Mengs 

Parnassus 

1750-75 

Intellectual theme 

Clear moral, idealized figure type, organized composition, reminder of intellectual pursuits

Greuze 

Village Bride 

1750-75 

Realism: type of people, subject matter, natural- Rosseau

Emotional: range of emotions represented, male v female responses 

Intellectual: moral

Kaufmann 

Cornelia Presenting her children as her treasures 

1775-1800

Intellectual: moral, dull color scheme, idealized figure type, story from classical antiquity

West 

Death of General Wolfe 

1750-75

*One of first modern history paintings 

Intellectual: moral: to die for one's country 

Emotional: death scene, reactions amoung crowd 

Realistic: church steeple and Indian indicate time/place, Rosseau's theory

Burlington and Kent 

Chiswick House 

begun 1725* 

Neoclassical 

Imitates the Villa Rotunda, bilateral symmetry, stairs reminiscent of Laurentine Library 

Walpole 

Strawberry Hill 

1749-77* 

Romanticism: combining many styles from far away places 

National pride demonstrated through use of Gothic architecture

Fuseli 

Nightmare 

1775-1800 

Romantic/Emotional 

**New! Imaginative subject matter- folklore, interpretation of nightmares

David 

Oath of the Horatii 

1775-1800 

Neoclassical style 

Moral:country before family, idealized figures, reduced color palette, dramatic lighting, shallow space, figures parallel to figure plane, story from classical antiquity

Emotional: death, women's reactions 

Realistic: details-Roman armour, architecture

David 

Death of Marat 

1775-1800 

Mainly neoclassical 

-Limited color palette, emphasis on line, idealized figure, shallow space, moral: died for country, similar to Pieta

Emotional: death scene

Realistic: details-wood, letter, etc., contemporary history

Vigee-Lebrun 

Self Portrait with daughter 

1775-1800

Portraiture 

Demonstrating political/social views with costume, show her natural role as mother, demonstrating her talent

Goya

 The Sleep of Reason Produces Monsters 

1775-1800 

Etching 

When you give up rational control, irrational things come bubbling out.

Goya

 Family of Charles IV 

1800 

Group Portraiture 

Similar to Las Meninas, artist self portrait included, painterly style, characters painted realistically to make them seem like ordinary people. 

Goya 

Third of May 

1800-25 

Realistic: real life event

Emotional appeal: good guys v bad guys- lighting, lines, color, visibility 

Intellectual: inhumanity

Blake 

Elohim Creating Adam 

1775-1800

Color print 

Imaginative: the problems that came out of creation- division between people, the world, God full of energy, Adam had materialism wrapped around leg

Constable 

The Haywain 

1800-25 

Emotional: finding God through nature

Realistic: Dutch naturalistic style-atmospheric emphasis, detailed clouds, etc.

Turner 

Snowstorm: Hannibal crossing the Alps 

1800-25

Emotionalism: color and form as expressive elements, nature used to demonstrate the emotion of the event

Girodet 
The Sleep of Endymion

1775-1800

Emotional: erotic appeal, mythological subject matter

Intellectual: linear style, idealized figures, shallow space, dramatic lighting 

Ingres 

Napoleon Enthroned 

1800-1825

Realistic: textures 

Emotional: collosal scale, meant to impress, inspired by statues of Zeus 

Intellectual: moral: this is your divine ruler

Ingres 

Grande Odalisque 

1800-25 

Realistic: detail in decrative objects, differentiated textures

Emotional: sensual subject matter, far-away subject matter: Middle-Eastern woman 

Intellectual: idealized figure type: subjective deformation**, shallow space, limited color palette

Ingres 

Madame Moitessier 

1850-75

Reflection doesn't match, environmental portrait, linear style, softening of features, not alot of angularity or bones-- idealized body type: intellectual, realistic: objects around the room, emotional: what is reality? what are we looking at?

Gros 

Napoleon in the Pesthouse at Jaffa 

1800-25 

Neoclassical style 

Realistic: real-life event, realistic architecture and costuming 

Emotional: dying of the plague 

Intellectual: linear composition, parallel to picture, moral: Napoleon is brave, demonstrating "divine right"

Gericault 

Chargin Chasseur 

1800-25 

Realism: actual individual, detailed clothing

Intellectual: generalized figure to stand for an ideal 

Emotionalism: charging into battle, composition in background, use of color/form to express mood

Gericault 

Raft of the Medusa 

1800-25 

Intellectual: idealized figures, moral: man v. nature, man v. man 

Emotional: death at sea, emotionalism 

Realistic: actual event

Gericault 

Portrait of an Insane Man 

1800-25 

Realistic: realistic portraits, meant to demonstrate the similarity of "us" to "them", remember patients 

Emotional: sympathizing with the patients 

Delacroix 

Massacre at Chios 

1800-25 

Realistic: contemporary event, realistic detail

Emotional: reactions in people's faces, violent event 

Intellectual: moral- dying for freedom, connection between sex and death-men and women together 

***Use of reflected color, complementary contrasting colors, outlined bodies in red

Delacroix 

Death of Sardanapalus 

1825-50 

**Emotionalism: far away place/time, sex, death, passion, strong empasis on emotional color, modeling done with color-not light-tonal color: red/gold 

Not much moral or realism

Delacroix 

Women of Algiers 

1825-50 

Emotional: erotic subject matter, far away place and time, emphasis on expressive color 

Contrasting white women against African women-emphasis through contrast

Rosseau 
Under the Birches

1825-50

***Foundation for Impressionism: effect of light on objects 

Atmospheric effect and emphasis on texture, paint based on nature, landscape becoming legitamate subject matter

Barry and Pugin 

Houses of Parliament 

**begun 1836 

Nationalism shown through Gothic architecture 

Spirituality, not rationality: vaulted ceilings, spires to heaven

Jefferson 

University of Virginia 

1804-28** 

Classicizing, Neoclassical: logical layout, based on Villa Rotunda, demonstrating societal values similar to those of Greece republic, democracy, slavery, etc. 

America's getting back to nature values 

Nash 

Royal Pavilion at Brighton 

1800-25 

Romanticism: far away place and time, fantasy, pleasure, Middle-Eastern style

Courbet 

Burial at Ornans 

1825-50 

REALISM REALISM 

Arbitrary cropping, not a central figure/focus, ordinary event/people, antitraditional:not expected emphasis on body or extreme emotion

Courbet 

Stone Breakers 

1825-50 

REALISM 

Arbitrary cropping, ordinary event/people, no allegory, rough technique, no psychological connection

Millet 

Sower 

1850 

REALISM 

No narrative, no psychological connection, arbitrary cropping, monumental view-possible moral: monumental size due to viewing angle

Daumier 

Third Class Carriage 

1850-75 

REALISM 

Unbiased view of class.

Bonheur 

Plowing in the Nivernais 

1825-50 

Realism 

Exremely realistic, animal painter, studied animals at slaughter houses to understand anatomy, everyday, natural subject matter

Manet 

Luncheon on the grass 

1850-75 

Pre-impressionism (2nd gen realism)

Poses from Renaissance works, white underpainting uder women, unfinished look-elimination of half tones, unclear subject matter.

Manet 

Olympia 

1850-75 

Pre-impressionism, 2nd gen realism 

Inspired by Venus of Urbino-nod to Renaissance, contemporary prostitute-being of one's own time, **elimination of halftones, **contrast of light and dark

Manet 

Bar at the Folies-Bergeres 

1875-1900 

Pre-impressionism 

High key tonality, visible brushwork, change in perception, attention to light, no defined edges-realistic

Degas 

Orchestra of the Paris Opera 

1850-75 

Impressionism 

Working people, interior lighting effects, using low and high viewpoints, kept black in palette, thought of himself as a realist

Monet 

on the Bank of the Sein, Bennecourt 

1850-75 

Impression 

Middle class leisure, play with dimension and space-large areas of flat color, unfinished

Monet 

Impression, Sunrise 

1850-75 

Impressionism 

**Gave the group its name, more of a feeling than a statement, divided brushwork 

Monet 

Gare St. Lazare 

1875-1900 

Impressionism 

Modern/industrial subject matter, solid vs. efemeral, series to capture different kinds of light

Monet 

Wheatstack 

1875-1900 

Impressionism 

Piled layers of paint: scumbling-see paint underneath, exploring colored shadow, series to show effects of light

Renoir 

Luncheon of the Boating Party 

1875-1900 

Impressionism 

Academic modeling, middle class pleasure, color: light, bright, contemporary, moving away from impressionism

Morisot 

Summer's Day 

1875-1900 

Impressionism 

Loose brushstroke, middle class pleasure, strong diagonal, light/bright color palette 

Cassatt 

The Child's Bath 

1875-1900 

Impressionism 

Multiple perspectives, high view point, ambiguous background, teaching children to be independent

Cezanne 

Monte Sainte-Victoire 

1875-1900 

Structural Post Impressionism

Atmospheric color usage, one point perspective, play with space: tree branch mimicing the mountain

Cezanne 

Still Life with Apples 

1875-1900 

Structural Post Impressionism 

Using color to model, as opposed to shadow; multiple perspectives, textural unity of composition through consistant brushstroke 

Cezanne 

Mont St. Victoire seen from Bibemus Quarry 

1875-1900 

Structural Post Impressionism 

Using warm/cool and light/dark colors to create space, build picture using brush strokes, distorted scale

Seurat 

Sunday Afternoon on the Idland of La Grande Jatte 

1875-1900 

Structural Post Impressionism 

**Pointellism, simplification of form to geopmetric shapes, repeated sihlouettes, colored shadow, regularizing color, optical blending**

Seurat 
Le Chahut

1875-1900

Structural Post Impressionism

Using color and line to express emotion, form to create feeling, psychological effect of line**

Van Gogh 

The Potato Eaters 

1875-1900 

Subjective Post Impressionism 

Naturalistic color, realistic subject matter, subjective representation

Van Gogh 

Night Cafe 

1875-1900

Subjective Post Impressionism 

Intense, saturated colors used to express the feeling of the place, form is realistic, using complementary pairs to cause contrast, paint in front of motif, exaggerate color

Van Gogh 

Starry Night 

1875-1900 

Subjective Post Impressionism 

Manipulating form to show emotion, realistic colors, balance between the sun and moon, paint in front of motif, exaggerate line

Gaugin 

Vision After the Sermon 

1875-1900 

Subjective Post Impressionism 

Use of extreme color to express mood, playing with space-flat color and layering, simplified faces/forms, paint from memory

Gauguin 

Where Do We Come From, What Are We, Where Are We Going? 

1875-1900 

Subjective Post Impressionism 

Read like a scroll, right to left, moving towards death, Peruvian mummy reference

Redon 

Eye Like a Strange Balloon 

1875-1900 

Subjective Post Impressionism 

Print, imaginative subject, eyes are a window to soul, spiritualism, the world in flux, use of imagination

Munch 

The Scream 
1875-1900

Subjective Post Impressionism 

Form and color demonstrate the mood, Peruvian mummy reference, unstable, depressive composition

Rodin 

The Thinker 

1875-1900 

Subjective Post Impressionism 

Strong twist in body to demonstrate thinking as physical and mental, duality of body and mind, influenced by Michelangelo

Matisse 

Woman with a Hat 

1900-25 

Fauvism 

Uncontrolled, primitive, use of color to model and shade, similar to color-based post impressionists

Matisse 

Joy of Life 

1900-25 

Fauvism 

Emotion expressed through color, simplification of form, primitivism, extreme control over line quality

Matisse 

Red Studio 

1900-25 

Fauvism 

Playing with depth-flat color, but indicators of depth, color vs. line, organic vs. geometric, finding the essential line

Derain 

Mountains at Collioure 

1900-25 

Fauvism 

Simplification of form/color, similar to Van Gogh, subjective use of color, engery demonstrated through brushstroke

Picasso 

Les Demoiselles d'Avignon 

1900-25 

Cubism 

Influenced by African masks, ambiguity of figure and background, precursor to cubism

Picasso 

Guitar, Sheet Music, and Wine Glass 

1900-25 

Synthetic Cubism 

Using collage to break down barrier of art, introduction of color to cubism, force viewer to make assumptions about subject matter

Braque 

The Portuguese 

1900-25 

Analytical Cubism 

Break object into pieces and reassemble to show movement/time; tension between 2D and 3D, made of planes, introducing writing

Modersohn-Becker 

Self Portrait 

1900-25 

Proto German Expressionist

Setting a precedence for female portraiture, a self-nude:who is the viewer and who is the sitter? demonstrating cliques in art: women in nature, fertility symbols

Kirchner 

Street Dresden 

1900-25 

German Expressionism 

Intensifying color for expressive purposes, primitivism-inspired by African art, spatial distortion using flat color, political unrest demonstrated

Nolde 

Last Supper 

1900-25 

German Expressionism 

Crude, simplified faces, made the event seem far away and a long time ago

Kandinsky 

Sketch I for Composition VII 

1900-25 

Expressionism, abstraction 

**Beginning of abstract art, tryingto get emotion across without subject matter, art is not a window, correspondence of the senses

Boccioni 

Unique Forms of Continuity in Space 

1900-25 

Futurism 

Cubism with element of movement, represent modern life, recombination of object to show movement, passage of time

Boccioni 

States of Mind I: Farewell 

1900-25 

Futurism 

Demonstrating idea of movement by breaking down form and recombining, using color/line to express emotion and energy

Malevich 

Suprematist Composition: Airplane Flying 

1900-25

Suprematism/Abstract 

Using basic color and shape to express an idea, no distraction of subject matter, demonstrating movement with most basic forms, overlapping planes/spacing are expressive

Duchamp 

Bicycle Wheel 

1913/1951* 

Dada, Found objects 

Looking at functional objects for their beauty, synthesizing art/life 

Duchamp 

Fountain 

1900-25 

Dada, Found objects 

Breaking down barrier of art, what is art? Who gets to say what is art? 

Brancusi 

Bird in Space 

1925-1950 

Futurism 

Showing movement through basic forms.

Hoch 

Cut With the Kitchen Knife 

1900-25 

Dada