Ap a rt history term 3 test 2

AP Art History

Term 3

Test 2

The Sleep of Reason Produces Monsters, No. 43 from Los Caprichos

• C. 1798, Francisco Goya• He chiefly created formal portraits and Rococo

genre pictures• Influenced by Velazques and Rembrandt to

develop a more Romantic style• Shows a slumbering personification of Reason,

behind whom lurk dark creatures of the night• Part of Los Caprichos, a folio of 80 etchings • Created after the reinstitution of the Inquisition in

Spain• The collection of 80 show the follies of Spanish

life that Goya and his friends considered huge• He hoped they would reawaken reason

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The Family of Charles IV• 1800, Goya• Acknowledges the influence of

Velazquez’s Las Meninas by placing the painter behind the easel on the left

• Realistic rather than idealistic• Some view it as a cruel expose of the

sitters as common and inept• He was the principal court painter• The candid representation was

refreshingly modern



The Third of Mary 1808• 1814, Goya• Focuses on victims and antiheroes,

the most prominent of which is the Christ-like figure in white

• An indictment of the faceless and mechanical forces of war itself, blindly destroying defenseless humanity

• Occurred when France under Napoleon conquered Spain and planned to kill the royal family

• The Spanish populace rose up and a day of bloody street fighting ensued



Elohim Creating Adam• 1795, William Blake• Combines printing with painting and

drawing• Taught by Reynolds• Advocate of unfettered imagination• Deeply concerned with problem of

good & evil• One work out of a series of 12 prints• Sculpturesque volumes and muscular

physiques of figures reveal the influence of Michelangelo

• Invites direct comparison to Creation of Adam

• Creation presented in negative terms• A giant worm, symbolizing matter,

encircles Adam who lays on the ground like the Crucified Christ

• Elohim (God) appears desperate• The creation is tragic because it

submits the spiritual human to the fallen state of material existence

• Challenges the viewer to recognize his fallen nature



The Haywain• 1821, John Constable• Friends with Wordsworth• Planar authenticity• Where he grew up• British countryside• This work was awarded a gold medal

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The Burning of the House of Lords and Commons

• Joseph Mallord William Turner, Oct. 16th, 1843

• Shows the sublime

• Almost apocalyptic

• He witnessed the event and recorded what he

saw in quick sketches that became the basis

for this work

• The exaggerated scale and plunging

perspective of Westminster Bridge intensify the

drama of the scene

• Turner stood from across the Thames River

• He emphasizes the helplessness of mankind in

the face of nature's power

• The fire’s terrifying force embodies the

Romantic fascination with the sublime

• His work inspired later French impressionists



Houses of Parliament• Begun 1835, Charles Barry and

A.W.N. Pugin• One of the most famous Gothic

revival buildings• This design created in a competition

to replace the Parliament’s Westminster Palace

• Built in the English Perpendicular Gothic style, consistent with the neighboring Westminster Abbey

• Barry created the basic plan• For Pugin, Gothic was not a style but

a principle



The Oxbow• 1836, Thomas Cole• Great Romantic landscape painter• This work resulted from an extensive

sketching trip, and was painted for exhibition at the National Academy of Design in NY

• Considered one of his “view” paintings

• View from the top of Mount Holyoke onto the Connecticut River

• Such ancient geological formations constituted America’s “antiquities”

• He contrasts the 2 sides of American landscape: its dense wilderness and its congenial pastoral valleys

• The storm suggests that the wild will give way to the civilized



Forever Free• 1867, Edmonia Lewis• She went to Oberland• Had a career in Boston, but all of her

artistic career was in Rome• She made sculptures for wealthy

whites• Shows language of neoclassicism• Used for a political and social theme• Represents the emancipation of

African-American slaves after the Civil War

• She tries to break stereotypes of black women with this work



The Great Wave• 1831, Katsushika Hokusai• From series, Thirty-Six Views of Mt.

Fuji• This work has inspired countless

imitations and parodies• Mt. Fuji, sacred to Japan is at the

point of disaster• It resembles a wave with its shape

and snowy cap• From the Edo Period



Fireworks by the Ryogokubashi Bridge• 1858, Ando Hiroshige, • From the series, One Hundred Views

of Edo

The Gleaners• 1857, Jean-Francois Millet• Great French rural naturalist• He focused peasant life• He supported the Revolution, and

earned a state commission that allowed him to move from Paris to the village of Barbizon

• His art was devoted to the difficulties and simple pleasures among rural existence

• Warm colors and hazy atmosphere = soothing

• Scene is one of great poverty• His intentions were quite conservative• He saw the fate of humanity• Neither a revolutionary nor a reformer

but a fatalist who found the peasant’s acceptance of the human condition exemplary



The Third-Class Carraige• 1862, Honore Daumier• Known primarily as a lithographer• At first focused on antimonarchial

cartoons, then focused more on social and cultural themes

• He sympathized with the working class people

• Often depicted urban scenes• He places the viewer in the poor

section of the bus• Great sense of intimacy and unity

among these people• They are physically and mentally

separated from the upper and middle class passengers



The Stone Breakers• 1849, Gustave Courbet• Destroyed during WWII• Inspired by the events of 1848 to turn

his attention to poor and ordinary people

• He completely supported the Rev.• “most complete expression of

poverty”• Actually saw 2 men breaking stones• Faces hidden so viewer has a hard

time identifying with them• Expression of conservative fatalism

akin to Millet’s• Considered the first socialist picture

ever painted• Depiction of injustice• Testified to Courbet’s respect for

ordinary people



A Burial at Ornans• 1849, Courbet• Focuses on another scene of ordinary life: the funeral of an unnamed bourgeois citizen• Attacked by conservative critics who objected to its presentation of a mundane funeral on a

scale reserved for major historical events• No conventional compositional standards like pyramid• Shows a more democratic arrangement• Political convictions are evident in the individual attention he accords the ordinary citizens• Many shown were Courbet’s friends and family members



Le Dejeuner sur l’Herbe (The Luncheon on the Grass)

• 1863, Edouard Manet• Modern version of a famous Venetian

Renaissance painting, the Pastoral Concert

• Some see it as a portrayal of modern alienation for the figures in Manet’s painting fail to connect with one another psychologically

• Her gaze makes us conscious of our role s outside observers

• Rejection of warm colors, and flat, sharply outlined figures

• Figures not integrated with their natural surroundings but stand out as if seated before a painted backdrop

• Victorine Meurent often modeled for Manet

• All metaphors gone



Olympia• 1863, Manet• Title alludes to a socially ambitious

prostitute• Based on a Venetian Renaissance

source, Titian’s Venus of Urbino, which Manet had copied in Florence

• Appears to pay homage to Titian’s in its subject mater

• However, Manet made his the antithesis of the Titian

• Manet’s is angular and flattened• Manet’s appears coldly indifferent to

the male spectator• Our relationship with Olympia is

underscored by the reaction of her cat, which arches its back

• Olympia stares down at us indicating that she is in a position of power

• Manet subverted the tradition of the accommodating female nude



Snap the Whip• 1872, Winslow Homer• Evokes the innocence of childhood and

the imagined charms of a preindustrial America for an audience that was increasingly urbanized

• He thought unadorned realism was the more appropriate style for democratic values

• Began his career as a freelance illustrator for periodicals like Harper’s Weekly



The Gross Clinic• 1875, Thomas Eakins• Great American realist• Celebrated the human mind• Trained at the Pennsylvania Academy

of the Fine Arts and in Paris• Specialized in frank portraits and

scenes of everyday life which generated little popular interest

• Severly criticized and was refused exhibition space

• Shows Dr. Samuel David Gross performing an operation with young medical students

• Dramatic use of light inspired by Rembrandt not meant to stir emotions but to make a point: Amid the darkness of ignorance and fear, modern science shines the light of knowledge

• Eakins includes a self portrait, testimony to his personal knowledge of the subject



The Resurrection of Lazarus• Henry O. Tanner• He believed biblical storied could

illustrate the struggles and hopes of contemporary African Americans

• Many black preachers connected this story’s theme of redemption and rebirth with the Emancipation Proclamation

• Received favorable reception at the Paris Salon

• Purchased by the museum for living artists

• Shows the moment following the miracle

• Limited palette = reminiscent of Rembrandt

• Unifies the witnesses watching the miracle



Central Park• 1858-1880, Frederick Law Olmsted and Calvert Vaux• 843 acre tract purchased by the city• A competition was held for its design as Central Park• Architect Calvert Vaux drew up a design• Park superintendent Olmsted drew routes for carriages and

pedestrians• Contains some formal elements• Followed English tradition by designing it in a naturalistic

manner based on irregularities• Divided into 2• South more for sports• North more of a nature preserve





The Hireling Shepherd• 1851, William Holman Hunt• Combined didacticism and naturalism• Painted landscape portions of the

composition outdoors• Depicts a farmhand neglecting his

duties to flirt with a woman and try to discuss a moth

• Some of his employers sheep are wandering into an adjacent field

• He meant to satirize pastors who waste time discussing irrelevant theological questions rather than tend their flock

• Moral lesson on perils of temptation• Woman = later day Eve



Crystal Palace• 1850-51, Sir John Paxton• Created for the London Great

Exhibition• Featured a structural skeleton of cast

iron• Largest space ever enclosed up to

that time• The central transept meant to echo

imperial Roman architecture• Technological marvel• Considered a work of engineering

rather than architecture• Destroyed in a fire in 1936





Brooklyn Bridge• 1867-83, John Augustus and

Washington Augustus Roebling• Most famous early steel bridge• Roebling was a German born

engineer who invented twisted-wire cable

• Appointed chief engineer of this bridge

• His son completed the project• No decorative adornment• Granite towers that feature projecting

cornices over pointed-arch openings allude to Gothic cathedrals and to Roman triumphal arches

• Arches celebrate triumphs of modern engineers



Eiffel Tower• 1887-1889, Gustave Eiffel• Conservative artists were violently

opposed to the tower• At the time it was the tallest structure

in the world• Was to be the main attraction of the

Universal Exposition in 1889• Because it did not conceal its

construction, detractors saw is as an ugly work of engineering

• Embodies the 19th century belief in the progress and ultimate perfection of civilization through science and technology



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