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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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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