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70 Cards in this Set
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Ernest Meissonier, The Siege of Paris, 1870 -Small oil study-Combination of realism and impressionism -Allegorical figure in the middle representing Paris |
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Claude Monet, Boulevard des Capucines, Paris, 1873 -Busy street-Arrangement of people changes because the peoplemove -Not using linear perspective – elevatedviewpoint |
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Camille Pissarro, Hoarfrost: The Old Road to Emery, Pontoise, 1873 -Doesn’t quite look like he’s in the cycle of poverty |
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Pierre-Auguste Renoir, The Loge, 1874 -The middle class finally have enough money to have leisure time-She has this gaze. Called the gaze -Painting about looking. Not watching the opera |
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Edgar Degas, A Carriage at the Races, 1870-72 -Very small painting-in the first impressionist exhibition in 1874 -difficulty deciding what the subject of this painting is -doesn’t focus enough on the people for it to be a portrait -very low horizon line |
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Thomas Eakins, The Biglin Brothers Turning the Stake, 1873 -Critical part of the race, where they turnaround |
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Edgar Degas, The Rehearsal, c. 1878 -Just see her leg, so weird-Somewhat Japanese -Bright orange, blue and yellow |
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Claude Monet, Gare St.-Lazare, Paris, 1877 -Trains are important because it’s a route out of the city-Loves the way that the smokes collect |
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James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, 1875 -Dominated by mood and suggestion-Musical piece that evokes a feeling a nighttime(nocturne) -Fireworks at a park in London |
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Gustave Caillebotte, Paris Street: Rainy Weather, 1877 -famous, apparently-Expertly laid out |
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Édouard Manet, A Bar at the Folies-Bergère, 1881-82 -Engaging with a young bartender-Don’t know what’s going on in her head -What’s going on around her -Mirror behind her and everything seems a bit off because it doesn’t look like the right reflection -Are we the guy? -Manet can make up whatever he wants |
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Thomas Eakins, The Gross Clinic, 1875 -Paint what he actually saw-Was too graphic, apparently |
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Mary Cassatt, The Blue Room, 1878 -Rejected-All the furniture is cropped. She didn’t have to do that but she did -Lack of balance -Lack of narrative |
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John Singer Sargent, The Daughters of Edward Darley Boit, 1882 -Capture the characteristics of an age-Las meninas -Huge Japanese ceramic vases |
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Paul Cézanne, Still Life with Apples, c. 1875-77 -Simultaneously 2D and 3D-Making you acknowledge that it’s made of paint -Outlines -Modeling, shadows being cast -Is the base wood? Fabric? We know it’s paint |
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Paul Cézanne, Five Bathers, 1885-87 -No context-Like Bouguereau—expect Bouguereau has let us know they are Nymphs -The subject matter isn’t anything new -Can’t see depth |
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William-Adolphe Bouguereau, Nymphs Bathing, 1878 |
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Georges Seurat, A Sunday on the Grande-Jatte—1884, 1884-86 -On the banks of the Seine-Suburban leisure -Far from impressionistic because it’s not a spontaneous moment in time. Clearly studied -They are all people he saw and studied and then put them all together in a balanced, academic way -So not impressionistic to have so many studies |
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Georges Seurat, La Parade, 1888 -innovative formality and symmetry |
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Georges Seurat, Le Chahut, 1889-90 -modulation of light and shadows |
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Jules Marey, Running Man, 1886 |
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Vincent van Gogh, The Potato Eaters, 1885 -Dutch feel coming form Rembrandt-Meager food, dirty surroundings, simple lighting |
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Fritz von Uhde, “Come Jesus, Be Our Guest,” 1885 -Christians saw it as a "desecration" of Christ |
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Vincent van Gogh, Interior of a Restaurant, 1887 -Gone to Paris, seen the impressionists, seen Seurat |
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Vincent van Gogh, The Sower, 1888 -His brush stroke has no system-Looking back to Millet’s famous Sower |
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Vincent van Gogh, The Night Café at Arles, 1888 |
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James Ensor, The Entry of Christ into Brussels in 1889, 1888 -precursor to expressionism |
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August Strindberg, Celestographs, 1894 |
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Max Klinger, The Abduction (from A Glove), 1881 -Synesthetic experience – senses through other senses-The frame isn’t even broken on the window |
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Odilon Redon, The Marsh Flower: A Sad, Human Face, from Homage to Goya, 1885 -symbolist |
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Émile Bernard, Buckwheat Harvesters, Pont-Aven, 1888 |
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Paul Gauguin, Yellow Christ, 1889 |
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Paul Gauguin, Ia Orana Maria (Ave Maria),1889 -Most famously goes to Tahiti-Mix of island religion and typical Christian religion |
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Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1897 -This was supposed to be his suicide note, expect his suicide didn’t take-Cycle of life |
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Fernand Khnopff, I Lock the Door Upon Myself, 1891 -Orange lilies have a Japanese placement-Poppy—sleep -Lots of ambiguity -Sleep? Is this a dream? |
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Frederic Leighton, Flaming June, 1895 -alludes to figures of sleeping nymphs-The toxic oleander branch in the top right symbolizes the fragile link between sleep and death |
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F. Holland Day, Study for the Crucifixion, c. 1898 |
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Édouard Vuillard, The Workroom, 1893 -Looking at his mother's work-The different patterns laid on top of each other |
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Pierre Bonnard, Four Panels for a Screen, 1891-92 -worked from memory-dreamlike quality |
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Ferdinand Hodler, The Chosen One, 1893-94 -What religion is this?-His son -parallelism |
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Edvard Munch, Death in the Sick Room, c. 1894 -pantomime of fixed postures signify various emotions-figures appear to play roles on a theatre stage -men and women began to appear more symbolic than realistic. |
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Edvard Munch, Madonna,1895 -from a series of paintings describing life form young to old age |
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Aubrey Beardsley, Salome with the Head of John the Baptist, 1893 -emphasize the grotesque, the decadent, and the erotic |
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Edvard Munch, The Dance of Life, 1899-1900 -final painting in his series about life and death |
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Auguste Bartholdi, Statue of Liberty (Liberty Enlightening the World), 1875-84 |
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Paul Dubois, Military Courage, 1876 |
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Edgar Degas, Little Dancer Fourteen Years Old, 1881 |
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Jules Dalou, The Triumph of the Republic, 1879-89 |
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Auguste Rodin, The Age of Brass, 1875-77 |
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Auguste Rodin, Torso, 1877-78 |
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Auguste Rodin, The Gates of Hell, 1880-1900 |
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Auguste Rodin, The Burghers of Calais, 1885-95 |
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Vincenzo Vela, The Victims of Labor, 1883 |
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Constantin Meunier, Stevedore, 1885 |
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Frederic Leighton, Athlete Wrestling with a Python, 1874-77 |
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Auguste Rodin, The Man with the Broken Nose, 1862 |
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Claude Monet, Impression:Sunrise, 1872 -Where the name Impressionism comes from-Monet’s ultimate acceptance of painting in the study style, but calling it a finished painting |
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Daniel Chester French, The Minute Man, 1874 |
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Edgar Degas, Place de la Concorde, 1875 -This painting really categorizes his work-Figure is cut off -The whole background is yellow with no diagonal lines...can’t tell where space is -Being surrounded by lots of people but being connected to no one |
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Eadweard Muybridge, Horse in Motion, 1878 -Important to the realists to show how a horse galloped |
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Mary Cassatt, At the Opera, 1879 -using opera glasses to examine the audience, while she herself is being spied upon by another gentleman in the audience-various types of gaze within a painting |
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Arnold Böcklin, Isle of the Dead, 1880 -desolate and rocky islet seen across an expanse of dark water-one little rowboat, the only hope |
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Gustave Eiffel, Eiffel Tower, 1887-1889 |
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Paul Gauguin, Vision after the Sermon, 1888 -Symbolism-Viewer plays a significant role |
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Paul Gauguin, Self-Portrait with Halo, 1889 - religious symbolism and the stylistic influence of Japanese wood-block prints |
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Vincent van Gogh, Starry Night, 1889 |
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Claude Monet, Rouen Cathedral, West Façade, Afternoon, 1894 -Subject isn’t the cathedral, but light itself |
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Paul Cézanne, Still Life with Plaster Cupid, 1895 -Where the fxck is that green apple? This is supposed to be on the floor-He’s denying our expectations of perspective |
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Albert Pinkham Ryder, Death on a Pale Horse, 1896-98 |
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Paul Cézanne, Mont Sainte-Victoire, c. 1900 -It becomes something that he studies and paints a lot-Japanese tree – not a typical western style -Very clear recession back into space -Reintroduction of the canvas – it’s a violent shock to people -Everything is on top of each other |
