Revolution and Empire MODERN ART QUIZ 3/4

Jean-Antoine Houdon. (France). Louis XVI. 1790

Elisabeth Vigée-Lebrun (France). Marie-Antoinette in Court Dress. 1778

• depictions of monarchs changing in this time- late 18th century- revolution is looming

• changes from Ornate and regal with her in luxury clothing

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

• Shifts from ornate portraits to her inside her home, casual, with her children

Jacques-Louis David. The Tennis Court Oath. 1791

• Trying to reform france

• all the bodies together, one mass, unity, throwing hats in the air, glory, change

• Painting this in the old style to signify and remind people of a time of education, democracy, and unity

Anon. The People Demanding that Louis XVI Leave Versailles. 1789

Jacques-Louis David. Marie-Antoinette Awaiting Execution. 1793

• Etchings begin to mock the king and queen

• stripped of everything that made her queen- hair cut, sinking into herself

Jacques-Louis David. Death of Marat. 1793 (Janson 23.23)

• Slightly abstract

• wall is blank

• classical style

(Compare to Caravaggio’s Entombment")

Francisco Goya (Spain). The Sleep of Reason Produces Monsters. Etching, c. 1799 (Janson 21.1)

• Goya disrupts order

• creepy creatures swarm around

• when reason sleeps, irrationality comes alive

Jacques-Louis David. Intervention of the Sabine Women. 1799. “Thermidorian Reaction,” 1795-1800

• Trying to create order in his paintings

• Beginning of Neoclassicism- disorder in politics

• Trying to display honor, classical antiquity themes in these paintings

• David painted this masterpiece while imprisoned for his political ties after the Reign of Terror. He used the Roman legend to urge French citizens to stop fighting fellow countrymen and reunite.

Antoine-Jean Gros (France). Napoleon Bonaparte On the Bridge at Arcole. 1796

• Napoleon emerges, declares himself emperor

• He wants himself portrayed as someone who climbed the ladder, and got himself where he is

• This painting is romanticizing military capability

• dressed in french colors

Antoine-Jean Gros. The Battle of the Pyramids, 1798. 1810

• Shows other cultures and Egyptians honoring Napoleon because he defeated them

Compare to: Charles Lebrun (France). Entry of Louis XIV into Dunkerque [1662]. Gobelins tapestry, 1665-80

Antoine-Jean Gros. Napoleon at the Pesthouse of Jaffa. 1804 (Janson 24.15) 

• He is courageous for touching people with diseases

• he is NOT like Marie Antoinette and Louis XVI, etc, he is courageous and worked for what he got.

Jacques-Louis David. Napoleon Crossing the Alps. 1800

• Positioning Napoleon in the same way as older pieces of monarchs, just like Louis XVI (14th)

• Saying he is alike in the ways that matter, and unalike in the bad ways

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

Jean-Antoine-Dominique Ingres (France). Napoleon Bonaparte as First Consul. 1804

Jacques-Louis David. Coronation of Napoleon, December 1804. 1805-08

• Napoleon rises up in the ranks and crowns himself emperor

• he portrays himself as someone with honor and power but also as someone who worked for what he got …

• This painting was commissioned for louvre- PR painting

• Massive scale, him crowning Josephine to show family life

J.A.D. Ingres. Napoleon on his Imperial Throne. 1806 (Janson 24.12)

• Holding coronation ball and scepter, motifs of power

• 100 years later, power

Compare to: Hyacinthe Rigaud. Louis XIV, King of France. 1701

Jacques-Louis David. Napoleon in his Study. 1811-12

• him in his study, showing him at work, working for what he got

Antoine-Jean Gros. The Capitulation of Madrid, 1808. 1810

• Napoleon places his brother as Spanish Monarch

• White pop of pants, French as Elite, madrid people have been conquered

L: Francisco Goya (Spain). One Can’t Look (etching) from The Disasters of War. 1810-20

R: Francisco Goya. This is Worse (etching) from The Disasters of War. 1810-20

• Spanish lens, Spain being conquered

• violent, sad, depressing

Francisco Goya (Spain). The Second of May, 1808. 1814-15

• Spanish rebels start a revolution while Napoleons brother was on the throne

• Goya presents bodies that are chaotic, illogical, undertones of violence and gore

• Both made in 1814-1815

• Spanish perspective

Francisco Goya (Spain). The Third of May, 1808. 1814-15 (Janson 24.3)

• Spanish rebels start a revolution while Napoleons brother was on the throne

• Goya presents bodies that are chaotic, illogical, undertones of violence and gore

• Both made in 1814-1815

• Spanish perspective

Théodore Géricault (France). Charging Chasseur.  1812 (Janson 23.16)

• Russian campaign kicks off

• fear, might slip off the horse and dissapear into the night etc

Théodore Géricault. Wounded Cuirassier.  1814

• wounded, returning from a flight

• dark background, small hope towards the left

• he looks scared

William Orchardson (England).  On Board H.M.S. Bellerophon, 1815.  1880 

• Napoleon on his way to exile