c) 1717-19, Antoine Watteau, Return from Cythera

• celebrates infidelity & emotion
• putti show sexual symbols
• romantic, pleasant

u) 1790, Elisabeth Louise Vigee-Lebrun, Self Portrait

• shows skills and success

h) 1754, Francois Boucher, Cupid a Captive.

• domesticated nature
• subtle female/female sexuality
• arouses king

i) 1758, Francois Boucher, Portrait of Madame Pompadore.

• beautiful and educated
• roses = venus

e) 1737-40, Germain Boffrand, Salon de la Princess, Hotel de Soubise

• organic lines bring out-in
• mythological & erotic
• Rococo interior

b) 1701, Hyacinthe Rigaud, Louis XIV

• shows absolutism
• "the sun king"
• moved court to Versailles from Paris

k) 1765, Jean-Baptiste Greuze, The Father's Curse

• Son comes back crippled, no riches & guilt
• no benefit in not following family duty

k) 1765, Jean-Baptiste Greauze, The Son Punished

* Diderot "Salon of 1765: 3 sketches of Greuze"

• Oldest son tries to leave not following family roles
• Should stay home and take care of dying father
  

f) 1740, Jean-Baptiste Chardin, Grace at Table

• Shows connection between mother and child
• Diderot: "Happy Mothers"
• Family roles & women raising child

l) 1766, Jean-Honore Fragonard, The Swing

• Flashing lover
• Light is focused on two main characters
• Illicit affair between aristocrats

m) 1768-1770, John Singleton Copley, Portrait of Paul Revere

• Shows his enterprise as a working man
• Copley and Revere are both showing craft
• Virtue by nature of hard-work

j) 1761, Robert Adam, Etruscan Room

• Roman wallpainting
• Big designer of 18th century
• frilly Rococo-like
• Kauffman did interior painting

d) 1725, Richard Boyle (Earl of Burlington), Chiswick House

• Influenced by Palladio
• in England so must have chimmeneys

z) 1810, Caspar David Friedrich, Abbery in the Oak Forest.

• nature as church
• landscape

o) 1771, Benjamin West, Death of General Wolfe

• radical for its time
• History painting, christlike
• Native americans are just watching history happen

zd) 1826, Eugene Delacroix, The Death of Sardanapalus.

• extreme violence
• most middle easterners are white?
• red symbolizes blood

q) 1781,Hunter, Child in the Womb

• Female body as object of science
• HOW THINGS WORK

zha) 1860, Wilson Homer, The Veteran in a New Field

• US transition after war
• "beat your swors into plowshares"
• Death also carries a scithe

zc) 1821, John Constable, The Haywain

• Closure Laws
• family losing home, nostalgic view

q) 1781, Henry Fuseli, The Nightmare

• incubus/succubus
• thrashing in sleep
• erotic

zf) 1830, Eugene Delacroix, Liberty Leading the People.

• woman in toga = allegory
• "the people" show all types

zb) 1818-19, Theodore Gericault, The Raft of Medusa

• political govt. scandal
• romantic, appeals to emotions

g) 1745, William Hogarth, Breakfast Scene from Marriage a la Mode

• dissheveled upper class
• satire
• "Comic History"

r) 1784, Jaques-Louis David, Oath of the Horatii

*Anon, "Painting

*Boime, " Iconography of Napoleon"

• Men represent state and govt.
• praised for accuracy
• French Academy
  

ze) 1827, Jean-Aguste Dominique Ingres, Apotheosis of Homer

• apotheosis= raising to god level
• famous artists & authors
• history

s) 1785, Angelica Kauffmann, Cornelia Pointing to her Children as her Treasures.

• exemplum virtutis
• Values children over jewels

v) 1793, Jaques-Louis David, Death of Marat

• martyr to cause
• official painter of revolution
• memorial

za) 1814, Jean-Aguste Dominique Ingres, Grande Odalisque

• orientalism
• "sex slave"
• fantasy

zh) 1840, JMW Turner, The Slave Ship

• sublime, evokes terror yet beautiful
• perspective!

zg) 1836, Thomas Cole, The Oxbow

• Manifest Destiny, natives arent using land well
• "gods eye view"
• balance of wild and tame

zi) 1868, Albert Bierstadt, Among the Sierra Nevada Nevada

• sublime, and majestic
• impacts public life
• gaining respect for land

n) 1770-1806, Thomas Jefferson, Monticello

• Made from availble material (brick)
• portico in front at dome on top

t) 1785, Thomas Gainsborough, Mrs. Richard Brinsley Sheridan

• 1st president of Royal Academy
• woman = one with nature
• nature = liesrue

zj) 1867, Edmonia Lewis, Forever Free.

• american neo-clacissism
• de-racialized
• borrowed subject matter

j) 1763-65,Wright of Derby, A Philosopher Giving a Lecture at the Orrery

• Family gathered with a tutor
• Men are interested in science, not Women
• influenced by Caravaggio
• Science as subject matter

za) 1814, Francisco Goya, The Third of May 1808

• sympathize with spanish
• martyr for the cause

w) 1804, Antoine-Jean Gros, Napoleon at the Pest House at Jaffa.

• commisioned by napoleon
• shows him as compassionate

y) 1808, Canova, Pauline Borghese as Venus.

• only shown by candle light

t) 1787, Sir Joshua Reynolds, Lord Heathfield

• redcoat
• work is done
• noble hero

a) 1648, Poussin, Burial of Phocion

• Standard History Painting
• Toga depicting history painting
• perfect nature

i) 1758, James Stuart, Doric Portico

• greek columns and "pizza box"
• in the middle of NO WHERE
• "FOLLIES" fake ruins

x) 1805- 08, Jaques- Louis David, Coronation of Napoleon

• importance of coronation
• shows approval
• separation of church and state