Francois Boucher, "Venus Consoling Love" 1751

-Diderot criticizes: opposes high social class, advocates the need of knowledge, esp to mid class

-rococo

-gods @ a moment of leisure

-reflects desire of elite @ that time

-faith, classical mythology

-metaphorical

-decorative, whimsical

-children

Jean-Baptiste Greuze, "The Village Bride" 1761

-rococo

-family chaos

-sentimentality is very apparent

-favored by Diderot

-depicts a non-religious ceremony

Jospeph Marie Viens, "The Selling of Loves" 1763

-particular to the decorative aspects

-“rococo” inspired subject matter

Joseph Wright of Derby, "A Philosopher Giving a Lecture on the Orrery" 1768

-neoclass

-depicted the enlightenment (industrial/science revolution) 

-lighting-signifies the importance, central to composition

-presence of children-significance and potential of younger generation 

-focus of science threatened faith/religious explanations

Jacques-Louis David, "Belisarius," 1784

-neoclass-early work, approved by Diderot

-narrative of past

-Belisarius was respected general, was plotted against by the Emperor, now left a begger

-faces of the four figures express sentiments of situation

-gestures-plays with different positions of the figure and how that is runs parallel to subj. matter

David, "Oath of the Horatti," 1785

-pivotal work: rupture b/w old rococo style and new neoclass style 

-gestures, not just facial expressions

-rigid opposition of gender

-significance of order (directional/suggested lines)

-focus on past

-depicts Roman Salute 

-needed paintings portraying loyalty to state (propaganda)// loyalty needed before Fr. Rev

-patriotism, self sacrifice, fight until death

David, "Lictors Returning the Bodies of His Sons" 1789

-neoclass, literal

-Golden Past of Roman Republic

-service to the state/self sacrifice

-divided by column (dark force of destiny and the effects of it)

-Brutus figure in the shadows to the left (condemned his own sons to death)

-lighting

-division between gender

-figures-sculptural 

David, "The Oath of the Tennis Court Oath," 1791

-neoclass (later career)

-focus on present/current events (Fr. Rev.)

-people won't leave until constitution drafted

-organized chaos, importance isn't achieved by positioning one figure above another (people are all of equal importance//subj. matter

-authority derived from the people, not monarchy (Louis XVI)

David, "Death of Marat," 1793

-neoclass

-depicts assassination of Marat (radical french journalist/politician)

-change in work, no longer glorifies the revolution

-height of Reign of Terror

-figure is idealized (his poor health was well known)

-friend to the people, secular saint, hero

-holding letter from murderer

-painting meant to ensure that momentum of rev would continue

Pierre Narcisse Guerin, "The Return of Marcus Sextus" 1799

-classicism

-Theatrical depiction

-leans against deathbed of wife

-gaze-inner questions, meaning of life?

-refers to Christian iconography

-daughter clinging to knee=Mary Magdalen

-atrocities of Fr. Rev

Anne-Louis Girodet "the Sleep of Endymion," 1793

-mythology (Roman version, not greek): Endymion, the shepard is being visited by the goddess Diana (depicted as moonbeam)

-foreshadows romanticism

-dreamlike atmosphere

-nothing heroic, he wanted to do something new

-deep shadows contrast the irredescent lighting

David, "The Intervention of the Sabine Women" 1799

-love prevailing over conflict

-roman story

-symbolize the french to reconcile after revolution and bloodshed

-style becomes more simple

-gestures of peace-warriors taking off helmets, putting away swords, woman holding up child(peace, innocence) 

*weather

-colors not as bold

David, "Napoleon at the St. Bernard Pass," 1800

-political prop.

-Nap. realized how influential David was, got David's support

-figure appears larger than he would be in actualitiy

-weather takes significant role

-pointed finger (she knows the way, after the rev. people need to know someone knows the way)

David, "The Coronation of Napoleon" 1805-07

-crowning his wife, who is idealized

-Nap crowned himself as well as wife, not Pope

-attitude within painting shifts-warning

-focus on Nap, Josaphine, Pope, and crown (diagonal lines the guide the viewers eyes)

-theatrical/purposeful propaganda (Nap is the son of the Rev.)

-vertical orientation

-ceremony takes place @ Notre Dame

Girodet, "The Deluge" 1806

-captures the effects of Nap. military aggression/invasions

-exhibits the birth of a new terror

-disasters become metaphors of anxiety of the age

-displays a hopeless situation

-refers to Biblical flood

-lightings (dark times are coming)

-protect women/youth

William Blake, "Newton" 1793

-open to Enlightenment ideas(social justive-rev), but very religious @ the same time

-opposed Newtons theory of universe

-misguided hero, faith being replaced by logic

-consumed by work, oblivious to beauties of world

-can't see beyond science

Turner, "Snowstorm: Hannibal and his Army Crossing the Alps" 1812

-weather plays a dominant role

-drama

-influenced by David's play w weather (Nap. @ St. Bernard) and the terror it is capable of sheding

-terror mixed w awe

-refers to anxiety of age due to Nap. invasions

Friedrich, "Cross in the Mountains aka Tetschen Altar" 1808

-depicts nature as a metaphor of religion

-god is everywhere 

-people in need of hope during nap. invasions

-hope=rays of light beaming behind mountain

-nature dominates, the cross is viewed from strange perspective

Goya, "The Family of the Duque de Osuna" 1788

-representation of the effects of enlightenment ideas (ideas welcomed in Spain)

-children meant to play(toys)

-dog-frivolousness

-family dynamics-interactions

-epitome of enlighten nobles

Goya, "Charles IV and His Family" 1801

-photographic quality/candid as opposed to dramatic/rigid positions in Davids

-figures are individualized NOT idealized

-in the shadows, he includes himself

-wife's presence dominates-her gaze engages the viewer (represents his role of authority)

-court painter to Spanish Crown

Goya, "Naked Maja" 1798-1805

-compared to "Clothed Maja" not as sexual

-nude females without mythological reference was very rare @ the time

-arms raised, proudly displaying her body, face lacks detail, reclining on pillows

-start of the fascination with maja(represent authentic spaniards) 

Goya, "Third of May" 1808-1814

-spanish pride

-freedom fighters rose up against Nap. during occupation

-self sacrifice

-atrocities of war, death was accurately represented

-perspective of the viewer, easy for viewer's eye to navigate

-faceless firing squad

-lantern-dramatic light

Gericault, "Charging Chasseur" 1812

-romanticism

-Nap cavalry officer on horseback, unseen

-beginning of his theme-horsemanship (movement/gust)

Gericault "The Raft of the Medusa" 1819

-icon of fr. romanticism

-recent tragedy that displayed incompetence of restored french monarchy

-captain under their orders

-13 days, men are broken, filled with despair

-scale overwhelms viewer

-2 pyramid structure, lines direct eyes from dead, to living bodies

-color palette reflects tragedy 

-turbulent subj matter strays away from neoclass

-hist painting of recent event

Delacroix, "Liberty Leading the People" 1830

-depicts July Rev. that brought down Charles X

-people rebelling against Bourbon Dynasty

-take power after fall of Nap., employ conservative laws, leads to revolt in 1830

-lady liberty (not idealized, not feminine, armpit hair, skin appears to be dirty)

-all social classes are rep. (top hat)

-symbolism: cap=liberty

-debate whether Delacroix includes himself (top hat)

-heroic positions of the fighters, contrasts with the lifeless bodies on the ground

Daumier, "Rue Transnonain" 1834

-large lithograph of revolt in Paris

-hist: revolt of working class, national guard called (one killed) lead to 19 deaths

-not censored b/c of July monarchy's new laws

-louis-phillippe ="citizen king"

-fill horror of family shot during revolt

Couture, "Romans of the Decadence" 1847

-combining historical genre (new subj matter emerges) and classicism 

-wanted to create something fresh

-overtly promiscuity (orgy)

-observers condemning

-commenting on French society at that time

-criticised moral decadence under July Monarchy-realist allegory

Meissionier, "Souvenir of the Civil War" 1848

-2nd empire established (revolt)

-horrors of the truth

-refers barricade of nat. guard during worker's riots

-observed, very detailed, every aspect is given same amt of attention

-warning to future rebels

-express hostility toward the underpriviledged 

Millet, "The Winnower" 1848

-radical realism, not glorified

-abandoned mythologies, focused on peasant

-position emphasizes the phys. stress

-shaking the grain-leaving room dusty (inhaling)

-paint is dry/brussely mimics their empty lives

Courbet, "Stonebreakers" 1848

-scale

-young-old (vicious cycle of working man)

-breaking stones//broken figures

-faceless figures-disposable

-saw stonebreakers on his way home-asked to model

-courbet is a worker himself (paint application/palette knife)

-depictions of workers were threatenin

Courbet, "The Burial @ Ornans" 1849-50, salon 1850/51

-observed funeral of great uncle

-realistic view of towns people

-dog looking away-captured one specific moment

-romanticism losing popularity "burial of romanticism"

-scale-usually reserved for religious/royal subject

-unusual to give an ordinary event such importance

-absence of idealism

Courbet, "The Young Ladies of the Village Giving Alms to a cowherdess in the Valley near Ornans" 1851

-women doing charitable work

-sm town interactions/snobishness

-juxtaposition b/w decent clothing and meadows

-very critical reaction

-

Manet, "Music at the Tuileries" 1862

-urban experience, modern city living

-dandy

-includes himself, his friends

-exhibits a form of leisure, but very diff than rococo leisure

-glimpse of luxeries of high society

Manet, "The Old Musician" 1862

-displaced the working class due to Nap.III haussmmanization 

-includes the rag picker (The absinthe drinker)

-theatricality-like actors on stage

-emotional blankness (modernity), not interactions with one another

Manet, "Luncheon on the Grass" 1863

-modern scene w refernces to old masters

-nudity mocks modern present and past (men clothed)

-woman isn't erotic, doesn't reveal much

-skin harshly painted

-her gaze makes the viewer aware of his role as an observer

-stylistically ground breaking-didn't try to hide brushstrokes (first signs of impressionism)

Manet, "Olympia" 1863

-prostitute

-ribbon(presenting herself as a gift, black cat/black servant-highest paid "courtesan", orchid (illicit sexuality)

-her gaze-indifferent->power

-figure is angular/flat

-brings forth idea of commodified body(clark)

-mid 1700’s

-artists: Boucher, Watteau, Grueze

-pastel colors, fluid lines

-lacks gesture (position of figures don’t express narrative, lacks volume, not convincing, limp)

-strong moral content

-glorification

Rococo

(rupture between old and new style)

Neo-Class

Classicism

Romanticism

Realism (shifts 1840)

Impressionism

-highlight morality

-bold colors

-gestures

-NapIII reconstructs Paris-urban planning

-sewers, parks, blvds

Baudelaire:

Beauty

Artist

Aim of Painter

Model

Women

-Fr. wirter/critic

-effects of modernity

Beauty:eternal/transitory (always moving/changing, not fixed)

circumstantial/relative, general/particular (be aware of secondary paintings, *subjective

Artist: recorder of contempory moment that will become hist, capture image and time period,flaneur/social/"niave and sophisticated"

Model: a dandy, engaged/withdrawn (balance, not forced), Constatine Guys

Aim: capturing a fleeting moment

Women: for pleasure of the observer(men), sense of prostitution, sensuel, discouraged natural, encouraged makeup

-delacroix, massacre at chois 1823

-massacre of greeks by turks

-no hope unlike "raft"

-complete despair

-child clinin onto dead mother-great effect