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					   Study Guide for Chapter 28                                                       AP Art History

   Terms:
   Be able to identify these by sight, explain these in relation to art, and know an example of each
   in relation to a work of art…

   hotels                                                 Jean-Auguste-Dominique Ingres (1780-
   Rococo                                                 1867)
   salon                                                  odalisque
   Antoine Watteau (1684-1721)                            Romanticism
   fête galante                                           exoticism
   Rubénistes                                             Francisco Goya (1746-1828)
   Poussinistes                                           May 3, 1808
   The Enlightenment                                      Goya’s “Black Paintings”
   “doctrine of progress”                                 Thèodore Gèricault (1791-1824)
   Age of Revolutions (American, French…)                 great rivals (Ingres v. Delacroix)
   The “natural” style                                    Eugène Delacroix (1798-1863)
   Élizabeth Louise Vigée LeBrun (1755-1842)              landscape painting
   Grand Manner Portraiture                               “picturesque”
   Neoclassiciam                                          Industrial Revolution
   Grand Tour                                             Joseph Mallord William Turner (1775-1851)
   Excavation of Herculaneum/Pompeii                      Hudson River School
   Jacques-Louis David (1748-1825)                        photography
   French Revolution (begins in 1789)                     camera
   Napoleon Bonaparte (1769-1821)                         daguerreotype
   classical revival in architecture                      calotype
   Antonio Canova (1757-1822)                             documentary photography
   Thomas Jefferson (1743-1826)


Identifications:
Know these works by sight, title, artist (if known), date. Be able to explain and analyze these in
relation to any concept, term, element, or principle…

Rococo
Antoine Watteau, L’Indifférent, c. 1716, oil on canvas
Antoine Watteau, Return from Cythera, 1717-1719, oil on canvas
François Boucher, Cupid a Captive, 1754, oil on canvas
Jean-Honoré Fragonard, The Swing, 1766, oil on canvas

Rise of the “Natural” in France
Jean-Baptiste-Siméon Chardin, Grace at Table, 1740, oil on canvas
Élizabeth Louise Vigée-Lebrun, Self-Portrait, 1790, oil on canvas

Rise of the “Natural” in England
William Hogarth, Breakfast Scene, from Marriage à la Mode, c. 1745, oil on canvas
Rise of the “Natural” in Colonial America
Benjamin West, The Death of General Wolfe, 1771, oil on canvas
John Singleton Copley, Portrait of Paul Revere, c. 1768-70, oil on canvas

Neoclassicism
Angelica Kauffmann, Cornelia Presenting Her Children as Her Treasures, c. 1785, oil on canvas

Neoclassicism in France
Jacques-Louis David, Oath of the Horatii, 1784, oil on canvas
Jacques-Louis David, The Death of Marat, 1793, oil on canvas
Jacques-Louis David, The Coronation of Napoleon, 1805-1808, oil on canvas
Antonio Canova, Paulina Borghese as Venus, 1808, marble

Neoclassicism in England
Lord Burlington and William Kent, Chiswick House, near London, begun 1725

Neoclassicism in the United States
Thomas Jefferson, Monticello, Charlottesville, Virginia, 1770-1806

Transitional Works between Neoclassicism and Romanticism
Antoine-Jean Gros, Napopleon at the Pesthouse at Jaffa, 1804, oil on canvas
Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814, oil on canvas

Beginnings of Romanticism
Henry Fuseli, The Nightmare, 1781, oil on canvas

Romanticism in Spain: Goya, the Spanish master
Francisco Goya, The Sleep of Reason Produces Monsters, c. 1798, etching and aquatint
Francisco Goya, The Family of Charles IV, 1800, oil on canvas
Francisco Goya, The Third of May, 1808, 1814, oil on canvas
Francisco Goya, Saturn Devouring one of His Children, 1819-1823, wall painting in oil detached on canvas

Romanticism in France during the first half of the 19th century
Théodore Géricault, The Raft of the “Medusa”, 1818-19, oil on canvas
Théodore Géricault, Insane Woman (Envy), 1822-23, oil on canvas
Eugène Delacroix, Liberty Leading the People, 1830, oil on canvas
François Rude, La Marseillaise, 1833-36

The Romantic Spirit of a German
Caspar David Friedrich, Abbey in the Oak Forest, 1810, oil on canvas

Romanticism in England
John Constable, The Haywain, 1821, oil on canvas
Joseph Mallord William Turner, The Slave Ship, 1840, oil on canvas

The American Landscape
Thomas Cole, The Oxbow, 1836, oil on canvas

The Beginnings of Photography
Eugène Durieu and Eugène Delacroix, Draped Model (back view), c. 1854, albumen print
Timothy O’Sullivan, A Harvest of Death, Gettysburg, Pennsylvania, July 1863, photo
Concepts:
Understand these concepts and be able to cite works of art that explain these concepts. Remember that
all background information that we cover should be explained in relation to formal appearances of a
work of art and for what reasons it was created to look that way.

   1. When does the Rococo begin in France? What historical events help influence the rise of
      Rococo style? What effect does the death of Louis XIV have upon the development of the
      Rococo?


   2. Watteau is the painter that best represents the Rococo. By the time he comes around, there are
      some established “types” of paintings (such as history or genre paintings). But Watteau invents
      a new category of painting. What is it and how does it typify the Rococo? To take a further
      step, Watteau’s Return from Cythera is a painting that best represents the Rococo. What is the
      subject of this work? What class of people is shown in this work and where are they? How
      does this work represent the Rococo?


   3. When Watteau entered the Royal French Academy, it marked the triumph of the Rubénistes
      over the Poussinistes. What did each of these factions champion as most important in painting?
      How does Watteau’s L’Indifférent and Return from Cythera show him as a true Rubéniste?
      How does the divide between the Poussinistes and Rubénistes compare to the differences
      between disegno and colore in Renaissance Italy? Be aware that most Rococo painting may be
      seen as dominated by the Rubénistes.


   4. What are some general characteristics of Rococo painting?


   5. Some major changes occur during the 18th century. One is an intellectual revolution called the
      Enlightenment. What is the Enlightenment, what are some Enlightenment ideas, and what does
      it accomplish? What effect does the Enlightenment have upon culture and society in general?


   6. There was an interesting reaction to the frivolities of the Rococo… this was the desire for that
      “natural” in painting. How does Chardin’s Saying Grace and Vigée-LeBrun’s Self Portrait
      stand as examples of this desire to represent the “natural”? How does its subject and the way in
      which it is painted vary from works such as Return from Cythera?


   7. The paintings of Hogarth were very popular and were known for their witty satires. Be
      prepared to discuss his Marriage à la Mode in terms of how it makes fun of some of the social
      aspects of the wealthy.


   8. What is being shown in West’s The Death of General Wolfe? How has the artist combined the
      Grand Manner of history painting with reality?
9. What is “American” about Copley’s Paul Revere?


10. How do the ideals of the Enlightenment tie in with Neoclassicism?


11. How did the Neoclassical style embody, at different stages, the ideals of the French
    Enlightenment and Revolution?


12. Jacques-Louis David was not only a prominent artist of the late 18th and early 19th centuries, he
    emerged as the leader of the Neoclassical style in France. In what positions did David serve
    during the Revolution? What purpose and role did he think art should serve?


13. Who commissioned David’s Oath of the Horatii? What is the subject of the work? How does
    it visually represent the ideals of Neoclassical painting? What was the significance and
    symbolism of the painting to the emerging French Revolution?



14. For what purpose did David paint The Death of Marat? Who was Marat and what
    circumstances surrounded his death? What other artworks, and in what ways, are referenced in
    this work? Also be prepared to discuss this artwork as propaganda and/or as a political
    statement.


15. How does David’s Coronation of Napoleon serve as propaganda for Napoleon?


16. Canova’s statue, Pauline Borghese as Venus, represents Napoleon’s sister personified as the
    goddess of love. What about this is Neoclassical? What aspects reveal the intentions of the
    subject, Pauline Borghese?


17. What other structure closely influenced the Chiswick house? What makes this building
    classical and what makes it modern and innovative?


18. What did Neoclassicism symbolize for Thomas Jefferson and the United States? What
    influences are present in Thomas Jefferson’s Monticello? What makes this structure truly
    American?


19. How is Gros’ Napoleon at the Pesthouse at Jaffa representative of both the Neoclassical and
    Romantic styles? How did this serve as propaganda for Napoleon?


20. What is Romanticism? How does it relate to and differ from the ideas of the Enlightenment?
21. What were some inspirations to Romantic artists and patrons? Be prepared to explain the
    Romantic interest in the “Gothic” and in exotic lands and experiences. What was the Romantic
    interest in death, the nightmare, and individuality? Be able to explain this in relation to various
    works of art.


22. What are some different interpretations of The Sleep of Reason Produces Monsters by Goya?
    What is it saying about the unconscious?


23. What was Goya’s position in the Spanish Court? How does his painting, The Family of
    Charles IV, relate to Velazquez’s Las Meninas? Why would the family have commissioned
    this painting? What may have been the artist’s actual intentions here?


24. What are the historical events referenced in The Third of May? How does he render the victims
    as heroic figures and the French soldiers as villains? What references does he make with his
    poses?


25. What are Goya’s “Black Paintings”? Explain this body of work and the circumstances of
    Goya’s life in relation to his Saturn Devouring His Children. What defines this painting as
    Romantic?


26. What contemporary event inspired Gericault’s Raft of the Medusa? What about the subject of
    this work made it controversial and problematic for the current French government? What
    makes the composition of this work so dramatic? What moment is shown in the painting?
    What efforts did Gericault undertake to make this work accurate?


27. What is Gericault’s interest in depicting the insane victims in some of his paintings? What
    about his interest makes it Romantic?


28. What event does Delacroix show in his Liberty Leading the People? What in this work shows
    that it is taking place in Paris? Is it an exact representation of a specific event? What in this
    work references the ideals of the French Revolution? What symbols does Delacroix employ in
    this work? What makes it Romantic?


29. We have thus far seen a number of depictions of war. Notably we have recently seen the Death
    of General Wolfe and paintings by Goya and Delacroix. The sculpture, Le Marseilles, shows
    an episode from the French Revolution. How did Rude choose to show this event? Is it
    historic or symbolic? What about this sculpture shows the influence of Neoclassicism and
    Romanticism?
30. We are seeing a number of paintings with nature. How do landscape paintings fit into
    Romanticism?


31. What is the relationship of man to nature in Caspar David Friedrich’s Abbey in the Oak Forest?


32. How are the landscape paintings of Constable different from those of Turner? Consider this
    both in regard to subject and to how each painted the subject.


33. What characterizes the paintings of Turner? What event does he show in The Slave Ship?
    What commentary does he make with this painting?


34. American painters tended to emphasize a different view of nature than the painters we have
    seen thus far. One famous group of painters is the Hudson River School of which Thomas Cole
    was a prominent member. How are American landscapes different from others we have seen?


35. Photography was an important invention of the 19th century. What possibilities did it offer in
    itself and as documentation? How was it initially perceived- as a marvel of science or as an
    art? Also, what did photographs make accessible to the public for the first time?

				
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