Déjeuner sur l’Herbe redefined painting by highlighting its flatness and properties, influencing future artistic movements.
Pre-Raphalite Brotherhood
Realism did not appeal to all artists, of course. In England, a group of painters refused to be limited to the contemporary scenes that strict Realists portrayed. These artists chose instead to represent fictional, historical, and fanciful subjects, but with a significant degree of convincing illusion. Organized in 1848, the artists wished to create fresh and sincere art, free from what its members considered the tired and artificial manner promoted in the national painting academies by the successors of Raphael. They shared distaste for the materialism and ugliness of the contemporary industrializing world. They also expressed appreciation for the spirituality and idealism (as well as the art and artisanship) of past times, especially the Early Renaissance.
John Ruskin
The Pre-Raphaelite Brotherhood, including Millais and Rossetti, rejected Realism and based their artistic philosophy on the writings of which individual?
Theodore Gericault
A key figure in the Romantic movement known for his emotionally charged and dramatic paintings. His most famous work, "The Raft of the Medusa", captures the intense human suffering and desperation of a shipwreck. He often explored themes of struggle, psychological intensity, and the darker aspects of life, using dynamic compositions and strong contrasts of light and shadow. His focus on emotion and human extremes marked a departure from the calm, rational style of Neoclassicism.
Theodore Gericault
Who was the artist of the immense Romantic painting Raft of the Medusa, which took eight months to create?
Thomas Eakins
A prominent Realist painter known for his dedication to depicting human experiences with accuracy. He studied both painting and medical anatomy. He aimed to portray subjects as he saw them, aligning with 19th-century American tastes that valued realistic depiction and truth. His early masterpiece faced rejection at the 1876 Philadelphia exhibition for its stark portrayal of surgery. He included his self-portrait to emphasize authenticity, reflecting his medical background. The work's raw realism, enhanced by dramatic lighting, was difficult for some viewers to endure.
Thomas Eakins
Which American Realist artist who studied both painting and medicine believed that careful observation was a prerequisite for his art?
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