NOTES VIAR 122 Exam 2

PRE RENAISSANCE

        1280-1400

EARLY RENAISSANCE

        1400-1475/95

HIGH RENAISSANCE

        1475/95-1525

The Reformation

        1517

Mannerism

        1520s-1560s

LATE RENAISSANCE

        1525-1600

BAROQUE

        1600-1700

ROCOCO

    1715-1774

INDUSTRIAL REVOLUTION

    mid 1700s

AMERICAN REVOLUTION

    1776

NEOCLASSICISM

    1770-1820

FRENCH REVOLUTION

    1789

ROMANTICISM

    1789-1848

THE REIGN OF TERROR

    1793-1794

REALISM

    1848-1873

IMPRESSIONISM

1874-1886

 BAROQUE 

DESCRIPTION

- expressive and theatrical style
- emotion
- heightened drama
--- tension and movement
--- dramatic lighting
--- sweeping gestures
- new subjects
--- still life
--- genre
--- landscape
- Caravaggio practically began 
  Baroque

ARTISTS

  • Caravaggio 1571-1610

    • Caravaggio. The Calling of St. Matthew, Contarelli Chapel, c. 1599-1600. Oil on canvas

      • Based on the life of St. Matthew

      • Emphasis on the artist choosing the (most intense moment when the dude is being pointed at

    • Caravaggio. Judith Beheading Holofernes, 1598-1599. Oil on canvas

      • Note the choice to depict the moment of the killing rather than the before or after

      • Emphasis on the darkness and the complex emotions (specifically on Judith)

      • Remember the subject (the whole story about how Judith, under the guide of god, infiltrated and tricked Holofernes before slaying him)

  • Bernini 1598-1680

    • Bernini. David. 1623. Marble

      • Note that the face is speculated to be modeled after the artist himself

      • Like the others, this also depicts the moment with the most action (where David is actively trying to kill the other rather than planning or celebrating the death)

  • Gentileschi 1593-1653

    • Judith Slaying Holofernes, 162-021, oil on canvas

      • Remember the comparisons made during the lecture

      • Note the difference in the way the women are depicted (where Gentileschi’s women seem more determined, involved, and powerful)

      • Note the realism in the blood splattering and soaking the surface

        • Not sure if its important for the test, but it might be nice to know Gentileschi’s background with her father teaching her and her issues with men

  • Rubens [NORTHERN BAROQUE]

    • Peter Paul Rubens. The Raising of the Cross. 1610-1611. Oil on panel

      • Note that this is a Triptych

      • Mannerist proportions and over musculature

  • Rembrandt [NORTHERN BAROQUE]

    • Rembrandt van Rijn. Self-Portrait. 1658. Oil on canvas

    • Rembrandt van Rijn. The Hundred Guilder Print. c.1647. Etching and drypoint

      • called this because it’s said to have been worth a hundred guilder(?) which was ridiculous expensive for such a small piece in its time

      • pretty small and made to be kept in a home

  • Vermeer [NORTHERN BAROQUE]

    • Jan Vermeer, Girl with a Pearl Earring, c. 1665

    • Jan Vermeer. Woman Holding a Balance. c. 1664. Oil on canvas.

      • small and intended for homes

      • genre painting (mundane, everyday life)

      • lighting is incredibly accurate

      • note the painting in the back of the painting the interpretations

        • the artist was not very successful in his lifetime

  • Peeters

    • Clara Peeters. Still Life with Flowers, Gilt Goblet, Dried Fruits, and Sweets. 1611. Oil on copper.

      • still life subject

      • different textures

TERMS

  • Tenebrism

    • strong contrasts of light and dark which heighten the dramatic effect

  • Caravaggism

  • Triptych

    • a work of art that is divided into three panels that are hinged together and can be folded shut or displayed open

  • Impasto

    • the technique of laying on paint so thickly that it stands out from the surface

  • Etching

    • a method of making prints in which:

      • A copperplate is coated with a waxy substance

      • A design is drawn with a sharp tool on the surface (removing the waxy coating and exposing the metal beneath)

      • The plate is then placed in an acid bath

      • The exposed metal reacts to the acid (it burns away the metal to create grooves)

      • The plate is then wiped off and covered in ink (the ink fills the grooves)

      • The plate is covered with a sheet of paper and run through a press (which transfers the design to the paper)

  • Genre Painting

    • depicting scenes from ordinary, everyday life (especially domestic situations)

 ROCOCO 

DESCRIPTION

- Rare moment where color beats line
- Rococo is on the side of color
- Poussinistes Vs. Rubénistes
—-- Poussinistes
---—- disegno (line)
---—- conservative group of artists 
      who defended Poussin’s view 
      that line, which appealed to 
      the mind, was superior to color
---—- exclusivity (the claim was that
      drawing appealed more to the 
      educated mind
--- Rubénistes 
---—- colorito (color)
----- Rubénistes favored color, 
      rather than drawing, as being 
      truer to nature and appealing 
      more to the senses
----- claimed that color appealed to
      everyone, not just the experts
- theatrical/fantasy
- women depicted more actively(?) 
  rather than passive and submissive

[Nicolas Poussin. The Abduction of the Sabine Women. c. 1633–34. Oil on canvas] Baroque Classicism

[Peter Paul Rubens. The Raising of the Cross. 1610–11. Oil on panel] Baroque Classicism

ARTISTS

  • Watteau 1684-1721

    • Watteau, A Pilgrimage to Cythera, 1717. Oil on canvas

      • subject of the island of love (Cythera) and the couples either preparing to leave or arriving

      • note the way the background is handled

  • Boucher 1703-1770

    • François Boucher. Portrait of Madame de Pompadour. 1756. Oil on canvas

      • subtle erotic implications (ex: the hand clutching the fabric)

      • depicted as an intelligent and beautiful lady

      • lavish

    • François Boucher. Odalisque. 1749. Oil on canvas.

    • François Boucher. Blonde Odalisque. 1752. Oil on canvas

  • Fragonard 1732-1806

    • Jean-Honoré Fragonard. The Swing (also known as Happy Hazards of the Swing). 1767. Oil on canvas

      • erotic content (ex: voyeur fantasy; dress might represent female anatomy)

      • note the way the background is handled 

TERMS

  • Salon

    • intellectual gatherings in aristocratic homes, paintings were just one element in the creation of an ambiance of refinement in 18th-century France

      • there’s a bunch of images on the powerpoint, let me know if i should add them

  • boudoir painting

    • a painting which alludes to sexual intimacy (offers the thrill of sexual opportunity and voyeurism)

 NEOCLASSICISM 

DESCRIPTION

- French Revolution
- The Reign of Terror 
--- nobility executed gruesomely
--- Marat was for the people and got 
    murdered before becoming a martyr 
    to the public (bc of David)
--- Jacobins Vs. Girodins
- The Birth of the Modern World
--- from rule by aristocracy and 
    church to democracy
--- from agriculture to industry
----- development of new technologies
----- rise of capitalism
--- life changes from predominantly 
    rural to urban
- ENLIGHTENMENT
--- rationality, logic, and control 
--- subjects: virtuous Greeks/Romans
--- Extreme naturalism (Poussinistes)
- Enlightenment Philosophy 
--- emerged in Britain, France, 
    Germany, and the U.S. in the 18th 
    century
--- knowledge comes from practical
    experience rather than religion, 
    superstition, or mysticism
--- emphasized the belief than human 
    are inherently rational beings; 
    we are born good and have a
    natural right to life and liberty
--- against the rule of the church 
    and monarchy
--- made a new system of time and 
    dating devoid of religious 
    influence
--- year 2: 1793
- women depicted more traditional and 
  submissive
- the world’s disenchantment

ARTISTS

  • David 1748-1825

    • Jacques-Louis David, Mademoiselle Guimard as Terpsichore, 1774–75, oil on canvas

    • Jacques-Louis David, The Oath of the Horatii, 1784 (displayed in the Paris Salon of 1784), oil on canvas 

      • subject of the Horatii family’s sons fighting against the Curatii’s in a dual to the death over boarder disputes

      • heroism

      • logic over emotions as they fight despite the emotional turmoil of family

        • against the fantasy and grandeur of rococo and upper class

        • note that David had ≈ 400 students

  • Jacques-Louis David, The Death of Socrates, 1787, oil on canvas (in situ at the Metropolitan Museum of Art in New York

  • Jacques-Louis David, The Death of Marat, 1793, oil on canvas

    • political propaganda to make Marat a martyr

    • know the Reign of Terror event and case study discussion

    • how Marat got murdered in his bath (which he is in often due to a skin condition) by an enemy women who tricked him

TERMS

  • Salon

    • holds art exhibitions

    • considered necessary for most successful artists to have their art be accepted here (French Academy Salon) by David

  • Rome Prize

    • winners get a 3-5 year study in Rome fully paid for by the state

    • considered necessary by David

 ROMANTICISM 

DESCRIPTION

- Napoleon (1799-1815)
--- nominated but then declared 
    himself emperor for life
--- went around trying to colonize
--- touched the sick to prove himself
- Abandons logic and focuses on 
  emotions 
- the exotic; the grotesque; the 
  sublime
- feeling over reason
- contemporary subjects
- complicated compositions

ARTISTS

  • David [NAPOLEON]

    • Jacques-Louis David, The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine, 1807, oil on canvas

      • Napoleon crowns himself

      • sketched in real time and the pose was changed to make Napoleon seem less egotistical

  • Girodet [STUDENT OF DAVID]

    • Girodet. The Sleep of Endymion. 1791. Oil on canvas

      • subject of the moon person falling in love with human, Endymion, and putting him to sleep so that she can visit him

  • Ingres [STUDENT OF DAVID] [NAPOLEON]

    • Jean-Auguste-Dominique Ingres. Grande Odalisque. 1814. Oil on canvas

      • Orientalism

      • Mannerist proportions

      • References Venus of Urbino

    • Ingres. Portrait of Napoleon on His Imperial Throne. 1806. Oil on canvas

    • Gros [STUDENT OF DAVID] [NAPOLEON]

      • Antoine-Jean Gros, Napoleon in the Pesthouse at Jaffa, March 11, 1799, 1804, oil on canvas

        • Napoleon touching the ill to prove that he is approved by god

        • grotesque

  • Gérard [STUDENT OF DAVID]

  • Goya 

    • Goya, The Execution of the Rebels on The Third of May, 1808,

      1814, oil on canvas

    • Goya, The Disasters of War, 1810-1820, etching

    • Goya, Gloomy presentiments of what must come to pass (from The Disasters of War series), 1810-1820, Etching

  • Gericault

    • Théodore Géricault. The Raft of the Medusa. 1818–19. Oil on canvas

      • subject focusing on the survival of the commoners(?) rather than the cruelty of the leader (?)

        • on the medusa, a ship(?), the captain(or leader?) who was a nepo baby ordered for only men of the highest ranks to escape on the escape boats

        • ≈ 150 people (everyone else) got put on a makeshift raft and was left at sea for almost a fortnight

        • ≈ 12 people survived after resorting to cannibalism

TERMS

  • Orientalism

    • the imitation of Middle Eastern and North African cultures by artists in Western Europe (portrayals are stereotypically exotic and sensual)

    • more prevalent bc of Napoleon’s battles for conquest

  • Grotesque

    • subjects in art which emphasize the strange, ugly, or disgusting, but still simultaneously invoke a feeling of uncomfortable pleasure

  • Sublime

    • Greatness beyond all possibility of calculation or measurement

      • Moves the imagination to awe and almost horror

      • Developed as a concept by Edmund Burke in the 18th century -> he suggests the sublime and ugliness have the capacity to instill feelings of intense emotion, ultimately creating a pleasurable experience

 REALISM 

DESCRIPTION

- hard facts over emotions

ARTISTS

  • Courbet 1819-1877

TERMS

  • O