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- Jules Hardouin-Mansart (planned the gardens) and Charlies Le Burn (interior decoration), Hall of Mirrors, Palace of Versailles, begun 1678
- center of the french royal court, isolated from the city, Huge, approach society order meaning, royal courtyard for theater performance and greeting line
- Hall of Mirrors when it doesn't have decoration there is mirror that reflects the decoration, lots of gold, glows from chaldeler at night, shows wealth (mirrors cost alot), canvases in bedded
- Gardens: parterres (formal sculpture gardens) right outside, around gardens are sculptures sometimes in fountains, imported plants from all over French empire, fake village, fake grottos and caves with a payed hermit, move outward more untamed, everything was planted
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- Jean-Antoine Watteau, Pilgrimage to Cythera, oil/canvas. 1717
- Watteau was the oldest Rococo painter, putti, whimscal, fete galante (wealthly people relaxing), kneeling at the foot of Venus, color palette, painterly brushwork, nature, act of getting up, dog
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- Jean-Honore Fragonard, The Swing, oil/canvas. 1766
- rejected by Bachoque, sex and infidelity, being pushed my betrothed flying over her lover who is looking under her skirt, cupid statue is keeping the secret, mistress subject matter, painterly brushwork, nature, limited palette,
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- Balthasar Neuman, Church of the Vierzenheiligen, 1743-72, 1751-2, Wurzberg, Bavaria, Germany
- very curvy, gilding, trompe l'oeil ceiling, twining plant forms, no stained windows and white walls makes it very bright,
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- John Singleton Copley, Thomas Mifflin and Sarah Morris, 1773
- reflects the couple's identity as American patriots, painted in 1773 same year as the Boston Tea Party, Sarah is the focus, she sits in the foreground dressed in rich silk, doesn't wear any jewlery except for a chocker, sleeves rolled up and working on silk threads a domestic task, shows her commitment to her home as a good wife and her revoluntary cause as a woman who can manage withot British goods, meets the veiwer head on with intelligence shows she is partner to her husband, sharp clear painting style
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- Joseph Wright of Derby, An Experiemnt on a bird in the air-pump
- enlightenment asperiation, industrail innovation, and romantic sensibility, painted a seris of entertaining scenes of science experiments, dramatic moment, dramatically lit, moon = lunar society, sciece holds the potenial for wonder, excitment, and discovery about matters of life and death
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- William Hogarth, The Marriage Contract
- wanted free of mythology pretect, encouraged self imporvment which would lead to social progress, show scene of an arranged marriage
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- Clodion, The Invention of the Balloon
- playful, erotic table top sculpture, unpainted terra cota, ornaments, wind god, putti, trmpeting victory,
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- Johann Zoffany, Academicians of the Royl Academy, oil/canvas, 1771-72
- engagged in a life drawing class, upper class men, all men, only two women in the academy seen in the portraits because they can't be there since there is a nude male
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- William Hackwood and Josiah Wedgewood, "Am I not a man and a Brother?", black and white jasperware, 1787
- Hackwood made it but Wedgewood designed it, used factory for their own political reasons, became symbol of the British ambolition movement, color of the jasperwood creates a literal color sterotype, small for mobility, kneeling begging for freedom in chains, we have the power to help him, it is an appeal to humanity and kinship - englightenment ideals, political marker/sologan, message/symbol crosses cultures
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- Adelaide Labille-Guiard, Self-Portrait with Two Pupilsm oil/canvas, 1785
- represents with two students asserting self as a teacher/master, her inspiration is the male bust of her father, reference to Velazquez with the canvas
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- Thomas Jefferson, Monticello, Charlottesville, Virginia. 1769-1882
- looked at Italian, Villa Rotona by Palladio, connected old with new archecture, instead of marble used cheap brick and wood, only symmeritcal bilaterally, one clear decided door because of function and political symbol of importance and diverse perspective but only way to go in, after he visited France he changed the design to make the two story building look like a one story, picture of the evouling nation, returned to classical ideas
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- Jacques-Louis David, Oath of the Horatti, oil/canvas. 1784-5
- moral - political, sons represent Rome to fight to the death against their enemy of Alba, muscular, stance strong/powerful, form a foundational pyramid, they are a unit, mixture of hand gestures, women are the wives, one comes from Alba and has conflicts alligence, they are weak and fragile in curvy forms compared to sons, but still in a pyramid, in mourning state = women's behavior, gender lines in political relations, classical arches segment out the scene, created before the French Rev created for the Royalist sympathy assuming everyone will swear alligance to the King
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- West, The Death of General Wolfe
- represents a contemporary subjects as long as the grand themes and elvated message remained intact, modern history painting, much nobler death depicted, naturalist but not objective, grand manner to the fallen hero, native american indicates the site of the event nothing more, dramatic illumination increases emotional intensity, poses of the Lamenation, symbolizes that Wolfe scarficed for nation like Chirst did, brillant color, emotional intensity, moral message
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- Angelica Kauffmann, Cornelia Pointing to Her Children as Her Treasures
- for English patron, during 2nd c BCE, exemplifies the good mother (a popular theme), classical subjects that taught metaphorical lessons of civic virtue, maternal dedication emphasized by her sons becoming political reforms, composition is severe and classical sodtens with warm subdued lighting, trenquil grace of her fingers, linear, perfect in design and finished, returning to classical ideas, moral: thinking of the children, humanity, motherly, gender norms, Cornelia is an example for all women painted by a woman
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- David, Death of Marat
- Marat a Jacobin leader and radical journalist, suffered from painful skin aliment had to soak in med bath, Charolette Corday blaimed him for riots that killed Kings supporters thus she stabbed him while he was in his bath, painting shows the aftermath: holding his quill and the letter Corday used to gain enterance, his wooden block he used as a desk has his named inscribed marking his tombstone, tightly composed, powerfully stark image, background blank but adds to clam, has pose of Pieta implying Marat was a martyr for the people, has Broque qualities with the lighting and no background but it is after the moment the moment after his death, shows a tragedy meant to sympathize
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- Francisco Goya, Third of May, 1808, oil/canvas. 1814
- Goya looks to Velazquez's painting techniques, during the time when the Spanish were resisting Napolean's take over, can see Spanish emotions of fear displayed as the weak defensless victims while the French are faceless and act like a machine, center figure is Christ like he is white and bright lighted and in a cruxifix pose, painted the event 6 years later
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- JMW Turner, The Slave Ship, oil/canvas, 1840
- ship to deliever slaves but encounters a storm so crew dumped the cargo to get insurance money slaves were still shakled and drowned, very textural and abstract, political to abolish slavery, atmospheric, all colors used, beautiful sun but storm coming in sublime, deals with paint as a physical material, uses palette knife
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- Jean-Auguste-Dominique Ingres, Large Odalisque, oil/canvas. 1814
- "others" from the east, slave concubine in a structure of a harrem, calculated eroticism, leaves parts to the imagination, towards a male viewer, also erotic because she is from the east and can be held captive for sex, hat jewlery fan are to show that she is purposfully nude and it heigtens the nudity, looking towards the viewer, the east allows people to fantize, drugs, pure lineraity, disegno, hidden brushwork
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- Theodore Gericault, Raft of Medusa, oil/canvas. 1818-19
- depicted an event 4 years earlier, 13 people survived because of cannibalism out of 147, all lines go towards the tiny ship all hope, dynamic, pyramid two triangles present two emotions hope and despair, diagonal lines, seas choppy but sky is parting with the sun, figures still muscular and healthy from Mech, used sketches of dead bodies
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- Jean-Leon Gerome, The Snake Charmer, oil/canvas, 1870
- Orientalism - Edward Said, Gerome most prized orientalism painter, older men are broken and poor, young boys are overal sexualized, all women overally sexuailzed, imaging as lesser culture, weak and flawed, pedioflectic, browns of the people verse the blues of the walls shows that people become secondary to the archetecture
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- Fuseli, The Nightmare
- incubus feeding on her sexually, communicates fear of the unknown and unknowable and sexuality without restraint, exhibited at the Royal Academy in 1782, popular with the public but not with peers, threat to her chasity and morality
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The Print Lovers
- Honore Daumier, The Print Lovers
- lithography, fixated on prints despite all the art work in the background, prints popular in 1830
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- Cole, The Oxbow
- for the National Academyof Design in NY, concidered a view painting because it is of a specific time and place, very large to allow for good view of the landscape, of Connecticant River from the top of Mt. Holyoke in west Massachusetts, thought America landscape lacked historic monuments but viewed natural wonders as natural antiquities, convey the lanscape's grandeur and sigifance, exaggerating the steepness of the mountain setting the scene below a dramatic sky, contrasts two sides of the American landscape its dense, stormy wildernessadn its congenial pastoral valleys, fading storm seems to suggest that the land is bountiful and ready to yeild its fruits, includes little portrait of himself, sky is stormy and clam
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- Sebastian Salcedo, Virgin of Guadalupe, 1779
- Virgin Mary took on mesoamerican inflection after it was believed she appeared in Mexico, known as the Virgin of the Immaculate Conception, sit renamed Guadalupe became a piligram center, 1754 Pope declared Virgin of Guadalupe patron saint of the Americans
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