Midterm Art History USA

Katcina Figure

1. Dolls made by the Hopi people, religious, immortal spirits, handmade will local materials

2. Matter: show Hopi culture and teach children about traditions and rituals.

3. San Jose, Old Laguna Pueblo, New Mexico, 1699

Elizabethan-Jacobean Portrait

1. a style of portrait painting from the late 16th and early 17th centuries in Britain, known for its rich symbolism, opulence, and intricate detail, which served to project the subject's status and identity

2. Why matter? it is what the coloists were steaming from and also taking precedent from 

3. Simon van de Passe, Engraving of Pocahontas, 1616

Dutch Baroque Portrait

1. a 17th-century art style characterized by its realism, focus on individual and emotional expression, and use of light and shadow techniques

2. Why matter? it is what the coloists were taking precedent from

3. Thomas Smith, Self-Portrait, 1680

Portrait Dress (Van Dyke, Turkish, etc)

1. clothing, often a blend of fact and artistic invention, worn by sitters specifically for their portraits. These garments were not always everyday wear; instead, they often conveyed specific messages about the subject's wealth, status, character, or taste

2. Why matter? it was a way for people in the Colonies to self-express what they want people to see them as

3. Sir Godfrey Kneller, Lucy Parke Bryd, 1716  

Limner

1. an artist who typically paints portraits, with the term historically referring to a person who illuminated manuscripts and later to an itinerant portrait painter, often with little formal training

2. Why matters? it is some of the first portraits for the colonial time showing how people were starting to depict themselves

3. Unknown Limner, John Freake & Elizabeth Freake and Bady Mary, 1671-1674

Apotheosis

1. refers to the elevation of a figure to a divine or glorified status. Depictions of apotheosis show the subject rising to the heavens or presented among gods, symbolizing their deification.

2. Why matter? Spanish and English colonists were using religion to justify taking over the Americas and spreading faith

3. Frere Luc (Claude Francois) France Bringing the Faith to the Indians of New France, 1675

Ad locutio gesture

1. a formal gesture of power and authority, primarily seen in ancient Roman art, where a high-ranking official, such as an emperor or general, addresses their troops

2. Why matter? This pose is used to depict people of power in the colonists 

3. Charles Wilson Peale, William Pitt (“Worthy of Liberty, Mr. Pitt scorns to invade the Liberties of other People”)

Emblematic Portrait

1. a work of art that uses symbols and objects to represent a person's character, status, or ideas, rather than just their physical likeness

2. Why Matter? People of this time were very materialistic and used it as a way to express the person they wanted to be

3. John S. Copley, Boy with a Squirrel, 1765

Royal Academy of Arts, London

1. 40 artists and architects, the Royal Academy was founded to cultivate a native art tradition and elevate the status of British artists

2. Why matter? pushes art to the next level, technically and is becoming more of a profession to strive for and American arts were trying to prove themselves to the school 

3. John S. Copley, Boy with a Squirrel, 1765 - sent to get feedback  

Grand Manner

1. Idealized, noble subjects, heroic figures, and timeless themes. Large-scale compositions, life-sized figures, and classical balance and restraint to convey moral or intellectual messages rather than everyday reality.

2. Why matter? Americans started using this to depict historical or significant events

3. Benjamin West, Death of General Wolfe, 1770

Panorama/cyclorama

1. art forms that create an immersive, 360-degree visual experience by painting a scene on a large, cylindrical canvas that surrounds the viewer

2. Why matter? it was a for of entertainment and was enjoyed the wealthy

3. John Vanderlyn, Panorama of Verailles, 1818

Historical Landscape

1. a geographic area, including both cultural and natural resources, that reflects human activity and holds significance for historical events, people, or design styles

2. Why matter? Landscape mixed with culture helps understand what events are happening at the time in America 

3. Charles Wilson Peale, Exhumation of the Mastadon, 1806-1807

Trompe-l'œil

1. French term meaning "to fool the eye," and in art history, it refers to an artistic technique that uses hyperrealistic detail to create a convincing illusion of three-dimensional objects on a two-dimensional surface

2. Why matter? it was a form of entertainment and excitement for people at the time. It was their form of movies or vidoes videos

3. Raphaelle Peale, Venus Rising from the Sea - A Deception, 1822

Sublime/Picturesque

1. picturesque focuses on irregular, charming scenes that are aesthetically pleasing "like a picture," emphasizing variety and roughness. The sublime, in contrast, evokes feelings of awe, terror, and insignificance through vast

2. Why Matter? these emotions were used when explaining the wild west landscapes through paintings 

3. Frederick Church, Niagara Falls, 1857

Phrygian cap

1. sign of freedom or liberty 

2. Why matter? this was a symbol used historically but became impactful when the colonist were fighting for freedom

3. Charles Wilson Peale, William Pitt (“Worthy of Liberty, Mr. Pitt scorns to invade the Liberties of other People”), 1768

Grand Tour

1. a traditional trip through Europe, primarily Italy, taken by upper-class young men (and later women) as a cultural and educational rite of passage

2. Why Matter? opportunity for artist to live in Europe and work and learn technical drawing to bring back to the American clients

3. John S. Copley, Waston and the Shark 1778

American Neoclassicism

1. an artistic and architectural movement in the late 18th and early 19th centuries that revived the styles of ancient Greece and Rome

2. Why Matter? Once again showing how America is trying to make its own identity based on the past

3. Benjamin West, Death of General Wolfe, 1770

Syncretism

1. the blending of different cultural, religious, or artistic traditions to create new, hybrid forms of expression

2. Why matter? American is trying to blend their culture with English but mainly with the natives 

3. Stradanus, Nova Ruperta: Amerigo Vespucci Awakens a Sleeping America, 1600 

Anglicization

1. the process by which a non-English culture or aesthetic adopts characteristics of English culture, style, and taste

2. Why matter? American art did not start form scratch arits took inspration from what they new in Englian and cchanged what they didnot like

3. Castillo de San Marcos, St. Augustine, FL, 1672-1687

Consumer Revolution

1. Increased access to new goods shifted societal values, influencing how people viewed status, wealth, and identity through consumption

2. Why matters? show how extensive the trading network is

3. Castillo de San Marcos, St. Augustine, FL 1672-1687

The Empire of Goods

1. imperialism and the circulation of art and luxury goods, showing how colonial expansion fueled artistic production and how art was used to promote imperial ideologies

2. Why Matter? s shows how materialistic new Americans are

3. Sir Godfrey Kneller, Lucy Parke Byrd, 1716

Gentility 

1. a refined set of values and behaviors adopted by the middle and upper classes, which is expressed through material culture and visual representation

2. Why matters? Is was a way colonists wanted to express themselves

3. Gilbert Stuart, George Washington, Landsdowne type portrait, 1796 

Homespun

1. textiles produced domestically, often in a non-industrial, household setting

2. Why matter? Women had a significance, America showing its independces independence

3. John S. Copley, Governor and Mrs. Thomas Mifflin, 1773

Noble/Ignoble Savage trope

1. contradictory representation of non-Western or indigenous peoples as either pure and virtuous ("noble") or brutish and uncivilized ("ignoble")

2. Why matter? the interaction with the natives shape help shape America

3. Thomas Cole, The Course of Empire, 1833-1836 The Savage State or Pastoral state 

Roundhead/Libertine

1. Roundhead was a supporter of the Parliamentarians during the English Civil War, while a Libertine was a term for someone who indulges in sensual pleasures without moral principles

2. Why matter? around the time of colonization and people wanted to escape the civil unrest 

3. John White, The Village of Secoton, 1585 - there were creating the images for the English eye 

Federalist

1. strong, centralized national government to promote economic growth and ensure stability - Washington – believes in democracy but not direct democracy (one person one vote). “Mob rule” damages because the majority can rule over the minority

2. Why matter? Washington was setting the path for what people of that party should look like or act

3. Gilbert Stuart, George Washington, Atheneaum Type portrait 1795

Jeffersonian Democrat

1. Much more limited role for government - they want to educate the mob - invest in libraries, free press, enlightenment farms would be ideal - no aristocratic rule

2. Why important? have a balance allow for around establishment of a new country 

3. Thomas Jefferson, Monticello, Charlottesville, VA 1772

The Whig Party (post-revolutionary war)

1. direct opposition to President Andrew Jackson, caution on westward expansion, larger government, national bank

2. Why matter? these people were trying to slow andrew jackson large moves

3. Thomas Cole, Course of Empires, 1833-1836 OR William Sydeny Mount cidermaking, 1840 William Henry Harrison the Log cabin and Hard Cider campain

Jacksonian Democrat

1. emphasizing greater power for the "common man" and challenging the influence of established elites

2. Why matter? The idea of individual power is unquire to America

3. Thomas Cole, Course of Empires, 1833-1836 OR William Sydeny Mount cidermaking, 1840 William Henry Harrison the Log cabin and Hard Cider campain

Republicanism

1. emphasizes liberty, the rights of the individual, and the common good through a government led by elected representatives

2. Why matter? A foundation of the Americas

3. Caleb Bingham, Fur Traders Descending the Missouri, 1845

Pueblo

1. Pueblo peoples in the American Southwest, characterized by multi-story, terraced structures made of adobe or stone

2. Why matter? cultural climate appropriate building method

3. Pueblo Bonito, Chaco Canyon, New Mexico, 900-1150 BC

Wigwam

1. a semi-permanent, domed or oval dwelling used by various Native American and First Nations tribes, particularly in the Northeastern U.S

2. Why matter? cultural climate appropriate building method

3. John White, The Village of Secoton, 1585

Wattle and Daub

1. strips of wood ("wattle") is used as a framework for walls, which is then plastered over with a mixture of clay, sand, and straw ("daub")

2. Why matter? cultural climate appropriate building method

3. Pueblo Bonito, Chaco Canyon, New Mexico, 900-1150 BC or Publoe Bortio, Chaco Canyon, NM

Coquina

1. sedimentary rock formed from shell fragments and sand

2. Why matter? used slaves, global trade network

3. Castillo De San Marcos, St. Augustine, FL, 1672-1687

Hall and Parlor Plan

1. Parlor → sleep and private spaces, multi-purpose  Hall → eat with people, receive people, multi-purpose furniture

2. Why matter? keeping it simple for climate

3. Parson Capon House, Tops Field MA 1683

Postmedieval English

1. originated in England and was brought to colonial America, steeply pitched roofs, central or end chimneys, and asymmetrical facades

2. Why matter? some syncretism happening

3. Parson Capon House, Tops Field MA 1683

Georgian Architecture

1. rectangular shapes, symmetrical facades, brick or stone construction, and large windows, often with multi-pane sash windows, king Geroge

2. Why matter? mainly found in the south starting to separate visually

3. Shirley Plantation, Chales City Country VA

Palladian Architecture

1. architect Andrea Palladio, who was inspired by ancient Roman and Greek buildings. It is defined by a strong emphasis on symmetry, proportion, and classical elements like columns,

2. Why matter? American building of the past

3. Thomas Jefferson, Monticello, Charlottesville VA 

John Smibert, Bermuda Group 1729

Start of the art school, passing on knowledge, women also learning 

Charles Wilson Peale, George Washington at the Battle of Princeton, 1779

Evolution of Washington, Federalist, miliary person, Emblematic portrait, Repumisum  

Jean-Antoine Houdon, George Washington, 1788, Virgina State Capitol

marble, after Washington life, made in Europe shipped over, military image of power, Fasces column = Unity

Charles Wilson Peale, The Artist in His Museum

natural history and art museum, one of the first real ones in America, education the masses

Thomas Cole, The falls of Kaaterskill, 1826

sublime, water, sky, feeling small

Asher Durand, Kindred Spirits, 1849

sublime, sky, horizon, west ward expansion

Fredrick Church, Heart of the Anders 

Science, Sublime, Removed form politics, profit for general public 

William Sydney Mount, Painter’s Triumph, 1838

Tromp oli

Lilly Martin Spencer, Kiss me and You’ll kiss the Lasses 1856

womenhood, the new nation the new women, power, portrait dress

Horatio Greenough, George Washington 1840

Hero, Zeus, Ad locutio gesture

Hiram Powers, Greek Slave, 1846

Christian, Greek, in the slave trade in turkey, drapery

Harriet Hosmer, Zenobia in Chains, 1859

produced by a woman, women in power, captive, misunderstanding, clothed, societal limitations placed on women, American Neoclassical, anctent queen

Edmonia Lewis, The Death of Cleopatra, 1875

powerful death, first black women sculpture, not clear the race, Neoclassical, body position, takes her own life rather than face humiliation