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- date: 18th cent
- location: france
- artist: Jacques-Louis David
- title: The Oath of the Horatii
- period: neoclassical
- -depicts the Roman story of the oath of horatti
- -the idea that there should be a duty to the state,
- -presentation of a moral message that is in conformity to the state’s interest
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- date:18th cent
- location:rome
- artist: Angelica Kauffmann
- title: Cornelia Pointing to Her Children as Her Treasures
- period: neoclassicist
- -cornelia is depicted as hero; she is the central & taller figure showing her children as the treasures, as opposed to the other woman holding the jewels, who is lower and looking up at Cornelia
- -example of pronatalist rhetoric being promoted through the painting, as well as gender ideology, and motherhood naturally elevating women
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- date:18th cent
- location:Virgina
- title: "Monticello" Thomas J house
- -Thomas Jefferson’s living quarters,
- -he showed interest in a Renaissance designer, and was modeled on an Italian tradesman’s villa set in the countryside
- -the temple front of Monticello with a style of classical columns, where an elevated dome sits, similar to the Florence cathedral of the Pantheon, though was a more modest example of Neoclassicist architecture
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- date:18th cent
- title: Wedgwood Anti-Slavery Medallion
- -made to be handed out at abolitionist protests
- -depicts a black man kneeling with chains on his arms, looking upwards, with a caption that reads “am I not a man and a brother?”
- -meant to be read by white men, and were manufactured by the thousands
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- date:19th
- location: france
- artist: Théodore Géricault
- title: The Raft of the Medusa
- -massive painting
- -less crisp & linear but more flowy, a dramatic light & dark contrast which creates depth
- -shows the turbulent nature & the power of nature itself
- -post Napoleon’s exile
- -a moral message to embarrass the monarchy and point to their corruption
- -depicts a true story of a ship that ran aground which left a hundred people abandoned due to the monarchy’s incompetence
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- date:19th cent
- location: france
- artist:Eugène Delacroix
- title:The Death of Sardanapalus
- -reminiscent of the Raft of Medusa (violence, drama, clear brushwork, dramatic color palette)
- -comes from a play that told the story by Lord Byron of the Syrian king Sardanapalus
- -his palace can be seen in flames, and he destroys himself and everything around him rather than be taken captive
- -no moral messaging, rather a sensational depiction that caused a scandal
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- date:19th century
- location: native North America
- title: Sioux or Cheyenne Feathered War Bonnet
- -a male warrior had the privilege of wearing a bonnet like this one
- -showed rank in society
- -represented a warrior who had shown exceeding courage in battle
- worn during ceremonies,not during actual battle themselves
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- date:19th cent
- location:native north america
- artist:George Catlin
- title:The White Cloud, Head Chief of the Iowas
- -elevated, dignified, graceful, an example of the “noble savage” stereotype
- -embodiments of man in his “natural” state
- -these were viewed as noble ancestors, and the hand mark is a mark of his skill as a warrior
- -Catlin made a series of portraits of important figures within Native groups, were shown at the Salon and were the first depiction that Europeans would have seen
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- date: 19th cent
- location:great plains, native North America
- name: Cotsiogo, Hide Painting of the Sun Dance
- -made by those of the Great Plains
- -used as part of an oral historical tradition
- -made for tourists/white European audience and for a market to sustain the artist
- -depiction of a ceremony (Sun and Wolf Dance) that no longer occurred due to forced assimilation
- -women seated by a fire are shown or a man on horseback, a nostalgic view of Native American life
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- date:late 19th century
- title:Northwest Coast Thunderbird Mask
- -made out of carved wood and painted
- -formalin style (lots of oval shapes, curvilinear forms)
- -feathers are incorporated
- - reveals an ancestor/diety’s face, is jointed and has the ability to move and would be worn on the head
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- date:20th cent
- location: Alaska, native North American
- title: Northwest Coast Chief Johnson Totem Pole
- -erected next to a clan house that belonged to the Raven clan and the Chief honored his mother with the pole
- -an enormously tall structure that extends upwards 55 feet which tells the story of the raven and how salmon was given to the people
- -the myth teaches that treating nature well & being a good steward is the moral, as well as respecting one's partner & to take care of resources
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- date:late 17th-18th century
- location: qing dynasty
- title:Portraits of Shi Wenying & Lady Guan
- -depiction of a married couple who were deceased when the portraits were made
- -shows a veneration of ancestors, as Confucianism supported, a frontal, forward facing depiction, with symmetrical figures, painted on scrolls which could be rolled up when not in use
- -represented at full length, and the background is empty behind the figures (they are no longer in this world, and also formally draws attention to the figures themselves)
- -lieutenant general and his wife, she is wearing a robe or garment that would be worn at formal occasions, highly decorated with intricate, elaborate decorations & elaborate jewelry
- -Shi Wenying wears a fur coat with a feather in his cap (mark of his status within the court)
- - an inscription in Chinese characters honors the couple and their reception
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- date: late 18th century
- location: qing dynasty
- title:Imperial Workshop
- artist:Giuseppe Castiglione
- -Portrait of the Qianlong Emperor
- -very colorful and patterned, with a lot of vegetable and flower motifs, very symmetrical and organized in its layout
- -represented in a Buddhist configuration, the Emperor seated in a Buddha position, with lotus flowers surrounding him
- - his hands are positioned in a way with specific Buddhist significance, and he holds a wheel which signifies the path towards enlightenment
- -the influence of Western art in China at the time
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- 18th cent
- qing dynasty
- Wang Shishen
- Landscapes and Flowers
- -Collaboration between poetic verse and painted natural scenes
- -Exemplary penmanship and brushmanship
- -Era valued painters expressing their own styles
- -Specialized in garden subjects, particularly symbolic of springtime
- -Paintings popular for their symbolism of spring
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- 18th century
- quing dynasty
- The Qianlong Emperor’s European-style Palaces
- -Primary residences for the Emperors
- -Features mazes, stonewalls, and bird automatons
- -Spectacular architecture built for the Emperor
- -Attributed to Castiglione
- - Influenced by European style
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- 19th cent
- qing dynasty
- Zhao Zhiqian
- Peony folding fan
- -Created visually appealing work for open market
- -Produced folding fans mounted as album leaves
- -Greyscale peony with experimental color usage on second fan, reflecting modern perspective
- -Blended traditional calligraphy and subjects with progressive flower depiction
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- 19th cent
- qing dynasty
- Ren Xiong
Self-Portrait
- -Modern portrait featuring somewhat nude individual with angular face
- -Inspired by European art of the time, focusing on self-expression and craftsmanship
- -Face depicts concern, frustration, and engagement with current events
- -Nods to tradition with inclusion of calligraphy
- -Intimate, emotional, frontal, confident, and somewhat confrontational
- -Minimalist color palette adds otherworldly sensibility
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- 19th cent
- Japan
- Utagawa Kunisada
Visiting Komachi
- -Depicts modern woman in guise of Komachi, 9th-century female poet
- -Series includes seven modern women evoking Komachi
- -Encourages viewer to consider her state of mind, with many admirers
- -Example of ukiyo-e art tradition
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- c. 19th cent
- Japan
- Katsushika Hokusai
The Great Wave off Kanagawa
- -Depicts "The Great Wave" with Mount Fuji in the background
- -Style is distinctive, with spray of wave resembling snow
- -Influenced by European prints
- -Part of series of thirty-six prints depicting various perspectives
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19th century
- -Nkisi figures stand about 18 inches tall
- -Made of carved wood with addition of metal
- -Feature a mirror in center, representing power
- -Represent powerful figures, believed to possess healing and dispute-solving abilities
- -Called upon to resolve disputes, make contracts permanent, heal illness, protect against theft, etc.
- -Central chamber covered by mirror holds medicines or other items to activate Nkisi's power
- -Take various forms with similar symbolic proportions to other important sculptures
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- Ere Ibeji (19th century)
- nigeria
- -from the Yoruba people
- -Twins are dedicated to Shango at birth
- -Valued and revered in Yoruba society
- -Emphasizes importance of twins and belief in afterlife
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- early 20th century
- nigeria
- Oluwe of Ise, Veranda Post of Enthroned King and Senior Wife
- -Palaces were crucial as homes of the Oba, as well as sites for ceremonies and worship
- -All roads lead to the palace, featuring single-story enclosed structures, courtyards, and verandas with pitched roofs
- -Objects and posts within the palace referenced the Oba's deeds and powers, symbolizing royalty or power
- -Figures within the palace depicted wear headdresses or ornaments, symbolizing status and authority
- -Depicts senior wife, second most powerful figure in Oba's court, with smaller figures possibly representing children or attendants
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- Royal Palaces of Abomey (19th century)
- nigeria
- -Palaces of the Abomey kings were made of adobe
- -Kings built and decorated their own buildings
- -Clay reliefs depicted king's exploits, including a lion and conquered figure
- -Depicts Dahomey woman carrying Yoruba soldier, showcasing -Dahomey women as warriors
- -Carved door features additive sculpture, separately carved and nailed to door
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- Buffalo bosio (19th century)
- nigeria
- -the qualities of the king were represented through the buffalo
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- 19th cent
- Louis Daguerre
- Boulevard du Temple, Paris
- -Depicts a major road in Paris
- -Created using a copper plate coated in light-sensitive solution
- -Exposed to light for 10-15 minutes and fixed with mercury fumes
- -Shiny due to silver iodide, requiring tilting to view
- -Shows more definition in houses and trees
- -Only registers unmoving objects in photograph
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- 19th cent
- france
- Gustave Courbet
The Stone Breakers
- -Depicts era's essence, emphasizing peasants and rural life
- -Features laborers breaking rocks for roads and railroads
- -Atmosphere: somber with shadowy foreground under cloudy skies, hint of sunlit horizon
- -Men dominate canvas, engaged in grueling, daylong labor
- -Faces obscured, focusing on physicality of work over individual identity
- -Departure from idealization challenges academic painting norms
- -Reflects societal shifts of industrialization and urbanization
- -Highlights emerging class struggles of the time
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- 19th
- Jean-François Millet
- france
- The Gleaners
- -Depicts lowest class of peasants in countryside
- -Scene takes place during the day, showing gleaners/peasants harvesting grain
- -Intense work: picking out each piece of wheat from harvested field
- -Main figures outdoors for extended period, enduring strenuous labor
- -Idealized subjects: harmonious, curvilinear posture, bent over beneath horizon line
- -Connection to the earth provides comfort for urban audience
- -Reflects societal nervousness about potential peasant uprising
- -Comfort derived from depiction of peasants in contented labor, reducing fear of revolt
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- 19th cent
- Édouard Manet
- france
- Olympia
- -Salon acceptance sparks outrage
- -Rebuttal to Titian's painting
- -Strips away allegory, depicts prostitute named Olympia
- -Olympia less relaxed, more tense, upright, and angled
- -Attended by Black woman offering flowers from client
- -Titan's dog replaced by cat
- -Rejects tradition of Venus depiction as bourgeois male interest
- -Upsets audience with lack of class depiction
- Represents and exposes societal realities
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- 19th cent
- france
- Henry Ossawa Tanner
The Banjo Lesson
- -French painter, late 19th century, studied in Philadelphia, then Paris
- -Traveled to Europe for artistic opportunities, like many American painters
- -Painted after end of Reconstruction in the US, during era of racist laws against African-Americans
- Scene evokes quietness and devotion between older and younger figures
- -Set in rural setting, likely small log cabin with hearth fire casting light
- -Depicts American subjects for European audience, based on trips to North Carolina and rural Georgia
- -Banjo significant in African-American culture, derived from African instrument
- -Figures in center most detailed, background more sketch-like, resembling impressionism
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- 19th cent
- france
- Claude Monet
The Gare St.-Lazare
- -Multiple versions, possibly six or seven
- Varied colors of clouds from train steam, playing with light and shadow
- -Quick, ephemeral sketches of people, implying rapid movement through train station
- -Busier, more frantic depiction
- -Innovative use of colors, avoiding hard lines in favor of color relationships and contrasts
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- 19th cent
- france
- Auguste Renoir
Moulin de la Galette
- -Depicts petit bourgeoisie at outdoor garden with music, dancing, and snacks
- -Shows people connecting and enjoying themselves
- -Reflects class identity and desired public image
- Light filters through tree leaves, creating ephemeral effect on bodies
- -Captures specific light at particular time and place
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The Coiffure
- -Inspired by Japanese ukiyo-e print
- -Prints exported to Europe after interest from Western artists and audiences
- -Depicts woman arranging her hair in front of mirror, typical subject
- -Focuses on indoor domestic activities popular in ukiyo-e prints, representing pleasure and the floating world
- -Figures not prostitutes, but modern and privileged, reflecting a different perspective
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A Sunday on a La Grande Jatte
- -Depicts morning leisure in popular park on outskirts of Paris, catering to various social classes
- Sunday, a regimented day off from work, setting for the scene
- -Shows working man and bourgeois man seated together, without evident enjoyment, conveying uptight disposition
- -Refines loose, sketchy brushwork into theory of color
- -Develops pointillism technique: use of dots of pure color to create vivid colorist effect
- -Dots applied all over painting, similar to impressionist brush strokes but broken
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- 19th
- Vincent Van Gogh
- france
- A Starry Night
- -Features intense colors and free brush strokes of impressionism, intensified
- -Not a major painting for Van Gogh, mentioned it in passing
- -Captures explosive energy of night sky, challenging to depict in color
- -Originates from Van Gogh's imagination during time in asylum after mental breakdown
- -Canvas dominated by swirling night sky and surreal stars
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19th cent
Tahiti (french colony)
Paul Gauguin
Spirit of the Dead Watching
- -imposes a primitivism upon the Tahitian life
- -subject matter implies a subjective view beyond what he can see, a narrative of fear and confrontation,
- -he left his wife and found her looking at him with glowing eyes and told him she was scared
- -wanted to paint fear and terror -> a complicated account that is self-serving
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- 20th cent
- china
- Lang Jingshan
Spring Trees and Majestic Peaks
- -Comparable to traditional Chinese painting
- -Jingshan is regarded as the father of Chinese photography
- -Established the Chinese Society of Photography
- -Works utilize mist to create spatial illusions
- -Imposes calligraphy on top of the photograph akin to scrolls
- -Utilizes composite photography with multiple negatives
- -Focuses on creating new depictions rather than recreation
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Buddhist Sage
- -Famous during his lifetime and a devout Buddhist
- -Created paintings for the Shanghai art market
- -Associated with the Shanghai school, known for boundary-pushing
- -Bridges the transition from Qing dynasty to the Republic of China
- -Utilizes traditional medium of hanging scrolls
- -Features loose and expressive calligraphy style
- -Contrasts with the restraint of traditional paintings
- -Suggests traditional subjects can be relevant in the modern era
- -Mentored by Ren Yi
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Flying in the Rain
- -Shifts towards painting skies with varied colors to convey different times or moods
- -Darker paintings lack mist that traditionally brightened compositions
- -Depicts airplanes, signaling a shift to modern technological subjects
- -Landscapes appear to recede, influenced by Japanese and European styles
- -Includes traditional Buddhist buildings juxtaposed with modern airplanes
- Implies a sense of unease or intrusion with airplanes resembling bugs
- Evokes a sense of exile or political symbolism in legendary landscapes
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The Founding of the Nation
- -Under the People’s Republic, famine and purges occur against Mao's dissenters
- -Art falls under state control, with Mao asserting its inseparability from politics
- -Artistic expression should celebrate the common people and serve the state
- -Idealized heroism and praise of government policies dominate art
- -Artistic style combines lifelike realism with exaggeration and accentuation
- -Common motifs include red lanterns and beautiful blue skies
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- 20th cent
- china
- Pan Tianshou
Red Lotus
- -Draws inspiration from traditional or archaic revival painting styles during the Mao era
- -Utilizes traditional brushwork, expressive, and descriptive techniques
- -Red flower symbolizes Mao and communism, differentiating from Imperial China's red
- -Inscription describes the flower as shining red, aligning with Party mandates
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- 19th cent
- Japan
- Kuroda Seiki
Lakeside
- -Peaceful and aesthetically beautiful depiction of the subject
- -Artist Seiki studied in Paris, influenced by styles there
- -Experimented with light and nature in his work
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19th
Yokoyama Taikan
Kutsugen (The Legendary Chinese Poet Qu Yuan)
- -Inspired by traditional Japanese style
- -Combines intense realism with beautifully placed colors
- -Depicts a transition from a stormy landscape
- -Mythologizes mentor's departure from the Academy
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20th
Diego Rivera
The History of Mexico
- -Medium: Fresco, labor-intensive from Italian Renaissance
- -Collective endeavor, artist as part of working class
- -Influenced by Renaissance, especially Michelangelo
- -Artistic freedom with conditions: celebrate Mexico
- -Manifesto for union, art important to people
- -Depicts Mexico as symbol of class struggles
- -Segmented into eras: Ancient, Middle, Today/Tomorrow
- -Features strikes, resistance, Communist imagery
- -Depicts Mexican peasants, literacy, capitalists
- -Includes Karl Marx, Frida Kahlo
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- 20th
- Mexico
- Frida Kahlo
- The Two Fridas
- -Kahlo: Mixed identity, large-scale, life-sized painting
- -Depicts her sense of duality
- -Right side: Wears traditional Mexican outfit
- -Left side: Wears European wedding gown
- -Two exposed hearts connected by veins
- -Symbolize suffering and vulnerability post-divorce
- -Represents weakness and strength as duality
- -Allegiance to Mexico vs. international fame as an artist
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- 1905
- French
- Henri Matisse
- The Joy of Life
- -Large-scale canvas painting reflects artist's ambition
- -Depicts modern Arcadian scene
- -Often represents gods and mortals in peace and hedonism
- -Sensual landscape detached from modern world
- -Visible brush strokes with vivid colors
- -Emphasizes color relationships for emotional/aesthetic impact
- -Creates harmony and serenity through sinuous brushwork
- -Offers respite from modern world
- -Flat painting with rounded forms on flat canvas areas
- -Emphasizes painting as an object in itself
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1907
Pablo Picasso
Les Demoiselles d’Avignon
- -Picasso: sponge for influences, competitive, trying different ideas
- -Draws from Matisse but attempts unique approach
- -References specific African masks for figures' faces
- -Cooler color palette than Matisse, with dark reds/browns and light blues dominating
- -Figures pushed forward, negative space filled with abstract shapes and colors
- -Scene depicts brothel, less serene and calm than Matisse's works
- -Angular, confrontational, crowded, evoking claustrophobia
- -Three-dimensional objects rendered on flat, two-dimensional surface
- -Possibly influenced by books of African artifacts, resembling -Fang mask with oval shape, small eyes, and elongated nose
- -Cubism: focused exploration of depiction means, contour lines opened to allow planes to flow, no single point of view in perspective
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- 1910
- spain
- Pablo Picasso
- Portrait of Daniel-Henry Kahnweiler
- -Face recognized at top-center of painting
- -Diamond shapes for eyes, curves for hair
- -Possible indication of nose and mustache
- -Black and white forms may represent clothing
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- 20th
- Modersohn-Becker
- germany
- Self-Portrait with Amber Necklace
- Woman artist from an artist colony, influenced by Van Gogh and Gauguin
- Primitivist style inspired by French artists
- Represents herself nude, close to nature with flowers
- Crude brushwork on hands, face, and body
- Visible brushstrokes depict active presence, not voyeuristic object
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- 20th
- Kirchner, Street, Dresden
- germany
- -Intense emotional color, compressed space
- -High horizon line, figures appear crowded and intense
- -Sensation of claustrophobia within the city
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- 20th
- NY
- Douglas
- Aspiration
- -H renissance
- -using this style that alludes to African art in the stylization of the figures and the profile, with the usage Egyptian imagery
- - shows the figures pointing towards the large buildings/skyscrapers in the background
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