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| Salon de la Princesse; Boffrand; Paris; 1732. Simple outside with ornamental inside. Gilding makes it seem like nature is growing within. Salons become a competition. |
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| Pilgrimage to the Island of Cythera; Watteau; 1717; oil on canvas. Going to the island of love ruled by Venus with cupids. Shell motif on front of ship. Lots of pastel blues and pinks. |
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| Girl Reclining; Boucher; 1751; oil on canvas. Mistress of Louis XV - would have been for his private collection. Mainly mythological women were seen naked. |
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| The Swing; Fragonard; 1767; oil on canvas. Cupid hushing to hid second lover. The putti and dolphin urge the woman on. |
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| Church of the Vierzehnheilgen; Neumann; 1743-1772. Ideas of Baroque with Rocco. Light + Airy. |
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| Saying Grace; Chardin; 1740; oil on canvas. Moral goodness of the middle-class. Not corrupted by the upper class. |
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| Portrait of Marie Antoinette with Her Children; Vigee-Lebrun; 1787; oil on canvas. Prominent female painter. Made Marie seem like a relatable mother figure. Empty carriage hints at a baby's death. |
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| An Experiment on a Bird in the Air-Pump; Derby; 1768; oil on canvas. Tenebrism. Dedicated interest in science and experimentation. |
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| The Marriage Contract; Hogarth; 1743-1745; oil on canvas. Painted in a series to tell a story. Satire on the negatives of marriage - father wanting money, fiancé looking in the mirror, woman in unamused. |
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| Lady Sarah Bunbury Sacrificing to the Graces; Reynolds; 1765; oil on canvas. Portrays her good inner qualities - nobility comes from within. |
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| Mr. and Mrs. Andrews; Gainsborough; 1748-1750; oil on canvas. Shows their goodness through their tending and care of the land. Horizon line is low to make them seem bigger. |
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| The Doge's Palace and the Riva Degli Schianoni; Canaletto; 1730s; oil on canvas. Veduta: render of famous views and buildings. |
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| Oath of the Horatii; David; 1784-1785; oil on canvas. Based on story from ancient Rome - recognizable. Focuses on design and structural form - spaced like on a stage. Strength of men vs emotions of woman. |
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| Death of Marat; David; 1793; oil on canvas. Record of the event and propaganda for the movement. Honors Marat - resembled Pieta. |
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| Napoleon Crossing the Saint-Bernard; David; 1800-1801; oil on canvas. Portraying nobility + goodness. Propaganda. |
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| Cornelia Pointing to her Children as her Treasures; Kauffmann; 1785; oil on canvas. Shoes virtue since her kids are her jewels. First woman to compete in the history category. |
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| The Death of General Wolfe; West; 1770; oil on canvas. Recent history - not ancient or biblical. Not true to history: no Indian + died on a tree. |
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| Chiswick House; Kent; 1729. Inspired by the Renaissance. Clear angles, simplicity outside, geometric. |
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| George Washington; Houdon; 1788-1792; marble. Grand manner + nobility. References to Roman history. |
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| Large Odalisque; Ingres; 1814; oil on canvas. Not anatomically correct. Able to be for the public since the nude woman isn't French - a tease to the viewers. Interest in Orientalism. |
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| The Nightmare; John Henry Fuseli; 1781; oil on canvas. Frightening and sexual. The demon represents a myth. |
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| 3rd of May; Goya; 1808; oil on canvas. Shooters are aggressive yet anonymous. Victims hands re up much like Jesus. Message so it doesn’t happen again. |
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| Raft of the Medusa; Géricault; 1819. Contemporary subject painted like historical. Emotion + terror + movement. |
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| Watson and the Shark; Copley; 1778; oil canvas. Anticipation – viewer knows what will happen. Nude to show painting skills. |
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| Death of Sardanapalus; Delacroix; 1827; oil on canvas. All his treasures being destroyed – seen as too violent. |
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| Liberty Leading the People; Delacroix; 1830; oil on canvas. Liberty leading the people. History in Romanticism. Diversity of people fighting on the same side. |
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| Departure of the Volunteers of 1792; Rude; 1833-1836; limestone. Victory dressed for war. Emotion pulls stronger than rationality. |
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| Abby in an Oak Forest; Friedrich; 1809-1810; oil on canvas. Leave the viewer in awe. Gloomy. |
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| The Burning of Houses of Lords and Commons; Turner; 1834; oil on canvas. Great use of color. Hazy quality. |
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| Rue Transnonain; Daumier; 1834; lithograph. Aftermath of tragic event. Sense of factualness. Medium reaches many people. |
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| The Artist’s Studio; Daguerre; 1837. Composition and light highlights textures and objects. |
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| The Birth of Venus; Cabanel; 1863; oil on canvas. Rocco coloring. Okay to look at a nude woman if she were a goddess. |
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| The Stone Breakers; Courbet; 1849; oil on canvas. Size of a history painting yet of a dreary subject. |
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| Burial at Ornans; Courbet; 1849; oil on canvas; 10ft x 22ft. Rough textures of paint. Critiques though subject was too course – painter opened own personal exhibition. |
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| Luncheon on the Grass; Manet; 1863; oil on canvas. In Salon de Refuge. Nude woman isn’t a goddess and looking at the viewer. Wrong perspective. Combines all categories of painting. |
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| Olympia; Manet; 1863; oil on canvas. Looks directly at you. Flatness + Unintelligent + Lifeless. Got torn apart in Salon but produced much press. |
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| The Gross Clinic; Eakins; 1875; oil on canvas. Rejected for being too brutal. Strong lighting. |
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| Nocturne in Black and Gold; Whistler; 1875; oil on panel. Paintings inspired by music. Flung pots of paint – doesn’t need a subject. |
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| Impressionism Sunrise; Monet; 1872; oil on canvas. Inspired the term ‘impressionism’. No defined forms – broken brush work/reflection. Artists began creating work outside and on site. |
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| Rouen Cathedral; Monet; 1894; oil on canvas. Seconds of weather and light change each painting. Captures a moment. |
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| Paris Street, Rainy Day; Caillebotte; 1877; oil on canvas. Contemporary view – city redesigned. Salon didn’t like its unconventionality. |
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| Moulin De La Galette; Renoir; 1876; oil on canvas. Shows ordinary middle class people – fun, movement, pleasure. |
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| The Rehearsal on Stage; Degas; 1874; pastel over brush and ink on woven fabric. Off balance composition. Figures seen moving and twisting. |
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| The Tub; Degas; 1886; pastel on cardboard. Sharp angle. |
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| Mother and Child; Cassatt; 1890; oil on canvas. Tenderness and warmth. Not allowed to train as a woman. |
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| Summers Day; Morisot; 1879; oil on canvas. Used patches of color. Little focus on surrounding area + figures are undefined and cut off. |
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| Jane Avril; Lautrec; 1893; 5 color lithograph. A sharp angle. Neck of the bass acts as a frame. |
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| A Sunday on La Grande Jatte; Seurat; 1884-1886; paint on canvas. Paint applied in tiny dots. Popular success in the Salon. |
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| Starry Night; Van Gogh; 1889; paint on canvas. Not an accurate representation of the view outside the window. Cypress tree reaching to the sky is a symbol of death and eternal life. |
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| Mahana No Atua (Day of the God); Gauguin; 1894; painting on canvas. Divided into 3 horizontal parts – each getting more abstract from top to bottom. Birth on the left to death on the right. |
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| Basket of Apples; Cezanne; 1895; oil on canvas. Table is uneven, wine bottle has 2 shapes, viewpoint of apples and cookies are different. Objects in their basic geometric shapes. Rejects traditional perspective. |
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| The Large Bathers; Cezanne; 1906; painting on canvas. Pyramidal groupings. Objects broken down in to essential shapes and patches. Leads to cubism. |
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| The Apparition; Moreau; 1874-1876; painting on canvas. Salome sees St. John’s head for killing him. Orientalist themes in decoration and costume. Technique is decadent and fantastical. |
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| The Scream; Munch; 1893; tempera and pastels on cardboard (original). Inspired by a drunken anxiety attack on a bridge. Man reduced to a skeleton form. Swirling lines plays with the air around him. |
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| The Gates of Hell; Rodin; 1880-1900; bronze. Subject based on Dante’s Inferno. Uses continuous movement throughout. Portrays bodies damned in Hell – over 200 figures suffering. The Thinker ponders the souls beneath him. |
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| The Waltz; Claudel; 1892-1895; bronze. Scandalous for the amount of body contact + for a female to depict a nude male. Realism in the bodies and movement of fabric. |
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