Flashcards

Exam 2 Continued

Emily Marks English 24 cards

Johannes Vermeer "Allegory of Painting" 1670-75 Baroque -Baroque curtain to be dramatic and, in this instance, exotic…

Cards in this deck (24)

1—Johannes Vermeer
"Allegory of Painting"
1670-75
Baroque
-Baroque curtain to be dramatic and, in this instance, exotic
-Vermeer seen from the back
-Science in the background, subservient to the art/act of painting
-See agency of act of painting, translated/transposed onto canvas
-The everyday is the substance, affirmation of the given
2PhotoPeter Thumb
"Pilgrimage Church of Birnau"
1750
Baroque
-Rococo
-Democratic, the place the people wanted
-When people took eucharist under the mirror, got the feeling of transcendence
3—Antoine Watteau
"Return from Cythera"
1715
Rococo
-Don't see classical figures, but rather those dressed in modern figures
-Curving, flowing, something that is always moving and becoming
-Colors are so saturated that we can't see the edges and don't know where to look
-Boat is merely suggested, even atmosphere is suggested
-Rococo suggests power to project transcendence/ideal
-Claimed to be history painting, but articulates something that MIGHT be
4—Jean-Baptiste Grueze
"The Village Bride"
1750
Rococo (Enlightenment)
-Everything about the bride is in tack, figuratively and physically
-Can tell it will be fertile marriage from chicks
-Serpentine line; life is a process, use of rococo device to emphasize the movement and process of life
-Everything is symbolic
5—Hogarth
"Beer Street and Gin Lane"
1750
Rococo (Enlightenment)
-Buildings crumbling, children taken, disarray on Gin Lane; consequences of turning to hard liquor instead of good old fashioned ale
-Beer side; people happy, educated
-Careful observation made by Hogarth about consequences
6—Joseph Wright (of Derby)
"Experiment with a Bird in an Air Pump"
1760
Rococo (Enlightenment)
-Uses baroque theatrical aspect with such impact that we can't help being moved
-Experiment in creating vacuum, takes place at night for more drama
-No emphasis on strong lines (which would be typical for presenting science) but on colors and contrast to emphasize the emotionality and of science
-Sentiment and emotion are natural parts of being human
7—Jacques-Louis David
"Death of Socrates"
1787
Neoclassicism
-History painting, story from antiquity
-We see socrates at age 70, defined musculature, handsome, almost godlike (reviving antiquity as model for humans)
-Dark walls are theatrical
-Socrates is passionate as he knows he is right, ready to ascend into a higher plane
-Painting done for the kind during a competition, but later became emblem of French revolution in 1789
-See every line in flooring, line trumps the power of color = rationality
-Socrates creates vertical and horizontal, no diagonals
8—Jacques-Louis David
"Oath of the Horatii"
1784
Neoclassicism
-Made under the king but later used by revolutionaries
-Linear elements, boring dulled colors, shadows, carefully orchestrated, 3 arches in the background for the 3 brothers
-Interior made of triangles, the most stable and unmovable of shapes
-Represents morality for all times, unchangeable power of state, loyalty to the state
-Neo-classicism seen in the hand holding the swords, well defines, this is so true that nothing is obscured
-Diagonals robbed of emotional power, used to promote sense of identity and understanding
-Interested in group dynamic and sacrifice, strength
-Women's reaction switches stylistic dynamics, women are slumped, not strong, commitment is to their family not the state so they are weaker, physically lower
9—Jacques-Louis David
"Death of Marat"
1793
Neoclassicism
-David was changeable, politically changes with the times
-Marat was a revolutionary who had horrible skin deformity, conducted business from medicinal bath where he ordered guillotine killings
-Killed in his bath, became martyr of revolution
-In his death, seems to be cured of repulsive skin condition, almost handsome, see rigged up desk on bath
-See knife that killed him with just a bit of blood
-Wooden desk meant to look like a tombstone
-Process at acme, reached the final point
-Every outline, every detail articulated, details reinforce the essence
-Figure taken from antiquity
-Using line as primary means, strong horizontal/vertical, stasis, stability, secular crucifixion
10—Gros
"Napolean at the Pesthouse of Jaffa"
1804
Romanticism
-Figures with plague are still heroic (muscular, no postures, no vomit) Heroic in their suffering
-See orientalist (exotic) in the background with mosque, minaret, walls
-Napoleon assumes gesture of God, curing people with his touch
-Elements of neoclassicism in figures, but counters romanticism surrounding with lightning, lack of absolute clarity
11—Thédore Géricault
"Raft of Medusa"
1818-1819
Romanticism
-history painting from a contemporary event in 1816
-strong diagonal crossing the raft, figures already reduced to death
-heroic bodies, heroic anguish, heroism of suffering and defeat
-triangles/diagonals for emotional intensity
-Men make pyramid of themselves to flag down a ship but they aren't noticed, scene depicts this acme moment of ultimate despair
-Controversial display showing defeat and the worst side of humans, chooses black man at the height of pyramid as a hero waving down a ship
-Death should be confronted with bravery and resolve like in "Death of Socrates"
12—NOPE
Henry Fuseli
"The Nightmare"
1781
-World of dissonance, excess, sexual danger
-Chose night, not stable day, but time when eroticism reigns
-Elongated woman, visual eroticized shape, without structure
-Horse with bulging eyes, mysterious light coming from an unknown source, figure pressing on her diaphragm, mythological creature incube associated with "criminal conversation"
-Darker side of being human, contending with this dimension
13—Caravaggio
The Calling of St. Matthew
1599-1600
Baroque
-Intense, emotional, setting
-Main character is off to the side, suggests unveiling of theatrical performance
-Tremendous areas of light and darkness contribute to theatrics
-Takes place in a tavern, not necessarily a heroic place
-We are near the table, among the group, stretching to see Jesus
-We have to untangle the mystery, dramatic unfolding
14—Parmigianino
"Madonna (with a Long Neck)"
1535
Mannerism
-Long neck represented in poetry as beauty, elegance
-Elongated neck, fingers, baby
-Elevated dependence on imagination, not just what is seen with the eyes
-Perspective not mathematical, but of imagination, artificial
-This is the alternative, we are invited to individually make our own
-There is no space, all figures pushed together
15—Titian
Venus of Urbino,
1538
Late Renaissance
16—Balthasar Neumann
Würzburg Palace, and Tiepolo, Frescoes in the Kaisersaal
1750
Rococo
17—Goya
"Saturn Devouring His Children"
1820
Romanticism
-A mythical giant, king of titans/giants
-Ate his children so that his children never overthrow him/take his power
-Bulging eyes
-ZigZag lines
-Excessive need to be number 1
-Shows even titans had human traits, impassioned
18—Goya
"Third of May, 1808"
1814
Romanticism
-History painting - Napoleon asked king of spain if he could invade portugal. He conquered spain and their royal family hid. Napoleon put his brother, Joseph, as spanish king, in May 1801 citizens of Madrid rebelled and attacked
-Joseph ordered execution of spanish citizens
-1814 return of the monarch to spain
-Repetition, stability of african mercenaries executing array of rifles
-A pile of bloody, dead bodies
-Figure in white blouse - innocence, new christ
-Innocent new christ sacrifices his life for his fellow citizens, his arms on strong diagonals
-We're on the sideline, witnessing
-Beast like ways of humans, lack of self control
19—Goya
"The Sleep of Reason Produces Monsters"
1798
Romanticism
-Print to be distributed widely
-Subject is scholar, author falls asleep
-Background - dark, scary
-Rationality is overcome by darkness
-Advantages of liberal reformation
20—Friedrich
"Sea of Ice"
1823-25
Romanticism
-Germans explored the North Pole /the world
-Icy atmosphere, hard to breathe
-Sharp lines and contour
-Strong outlines, so shards of glass cut us
-Hopeless painting
-Romantics depress us
-Face death
21—Delacroix
The Death of Sardanapalus
1827
Romanticism
-Last of a syrian kings
-Decision to destroy everything, out of spite
-Nighttime, smoky
-King = on bed, calm
-Around bed, exotic people
-Elephantine (yellow) on bed stump
-Chaotic, overly rich, overwhelmed
-Displacement of morality, hierarchy, etc
-Passionate excess
-Irredeemable, out of spite, vengeance
-History painting
22—Delacroix
"Liberty Leading the Republic"
1830
Romanticism
- Revolution of french people
-Tragic present
-All figures in society rebel vs. monarch
-Lack of clarity, focus on a person
-Atmosphere, motion itself
-Recruit us to recognize barbary
-Surmount the barricade
-Kid with pistol
-Allegory of liberty (recruiting to her side) vs. conservatism
-We're among the dead
23—Turner
"Slave Ship"
1840
Romanticism
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24—Beckx
"Portrait of Don Miguel de Castro, Emissary of Kongo to Brazil"
1642
baroque