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| Antoine Watteau - Pilgrimage to the Island of Cythera, 1717, Oil on canvas. Rococo painting depicting the island rumored to be Venus' birthplace, hence the flirty romatic couples. |
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| Antoine Watteau - La Perspective, 1715, Oil on canvas. Rococo painting, a feature of which were non-famous/unrecognizable figures, like in this painting. |
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| Antoine Watteau - The Shopsign of Gersaint, 1720-21, Oil on canvas. Rococo painting, perceived as irreverent because of a) the painting of Louis XIV being put into a box, and b) the man examining the nude painting. |
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| Jean-Honore Fragonard - The Happy Accidents of the Swing, 1767-8, Oil on canvas. Sexual in nature because of the position of the man, reflects the morals of the the time that Diderot wrote about concerning the pursuit of pleasure. |
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| Jacques-Louis David - The Combat of Mars and Minerva, 1771, Oil on canvas. With this painting, a depiction of Roman myth, David is quoting several other painters, such as Boucher and Fragonard. |
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| Jacques-Louis David - The Oath of the Horatii, 1785, Oil on canvas. This famous and highly political painting inspired leaders like Thomas Jefferson. It also inspired French youth, making it controvertial among conservative French authority figures. |
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| Jean-Germain Drouais, Marius at Minturnae, 1786, Oil on canvas. This painting show's Drouais' sense of showmanship, with the black background dramatically contrasting the figures. |
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| Adelaide Labille-Guiard - Self-Portrait with Two Pupils, 1785, Oil on canvas. The purpose of this painting was to dispell rumors that men painted her works for her. |
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| Elisabeth-Louise Vigee-Lebrun - Self Portrait (Russia), 1800, Oil on canvas. Vigee-Lebrun showed her support for the monarchy by flatteringly painting Marie Antoinette during the revolution. |
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| Jacques-Louis David, The Oath of the Tennis Court, 1791, Graphite, pen, and sepia wash on paper. This unfinished work depicts a scene of revolutionary chaos. |
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| Jacques-Louis David - The Death of Marat, 1793, Oil on canvas. This painting, a symbol of martyrdom, was paraded through the streets the same day Marie Antoinette was beheaded. |
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| Jacques-Louis David - Napoleon Crossing the Alps, 1800, Oil on canvas. There were five finished versions created of this painting. |
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| Jean-Auguste-Dominique Ingres - Napoleon on his Imperial Throne, 1806, Oil on canvas. Portrait depicts Napoleon in his coronation costume. |
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| Fransisco Goya - The Third of May, 1808, (painted in) 1814, Oil on canvas. Painted to comemmorate Spanish resistance to Napoleon's army. |
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| Jean-Auguste-Dominique Ingres - The Valpicon Bather, 1808, Oil on Canvas. Considered Ingres' first great female nude. |
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| Jean-Auguste-Dominique Ingres - Grande Odalisque, 1814, Oil on canvas. Ingres paints a Western-looking woman but exoticizes her, exaggerating her anatomy for the purpose of the sweeping lines of the painting. |
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| Fransisco Goya - The Family of Charles IV, 1800-1, Oil on canvas. Modeled after Velasquez' Las Meninas. |
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| Fransisco Goya - Saturn Devouring his Children, 1820, Mural transferred to canvas. This painting, one of Goya's "Black Paintings", was originally painted directly onto the wall of his home. |
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| Theodore Gericault - The Raft of Medusa, 1818-19, Oil on canvas. Became an icon of French Romanticism. |
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| Eugene Delacroix - Liberty Leading the People, 1830, Oil on canvas. Commemorates the July revolution of 1830, the painting shows personified Liberty wielding the Tricolour, the flag of the French revolution that is still the French flag today. |
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| Joseph Nicephore Niepce - View from the Window at Gras, 1826, Camera obscura image on pewter plate. Considered the first photograph. |
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| Louis-Jacques-Mande Daguerre - The Artist's Studio, 1837, Daguerrotype (copper plate exposed to iodine and mercury fumes). The first Daguerrotype. |
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| Louis-Jacques-Mande Daguerre - Boulevard du Temple, 1838. Daguerrotype (copper plate exposed to iodine and mercury fumes). First time a human image was captured photographically. |
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| William Henry Fox Talbot - The Open Door, 1844, Paper print from Calotype negative. Talbot's attempt to photographically capture the aesthetic of the Dutch genre paintings. |
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| Etienne-Jules Marey - Flying Pelican, 1882, photographic print (unspecified). Used a multiple exposure technique to create a motion-capture effect image of a bird flying. |
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| Alfred Stieglitz - The Steerage, 1907, Photo print on vellum. A highly celebrated photograph because it is both a historical document capturing the time in which it was taken, and a work of artistic modernism. |
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| Honore Daumier - The Insurrection, 1852-58, Oil on canvas. The wall in the background enclosing the figures creates a sense of pressure and tension in the painting. |
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| Jean-Francois Millet - The Gleaners, 1857, Oil on Canvas. This painting enows its poor subjects with a sense of grace usually only associated with the wealthy and high class. |
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| Gustave Courbet - The Stonebreakers, 1849-50, Oil on canvas. A comment on the life cycles of the poor, and how the young are fated to the same lives of struggle as their elders. |
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| Honore Daumier - A Third-Class Carriage, 1862, Oil on canvas. This painting is an example of Daumier's goal to portray the misery of the masses. |
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| Jean-Francois Millet - The Sower, 1849-50, Oil on canvas. Painted two versions because the first was perceived to have a sense of foreboding. Displayed the second in the salon of 1851. |
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| Jean-Francois Millet - The Angelus, 1857, Oil on canvas. Endowing its simple subjects with a sense of piety and tradition. |
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| Gustave Courbet - An After Dinner at Ornans,1848-49, Oil on canvas. Criticized for but significant because of its decidedly unheroic subjects (Courbet's father and his friends). |
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| Gustave Courbet - A Burial at Ornans, 1849-50, Oil on canvas. The disconnected, deadpan figures add a satirical element to this painting. |
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| Gustave Courbet - The Painter's Studio: A Real Allegory Summing Up a Seven-Year Phase of My Artistic Life, 1855, Oil on canvas. Considered Courbet's manifesto painting. |
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| Gustave Courbet- L'Origine du Monde, 1866, Oil on Canvas. Courbet's most controvertial (for obvious reasons). |
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| Mary Cassat - Woman in Black at the Opera, 1878, Oil on canvas. This painting shows a woman watching the performers at the opera while being watched herself by another man in the audience. |
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| Mary Cassat - Lydia Crocheting in the Garden at Marly, 1880, Oil on canvas. A typical Impressionist portrait by Cassat depicting a woman in her everyday life. |
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| Paul Cezanne - Three Bathers, 1879-82, Oil on canvas. Henri Matisse, heavily influenced by Cezanne, owned this painting for years. |
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| Paul Cezanne - The Bather, 1885, Oil on canvas. Used greens and yellows for shading. Criticized because of it's lack of technical prowess. |
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| Paul Gauguin - Spirit of the Dead Watching, 1892, Oil on canvas. Controvertial because of the age of the subject. |
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| Paul Gauguin - Where Do We Come From? What Are We? Where Are We Going?, 1897, Oil on canvas. Gauguin's manifesto painting. |
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| Edouard Manet - Mademoiselle V. in the Costume of an Espada, 1862, Oil on canvas. Displayed in the alternative salon, evocative of Velasquez. |
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| Edouard Manet - Luncheon on the Grass, 1863, Oil on cavnas. Scandalously recieved because of the reclining prostitute. |
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| Edouard Manet - Olympia, 1863, Oil on canvas. Scandalous because of the prostitute's direct gaze and because of her necklace (which made it apparent that she is a prostitute). |
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| Auguste Renoir - Bal du Moulin de la Galette, 1876, Oil on canvas. One of Impressionism's celebrated masterpieces. |
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| Auguste Renoir - Luncheon of the Boating Party, 1880, Oil on canvas. Different classes of subjects. |
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| Georges Seurat - A Sunday Afternoon on the Island of Grande Jatte, 1859, Oil on canvas. Mural-like scale, shows few signs of movement, mixture of class, hints of idustrialism. Seurat wanted to create a utopian present in his paintings. |
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| Vincent Van Gogh - A Pair of Shoes, 1886, Oil on canvas. Continues the brown/black hues of his early work. A new way of representing something from everyday life. |
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| Vincent Van Gogh - Wheat Field Under Threatening Skies, 1890. Painted at the end of his life, sometimes referred to as his suicide painting. |
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| Giacomo Balla - Girl Running on a Balcony, 1912, Oil on canvas. Similar to Marey's photographs capturing the dynamism of movement. |
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| Umberto Boccioni - The City Rises, 1910, Oil on canvas. Moving images multiply in the viewers eyes. |
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| Carlo Carra - Interventionist Demonstration, 1914, Tempera and collage on cardboard. Use of words evoking sounds, multi-sense experience of the work. |
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| Gino Severini - Visual Synthesis of the Idea "War", 1914, Oil on canvas. Very close to the overal idea of Futurism and its attitudes towards war. |
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| Georges Braque - Man with a Guitar, 1911, Oil on canvas. Created during Braque's summer in Ceret with Picasso, almost the same as Picasso's Accordionist. |
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| Pablo Picasso - Les Demoiselles d'Avignon, 1907, Oil on canvas. Picasso's most worked on painting. He filled 16 sketchbooks with drafts before painting the final. |
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| Pablo Picasso - The Accordionist, 1911, Oil on canvas. Painted during his summer in Ceret with Braque, similar to Braque's Man with a Guitar. |
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| Pablo Picasso - Still Life with Chair Caning, 1912, Oil on canvas, oilcloth, rope. One of the earliest instances of collage. |
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| Henri Matisse - The Woman with the Hat, 1905, Oil on canvas. Produced reactions of shock and hilarity, no painting had received such a strong reaction since Manet's Olympia. |
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| Henri Matisse - The Joy of Life, 1906, Oil on canvas. Perceived as having Freudian influences. |
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| Henri Matisse - Blue Nude: Memory of Biskra, 1907, Oil on canvas. The next evolution of the transgressive nude after Manet and Gauguin. |
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| Henri Matisse - The Red Studio, 1911, Oil on canvas. Realistic rendering of his studio in a different, more vivid color. An abstraction of a space of thinking. |
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| Ernst Ludwig Kirchner - Street, Dresden, 1908, Oil on canvas. Abnormal use of color (especially on the street and the figures.) |
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| Wassily Kandinsky - Improvisation 28, 1912, Oil on canvas. Uses abstraction in color, like his contemporaries (such as Kirschner), but goes beyond that and uses abstraction of representation as well. |
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| Franz Marc - Yellow cow, 1911, Oil on canvas. Believed animals to be more connected to nature, the cosmos, and spirituality. |
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| Kazimir Malevich - White on White, 1918, Oil on canvas. White is the reflection of all color and Malevich uses it to represent his utopia, his idea of infinity and the perfect zero. |
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| Aleksandr Rodchenko - Pure Red Color, Pure Yellow Color, Pure Blue Color, 1921, Oil on canvas. The end of painterly representation. |
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| Marcel Duchamp - Nude Descending a Stiarcase No. 2, 1912, Oil on canvas. Evocative of the Futurists' dynamic portrayal of movement. |
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| Marcel Duchamp - 3 Standard Stoppages, 1913-14, String, canvas, glass, letter presstype, found croquet box. By dropping a meter-long length of string three times and copying the shape the string made, Duchamp removes himself as the artist, making chance the author of the work. |
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| Marcel Duchamp - Bicycle Wheel, 1913, Assisted ready-made. Comment on industrialization and on the non-function of art (neither the wheel or the stool can perform its intended function). |
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| Marcel Duchamp - To Be Looked at (From the Other Side of the Glass With One Eye Close to, for Almost an Hour), 1918, Oil, lead wire, silver leaf, and magnifying glass on glass. Considered the first instructional work of the century. |
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| Marcel Duchamp - L.H.O.O.Q, 1919, Ready-made with pencil. A postcard reproduction of the Mona Lisa with a moustache drawn on in pencil. Duchamp is making a statement about the devaluation of art through reproduction. |
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| Jean (Hans) Arp - Collage with Squares Arranged According to the Laws of Chance, 1916, Torn and pasted paper on paper. An artistic expression of the results of chance, similar to Duchamp's standard stoppages. |
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| Max Ernst - The Master's Bedroom, It's Worth Spending the Night There, 1920, Watercolor and pencil on paper. Ernst uses the empty room to represent his psyche and the furniture and animals in the room to represent different figures of his life and past. |
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| Man Ray - Cadeau, 1921, Readymade with spikes. Duchamp-esque statement about removing function from items and creating art pieces of them. |
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| Laszlo Moholy-Nagy - Light Prop for an Electric Stage, 1930, Aluminum, steel, brass, plastic, wood, motor. Designed as a 'light-space modulator'. |
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| Alberto Giacometti - Suspended Ball, 1930, Plaster and metal. Erotic but declassifying gender, it is unclear which part of the sculpture represents which gender. |
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| Alberto Giacometti - The Palace at 4 AM, 1932, Wood, glass, wire, and string. A physical depiction of the Freudian model of Oedipal progression. |
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| Alberto Giacometti - Invisible Object (Hands Holding the Void), 1934, Bronze. Representative of the psychological model of loss. |
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| Auguste Rodin - The Gates of Hell, 1880-1917, Bronze. Contains figures like 'The Thinker' and 'The Three Shades'. |
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| Auguste Rodin - Monument to Balzac, 1898, Bronze. Not actually cast into bronze until after Rodin's lifetime because of harsh critical responses to the original casts. A departure from usual anatomically-focused sculpture (Balzac's robe is covering most of his body and makes him appear formless). |
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| Constantin Brancusi - Prometheus, 1911, White marble. Referencing the myth of Prometheus and what is says about the human condition. |
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| Constantin Brancusi - Princess X, 1915, Bronze. Brancusi was charged with obscenity because of the obvious phallic nature of this piece. |
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| Constantin Brancusi - Fish, 1930, Marble. With the color and grain of the marble evoking rushing water and the shape of the slab evoking a fish, Brancusi uses nature to represent another aspect of nature. |
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