Arth Final

Front 1

Back 1

Goya, The Family of Charles IV, 1800

ROMANTICISM (c. 1780-1850)

Front 2

Back 2

Goya, The Third of May, 1808, ~1814-15

ROMANTICISM (c. 1780-1850)

Front 3

Back 3

Blake, Elohim creating Adam, 1795

(pre)ROMANTICISM (c. 1780-1850)

Front 4

Back 4

Constable, The Haywain, 1821

ROMANTICISM (c. 1780-1850)

Front 5

Back 5

Turner, The Slave Ship

ROMANTICISM (c. 1780-1850)

Front 6

Back 6

Turner, Burning of Houses of Parliament

ROMANTICISM (c. 1780-1850)

Front 7

Back 7

Friedrich, Abbey in an Oak Forest

ROMANTICISM (c. 1780-1850)

Front 8

Back 8

Ingres, Grand Odalisque

ROMANTICISM (c. 1780-1850)

Front 9

Back 9

Ingres, Portrait of Mme Inés Moitessier

ROMANTICISM (c. 1780-1850)

Front 10

Back 10

Géricault, Charging Chasseur

ROMANTICISM (c. 1780-1850)

Front 11

Back 11

Géricault, The Raft of the Medusa

ROMANTICISM (c. 1780-1850)

Front 12

Back 12

Delacroix, Death of Sardanapalus

ROMANTICISM (c. 1780-1850)

Front 13

Back 13

Delacroix, Women of Algiers

ROMANTICISM (c. 1780-1850)

Front 14

Back 14

Corot, Souvenir de Mortefontaine

ROMANTICISM (c. 1780-1850)

Front 15

Back 15

Rousseau, Under the Birches, Evening

ROMANTICISM (c. 1780-1850)

Front 16

ROMANTICISM (c. 1780-1850) artists

Back 16

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

Front 17

Back 17

Watteau, A Pilgrimage to Cythera, 1717

c. 1715-1770 ROCOCO

Front 18

Back 18

Boucher, Portrait of Madame Pompadour,1756

c. 1715-1770 ROCOCO

Front 19

Back 19

Fragonard, The Swing,1775-80

c. 1715-1770 ROCOCO

Front 20

Back 20

Rosalba Carriera, Charles Sackville

c. 1715-1770 ROCOCO

Front 21

Back 21

Chardin, Soap Bubbles

c. 1715-1770 ROCOCO

Front 22

Back 22

William Hogarth, The Orgy

c. 1715-1770 ROCOCO

Front 23

Back 23

Gainsborough, Portrait of Mrs. Richard Brinsley Sheridan

c. 1715-1770 ROCOCO

Front 24

c. 1715-1770 ROCOCO artists

Back 24

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)

Front 25

Back 25

Angelica Kauffmann, Cornelia Presenting her Treasures c1785

c. 1750-1850 NEOCLASSICISM

Front 26

Back 26

Joseph Wright, The Old Man and Death

c. 1750-1850 NEOCLASSICISM

Front 27

Back 27

John Henry Fuseli, The Nightmare

c. 1780-1850 ROMANTICISM

Front 28

Back 28

David, The Oath of the Horatii 1784-5

c. 1750-1850 NEOCLASSICISM

Front 29

Back 29

David, The Death of Marat

c. 1750-1850 NEOCLASSICISM

Front 30

Back 30

David, Portrait of Pope Pius VII and Cardinal Caprara 1804

c. 1750-1850 NEOCLASSICISM

Front 31

Back 31

Vigée-Lebrun, Self Portrait with Daughter 1789 c. c. 1750-1850 NEOCLASSICISM

Front 32

During the 18th century in England, paradoxically,

Back 32

Gothic revival and Romantic undercurrents paralleled Classical revival and painting based in Greco-Roman antiquity.

Front 33

When Watteau submitted A Pilgrimage to Cythera to the Academy, a new category was added to its hierarchy. The new category is known as

Back 33

Fête galante or outdoor entertainment.

Front 34

Historians know about The Swing's commission that the patron

Back 34

Appealed to the patron's desire to see his mistress's legs in a sort of erotic fantasy.

Front 35

Commissioned by King Louis XVI before the French Revolution began.

Back 35

David, Oath of the Horatii

Front 36

Depicted the assassinated leader of the Terror as a martyr.

Back 36

David, Death of Marat

Front 37

Conveyed the brutality of the French imperial troops against local rebels.

Back 37

Goya, The Third of May 1808

Front 38

Based on the artist's observed experiences as an official artist for the French delegation.

Back 38

Delacroix, Women of Algiers

Front 39

During the initial advances of Napoleon's Russian campaigns

Back 39

Géricault, Charging Chasseur

Front 40

Géricault's Raft of the Medusa was revolutionary because he:

Back 40

Explored the psychological and physical experience of survival during a natural disaster.

Front 41

Which of the following is the best description of what Goya did in The Family of Charles IV?

Back 41

In contrast to conventional royal portraits, the artist depicts the family as unidealized and associates his own accomplishments with the artist Velázquez.

Front 42

Which statement BEST describes the artist's media in Elohim creating Adam?

Back 42

The artist took a black-paint impression off millboard, a second color impression and finished with watercolor.

Front 43

The Slave Ship shows evidence of what artistic idea of the 19th century?

Back 43

Certain colors are associated with different emotions and are strengthened in impact through the use of complements.

Front 44

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:

Back 44

Poussinistes and the Rubénistes

Front 45

What was radical about Corot's technique in Souvenir de Mortefontaine?

Back 45

He made small studies en plein air and then refused to idealize them when he enlarged the canvas in his studio.

Front 46

In terms of context, Grand Odalisque and Death of Sardanapalus are part of the French discourse known as __________________ during the 19th century.

Back 46

Orientalism

Front 47

With which idea of Romanticism is The Haywain most closely associated?

Back 47

Nostalgia and longing for pre-industrialized Europe.

Front 48

Rosalba Carriera is known for her work in what medium, used to execute this painting:

Back 48

Pastels

Front 49

With which idea of Romanticism is The Slave Ship most closely associated?

Back 49

A quest for the sublime.

Front 50

The Barbizon school is most closely associated with

Back 50

Landscape painting in situ (on site).

Front 51

This caricature sums up the artistic debate about line and color. Which is the best interpretation of the image?

Back 51

Delacroix is more painterly and fits the designation "colore," meaning he follows in the tradition of Rubens.

Front 52

In comparison to the Baroque, art in the style Rococo (sometimes called Late Baroque) is more likely to be

Back 52

Depicting an enchanted artificial environment that is removed from a real life.

Front 53

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:

Back 53

The visual truth in the way he represented the material world.

Front 54

The Nightmare explores which idea of Romanticism most fully?

Back 54

The exploration of the erotic, emotional and irrational aspects of human nature.

Front 55

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

Back 55

Provide an example of virtue to its viewers.

Front 56

The strong contrast of light and dark that Caravaggio uses in the Calling of Saint Matthew is known as

Back 56

tenebrism

Front 57

Baroque Art is characterized by which 3 attributes?

Back 57

sensual richness, movement, emotional expressiveness

Front 58

What is the story of Judith and Holofernes that was depicted by Artemisia Gentileschi?

Back 58

Judith and her maidservant saved their people by getting the Assyrian general drunk and cutting off his head.

Front 59

Gianlorenzo Bernini is known not only as a sculptor, but also as the

Back 59

Architect who transformed the interior spaces of St. Peter's in Rome.

Front 60

What do we know about the sitter in this portrait?

Back 60

He was the artist's assistant, an enslaved person of mixed Moroccan and Spanish descent. who became a painter after emancipation

Front 61

Which of the following printmaking techniques is NOT evident in this work?

Back 61

mezzotint

Front 62

Which of the following is a true statement about The Maids of Honor (Las Meninas)?

Back 62

The red cross insignia on his chest was painted after the artist's death.

Front 63

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?

Back 63

Painted architectural framework to look like it is three-dimensional.

Front 64

In his early years (before 1620), Diego Velázquez is best known for his bodegónes, which are

Back 64

"Kitchen paintings" showing scenes of people eating and drinking.

Front 65

Especially in Italy and Spain, the two most powerful institutions associated with patronage of Baroque Art were

Back 65

The Roman Catholic Church and absolute monarchies

Front 66

Like the illusionist Italian ceiling painters of his generation, Bernini's image demonstrates how the artist:

Back 66

Positioned the sculpture so that he sets one specific viewpoint rather than inviting the public to view from many different angles.

Front 67

The artist of Birth of Venus(Poussin) was from ______________, but painted primariy in _________________.

Back 67

France; Rome

Front 68

In this portrait, what does your textbook identify as most important about Gentileschi' self-representation?

Back 68

She embodies the attributes of the allegorical female figure of Painting.

Front 69

Back 69

Caravaggio, The Calling of St. Matthew, 1599-1600

c. 1590-1750 BAROQUE

Front 70

Back 70

Caravaggio, The Conversion of St. Paul, 1601

c. 1590-1750 BAROQUE

Front 71

Back 71

Artemesia Gentileschi, Judith and her Maidservant with the head of Holofernes, 1625

c. 1590-1750 BAROQUE

Front 72

Back 72

Artemesia Gentileschi, Self-Portrait as the Allegory of Painting, 1630s

c. 1590-1750 BAROQUE

Front 73

Back 73

Annibale Carracci, Farnese Palace Ceiling(loves of the gods) 1597-1601

c. 1590-1750 BAROQUE

Front 74

Back 74

Bernini, David, 1623

c. 1590-1750 BAROQUE

Front 75

Back 75

Bernini, The Ecstasy of St. Theresa, 1645-1652

c. 1590-1750 BAROQUE

Front 76

Back 76

Velázquez, Juan de Pareja, 1650

c. 1590-1750 BAROQUE

Front 77

Back 77

Velázquez, The Maids of Honor (Las Meninas),1656

c. 1590-1750 BAROQUE

Front 78

Back 78

Rubens, The Raising of the Cross, 1610

c. 1590-1750 BAROQUE

Front 79

Back 79

Rubens, Arrival of Marie de’ Medici Landing in Marseilles, 1622-25

c. 1590-1750 BAROQUE

Front 80

Back 80

Rubens(&frans snyders for bird), Prometheus Bound, 1612

c. 1590-1750 BAROQUE

Front 81

Back 81

Anthony van Dyck, Portrait of Charles I Hunting, c1635

c. 1590-1750 BAROQUE

Front 82

Back 82

Clara Peeters, Still Life with Flowers,1612

c. 1590-1750 BAROQUE

Front 83

Back 83

Frans Hals, The Jolly Toper,1628-30

c. 1590-1750 BAROQUE

Front 84

Back 84

Judith Leyster, The Proposition,1631

c. 1590-1750 BAROQUE

Front 85

Back 85

Rembrandt van Rijn, The Militia Company of Captain Frans Banning Cocq (“The Night Watch”),1642

c. 1590-1750 BAROQUE

Front 86

Back 86

Rembrandt van Rijn, The Hundred Guilder Print(christ preaching), 1647

c. 1590-1750 BAROQUE

Front 87

Back 87

Rembrandt van Rijn, Self-Portrait,1658

c. 1590-1750 BAROQUE

Front 88

Back 88

Jacob van Ruisadel, The Jewish Cemetery

c. 1590-1750 BAROQUE

Front 89

Back 89

Jan Steen, The Feast of St. Nicholas,1660-65

c. 1590-1750 BAROQUE

Front 90

Back 90

Vermeer, Woman Holding a Balance1662-3

c. 1590-1750 BAROQUE

Front 91

Back 91

Poussin, The Rape of the Sabines, 1663-34

c. 1590-1750 BAROQUE

Front 92

Back 92

Poussin, The Birth of Venus,1635-6

c. 1590-1750 BAROQUE

Front 93

Back 93

Claude Gellée, also called Claude Lorrain, Landscape with Cattle and Peasants, 1629

c. 1590-1750 BAROQUE

Front 94

during what movement did portraitists first try to make their subjects appear elegant and culture?

Back 94

mannerism

Front 95

what are 3 modern concerns that first become evident in the subjects of baroque art?

Back 95

class, gender, sexuality

Front 96

romatic quest for art, combined images of danger & pain with ideas of pleasure, associated w philosophical idea of?

Back 96

sublime

Front 97

artists of barbizon school drew attention when they went into forests of fontainebleau w their paints to sketch

Back 97

en plein air

Front 98

massacios tribute money demonstrates 2 kinds of perspective:

Back 98

linear, atmospheric

Front 99

major event of 16th cent. radically changed poli. and reli. cultural situation for artists:

Back 99

protestant reformation

Front 100

19th cent. fascination w islamic arabic jewish culture as erotic and exotic:

Back 100

orientalism

Front 101

sculptural project is often considered to mark beginning of renaissance

Back 101

ghiberti, gates of paradise(sacrifice of isaac)

Front 102

international political event at end of 18th cent had transforming impact in neoclassical and romantic art

Back 102

french revolution(1789)

Front 103

which italian artistic center had closest connection w byzantine & islamic culture

Back 103

venice

Front 104

when print made by incising lines on metal plate placing it in an acid bath this is process known as:

Back 104

etching

Front 105

desire to make art that depicted irregularities of nature and pleasant scene of country side:

Back 105

picturesque

Front 106

city developed tradition of making lush pastoral landscapes

Back 106

venice

Front 107

vasari established 2 categ. of painting one associated w florence one w venice, italian terms:

Back 107

disegno and colore

Front 108

term to describe how artists make piece appear to share the physical space w viewer to imitate the subject precisely

Back 108

illusionism

Front 109

c. 1590-1750 BAROQUE artists

Back 109

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)

Front 110

c. 1750-1850 NEOCLASSICISM

Back 110

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)