93
1 Chapter 20 The Baroque in Northern Europe Gardner’s Art Through the Ages, 14e

Quiz 3 images

Embed Size (px)

DESCRIPTION

 

Citation preview

Page 1: Quiz 3 images

1

Chapter 20The Baroque in Northern Europe

Gardner’s Art Through the Ages, 14e

Page 2: Quiz 3 images

2

Europe in the 17th Century

Page 3: Quiz 3 images

3

Figure 20-2 PETER PAUL RUBENS, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood, 15’ 1 7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing). Antwerp Cathedral, Antwerp.

Page 4: Quiz 3 images

4

Figure 20-3 PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, 12’ 11 1/2” x 9’ 7”. Louvre, Paris.

Page 5: Quiz 3 images

5

Figure 20-4 PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti, Florence..

Page 6: Quiz 3 images

6

Figure 20-7 HENDRICK TER BRUGGHEN, Calling of Saint Matthew, 1621. Oil on canvas, 3’ 4” x 4’ 6”. The Hague.

Page 7: Quiz 3 images

7

Figure 20-8 GERRIT VAN HONTHORST, Supper Party, 1620. Oil on canvas, 4’ 8” x 7’. Galleria degli Uffizi, Florence.

Page 8: Quiz 3 images

8

Figure 20-9 FRANS HALS, Archers of Saint Hadrian, ca. 1633. Oil on canvas, approx. 6’ 9” x 11’. Frans Halsmuseum, Haarlem.

Page 9: Quiz 3 images

9

Figure 20-10 FRANS HALS, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil on canvas, 5’ 7” x 8’ 2”. Frans Halsmuseum, Haarlem.

Page 10: Quiz 3 images

10

Figure 20-11 JUDITH LEYSTER, Self-Portrait, ca. 1630. Oil on canvas, 2’ 5 3/8” x 2’ 1 5/8”. National Gallery of Art, Washington, D.C. (gift of Mr. and Mrs. Robert Woods Bliss).

Page 11: Quiz 3 images

11

Figure 20-12 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”. Mauritshuis, The Hague.

Page 12: Quiz 3 images

12

Figure 20-13 REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas (cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam.

Page 13: Quiz 3 images

13

Figure 20-14 REMBRANDT VAN RIJN, Return of the Prodigal Son, ca. 1665. Oil on canvas, approx. 8’ 8” x 6’ 9”. Hermitage Museum, Saint Petersburg.

Page 14: Quiz 3 images

14

Figure 20-15 REMBRANDT VAN RIJN, Self-Portrait, ca. 1659–1660. Oil on canvas, approx. 3’ 8 3/4” x 3’ 1”. Kenwood House, London (Iveagh Bequest).

Page 15: Quiz 3 images

20-15A REMBRANDT VAN RIJN, Self-Portrait, 1658. Oil on canvas, 4’ 4 5/8” X 3’ 4 7/8”. Frick Collection, New York. 15

Page 16: Quiz 3 images

16

Figure 20-16 REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca. 1649. Etching, 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.

Page 17: Quiz 3 images

17

Figure 20-20 JAN VERMEER, Allegory of the Art of Painting, 1670–1675. Oil on canvas, 4’ 4” x 3’ 8”. Kunsthistorisches Museum, Vienna.

Page 18: Quiz 3 images

18

Figure 20-20A JAN VERMEER, The Letter, 1666. Oil on canvas, 1’ 5 1/4” x 1’ 3 1/4”. Rijksmuseum, Amsterdam.

Page 19: Quiz 3 images

20-18B JAN VERMEER, View of Delft, ca. 1661. Oil on canvas, 3’ 2 1/2” X 3’ 10 1/4”. Mauritshuis, The Hague.

19

Page 20: Quiz 3 images

20-19 JAN VERMEER, Woman Holding a Balance, ca. 1664. Oil on canvas, 1’ 3 7/8” X 1’ 2”. National Gallery of Art, Washington, D.C. (Widener Collection).

20

Page 22: Quiz 3 images

The Music Lesson

22

Page 23: Quiz 3 images

23

Figure 20-21 JAN STEEN, The Feast of Saint Nicholas, ca. 1660–1665. Oil on canvas, 2’ 8 1/4” x 2’ 3 3/4”. Rijksmuseum, Amsterdam.

Page 24: Quiz 3 images

24

Figure 20-24 HYACINTHE RIGAUD, Louis XIV, 1701. Oil on canvas, 9’ 2” x 6’ 3”. Louvre, Paris.

Page 25: Quiz 3 images

25

Figure 20-26 Aerial view (looking west) of the palace and gardens, Versailles, France, begun 1669.

Page 26: Quiz 3 images

26

Figure 20-27 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Louis XIV, Versailles, France, ca. 1680.

Page 27: Quiz 3 images

27

Figure 20-29 JULES HARDOUIN-MANSART, Royal Chapel, with ceiling decorations by Antoine Coypel, palace of Louis XIV, Versailles, France, 1698–1710.

Page 28: Quiz 3 images

28

Figure 20-28 FRANÇOIS GIRARDON and THOMAS REGNAUDIN, Apollo Attended by the Nymphs, Grotto of Thetis, Versailles, France, ca. 1666–1672. Marble, life-size.

Page 29: Quiz 3 images

29

Chapter 21Rococo to Neoclassicism: The 18th

Century in Europe and America

Gardner’s Art Through the Ages, 14e

Page 30: Quiz 3 images

Colonial America becomes The Independent United States 1776

30

Columbus 1492Pilgrims 1620

Page 31: Quiz 3 images

31

Figure 21-2 GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740.

Page 32: Quiz 3 images

32

Figure 21-3 FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century.

Page 33: Quiz 3 images

Figure 21-4 & 215 BALTHASAR NEUMANN, interior (left) and plan (right) of the pilgrimage church of Vierzehnheiligen, near Staffelstein, Germany, 1743-1772.

33

Page 34: Quiz 3 images

34

Figure 21-8 FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on canvas, 5’ 6” x 2’ 10”. The Wallace Collection, London.

Page 35: Quiz 3 images

35

Figure 21-9 JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 8 5/8” x 2’ 2”. Wallace Collection, London.

Page 36: Quiz 3 images

36

Figure 21-12 ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England, 1776–1779.

Page 37: Quiz 3 images

37

21.3 The Taste for the Natural

• Examine the philosophy of Jean-Jacques Rousseau, in contrast to Voltaire, his interest in the ‘natural’ as opposed to the ‘artificial,’ and artistic expression of these ideas.

• Understand the different styles of the “natural” in France, England, the United States, and in Italy.

• Examine choices of ‘ordinary’ life, the natural world, and sentimentality as subjects in art.

Page 38: Quiz 3 images

38

Figure 21-13 JEAN-BAPTISTE-SIMÉON CHARDIN, Saying Grace, 1740. Oil on canvas, 1’ 7” x 1’ 3”. Louvre, Paris.

Page 39: Quiz 3 images

39

Figure 21-14 JEAN-BAPTISTE GREUZE, Village Bride, 1761. Oil on canvas, 3’ x 3’ 10 1/2”. Louvre, Paris.

Page 40: Quiz 3 images

40

The Natural Taste in France

• Examine the subject matter and formal elements in the “natural taste” in France.

Page 41: Quiz 3 images

41

Figure 21-15 ÉLISABETH LOUISE VIGÉE-LEBRUN, Self-Portrait, 1790. Oil on canvas, 8’ 4” x 6’ 9”. Galleria degli Uffizi, Florence.

Page 42: Quiz 3 images

21-15A ÉLISABETH-LOUISE VIGÉE-LEBRUN, Marie Antoinette and Her Children, 1787. Oil on canvas, 9’ 1/2” X 7’ 5/8”. Musée National du Château de Versailles, Versailles.

42

Page 43: Quiz 3 images

21-16 ADÉLAÏDE LABILLE-GUIARD, Self-Portrait with Two Pupils, 1785. Oil on canvas, 6’ 11” X 4’ 11 1/2”. Metropolitan Museum of Art, New York (gift of Julia A. Berwind, 1953).

43

Page 44: Quiz 3 images

44

Natural Taste in the United States

• Examine the American taste for “downrightness” and plainness in art.

Page 45: Quiz 3 images

45

Figure 21-20 BENJAMIN WEST, Death of General Wolfe, 1771. Oil on canvas, approx. 4’ 11” x 7’ National Gallery of Canada, Ottawa (gift of the Duke of Westminster, 1918).

Page 46: Quiz 3 images

46

Figure 21-21 JOHN SINGLETON COPLEY, Portrait of Paul Revere, ca. 1768–1770. Oil on canvas, 2’ 11 1/8” x 2’ 4”. Museum of Fine Arts, Boston (gift of Joseph W., William B., and Edward H. R. Revere).

Page 47: Quiz 3 images

47

Italian Natural Taste and Tourism

• Understand the concept of the “Grand Tour” and the expression of the “picturesque” in art.

The British Grand Tour in the 18th CenturyEighteenth-century British Grand Tourists to Italy generally followed a standardized itinerary from London to Rome and Naples. From London, travelers crossed the English Channel to Calais, and continued across France, usually with a lengthy stop in Paris. There were two options for crossing into Italy. One could either cross the Alps or book a sea voyage from southern France to Leghorn (today’s Livorno). On their return to England, tourists often traveled through Germany and the Low Countries. European tours of this sort typically lasted a year or more. The eighteenth-century itinerary remained popular well into the nineteenth century, and was also the model for later nineteenth-century American to

Page 48: Quiz 3 images

48

Page 49: Quiz 3 images

Figure 21-22 ANTONIO CANALETTO, Riva degli Schiavoni, Venice, ca. 1735-1740. Oil on canvas, 1’ 6 ½” X 2’ 7/8”. Toledo Museum of Art, Toledo.

49

Page 50: Quiz 3 images

50

21.4 Neoclassicism

• Understand how the discovery of Herculaneum and Pompeii create an interest in classical art.

• Understand the formal elements of classical art and their revival in 19th century art and architecture.

• Examine Neoclassical art and architecture in France, England, and in the United States.

• Examine the adaptation of classical and mythological subject matter in Neoclassical art.

Page 51: Quiz 3 images

51

Figure 21-23 ROBERT ADAM, Etruscan Room, Osterley Park House, Middlesex, England, begun 1761. Victoria and Albert Museum, London.

Page 52: Quiz 3 images

52

Figure 21-24 ANGELICA KAUFFMANN, Cornelia Presenting Her Children as Her Treasures, or Mother of the Gracchi, ca. 1785. Oil on canvas, 3’ 4” x 4’ 2”. Virginia Museum of Fine Arts, Richmond (the Adolph D. and Wilkins C. Williams Fund).

Page 53: Quiz 3 images

53

Figure 21-25 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris.

Page 54: Quiz 3 images

54

Figure 21-26 JACQUES-LOUIS DAVID, The Death of Marat, 1793. Oil on canvas,. 5’ 5” x 4’ 2 1/2”. Musées Royaux des Beaux-Arts de Belgique, Brussels.

Page 55: Quiz 3 images

Figure 21-32 JEAN-ANTOINE HOUDON, George Washington, 1788-1792. Marble, 6’ 2” high. State Capitol, Richmond.

55

Page 56: Quiz 3 images

Figure 21-33 HORATIO GREENOUGH, George Washington, 1840. Marble, 11’ 4” high. Smithsonian American Art Museum, Washington, D.C.

56

Page 57: Quiz 3 images

57

The Neoclassical in the United States

a.k.a. Federal Style• Examine Neoclassical or Federal Style as the national style of architecture in the United States in the early 19th century.

Page 58: Quiz 3 images

58

Figure 21-30 THOMAS JEFFERSON, Monticello, Charlottesville, United States, 1770–1806.

Page 59: Quiz 3 images

Figure 21-31 THOMAS JEFFERSON, Rotunda and Lawn, University of Virginia, Charlottesville, Virginia, 1819-1826. 59

Page 60: Quiz 3 images

60

Chapter 22Romanticism, Realism,

Photography: Europe and America, 1800 to

1870

Gardner’s Art Through the Ages, 14e

Page 61: Quiz 3 images

61

Napoleonic Europe 1800-1815

Page 62: Quiz 3 images

62

Page 63: Quiz 3 images

63

Figure 22-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris.

Page 64: Quiz 3 images

22-1A JACQUES-LOUIS DAVID, Napoleon Crossing the Saint-Bernard Pass, 1800–1801. Oil on canvas, 8’ 11" X 7’ 11”. Musée National du Château de Versailles, Versailles.

64

Page 65: Quiz 3 images

22-2A JEAN-AUGUSTE-DOMINIQUE INGRES, Napoleon on His Imperial Throne, 1806. Oil on canvas, 8’ 8 5/8” X 5’ 3”. Musée de l’Armée, Palais des Invalides, Paris.

65

Page 66: Quiz 3 images

Foreshadowing Romanticism

• Notice how David’s students retained Neoclassical features in their paintings

• Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism

66

Page 67: Quiz 3 images

67

Figure 22-1 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. Oil on canvas, 17’ 5” x 23’ 7”. Louvre, Paris.

Page 68: Quiz 3 images

68Figure 22-6 JEAN-AUGUSTE-DOMINIQUE INGRES, Apotheosis of Homer, 1827. Oil on canvas, 12’ 8” x 16’ 10 3/4”. Louvre, Paris.

Page 69: Quiz 3 images

69

Figure 22-7 JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814. Oil on canvas, approx. 2’ 11 7/8” x 5’ 4”. Louvre, Paris.

Page 70: Quiz 3 images

JEAN-AUGUSTE-DOMINIQUE INGRES Josephine-Eleonore-Marie-Pauline de Galard de Brassac de Bearn, Princesse de Broglie

70

Page 71: Quiz 3 images

Features of Romanticism : P. I. N. E.

• P. I. N. E.– Past – longing for the medieval past, pre-industrial

Europe (Gothic architecture will be revived)– Irrational/ Inner mind / Insanity – Romantic

artists depict the human psyche and topics that transcend the use of reason. One Romantic artist, Gericault chose to do portraits of people in an insane asylum.

– Nature – longing for the purity of nature, which defies human rationality

– Emotion/ Exotic – Romantics favored emotion and passion over reason. Exotic themes and locales were also popular because they did not adhere to European emphasis on rationality.

71

Page 72: Quiz 3 images

72

Figure 22-8 HENRY FUSELI, The Nightmare, 1781. Oil on canvas, 3’ 4 3/4” x 4’ 1 1/2”. The Detroit Institute of the Arts (Founders Society Purchase with funds from Mr. and Mrs. Bert L. Smokler and Mr. and Mrs. Lawrence A. Fleishman).

Page 73: Quiz 3 images

73

Figure 22-9 WILLIAM BLAKE, Ancient of Days, frontispiece of Europe: A Prophecy, 1794. Metal relief etching, hand colored, 9 1/2” x 6 3/4”. The Whitworth Art Gallery, Pierpont Morgan Library, New York.

Page 74: Quiz 3 images

74

Figure 22-10 FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798. Etching and aquatint, 8 1/2” x 5 7/8”. Metropolitan Museum of Art, New York (gift of M. Knoedler & Co., 1918).

Page 75: Quiz 3 images

75

Figure 22-10A FRANCISCO GOYA, The Family of Charles IV, 1800. Oil on canvas, approx. 9’ 2” x 11’. Museo del Prado, Madrid.

Page 76: Quiz 3 images

76

Figure 22-11 FRANCISCO GOYA, Third of May, 1808, 1814. Oil on canvas, 8’ 9” x 13’ 4”. Museo del Prado, Madrid.

Page 77: Quiz 3 images

77

Figure 22-12 FRANCISCO GOYA, Saturn Devouring One of His Children, 1819–1823. Detached fresco mounted on canvas, 4’ 9 1/8” x 2’ 8 5/8”. Museo del Prado, Madrid.

Two Old People Eating

Page 78: Quiz 3 images

78

Figure 22-13 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas, 16’ 1” x 23’ 6”. Louvre, Paris.

Page 79: Quiz 3 images

22-13A THÉODORE GÉRICAULT, Charging Chasseur, 1812. Oil on canvas, 11’ 5” X 8’ 8 3/4". Louvre, Paris.

79

Page 80: Quiz 3 images

80

Figure 22-14 THÉODORE GÉRICAULT, Insane Woman 1822–1823. Oil on canvas, 2’ 4” x 1’ 9”. Musée des Beaux-Arts, Lyons.

Page 81: Quiz 3 images

81

Figure 22-15 EUGÈNE DELACROIX, Death of Sardanapalus, 1827. Oil on canvas, 12’ 1 1/2” x 16’ 2 7/8”. Louvre, Paris.

Page 82: Quiz 3 images

82

Figure 22-16 EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, 8’ 6” x 10’ 8”. Louvre, Paris.

Page 83: Quiz 3 images

83

Figure 22-17 EUGÈNE DELACROIX, Tiger Hunt, 1854. Oil on canvas, 2’ 5” x 3’. Musée d ’Orsay, Paris.

Page 84: Quiz 3 images

84

Figure 22-19 CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on canvas, 3' 7 1/2" X 5' 7 1/4". Nationalgalerie, Staatliche Museen zu Berlin, Berlin.

Page 85: Quiz 3 images

22-20 CASPAR DAVID FRIEDRICH, Wanderer above a Sea of Mist, 1817–1818. Oil on canvas, 3’ 1 3/4" X 2’ 5 3/8”. Hamburger Kunsthalle, Hamburg.

85

Page 86: Quiz 3 images

86

Romantic Landscape Painting

• Understand the romantic interest in the landscape as an independent and respected genre in Germany, England, and the United States.

Page 87: Quiz 3 images

87

Figure 22-22 JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840. Oil on canvas, 2’ 11 11/16” x 4’ 5/16”. Museum of Fine Arts, Boston (Henry Lillie Pierce Fund).

Page 88: Quiz 3 images

88

Figure 22-23 THOMAS COLE, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836. Oil on canvas, 4’ 3 1/2” x 6’ 4”. Metropolitan Museum of Art, New York (gift of Mrs. Russell Sage, 1908).

Page 89: Quiz 3 images

89

Figure 22-24 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6’ x 10’. National Museum of American Art, Smithsonian Institution, Washington, D.C.

Page 90: Quiz 3 images

90

Figure 22-25 FREDERIC EDWIN CHURCH, Twilight In the Wilderness, 1860s. Oil on canvas, 3’ 4” x 5’ 4”. Cleveland Museum of Art, Cleveland (Mr. and Mrs. William H. Marlatt Fund, 1965.233).

Page 91: Quiz 3 images

91

22.3 Modernism and Realism

• Examine the meanings of “Modernism” and “Realism” and the rejection of Renaissance illusionistic space.

• Understand the changes in Realist art in form, style, and content.

• Examine the use of art – especially photography and printmaking -- to provide social commentary.

Page 92: Quiz 3 images

92

Figure 22-26 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5’ 3” x 8’ 6”. Formerly at Gemäldegalerie, Dresden (destroyed in 1945).

Page 93: Quiz 3 images

93

Figure 22-27 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, 10’ 3 1/2” x 22’ 9 1/2”. Musée d’Orsay, Paris.