Chapter 22 Study Guide

Europe and America, 1800-1870

Neoclassicism (cont)

• David, Napoleon Crossing the Saint-Bernard, 1800-1801
• Ingres, Grande Odalisque, 1814

Romanticism

• Fuseli, The Nightmare, 1781
• Goya, Third of May, 1808, 1814-1815
• Gericault, Raft of the Medusa, 1818-1819
• Delacroix, Liberty Leading the People, 1830
• Turner, The Slave Ship, 1840
• Bierstadt, Among the Sierra Nevada Mountains, California, 1868

Realism

• Courbet, Burial at Ornans, 1849
• Millet, The Gleaners, 1857
• Manet, Le Dejeuner sur l’Herbe, 1863
• Manet, Olympia, 1863

Pre Raphaelite

• Millais, Ophelia, 1852

Short Answer

1. Why did Napoleon Bonaparte, Emperor of the French, embrace the Neoclassical style in art and architecture?
2. Romanticism was a reaction against which earlier artistic movement?
3. Why did Realist artists reject the depiction of mythological, historical, and religious subjects?
4. Who was the first painter to hold a solo exhibition of his own work? Why did he choose to hold the exhibition?
5. What is a lithograph?
6. Which famous Renaissance painting did Manet take as his inspiration for Olympia?
7. Name two forms of early photography.
8. Why was Nadar so popular as a portrait photographer?
9. What event led to the formal recognition of photography as an art form?

Essay Titles/Questions

Respond to ONE of the following prompts:

1. Baroque Patronage: How was the subject matter of paintings and/or sculptures influenced by patronage in the Baroque period in Europe (Italy, Spain, Flanders, Netherlands, France [you do not need to discuss all five countries])? Use 3-5 examples to support your assertions.

2. Self-Portraiture: Choose 3-4 self-portraits which we have discussed in class and analyze them in relation to one another. Consider how each of the self-portraits is representative of its respective culture, time period, and/or style. Discuss what the self-portraits convey about each artist as well the image each artist wished to project of him or herself.

Essay Guidelines

• Essay must be between 800 and 1100 words long (include word count at the end of your essay)
• Essay must be typed, double spaced, 12 point font, Times New Roman/Arial, 1 inch margins
• Your essay must have a thesis - keep this thesis in mind throughout your paper to ensure that your analysis ties in with your thesis
• Use examples of specific works of art, preferably ones that we have discussed in class, to support your points
• Discuss each work thoroughly, analyzing it in response to the prompt
• Careful planning is key! Do not wait until the night before - give yourself ample time to outline, write, revise, and proofread

(40 points)

Due: Tuesday 1 December*

* If submitting electronically, essay must be received by midnight. Send to lauren.vaughan@rccd.edu

Chapter 21 Study Guide

The 18th Century in Europe and America

Rococo

• Watteau, Pilgrimage to Cythera, c. 1716
• Fragonard, The Swing, 1766

Reaction to Rococo / ‘Natural’ Art

• Chardin, Saying Grace, 1740
• Vigée-Lebrun, Self Portrait, 1790
• Hogarth, Breakfast Scene from Marriage a la Mode, c. 1745
• Reynolds, Lord Heathfield, 1787

Neoclassicism

• Kauffmann, Cornelia Presenting Her Children as Her Treasures, c. 1785
• David, Oath of the Horatii, 1784

Short Answer

1. What was the importance of the Parisian salon in French Rococo society?
2. Why do Rococo works of art tend to be executed on a smaller scale than Baroque works?
3. Name two visual elements of Neumann's Vierzehnheiligen that set it apart from Baroque architecture and define it as Rococo.
4. How did the Enlightenment lead to a more 'natural' style of art?
5. What was the primary purpose of the many vedute produced in Italy by artists such as Canaletto in the 18th century?
6. Which genre of painting did the academies consider to be the most elevated in the 18th and 19th centuries?

Chapter 20 Study Guide

The Baroque in Northern Europe

Baroque Flanders

• Rubens, Consequences of War, 1638-1639

Baroque Netherlands

• Hals, Archers of Saint Hadrian, c. 1633
• Leyster, Self-Portrait, c. 1630
• Rembrandt, Night Watch, 1642
• Rembrandt, Self Portrait, c. 1659-1660
• Vermeer, Woman Holding a Balance, c. 1664

Baroque France

• Poussin, Et in Arcadia Ego, 1655
• Rigaud, Louis XIV, 1701

Baroque England

• Wren, Saint Paul’s Cathedral, 1675-1710

Short Answer

1. How did Rubens accomplish such an enormous number of large scale paintings in his lifetime?
2. Why are religious subjects less prevalent in Dutch Baroque paintings than in the paintings of the same period from Italy, Spain, and Flanders?
3. How did patronage and collection of art in the Dutch Republic differ from that of Spain and France?
4. What do the skull, timepiece, and overturned glass symbolise in Vanitas Still Life by Pieter Claesz?
5. Explain the difference between etching and engraving.
6. How did Louis XIV ensure that the classical style dominated French art and architecture?
7. What does the vast complex at Versailles symbolize?

Chapter 19 Study Guide

The Baroque in Italy and Spain

Baroque Italy

• Bernini, David, 1623
• Bernini, Ecstasy of Saint Teresa, 1645-1652
• Caravaggio, Calling of Saint Matthew, c. 1597-1601
• Gentileschi, Judith Slaying Holofernes, c. 1614-1620
• Gentileschi, Self-Portrait as the Allegory of Painting, c. 1638-1639

Baroque Spain

• Velazquez, Las Meninas (The Maids of Honor), 1656

Short Answer

1. Name three characteristics of the Baroque style in Italy and Spain.
2. What do the two colonnades that Bernini designed for Saint Peter’s Piazza symbolise?
3. Bernini’s baldacchino serves as marker over which important religious site?
4. The Baroque style in Catholic countries was generally associated with which religious movement?
5. Identify three specific ways in which Borromini’s San Carlo alle Quattro Fontane reflects the Italian Baroque style.
6. What is unusual about Annibale Carracci’s artistic training compared to the artistic training of painters we have previously examined?
7. Define tenebrism.

Chapter 18 Study Guide

High Renaissance and Mannerism in Northern Europe and Spain

Northern Renaissance

• Bosch, Garden of Earthly Delights, 1505-1510
• Durer, Melencolia I, 1514
• Durer, Self-Portrait, 1500
• Cranach the Elder, Law and Gospel, c. 1530
• Holbein, The French Ambassadors, 1533
• Bruegel, Netherlandish Proverbs, 1559
• El Greco, Burial of Count Orgaz, 1586

Short Answer

1. Identify one detail in Grunewald’s Isenheim Altarpiece that acknowledges the patients at the hospital for the which the work was commissioned?
2. Who was the first non-Italian artist to achieve international fame? What artistic medium allowed for the widespread distribution of his work?
3. How does Durer show his support for Lutheranism (Protestantism) in his painting Four Apostles?
4. How did Catholic and Protestant attitudes towards religious art differ?
5. Define iconoclasm.
6. What optical illusion appears in Holbein’s The French Ambassadors?
7. What is a genre scene?

Essay Titles/Questions

Choose ONE of the questions below and answer it in an essay that is between 3 and 4 pages long. Use specific examples of works of art and/or architecture which we have looked at in class and that are relevant to your argument.

(Typed, 12 pt font, double spaced, Times New Roman/Arial, 1 inch margins)

1. The Evolution of the Donor Portrait: Track the evolution of religious works of art from the late Medieval through Renaissance periods in which portraits of the works patrons have been inserted (donor portraits). Choose 3-5 works that include donor portraits which we have examined in class and discuss how the portrayal of the patron[s] reflects the attitudes, preoccupations, beliefs, etc. of the culture in which each piece was made. Consider placement, size, and prominence of the patrons when discussing each work.

2. The Renaissance Nude: The nude human form, which had become exceedingly rare in the Middle Ages, made its return in Italy during the Renaissance. Using 3-5 examples from the course, discuss the development of the nude figure from its return to prominence in the Quattrocento through the Cinquecento. Analyze how the reemergence of the nude is reflective of the cultural environment and shifting attitudes in Italy during this time period. Consider the changes in form and association the nude figure underwent over the course of the time period. Keep historical context in mind.

3. Classicism in Renaissance Architecture: How did classicism (elements of classical Greece and Rome) influence the architecture of the Italian Renaissance (Early, High and/or Venetian), and to what extent did Renaissance architects deviate from their classical predecessors? Use 3-5 examples of Renaissance architecture to support your argument.

(40 points)

Due: Tuesday 27 October*

* If submitting electronically, essay must be received by midnight. Send to lauren.vaughan@rccd.edu