Review 4 Mesoamerica Pre-Columbian Realism Impressionism Romanticism neoclassicism

1. Review 4 Mesoamerica Pre-Columbian Realism Impressionism Romanticism neoclassicism

2. William Hogarth (10 November 1697 – 26 October 1764) was an English painter, printmaker, pictorial satirist, social critic and editorial cartoonist who has been credited with pioneering western sequential art. baroque William Hogarth Breakfast Scene from Marriage à la Mode ca. 1745oil on canvas2 ft. 4 in. x 3 ft.

3. Aztec Coatlicue, also known as Teteoinan, "The Mother of Gods“ is the Aztec goddess who gave birth to the moon, stars, and Huitzilopochtli, the god of the sun and war. Coatlique from Tenochtitlán, Mexico City, Mexico 1487-1520andesite11 ft. 6 in. high

4. The public thought that Olympia depicted a shameless, defiant prostitute. The presence of the black maid referred to racial divisions and seemed to evoke depravity, inferiority, and animalistic sexuality. Realism ÉdouardManet Olympia 1863oil on canvas4 ft. 3 in. x 6 ft. 3 in.

5. Pueblo In 1918 Maria Martinez and her husband, San Ildefonso Pueblos, invented black-on-black ware that was compatible with contemporary Art Deco style. It became highly collectible. She signed her name with her neighbors’ names on the pots so that they might share in her good fortune. Maria Montoya Martínez Jar from San Ildefonso PuebloNew Mexico ca. 1939blackware11 1/8 x 13 in.

6. Grand Manner Portraiture Influential 18th-century English painter, specializing in portraits and promoting the "Grand Style" in painting which depended on idealization of the imperfect. Sir Joshua Reynolds Lord Heathfield 1787oil on canvas4 ft. 8 in. x 3 ft. 9 in.

7. Impressionism • Ways in which Degas’ work shows the influence of photography and of Japanese prints; • Arbitrarily cut-off figures • Patterns of light splotches • Spatial projections as influenced by Japanese wood-block prints. Edgar Degas L’absinthe 1876oil on canvas 36 1/4 x 26 3/4 in.

8. Grand Manner Portraiture Charles Willson Peale (April 15, 1741 – February 22, 1827) was an American painter, soldier and naturalist. He is best remembered for his portrait paintings of leading figures of the American Revolution, as well as establishing one of the first museums. Charles Wilson Peale George Washington ca. 1779-81oil on canvas95 x 61 3/4 in.

9. Huitzilopochtli chasing away his brothers and dismembering Coyolxauhqui, the moon goddess. Aztec Stylistic attributes The relief has a complicated composition and a dreadful, yet formal, beauty. Within the circular space, the design’s carefully balanced, richly detailed components are placed so that they seem to have a slow turning rhythm. The carving is on a single level, a smoothly even, flat surface raised from the flat ground. Coyolxauhqui from the Great Temple of TenochtitlánMexico City, Mexico ca. 1469stoneapproximately 10 ft. 10 in.

10. Two Neoclassical stylistic features that are found in that work: It deals with a narrative of patriotism and sacrifice from Roman history. It is painted with force and clarity. The importance of the subject matter in the Oath of the Horatii is that the leaders of two warring cities decide to resolve the cities’ conflicts by sending their sons to fight as representatives. The active, forceful forms of the men, associated with the Enlightenment, contrast with the curvilinear shapes of the distraught women. It marked a revolutionary change from the feminine Rococo to the masculine Neoclassical. Neoclassicism Jacques-Louis David Oath of the Horatii 1784oil on canvasapproximately 11 x 14 ft.

11. The major significance of Machu Picchu is that it is completely invisible from the valley below. The accommodation of its architecture to the landscape is so complete that Machu Picchu seems almost a natural part of the mountain ranges that surround it. Inca Machu Pichu Peru 15th century

12. Neoclassicism Jacques-Louis David Napoleon at St. Bernard’s Pass 1800oil on canvas9 ft. 11 1/2 in. x 7 ft. 2 in.

13. Monet’s Saint-LazareTrain Station reflect the new urban Paris • In subject matter; • The expanding railway network was bringing more people into Paris and tall buildings were becoming a major part of Paris. • In style; • The agitated paint application contributes to the sense of energy and conveys the atmosphere of urban life. Impressionism Claude Monet Saint-LazareTrain Station 1877oil on canvas2 ft. 5 3/4 in. x 3 ft. 5 in.

14. Pre columbian Tiwanaku Gateway of the Sun Tiwanaku, Bolivia ca. 375-700stone9 ft. 10 in. high

15. One logical discrepancy used by Manet in A Bar at the Follies-Bergere to call attention to the pictorial structure of the painting itself was the mirror creates confusion of spatial relationships such as the horizontality of the bar and the displaced reflection of the barmaid. Impressionism ÉdouardManet A Bar at the Folies-Bergère 1882oil on canvas3 ft. 1 in. x 4 ft. 3 in.

16. Neoclassicism Jean-Auguste-Dominique Ingres Grande Odalisque 1814oil on canvas2 ft. 11 in. x 5 ft. 4 in.

17. Neoclassicism The story of Atala from the novel The Genius of Christianity. Atala and Chactas were two Native American youths who fell in love and ran away together. Atala committed suicide rather than break her vow of lifelong virginity. The setting for Girodet-Troison’sBurial of Atala wasLouisiana. Anne-Louis Trioson The Burial of Atala 1808oil on canvas6 ft. 11 in. x 8 ft. 9 in.

18. Neoclassicism John Nash Royal Pavilion Brighton, England 1815-1818

19. Similarities: Olympia reclines across the middle of the canvas from left to right, looking at the viewer, the Venus of Urbino also lays in a similar manor but further down the canvas, allowing for other aspects of the composition, like the two figures in the background to gain enough room for perspective and stability. Other similarities include the fact that both have servants, an animal at the end of the bed, jewellery, possession of flowers (although in different places), the bed and the pose. Differences: Prominently the colour schemes are quite opposite to one and other, both reflective of their time and period but also subject matter. Titian paints in romantic warm flattering pinks and peaches, almost dream like, suiting the idea of virginity and romance. Manet paints in cooler more austere and blunt blues, greens and whites, fitting the subject of her profession and reflecting her cold, matter of fact expression. High renaissance Realism Titian Venus of Urbino 1538 ÉdouardManet Olympia 1863

20. Romanticism Antoine-Jean Gros Napoleon at the Pesthouse at Jaffa 1804oil on canvas17 ft. 5 in. x 23 ft. 7 in.

21. Two groups that belong to the so-called Pueblo Indians: Hopi of northern Arizona Rio Grande Pueblos of New Mexico Pueblo Cliff Dwelling Mesa Verde National Park, Colorado ca. 1150-1300

22. Romanticism Francisco Goya The Sleep of Reason Produces Monstersfrom Los Caprichos ca. 1798etching and aquatint8 1/2 x 6 in.

23. Renoir preferred to paint leisure activities. Impressionism Pierre-Auguste Renoir Le Moulin de la Galette 1876oil on canvas4 ft. 3 in. x 5 ft. 8 in.

24. The American public found Thomas Eakins's Gross Clinic brutally Realistic and hard to look at due to its graphic depiction of surgery. Realism Thomas Eakins The Gross Clinic 1875oil on canvas8 ft. x 6 ft. 6 in.

25. List two devices he used to capture the vibrating quality of light: • Short, choppy brush strokes. • The juxtaposition of colors on a canvas fuses from a distance and produces a more intense hue than the same colors mixed on the palette. The Impressionists that most systematically investigated the roles of light and color in representing atmosphere was Monet. Impressionism Claude Monet Rouen Cathedral: The Portal (in Sun) 1894oil on canvas3 ft. 3 1/4 in. x 2 ft. 1 7/8 in.

26. Romanticism Francisco Goya The Third of May, 1808 1814oil on canvas8 ft. 8 in. x 11 ft. 3 in.

27. Although hailed as the father of Realism, Courbet did not like to be called a Realist. What we can gather from his statements,his goals as a painter were to create a living art based on the customs of people and appearances of real and existing objects of his time. He did not believe in painting abstract concepts such as angels. Formal qualities distinguish his work included a palette of dirty browns and grays with sparing use of bright color. He depicted common laborers and workers. Realism Gustave Courbet The Stone Breakers 1849oil on canvas5 ft. 3 in. x 8 ft. 6 in.

28. Impressionism Edgar Degas The Tub 1886pastel1 ft. 11 1/2 in. x 2 ft. 8 3/8 in.

29. Romanticism Francisco Goya Saturn Devouring His Children 1819-1823fresco on canvas4 ft. 9 in. x 2 ft. 8 in.

30. Haussmannization refers to Baron Georges Haussmann, who was responsible for overseeing the rebuilding of Paris. By demolishing ancient structures, he created wide-open avenues more accessible to the flow of pedestrian and vehicular traffic. Caillebott’sParis: A Rainy Day reflects this wide open space Impressionism GustaveCaillebotte Paris: A Rainy Day 1877oil on canvasapproximately 6 ft. 9 in. x 9 ft. 9 in.

31. Romanticism Jean-Auguste-Dominique Ingres Apotheosis of Homer 1827oil on canvas12 ft. 8 in. x 16 ft. 10 3/4 in.

32. The Hudson River School style involved carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. Realism Hudson River School Albert Bierstadt Among the Sierra Nevada Mountains, California 1868oil on canvas6 ft. x 10 ft.

33. Gauguin's glowing colors convey the exotic character of the Martinique landscape. His brushstrokes are visible, but fuse into flatter areas of color. Post-Impressionism Paul Gauguin Martinique Landscape 1887 oil on canvas

34. Mary Cassatt's favorite subjects were women and children. Impressionism Mary Cassatt The Bath ca. 1892oil on canvas3 ft. 3 in. x 2 ft. 2 in.

35. Neoclassicism Horatio Greenough George Washington 1832-1841marbleapproximately 11 ft. 4 in. high

36. Romanticism Hudson River School Thomas Cole The Oxbow 1836oil on canvas4 ft. 3 1/2 in. x 6 ft. 4 in.

37. Romanticism Eugène Delacroix Death of Sardanapalus 1826oil on canvas12 ft. 1 in. x 16 ft. 3 in.

38. Timothy O’Sullivan A Harvest of Death, Gettysburg, Pennsylvania, July 1863 1863gelatin-silver print

39. Two features of Courbet’s Burial at Ornans that horrified contemporary critics: The subject’s ordinariness mixed with the monumental scale of a traditional history painting. The starkly antiheroic composition. • The work differs from contemporary Romantic work in that the heroic, the sublime, and the dramatic are not found in his work, only the mundane realities of daily life and death. It captures the ordinary rhythms of contemporary life. Realism Gustave Courbet Burial at Ornans 1849oil on canvas10 ft. x 22 ft.

40. His work viewed by members of the French Middle class with disdain and suspicion. The middle class regarded the peasantry as similar to the dangerous, newly defined working class, which was becoming socialist. His sympathetic depiction seemed to many to be a political manifesto. • Subject matter in which Millet specialized was the people and occupations of the everyday world, especially peasants. Realism Jean-François Millet The Gleaners 1857oil on canvas2 ft. 9 in. x 3 ft. 8 in.

41. Realism Honoré Daumier The Third-Class Carriage ca. 1862oil on canvas2 ft. 1 3/4 in. x 2 ft. 11 1/2 in.

42. Technical features that contributed to Manet’s perceived “audacity” are that his brush strokes are rougher and the shifts in tonality are more abrupt than those found in traditional academic painting. Realism ÉdouardManet The Fifer 1866 oil on canvas 160 x 97 cm

43. Realism Wilhelm Leibl Three Woman in a Village Church 1878-1881 oil on canvasapproximately 2 ft. 5 in. x 1 ft. 1 in.

44. Bouguereau created the figure of his mythical beast-man by combining Realist depictions of a goat's hind quarters and horns and a horse's ears and tail with the upper body of a man. Realism Adolphe-William Bouguereau Nymphs and Satyr 1873oil on canvas8 ft. 6 in. high

45. The gladiator looks toward the vestal virgins in the stands as they all feverishly point their thumbs down, pollice verso, indicating the death of the loser. But the final decision is left to the emperor, who sits in his viewing box, slowly eating from his bowl of figs. Realism Jean-LéonGérôme Police Verso 1872oil on canvas100.5 x 148.8 cm

46. Romanticism Francisco Goya y Lucientes The Maja Clothed c. 1800 oil on canvas37 3/8 x 74 in.

47. Stylistic features Berthe Morisot shared with other Impressionists; The mood of relaxed leisure and the stylistic elements of open brushwork and plein air (outdoor) lighting. Impressionism Berthe Morisot Villa at the Seaside 1874oil on canvas1 ft. 7 3/4 in. x 2 ft. 1/8 in.

48. Three influences seen in Toulouse‑Lautrec'sAt the Moulin Rougeand the features that reflect each influence. Degas: Oblique and asymmetrical composition. Japanese prints: spatial diagonals. Photography: Figures cut off at the frame’s edge. Impressionism Henri de Toulouse-Lautrec's At the Moulin Rouge 1892-1895. oil on canvas, 48-7/16x55-1/2 inches The Art Institute of Chicago.

49. ÉdouardManet Le Déjunersurl’Herbe 1863 GiorgionnedaCastelfranco Pastoral Symphony ca. 1508 Realism Early Renaissance

50. Borgia Codex A 15th-century Mayan book, one of a group of codices treating primarily ritual subjects. Mayan Mictlantecuhtli and Quetzalcóatl illuminated page from the Borgia Codex from Puebla/Tlaxcala, Mexico ca. 1400-1500mineral and vegetable pigments on deerskinapproximately 10 5/8 in. x 10 3/8 in.