Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
110 Cards in this Set
- Front
- Back
|
Goya, The Family of Charles IV, 1800 ROMANTICISM (c. 1780-1850) |
|
|
Goya, The Third of May, 1808, ~1814-15 ROMANTICISM (c. 1780-1850) |
|
|
Blake, Elohim creating Adam, 1795 (pre)ROMANTICISM (c. 1780-1850) |
|
|
Constable, The Haywain, 1821 ROMANTICISM (c. 1780-1850) |
|
|
Turner, The Slave Ship ROMANTICISM (c. 1780-1850) |
|
|
Turner, Burning of Houses of Parliament ROMANTICISM (c. 1780-1850) |
|
|
Friedrich, Abbey in an Oak Forest ROMANTICISM (c. 1780-1850) |
|
|
Ingres, Grand Odalisque ROMANTICISM (c. 1780-1850) |
|
|
Ingres, Portrait of Mme Inés Moitessier ROMANTICISM (c. 1780-1850) |
|
|
Géricault, Charging Chasseur ROMANTICISM (c. 1780-1850) |
|
|
Géricault, The Raft of the Medusa ROMANTICISM (c. 1780-1850) |
|
|
Delacroix, Death of Sardanapalus ROMANTICISM (c. 1780-1850) |
|
|
Delacroix, Women of Algiers ROMANTICISM (c. 1780-1850) |
|
|
Corot, Souvenir de Mortefontaine ROMANTICISM (c. 1780-1850) |
|
|
Rousseau, Under the Birches, Evening ROMANTICISM (c. 1780-1850) |
|
ROMANTICISM (c. 1780-1850) artists |
John Henry Fuseli (1741-1825) William Blake (1757-1827) J.M.W. Turner (1775-1851) John Constable (1776-1837) Francesco Goya (1745-1828) Caspar David Friedrich (1774-1840) Thomas Cole (1801-1848) Theodore Géricault (1745-1824) Eugène Delacroix (1798-1863) Jean-Baptiste-Camille Corot (1796-1875)* Théodore Rousseau (1812-1867)* Jean-Auguste0Dominque Ingres (1780-1825)—also listed under Neo-Classicism |
|
|
Watteau, A Pilgrimage to Cythera, 1717 c. 1715-1770 ROCOCO |
|
|
Boucher, Portrait of Madame Pompadour,1756 c. 1715-1770 ROCOCO |
|
|
Fragonard, The Swing,1775-80 c. 1715-1770 ROCOCO |
|
|
Rosalba Carriera, Charles Sackville c. 1715-1770 ROCOCO |
|
|
Chardin, Soap Bubbles c. 1715-1770 ROCOCO |
|
|
William Hogarth, The Orgy c. 1715-1770 ROCOCO |
|
|
Gainsborough, Portrait of Mrs. Richard Brinsley Sheridan c. 1715-1770 ROCOCO |
|
c. 1715-1770 ROCOCO artists |
Jean-Antoine Watteau (1684-1721) François Boucher (1703-1770) Jean Honoré Fragonard (1732-1806) Rosalba Carriera (1675-1757) Jean-Siméon Chardin (1669-1779) William Hogarth (1697-1764) Thomas Gainsborough (1727-1788) |
|
|
Angelica Kauffmann, Cornelia Presenting her Treasures c1785 c. 1750-1850 NEOCLASSICISM |
|
|
Joseph Wright, The Old Man and Death c. 1750-1850 NEOCLASSICISM |
|
|
John Henry Fuseli, The Nightmare c. 1780-1850 ROMANTICISM |
|
|
David, The Oath of the Horatii 1784-5 c. 1750-1850 NEOCLASSICISM |
|
|
David, The Death of Marat c. 1750-1850 NEOCLASSICISM |
|
|
David, Portrait of Pope Pius VII and Cardinal Caprara 1804 c. 1750-1850 NEOCLASSICISM |
|
|
Vigée-Lebrun, Self Portrait with Daughter 1789 c. c. 1750-1850 NEOCLASSICISM |
|
During the 18th century in England, paradoxically, |
Gothic revival and Romantic undercurrents paralleled Classical revival and painting based in Greco-Roman antiquity. |
|
When Watteau submitted A Pilgrimage to Cythera to the Academy, a new category was added to its hierarchy. The new category is known as |
Fête galante or outdoor entertainment. |
|
Historians know about The Swing's commission that the patron |
Appealed to the patron's desire to see his mistress's legs in a sort of erotic fantasy. |
|
Commissioned by King Louis XVI before the French Revolution began. |
David, Oath of the Horatii |
|
Depicted the assassinated leader of the Terror as a martyr. |
David, Death of Marat |
|
Conveyed the brutality of the French imperial troops against local rebels. |
Goya, The Third of May 1808 |
|
Based on the artist's observed experiences as an official artist for the French delegation. |
Delacroix, Women of Algiers |
|
During the initial advances of Napoleon's Russian campaigns |
Géricault, Charging Chasseur |
|
Géricault's Raft of the Medusa was revolutionary because he: |
Explored the psychological and physical experience of survival during a natural disaster. |
|
Which of the following is the best description of what Goya did in The Family of Charles IV? |
In contrast to conventional royal portraits, the artist depicts the family as unidealized and associates his own accomplishments with the artist Velázquez. |
|
Which statement BEST describes the artist's media in Elohim creating Adam? |
The artist took a black-paint impression off millboard, a second color impression and finished with watercolor. |
|
The Slave Ship shows evidence of what artistic idea of the 19th century? |
Certain colors are associated with different emotions and are strengthened in impact through the use of complements. |
|
During the Rococo period, the conflict between line and color that was identified by Vasari, is evident in the divide of the French Academy into two factions: |
Poussinistes and the Rubénistes |
|
What was radical about Corot's technique in Souvenir de Mortefontaine? |
He made small studies en plein air and then refused to idealize them when he enlarged the canvas in his studio. |
|
In terms of context, Grand Odalisque and Death of Sardanapalus are part of the French discourse known as __________________ during the 19th century. |
Orientalism |
|
With which idea of Romanticism is The Haywain most closely associated? |
Nostalgia and longing for pre-industrialized Europe. |
|
Rosalba Carriera is known for her work in what medium, used to execute this painting: |
Pastels |
|
With which idea of Romanticism is The Slave Ship most closely associated? |
A quest for the sublime. |
|
The Barbizon school is most closely associated with |
Landscape painting in situ (on site). |
|
This caricature sums up the artistic debate about line and color. Which is the best interpretation of the image? |
Delacroix is more painterly and fits the designation "colore," meaning he follows in the tradition of Rubens. |
|
In comparison to the Baroque, art in the style Rococo (sometimes called Late Baroque) is more likely to be |
Depicting an enchanted artificial environment that is removed from a real life. |
|
As an art critic, Denis Diderot (like other Enlightenment thinkers) favored the art of Jean-Siméon Chardin over the art of François Boucher and the Rococo. Diderot's primary reason for admiring Chardin was: |
The visual truth in the way he represented the material world. |
|
The Nightmare explores which idea of Romanticism most fully? |
The exploration of the erotic, emotional and irrational aspects of human nature. |
|
Angelica Kauffmann's painting Cornelia Presenting Her Children as Her Treasures (Mother of the Gracchi) is a painting that shows the Neoclassical use of Greek and Roman literature. The painting also met the contemporary standard that art |
Provide an example of virtue to its viewers. |
|
The strong contrast of light and dark that Caravaggio uses in the Calling of Saint Matthew is known as |
tenebrism
|
|
Baroque Art is characterized by which 3 attributes? |
sensual richness, movement, emotional expressiveness
|
|
What is the story of Judith and Holofernes that was depicted by Artemisia Gentileschi? |
Judith and her maidservant saved their people by getting the Assyrian general drunk and cutting off his head.
|
|
Gianlorenzo Bernini is known not only as a sculptor, but also as the |
Architect who transformed the interior spaces of St. Peter's in Rome.
|
|
What do we know about the sitter in this portrait? |
He was the artist's assistant, an enslaved person of mixed Moroccan and Spanish descent. who became a painter after emancipation
|
|
Which of the following printmaking techniques is NOT evident in this work? |
mezzotint
|
|
Which of the following is a true statement about The Maids of Honor (Las Meninas)? |
The red cross insignia on his chest was painted after the artist's death.
|
|
Illusionist ceiling paintings were popular during the Baroque period. Which of the following correctly describes a type of illusionism that was practiced during this period? |
Painted architectural framework to look like it is three-dimensional.
|
|
In his early years (before 1620), Diego Velázquez is best known for his bodegónes, which are |
"Kitchen paintings" showing scenes of people eating and drinking.
|
|
Especially in Italy and Spain, the two most powerful institutions associated with patronage of Baroque Art were |
The Roman Catholic Church and absolute monarchies
|
|
Like the illusionist Italian ceiling painters of his generation, Bernini's image demonstrates how the artist: |
Positioned the sculpture so that he sets one specific viewpoint rather than inviting the public to view from many different angles.
|
|
The artist of Birth of Venus(Poussin) was from ______________, but painted primariy in _________________. |
France; Rome
|
|
In this portrait, what does your textbook identify as most important about Gentileschi' self-representation? |
She embodies the attributes of the allegorical female figure of Painting.
|
|
|
Caravaggio, The Calling of St. Matthew, 1599-1600 c. 1590-1750 BAROQUE |
|
|
Caravaggio, The Conversion of St. Paul, 1601 c. 1590-1750 BAROQUE |
|
|
Artemesia Gentileschi, Judith and her Maidservant with the head of Holofernes, 1625 c. 1590-1750 BAROQUE |
|
|
Artemesia Gentileschi, Self-Portrait as the Allegory of Painting, 1630s c. 1590-1750 BAROQUE |
|
|
Annibale Carracci, Farnese Palace Ceiling(loves of the gods) 1597-1601 c. 1590-1750 BAROQUE |
|
|
Bernini, David, 1623 c. 1590-1750 BAROQUE |
|
|
Bernini, The Ecstasy of St. Theresa, 1645-1652 c. 1590-1750 BAROQUE |
|
|
Velázquez, Juan de Pareja, 1650 c. 1590-1750 BAROQUE |
|
|
Velázquez, The Maids of Honor (Las Meninas),1656 c. 1590-1750 BAROQUE |
|
|
Rubens, The Raising of the Cross, 1610 c. 1590-1750 BAROQUE |
|
|
Rubens, Arrival of Marie de’ Medici Landing in Marseilles, 1622-25 c. 1590-1750 BAROQUE |
|
|
Rubens(&frans snyders for bird), Prometheus Bound, 1612 c. 1590-1750 BAROQUE |
|
|
Anthony van Dyck, Portrait of Charles I Hunting, c1635 c. 1590-1750 BAROQUE |
|
|
Clara Peeters, Still Life with Flowers,1612 c. 1590-1750 BAROQUE |
|
|
Frans Hals, The Jolly Toper,1628-30 c. 1590-1750 BAROQUE |
|
|
Judith Leyster, The Proposition,1631 c. 1590-1750 BAROQUE |
|
|
Rembrandt van Rijn, The Militia Company of Captain Frans Banning Cocq (“The Night Watch”),1642 c. 1590-1750 BAROQUE |
|
|
Rembrandt van Rijn, The Hundred Guilder Print(christ preaching), 1647 c. 1590-1750 BAROQUE |
|
|
Rembrandt van Rijn, Self-Portrait,1658 c. 1590-1750 BAROQUE |
|
|
Jacob van Ruisadel, The Jewish Cemetery c. 1590-1750 BAROQUE |
|
|
Jan Steen, The Feast of St. Nicholas,1660-65 c. 1590-1750 BAROQUE |
|
|
Vermeer, Woman Holding a Balance1662-3 c. 1590-1750 BAROQUE |
|
|
Poussin, The Rape of the Sabines, 1663-34 c. 1590-1750 BAROQUE |
|
|
Poussin, The Birth of Venus,1635-6 c. 1590-1750 BAROQUE |
|
|
Claude Gellée, also called Claude Lorrain, Landscape with Cattle and Peasants, 1629 c. 1590-1750 BAROQUE |
|
during what movement did portraitists first try to make their subjects appear elegant and culture? |
mannerism |
|
what are 3 modern concerns that first become evident in the subjects of baroque art? |
class, gender, sexuality |
|
romatic quest for art, combined images of danger & pain with ideas of pleasure, associated w philosophical idea of? |
sublime |
|
artists of barbizon school drew attention when they went into forests of fontainebleau w their paints to sketch |
en plein air |
|
massacios tribute money demonstrates 2 kinds of perspective: |
linear, atmospheric |
|
major event of 16th cent. radically changed poli. and reli. cultural situation for artists: |
protestant reformation |
|
19th cent. fascination w islamic arabic jewish culture as erotic and exotic: |
orientalism |
|
sculptural project is often considered to mark beginning of renaissance |
ghiberti, gates of paradise(sacrifice of isaac) |
|
international political event at end of 18th cent had transforming impact in neoclassical and romantic art |
french revolution(1789) |
|
which italian artistic center had closest connection w byzantine & islamic culture |
venice |
|
when print made by incising lines on metal plate placing it in an acid bath this is process known as: |
etching |
|
desire to make art that depicted irregularities of nature and pleasant scene of country side: |
picturesque |
|
city developed tradition of making lush pastoral landscapes |
venice |
|
vasari established 2 categ. of painting one associated w florence one w venice, italian terms: |
disegno and colore |
|
term to describe how artists make piece appear to share the physical space w viewer to imitate the subject precisely |
illusionism |
|
c. 1590-1750 BAROQUE artists |
Annibale Carracci (1560-1609) Caravaggio (1571-1610) Artemisia Gentileschi (c. 1593-1653) Gianlorenzo Bernini (1598-1680) Diego Velázquez (1599-1665) Peter Paul Rubens (1577-1640) Clara Peeters (active 1607-c. 1621) Anthony van Dyck (1599-1640) Frans Hals (1580-1666) Judith Leyster (1609-1660) Rembrandt van Rijn (1606-1699) Jacob van Ruisdael (c. 1628-1682) Jan Steen (c. 1660-1665) Jan Vermeer van Delft (1632-1675)Nicolas Poussin (1594-1665)Claude Lorrain (1604/5?-1682) |
|
c. 1750-1850 NEOCLASSICISM |
Sir Joshua Reynolds (1723-1802) Angelica Kauffmann (1741-1807) Benjamin West (1738-1820) John Singleton Copley (1737-1815) Joseph Wright of Derby (1734-1797) Jacques-Louis David (1748-1825) Marie-Louise-Élisabeth Vigée-Lebrun (1755-1842) Antonio Canova (1757-1822) Jean-Auguste0Dominque Ingres (1780-1825) |