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10 Cards in this Set

  • Front
  • Back
Claude Monet Impression Sunrise 1872

a. Exhibited first in Paris 1874 at first Impressionist Exhibition
b. Key because title ended up giving Impressionists their name (by Louis Leroy)
Gustav Courbet The Painter’s Studio: A Real Allegory of a Seven Year Phase in my Artistic and Moral Life 1855

a. Refused from Exposition Universelle
b. Goes from those thriving on death (left) to those thriving on life (right)
other side: Pierre Auguste Renoir The Boulevard 1875

comparison:  Renoir’s work is more poetic and lyrical
other side: Pierre Auguste Renoir The Boulevard 1875

comparison: Renoir’s work is more poetic and lyrical
other side: Gustave Caillebotte Paris Street on a Rainy Day 1877

comparison: Caillebotte used underlying drawings and is clearly structured
other side: Gustave Caillebotte Paris Street on a Rainy Day 1877

comparison: Caillebotte used underlying drawings and is clearly structured
Auguste Rodin Age of Bronze 1876-1880 previously titled The Vanquished One

a. Renaming of the statue makes it more universal and abstract
b. Created as a response to defeat from Franco-Prussian War
c. Ends up in Luxembourg Gardens after purchase
other side: Pierre-Auguste Renoir,  Claude Monet Painting in his Garden 1873

contrast: actually being outdoors and using natural light

similar: beg of equipment use
other side: Pierre-Auguste Renoir, Claude Monet Painting in his Garden 1873

contrast: actually being outdoors and using natural light

similar: beg of equipment use
other side: Thomas Couture The Realist 1865

The two paintings tell us about the rejection of classic art and how artists 

contrast: preferred to paint real, ordinary life while not necessarily being outdoors 

similar: Beginning of equipme...
other side: Thomas Couture The Realist 1865

The two paintings tell us about the rejection of classic art and how artists

contrast: preferred to paint real, ordinary life while not necessarily being outdoors

similar: Beginning of equipment use
Camille Pissarro Simultaneous Contrast of Colors 1839 (book)

Shows how to use colors and how complementary colors highlight each other. 

picture on this side is from a different book
Michel Eugene Chevreul Simultaneous Contrast of Colors 1839 (book)

Shows how to use colors and how complementary colors highlight each other.

picture on this side is from a different book
other side: Renoir The Dance at le Moulin de la Galette 1876

Renoir painted on the spot, capturing what it was like to be there at that moment.
other side: Renoir The Dance at le Moulin de la Galette 1876

Renoir painted on the spot, capturing what it was like to be there at that moment.
other side: Eduoard Manet Music in the Tuileries Gardens 1862

Manet always painted in the studio and works from drawings/sketches while
other side: Eduoard Manet Music in the Tuileries Gardens 1862

Manet always painted in the studio and works from drawings/sketches while
8) Henri Fantin-Latour A Studio in the Batignolles (Homage to Manet) 1870

painting a portrait of a writer. Mocked by a newspaper clip calling it “Jesus and His disciples”. Zacharie Astruc is the man Manet is painting.
other side: Cassatt Woman in a Loge wearing a pearl necklace, 1879

Cassatt’s “gaiety”. displaying an interest in city nightlife shared by many of the Impressionists.
Influence by Degas (darkness)
other side: Cassatt Woman in a Loge wearing a pearl necklace, 1879

Cassatt’s “gaiety”. displaying an interest in city nightlife shared by many of the Impressionists.
Influence by Degas
other side: Eva Gonzàles, A Loge at the Théâtre des Italiens, 1874

Gonzales’ painting is somber, serious and dark 
Influence by Manet
other side: Eva Gonzàles, A Loge at the Théâtre des Italiens, 1874

Gonzales’ painting is somber, serious and dark
Influence by Manet (both use darkness)
Claude Monet Garden in Giverny 1902 was painted late in his life when he particularly enjoyed painting his gardens, especially his water lilies. In his paintings he is creating his own subject manner because he would instruct the gardeners about controlling everything the way he wanted. In this painting he depicts the path up to his house using only touches of color and the focus is completely on the garden.

Water lily series in the beginning of the 20th century and kept them all together in the Musee D’Orangerie (installed in 1927)