Chapter 23 Study Guide

Europe and America, 1870-1900

Impressionism

• Monet, Impression: Sunrise, 1872
• Renoir, Le Moulin de la Galette, 1876
• Manet, A Bar at the Folies Bergere, 1882
• Degas, The Tub, 1886

Post Impressionism

• Toulouse-Lautrec, At the Moulin Rouge, 1892-1895
• Seurat, A Sunday Afternoon on La Grande Jatte, 1884-1886
• Van Gogh, Starry Night, 1889
• Gauguin, Vision after the Sermon, 1888
• Gauguin, Where Do We Come From? What Are We? Where Are We Going? 1897
• Cezanne, Mont Sainte-Victoire, 1902-1904

Symbolism

• Moreau, The Apparition, 1874-1876
• Redon, The Cyclops, 1898
• Munch, The Scream, 1893
• Rodin, The Gates of Hell, 1880-1900

1. How did the term ‘Impressionist’ come to be applied to the group of painters that included Monet, Renoir, and Degas?
2. What was the primary goal of the Impressionist painters?
3. What are the two major influences on Impressionist composition?
4. What does the term ‘local color’ mean?
5. What did Monet hope to achieve with his many series paintings (such as the grainstacks, Rouen Cathedral, and the waterlilies)?
6. Who was Baron Georges Haussmann and what role did he play in the modernization of Paris?
7. Why is the term ‘Post Impressionism’ problematic?
8. What sets the paintings of Henri de Toulouse-Lautrec apart from those of the Impressionists?
9. What is Pointillism (also referred to as divisionism or Neo Impressionism)?
10. Where was Vincent van Gogh when he painted Starry Night?
11. How does Gauguin’s use of colour differ from the Impressionists?

Chapter 22 Study Guide

Europe and America, 1800-1870

Neoclassicism (cont)

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

Romanticism

• 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

Photography

• Daguerre, Still Life in Studio, 1837

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?

Mission Inn Art Collection Tour

We will be taking an optional tour through the Mission Inn's art collection on Wednesday 27 May at 6 PM. The tour costs $10 for students (normally the tour costs around $18) and we will have the chance to see parts of the Mission Inn that are otherwise off-limits.

This will count as your extra credit trip to an art museum, and in order to receive the points you will just need to do the two page write-up about the experience.

Please be on time! Shoot to be there 10-15 minutes early.

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 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. 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 compare and contrast the works. 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.

(40 points)

Due: Thursday 28 May*

* 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

Neoclassicism

• Kauffmann, Cornelia Presenting Her Children as Her Treasures, c. 1785
• David, Oath of the Horatii, 1784
• David, Death of Marat, 1793
• Thomas Jefferson, Monticello, 1770-1806

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 Grand Tour?

6. What was the primary purpose of the many vedute produced in Italy by artists such as Canaletto in the 18th century?

7. 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, Arrival of Marie de’ Medici at Marseilles, 1622-1625
• 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, Landscape with Saint John on Patmos, 1640
• Lorrain, Landscape with Cattle and Peasants, 1629

Baroque England

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

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 of art in the Dutch Republic differ from that of Spain and France?

4. Briefly describe the process of etching.

5. How did Rachel Ruysch add dynamism to her flower paintings?

6. What is a vanitas still-life?

7. How did Louis XIV ensure the dominance of the grand Baroque style in France during his reign?

8. What does the vast complex at Versailles symbolize?

Chapter 19 Study Guide

The Baroque in Italy and Spain

Baroque Italy

• Maderno, facade of Saint Peter’s, 1606-1612
• Bernini, David, 1623
• Bernini, Ecstasy of Saint Teresa, 1645-1652
• Borromini, San Carlo alle Quattro Fontane (view into dome), 1638-1641
• Annibale Carracci, Flight into Egypt, 1603-1604
• Caravaggio, Calling of Saint Matthew, c. 1597-1601
• Artemisia Gentileschi, Judith Slaying Holofernes, c. 1614-1620
• Cortona, Triumph of the Barberini, 1633-1639

Baroque Spain

• Zurbaran, Saint Serapion, 1628
• Velazquez, Las Meninas (The Maids of Honor), 1656

1. Name three things that characterize 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?