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41 Cards in this Set

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Vermeer

Allegory of the Art of Painting
Dutch Baroque, 1670

-History: Map, clothing, trumpet & book (Clio - muse of history)
-Allegory: reference to painting inspired by history
Claesz

Vanitas Still Life
Dutch Baroque, 1630

-Still lifes reflected Dutch pride - accumulated material goods
-Morality and humility
-Vanitas: reference to death (skull, timepiece, tipped glass, cracked walnut)
Poussin

Et in Arcadia Ego
French Baroque, 1655

-Landscape, foreground is three shepherds who are pointing to the tomb
-Female is spirit of death
-"Grand manner" of classicism
Poussin

Burial of Phocion
French Baroque, 1648

-Does not represent place or time
-"Nature subordinate to rational plan"
Rigaud

Louis XIV
French Baroque, 1701

-Absolute monarch in control
LeBrun

Glaerie des Glaces
French Baroque, 1680

-Mirror: ultimate source of illusion - favorite element of Baroque interior design
Wattea

Return from Cytherea
Enlightenment (Flemish Rococo), 1740

-Figures' poses: elegance and sweetness
Fragonard

The Swing
Enlightenment (French Rococo), 1766

-Typical intrigue painting
-Characteristic of Rococo style
Chardin

Grace at Table
Enlightenment (French Anti-Rococo), 1740

-Moral values in quiet scenes of domestic life
-Praise simple goodness of ordinary people (mothers and children), away from corrupt society
Vigee-Lebrun

Self Portrait
Enlightenment (French Anti-Rococo), 1790

-Ideals of independence and self reliance she exhibited as a woman.
Kauffmann

Cornelia Presenting Her Children as Her Treasure
Enlightenment (Swiss Anti-Rococo), 1785

-Subject is an informative exemplum virtutis drawn from Greek and Roman history and literature
-Ancient Roman garb - posed in classicizing Roman attitudes with Roman interiors
-Theme: virture of Cornelia
David

Oath of Horatii
Modern Neoclassicism, 1784

-Subject matter deals with a narrative of patriotism and sacrifice excerpted from Roman history, presented with admirable force and clarity
-Shallow space - stage setting
-Shapes of men and women contrast
David

Death of Marat
Modern Neoclassicism, 1793

-Records an important event in the revolution and provides inspiration and encouragement to the revolutionary forces
-Cold neutral space above Marat's figure slumped in the tub makes for a chilling oppressiveness
David

The Coronation of Napoleon
Modern Neoclassicism, 1805

-Documents the pomp and pageantry of Napoleon's coronation
-People representing Catholic church on right, Napoleon's imperial court on the left
Canova

Pauline Borghese as Venus
Modern Neoclassicism, Italian, 1808

-Holding a golden apple - symbolic of the goddess's triumph in the judgment of Paris
-sensuous pose and drapery recall Greek sculpture
-Sharply detailed rendering of the couch and drapery suggest a commitment to naturalism
Gros

Napoleon at the Pesthouse at Jaffa
Modern Romanticism, French, 1804

-The artist referred to an outbreak of the bubonic plague that erupted during the Near Eastern campaigns of 1799.
-Napoleon comforts those still alive, who are clearly awed by his presence and authority
Goya

The Sleep of Reason Produces Monsters
Modern Romanticism, Spanish, 1798

-Etching
-Depicts the artist asleep, on a table, while threatening creatures surround him.
-Owls = Folly; Bats = Ignorance
-Goya's commitment to the creative process and the Romantic spirit - unleashing of imagination, emotions, nightmares
Goya

The Third of May
Modern Romanticism, Spanish, 1814

-Massacre on May 3
-Encouraged empathy for the Spanish by portraying horrified expressions and anguish on their faces
-Arms in cruciform position, like Jesus
Gericault

Raft of the Medusa
Modern Romanticism, French, 1818

-Abandoned the idealism of Neoclassicism and instead invoked the theatricality of Romanticism.
-Confront viewers with horror, chaos and emotion of the tragedy while invoking the grandeur and impact of large-scale history painting.
-X shaped composition
Delacroix

Death of Sardanapaulus
Modern Romanticism, French, 1826

-Pictorial grand drama
-Assyrian king watches as his belongings are destroyed
Delacroix

Liberty Leading the People
Modern Romanticism, French, 1830

-Current events as subject matter
-Passion and energy of the revolution of 1830
Friedrich

Abbey in the Oak
Modern Romanticism, German, 1810

-Reverential mood of his works demands from the viewer the silence appropriate to sacred places filled with a divine presence.
-Emblems of death are everywhere: season's desolation, the leaning crosses and tombstones, black of mourning worn by the grieving, skeletal trees, destruction that time wrought on the church
Constable

The Haywain
Modern Romanticism, English, 1821

-Oneness with nature that the Romantic poets sought - relaxed figures are not observers but participants in the landscape's being
-Capturing texture from the atmosphere
Courbet

The Stone Breakers
Modern Realism, French, 1849

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Courbet

Burial at Ornans
Modern Realism, French, 1849

-Has the monumental scale of history painting, but the subject's ordinariness and the starkly antiheroic composition horrified contemporary critics
-Faces are portraits
Millet

The Gleaners
Modern Realism, French, 1857

-Found his subjects in the people and occupations of the everyday world.
-Sympathetic depiction of the poor seemed to many like a political manifestation
Daumier

Rue Transnonain
Modern Realism, French, 1834

-Lithograph
-Sniper killed a civil guard
-Created a view of the atrocity from a sharp, realistic angle of vision
-Depicted not the dramatic moment of execution, but the terrible, quiet aftermath
Manet

Luncheon on the Grass
Modern Realism, French, 1863

-Men in modern clothes, women nude
-Woman not ashamed, but comfortable
-Represents an impressive synthesis of the history of painting
Manet

Olympia
Modern Realism, French, 1863

-Brush strokes are rougher and the shifts in tonality are more abrupt than those found in traditional academic painting
Monet

Impression: Sunrise
Modern Impressionism, French, 1877

-Quality of sketch - abbreviation, speed, spontaneity
Monet

Saint-Lazare Train Station
Modern Impressionism, French, 1877

-energy and vitality
Caillebotte

Paris: A Rainy Day
Modern Impressionism, French, 1877

-Informal and asymmetrical composition
-Randomly placed figures
Renoir

Le Moulin de la Galette
Modern Impressionism, French, 1876

-Dappled by sunlight and shade, artfully blurred into the figures to produce just the effect of floating and fleeting light the Impressionists so cultivated.
-Casual unposed placement of figures
-Incidental, momentary and passing aspects of reality
Manet

A Bar at the Folies-Bergere
Modern Impressionism, French, 1882
Monet

Rouen Cathedral
Modern Impressionism, French, 1894

-unparalleled record of the passing of time as seen in the movement of light over identical forms.
Degas

The Tub
Modern Impressionism, French, 1886
Cassatt

The Bath
Modern Impressionism, American, 1892

-visual solidity of the mother and the child contrasts with the flattened patterning of the wallpaper and rug.
Van Gogh

Night Cafe
Modern Post Impressionism, Dutch, 1888
Van Gogh

Starry Night
Modern Post Impressionism, Dutch, 1889
Gauguin

Vision After the Sermon: Jacob Wrestling the Angel
Modern Post Impressionism, French, 1888
Gauguin

Where do we come from? What are we? Where are we going?
Modern Post Impressionism, French, 1897