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Chapter 26 Rococo to Neoclassicism- 18th century Art

Vocab Name___________________________________________________________ Enlightenment- a new way of thinking critically about the world and about humankind, independently of religion, myth, or tradition. Based on using reason to reflect on the results of physical experiments. Promoted the scientific questioning of all things and rejected unfounded beliefs about nature, humankind, and the world. Embraced the Scientific Method. Academy-the established art school

ancien regime French, "old order." The term used to describe the political, social, and religious order in France before the Revolution at the end of the 18th century.

exemplum virtutis Latin, "example or model of virtue."

fasces A bundle of rods with an axe attached, an emblem of authority in ancient Rome. femme savante

French, "learned woman." The term used to describe the cultured hostesses of Rococo salons.

fête galante French, "amorous festival." A type of Rococo painting depicting the outdoor amusements of upper-class society.

gouache A painting medium consisting of watercolor mixed with gum Grand Manner portraiture

A type of 18th-century portrait painting designed to communicate a person's grace and class through certain standardized conventions, such as the large scale of the figure relative to the canvas, the controlled pose, the landscape setting, and the low horizon line.

hôtel French, "townhouse." Neoclassicism

A style of art and architecture that emerged in the later 18th century as part of a general revival of interest in classical cultures. Neoclassical artists adopted themes and styles from ancient Greece and Rome.

orrery A mechanical model of the solar system demonstrating how the planets revolve around the sun.

philosophe French, "thinker, philosopher." The term applied to French intellectuals of the Enlightenment.

Poussiniste A member of the French Royal Academy of Painting and Sculpture during the early 18th century who followed Nicholas Poussin in insisting that form was the most important element of painting. See also Rubéniste.

Rayograph A photograph produced without a camera by placing objects on photographic paper and then exposing the paper to light; named for the American artist Man Ray

rocaille A style, primarily of interior design, that appeared in France around 1700. Rococo interiors featured lavish decoration, including small sculptures, ornamental mirrors, easel paintings, tapestries, reliefs, and wall paintings, as well as elegant furniture. The term Rococo derived from the French word rocaille ("pebble") and referred to the small stones and shells used to decorate grotto interiors.

Rococo A style, primarily of interior design, that appeared in France around 1700. Rococo interiors featured lavish decoration, including small sculptures,


ornamental mirrors, easel paintings, tapestries, reliefs, and wall paintings, as well as elegant furniture. The term Rococo derived from the French word rocaille ("pebble") and referred to the small stones and shells used to decorate grotto interiors.

Rubéniste A member of the French Royal Academy of Painting and Sculpture during the early 18th century who followed Peter Paul Rubens in insisting that color was the most important element of painting. See also Poussiniste.

tapestry A weaving technique in which the weft threads are packed densely over the warp threads so that the designs are woven directly into the fabric.

History1. Death of Louis XIV in 1715 brought a resurgence of aristocratic life.2. Town houses became centers for the Rococo style.3. French Revolution broke out in 1789 which brings about an interest in the Greek ideal of

Liberty and democracy. 4. Napoleon saw himself as a new "Caesar", crowned in 1804.5. Neoclassicism takes architectural hold in the U.S. with Thomas Jefferson.6. New ways of thinking about the new world. 7. Voltaire (1694-1778) = Science/Technological Improvement 8. Rousseau (1712-1778) = Nature alone must be society's guide

Rococo: • Was an interior design style first appearing in France, exterior rather plain, but opposite inside. • Comes from “rocaille” meaning “pebble” and is referring to small shells and stones used to decorate Grotto interiors, principal motifs in Rococo ornament • Shift of power from Royal court to aristocrats reflected in shift from Baroque to Rococo • French Royal Academy dictates artistic taste • Architecture seeks to unite the arts in an artistic experience • Quintessential painting is Fete Galante • Satirical Neoclassicism: • A movement that incorporated the subjects and the styles of the ancient art. • Public appetite was wetted from the excavations of Pompeii in 1748, scholars began to claim that art from the ancient Greeks was the most perfect to come from human hands • Structured Composition • Enlightenment rejects royal + artistic authority • Inspired by Pompeii/ Johann Winckelmann (writer) • Frequent classical allusions • Industrial revolution: cast iron, bronze rather than marble

1700-1750 Shift of power to the aristocrats paralleled in Baroque and Rococo. French Royal Academy set the taste for art in Paris


Strong Satirical paintings Epitome: paintings that show aristocratic people enjoying leisure

The Enlightenment page 736Natural Art 738

Neoclassicism page 745 (the start of the Enlightenment)

1750-1815 Enlightenment brought about the rejection of royal and aristocratic authority Supported by Napoleon in order to associate himself with the successes of the Ancient

Roman's Empire. Jacques-Louis David becomes First Painter Neoclassical art was more democratic Current events depicted have classical influences Late 18th century = Industrial Revolution (cast iron, and carvings from bronze is cheaper

than carving marble)

Figure Image Information26-1

Yes

N= name

D= date (century)

P/S = period / style

A = artist or architect

Pa = patron L = location

M/T = material / technique

The wonders of _____________________ mesmerize everyone in Wright’s painting, adults as well as children. At the right, two gentlemen pay rapt attention to the demonstration.

Wright’s choice of subjects and ___________ in depicting them appealed to the great ______________ of his day, including Josiah Wedgwood (1730–1795), who pioneered many techniques of ____________________, and Sir Richard Arkwright (1732–1792), whose ___________ revolutionized the textile industry. Both men often purchased paintings by Wright featuring __________. To them, the Derby artist’s elevation of the ______________________ of the Industrial Revolution to the plane of history painting was exciting and appropriately in tune with the new era of _________________

26-1a VANBRUGH and HAWKSMOOR, Blenheim Palace, 1705–1725

26-2 GERMAIN BOFFRAND, Salon De La Princesse, with Paintings by Charles-Joseph Natoire and Sculptures by Jean-Baptiste Lemoyne, Hôtel De Soubise, Paris, France, 1737–1740The delicacy and gaiety of the Rococo style makes itself felt most in the interiors of the buildings Curvilinear decoration - Rococo architects preferred asymmetry and delicate silver - Rooms became center of brilliant social gatherings where wit and grace were prized above all other virtues.


26-3 FRANçOIS DE CUVILLIéS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace Park, Munich, Germany, Early 18th Century-French Rococo interiors were seen as total works of art, with elegant _________, small sculptures, ornamented mirror frames, ceramics, and untensils, decorative ________________ and easel paintings, -looks like it is permanently decked for a_____________________-bathed in ____________ light, with windows and mirrors, -everything seems _______, growing, moving, in motion, artistic illusion-this is built in the park of the Nymphenburg Palace

26-3a FISCHER VON ERLACH, Karlskirche, Vienna, 1716–1737

Architecture became smaller- Classical themes were still popular but had different meaning-

Exter

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Rococo style was not exclusively a domestic phenomenon

26-4

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Rococo appeared in France in about 1700, primarily as a style of ________________. The French Rococo ______________ was most often simple, or even plain, but Rococo exuberance took over the _________. The term derived from the French word ________________See Rococo. (pebble), but it referred especially to the small ___________________________ used to decorate grotto interiors. Shells or forms resembling shells were the principal _____________ in Rococo ornamentation.

The interior (FIG. 26-4) of Neumann’s church exhibits a vivacious play of _______________ fantasy that retains the dynamic __________ of Italian Baroque architecture (see Chapter 24) but not its ____________. Numerous large windows in the richly decorated walls of Vierzehnheiligen flood the interior with an even, bright, and cheerful light. The feeling is one of ________________________

Neumann adapted the intimate Rococo style to ____________________ architecture. Vierzehnheiligen’s interior is light and delicate in contrast to the dynamic energy of Italian Baroque church designs.


26-5yes

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Vierzehnheiligen’s plan (FIG. 26-5) reveals the influence of Francesco ____________________ (FIGS. 24-10 and 24-13), as does the contemporaneous Wieskirche (Church of the Meadow; FIG. 26-5B) by DOMINIKUS ZIMMERMANN (1685–1766). The Staffelstein plan, however, is even more _________ than the plans for Borromini’s churches in Rome. Neumann, perhaps deliberately, banished all ____________________. The ________________, made up of ______________ ovals and circles, achieves a quite different interior effect within the essential outlines of a traditional rectilinear ______________ church with a nave, transept, and apse. Undulating space is in continuous ________________, creating unlimited vistas bewildering in their variety and surprise effects. The structure’s features -_____________________________________ as if they were ceaselessly in the process of being ____________. The design’s fluidity of __________, the floating and hovering surfaces, the interwoven _______________, and the dematerialized masses combine to suggest a __________________ to the intricacy of voices in a Baroque fugue by Johann Sebastian Bach (1685–1750). The ______________ is a brilliant ensemble of architecture, painting, sculpture, and music that dissolves the boundaries among the arts.

26-5a NEUMANN, Kaisersaal, Würzburg, 1719–1744

26-5b ZIMMERMANN, Wieskirche, Füssen, 1745–1754

26-6 ANTOINE WATTEAU, L’Indifférent, Ca. 1716. Oil on Canvas, 10″ × 7″. Musée Du Louvre, Paris.

26-7

Yes can also be called Return

C: -painter most associated with French Rococo -fete galante painting, depicted__________entertainment of upper-class -influenced by_________, & his work contributed to the popularity of an emphasis on color in painting -French Royal Academy: divided by two doctrines: 1)________is most important element in painting “Poussinestes” 2) ______ more supreme “Rubenistes”,


from Cythera

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WATTEAU, Signboard of Gersaint, 1721

Watteau in their ranks=Rubenistes carried the day -group of _______ ready to depart from Island of eternal youth and love -smoothest, bodily poise and movements, Landscape of pure pleasure0 Fetes Galantes- Studied _____________ after ________________ guard at Luxembourg palace- some feel he surpassed his _____________ usage- - loosened his ___________________, Watteau’s __________________French, “amorous festival.” A type of Rococo painting depicting the outdoor amusements of French upper-class society. paintings depict the outdoor _________________ of French upper-class society. The haze of __________, subtly modeled _____________, gliding ________________, and air of suave gentility match Rococo.

The premier example of a fête galante painting is Watteau’s masterpiece (painted in two versions), ____________________ (FIG. 26-7). The painting was the artist’s __________ for admission to the ___________________________________________________ (see “Academic Salons,” Chapter 28 ). In 1717 the fête galante was not an __________________ category for submission, but rather than reject Watteau’s candidacy, the academy _________________________ to accommodate his entry. At the turn of the 18th century, two competing _________________ sharply divided the membership of the French academy. Many members followed Nicolas Poussin in teaching that _____________ was the most important element in painting, whereas “_____________ in painting are as allurements for persuading the eyes.” _____________________ were additions for effect and not really ______________. The other group took Rubens as its model and proclaimed the natural supremacy of _____________ and the coloristic style as the artist’s proper guide. Depending on which doctrine they supported, academy members were either _____________________A member of the French Royal Academy of Painting and Sculpture during the early 18thcentury who followed Nicolas Poussin in insisting that form was the most important element of painting. See also _________________________________ . or A member of the French Royal Academy of Painting and Sculpture during the early 18thcentury who followed Peter Paul Rubens in insisting that ____________ was the most important element of painting. See also Poussiniste. . Watteau was Flemish and Rubens’s coloristic style heavily influenced his work. With Watteau in their ranks, the ___________________ carried the day, establishing Rococo painting as the preferred style of the early 18 th century.

Watteau’s Pilgrimage to Cythera (FIG. 26-7) presents luxuriously costumed lovers who have made a “pilgrimage” to Cythera, the island of eternal youth and love, sacred to Aphrodite. (Some art historians think the lovers are returning from Cythera rather than having just arrived. Watteau provided few clues to settle the question definitively.) The elegant figures move gracefully from the protective shade of a woodland park, filled with amorous cupids and voluptuous statuary. Watteau’s figural poses blend elegance and sweetness. He composed his generally quite _____________ paintings from albums of drawings in which he sought to capture slow _____________________ from difficult and unusual ____________, searching for the smoothest, most poised, and most refined attitudes. As he experimented with nuances of posture and _________________, Watteau also strove for the most exquisite shades of ___________ difference, defining in a single ________________ the shimmer of silk at a bent knee or the iridescence that touches a glossy surface as it emerges from shadow. The haze of color, the subtly modeled _________, the gliding motion, and the air of suave gentility appealed greatly to Watteau’s wealthy patrons,


whom, as he was dying from ___________________, he still depicted as carefree and at leisure in his most unusual painting, Signboard of Gersaint (FIG. 26-7A

26-8

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After Watteau’s death at age ____________ brought his brilliant career to a premature end, FRANÇOIS BOUCHER (1703–1770) rose to the dominant position in French painting, in large part because he was __________________________ favorite artist. Although Boucher was an excellent portraitist, his success rested primarily on his graceful canvases depicting Arcadian _______________________________ cavorting in shady glens engulfed in pink and sky-blue light. Cupid a Captive (FIG. 26-8) presents a rosy pyramid of infant and female flesh set off against a cool, leafy background, with fluttering draperies both hiding and revealing the nudity of the figures. Boucher used the full range of Italian and French Baroque devices—the dynamic play of crisscrossing _____________, curvilinear ___________, and slanting recessions—to create his masterly ___________. But he dissected powerful Baroque curves into a multiplicity of decorative flourishes, dissipating Baroque drama into sensual playfulness. Lively and lighthearted, Boucher’s artful Rococo fantasies became __________ for his affluent French patrons to behold the ornamental reflections of their cherished pastimes.

26-9

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-an unsuspecting old bishop swings a pretty young woman while a young man (the __________) has positioned himself strategically on the ground, the girl is flirtatiously kicking off her shoe toward statue of ________, who holds his finger to his lips, -__________________out of Watteau style -glowing__________colors and soft light convey the theme’s sensuality

Boucher’s greatest student, JEAN-HONORÉ FRAGONARD (1732–1806), was a first-rate __________ whose decorative skill almost surpassed his master’s. An example of his manner can stand as characteristic not only of his work but also of the later Rococo in general. In The Swing (FIG. 26-9), a young gentleman has convinced an unsuspecting old bishop to swing the young man’s pretty sweetheart higher and higher, while her lover (and the work’s patron), in the lower left corner, stretches out to admire her ardently from a strategic position on the ground. The young lady flirtatiously and boldly kicks off her shoe toward the little statue of ___________. The infant love god holds his finger to his lips. The landscape emulates Watteau’s—a luxuriant perfumed bower in a park that very much resembles a stage scene for comic opera. The glowing pastel colors and soft light convey, almost by themselves, the theme’s ______________.


26-10

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The Swing is less than 3 feet in height and Watteau’s L’Indifférent (FIG. 26-6), as already noted, barely 10 inches tall. But the intimate Rococo style could also be adapted for paintings _______________, as the work of GIAMBATTISTA TIEPOLO (1696–1770) demonstrates. A Venetian, Tiepolo worked for patrons in Austria, Germany, and Spain, as well as in Italy. He was a master of _________________ ceiling decoration in the Baroque tradition, but favored the bright, cheerful colors and relaxed __________________ of Rococo easel paintings. In Apotheosis of the Pisani Family (FIG. 26-10), a ceiling fresco in the Villa Pisani at Stra in northern Italy (MAP 25-1), Tiepolo depicted seemingly weightless figures fluttering through vast sunlit skies and fleecy clouds, their forms casting dark accents against the brilliant light of high noon. The painter elevated Pisani family members to the rank of ____________ in a heavenly scene recalling the ceiling paintings of Pozzo (FIG. 24-24). But while retaining 17th-century illusionism in his works, Tiepolo softened the rhetoric and created pictorial schemes of great elegance and grace, unsurpassed for their sheer effectiveness as decor.

26-11maybe

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Rococo was nontheless a style best suited for small-scale works projecting a mood of sensual intimacy. Claude Michel, called CLODION (1738–1814), specialized in __________, lively sculptures representing sensuous Rococo ______________. Clodion lived and worked in ____________ for several years after winning a cherished ____________________ (Rome Prize) from the French royal academy to study art and paint or sculpt in the eternal city. Clodion’s work incorporates echoes of Italian _________________ sculpture. His small group, Nymph and Satyr Carousing (FIG. 26-11), depicts two followers of Bacchus, the Roman god of ____________. The sensuous nymph who rushes to pour wine from a cup into the open mouth of a semihuman goat-legged satyr is reminiscent of the nude female figures of Benvenuto Cellini (FIGS. 22-52 and 22-52A), who worked at Fontainebleau for Francis I, and of Giovanni da Bologna (FIG. 22-53), a French Mannerist sculptor who moved to Italy. The erotic playfulness of Boucher and Fragonard is also evident in Clodion’s 2-foot-tall terracotta group destined for display on a marble tabletop in an elegant Rococo salon.

The Enlightenment

The aristocratic culture celebrated in Rococo art did not go unchallenged during the 18th century. Indeed, the feudal system that served as the foundation of social and economic life in Europe dissolved, and the rigid social hierarchies that provided the basis for Rococo art and patronage relaxed. By the end of the 18th century, revolutions had erupted in France and America. A major factor in these political, social, and economic changes was the Enlightenment.26-11 WRIGHT OF DERBY, Experiment on a Bird, 176

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The fascination science had for ordinary people as well as for the learned is the subject of A Philosopher Giving a Lecture at the Orrery (FIG. 26-1) by the English painter JOSEPH






WRIGHT OF DERBY (1734–1797). Wright studied painting near _____________-- (MAP 27-2), the center of the Industrial Revolution, and specialized in dramatically lit scenes showcasing modern scientific ______________________________ In this painting, a scholar demonstrates a mechanical model of the solar system called an ________________A mechanical model of the solar system demonstrating how the planets revolve around the sun., in which each planet (represented by a metal orb) revolves around the sun (a lamp) at the correct relative velocity. __________ from the lamp pours forth from in front of the boy silhouetted in the foreground to create ____________ that heighten the drama of the scene. Awestruck children crowd close to the tiny orbs representing the planets within the arcing bands symbolizing their orbits. An earnest listener makes notes, while the lone woman seated at the left and the two gentlemen at the right pay rapt attention. Scientific knowledge mesmerizes everyone in Wright’s painting. The artist visually reinforced the fascination with the orrery by composing his image in a circular fashion, echoing the device’s orbital design. The postures and gazes of all the participants and observers focus attention on the cosmic model. Wright scrupulously and accurately rendered every ______________ of the figures, the mechanisms of the orrery, and even the books and curtain in the shadowy background

26-12

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-______was first used on a bridge for this cast-iron bridge, previous bridges had been built of wood and spanned relatively short distances, -Darby family (producing cast-iron was family business) spearheaded the iron______________across England and supported innovative uses -the style of the graceful center arch echoes the grand arches of the Roman ________________ -also prefigured the skeletal use of iron and such visible structural armatures became expressive elements in the design of buildings such as the _______________________The first use of _________ in bridge design was in the cast-iron bridge (FIG. 26-12) built over the Severn River, near Coalbrookdale in England (MAP 30-1), where ABRAHAM DARBY III (1750–1789), one of the bridge’s two designers, ran his family’s cast-iron business. The Darby family had spearheaded the evolution of the iron industry in England, and they vigorously supported the investigation of new uses for the material. The fabrication of cast-iron rails and bridge elements inspired Darby to work with architect THOMAS F. PRITCHARD (1723–1777) in designing the Coalbrookdale Bridge. The cast-iron _________________ supporting the roadbed springs from stone pier to stone pier until it leaps the final 100 feet across the Severn River gorge. The style of the graceful center arc echoes the grand arches of Roman aqueducts (FIG. 7-33). At the same time, the exposed structure of the bridge’s cast-iron parts prefigured the skeletal use of iron and steel in the 19th century, when exposed structural armatures became expressive factors in the design of buildings such as the Crystal Palace (FIG. 27-47) in England and the Eiffel Tower (FIG. 28-38)


in France.

“Natural” Art

Rousseau’s views, popular and widely read, were largely responsible for the turning away from the Rococo sensibility in the arts and the formation of a taste for the “natural,” as opposed to the artificial and frivolous.26-13 JEAN-BAPTISTE-SIMÉON CHARDIN, Saying Grace, 1740. Oil on

Canvas, 1′ 7″ × 1′ 3″. Musée Du Louvre, Paris

26-14

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The sentimental narrative in art became the specialty of French artist JEAN-BAPTISTE GREUZE (1725–1805), whose most popular work, Village Bride (FIG. 26-14), sums up the ____________ of the genre. The setting is an unadorned room in a ___________________. In a notary’s presence, the elderly father has passed his daughter’s ______________ to her youthful husband-to-be and blesses the pair, who gently take each other’s arms. The old mother tearfully gives her daughter’s arm a farewell caress, while the youngest sister melts in tears on the shoulder of the demure bride. An envious older sister broods behind her father’s chair. Rosy-faced, healthy children play around the scene. The picture’s story is simple—the happy climax of a ________________. The picture’s moral is just as clear—happiness is the reward of “________________.

Greuze produced this work at a time when the audience for art was expanding. The strict social hierarchy that provided the foundation for Rococo art and patronage gave way to a bourgeois economic and social system. The newly important _____________________ embraced art, and paintings such as Village Bride particularly appealed to ordinary hard-working people. They carefully analyzed each gesture and each nuance of sentiment and reacted with tumultuous enthusiasm. At the 1761 Salon of the Royal Academy, Greuze’s picture received enormous attention. Diderot, who reviewed the exhibition for __________________________, reported it was difficult to get near the canvas because of the throngs of admirers.


26-15yes

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Another manifestation of the “__________________” impulse in 18th-century French art was the emergence of a new mode of portraiture exemplified by Self-Portrait (FIG. 26-15) by ÉLISABETH-LOUISE VIGÉE-LEBRUN (1755–1842). The painter looks ___________ at viewers and ___________ in her work to ___________ their gaze. Although her mood is lighthearted and her costume’s details echo the serpentine curve Rococo artists and wealthy patrons loved, nothing about Vigée-Lebrun’s pose or her mood speaks of Rococo _____________. Hers is the self-confident stance of a woman whose art has won her an _______________ role in society. Like many of her contemporaries, Vigée-Lebrun lived a life of extraordinary personal and economic ___________, working for the nobility throughout Europe. She was famous for the ______________ and grace of her portraits, especially those of highborn ladies and royalty. She was successful during the age of the late monarchy in France and was one of the few women admitted to the ________________________________. After the French Revolution, however, the academy ______________ her membership, because women were no longer welcome, but she enjoyed continued success owing to her talent, wit, and ability to forge connections with those in power in the postrevolutionary period.

26-15ayes

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She portrayed herself in a close-up, intimate view at work on one of the many portraits (for example, FIG. 26-15A) she painted of her most important patron, ____________________ (1755–1793).

26-16 ADÉLAÏDE LABILLE-GUIARD, Self-Portrait with Two Pupils, 1785. Oil on Canvas, 6′ 11″ × 4′ 11½″. Metropolitan Museum of Art, New York (Gift of Julia A. Berwind, 1953)


26-17

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C: -communicating _______________ through Satire -newly prosperous and confident middle class in England can be seen in Hogarth’s paintings, who satirized __________________ life,

-this is part of a series of 6 paintings that satirize the immoralities pract iced within_________of the wealthy classes in England, the wife stayed home and played cards/music, husband tired from a night out on some suspicious business, hand thrust deep into empty pockets, dog sniffing a lacy woman’s cap, a steward with__________raises hands to heaven, -painting on far wall show religious ones, while covered one suggests an_________________subject

Hogarth’s favorite device was to make a series of narrative ______________ and ____________, in a sequence similar to chapters in a _______________ in a play, ______________ a character or group of characters in their encounters with some social evil. Breakfast Scene (FIG. 26-17), from Marriage à la Mode, is one in a sequence of six paintings satirizing the marital immoralities of the moneyed classes in England. In it, the marriage of a young viscount is just beginning to founder. Hogarth designed the marriage series to be published as a set of ____________________. The prints of this and his other moral narratives were so popular that unscrupulous entrepreneurs produced unauthorized versions almost as fast as the artist created his originals. The popularity of these prints speaks not only to the appeal of their subjects but also to the democratization of ________________________ the Enlightenment fostered and to the exploitation of new printing technologies that opened the way for a more affordable and widely disseminated visual culture.

maybe Blue Boy

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M/T = material / technique maybe Sarah Siddons- both of these-

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26-18

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C: -known as a “______manner” portraiture, and Gainsborough was known as one of the leaders in this style,-woman dressed informally, in a rustic___________(like Watteau’s in it’s soft-hued light and feathery brushwork), her dark brown hair flows freely in the wind, matching the tree branches, -controlled poses, low___________________line,

A contrasting blend of “naturalistic” representation and Rococo setting is found in Mrs. Richard Brinsley Sheridan (FIG. 26-18), a characteristic portrait by British painter THOMAS GAINSBOROUGH (1727–1788). Gainsborough presented Mrs. Sheridan as a lovely, informally dressed woman seated in a rustic landscape faintly reminiscent of Watteau (FIG. 26-7) in its soft-hued light and feathery _____________. Gainsborough’s goal was to match the _____________, unspoiled beauty of the landscape with that of his sitter. Mrs. Sheridan’s dark brown hair blows freely in the slight wind, and her clear “English complexion” and air of ingenuous sweetness contrast sharply with the pert sophistication of the subjects of Continental Rococo portraits. Gainsborough planned to give the picture a more pastoral air by adding several sheep, but he did not live long enough to ______________ the canvas. Even without the sheep, the painting clearly expresses Gainsborough’s deep interest in the landscape setting. Although he won greater fame in his time for his portraits, he had begun as a landscape painter and always preferred painting scenes of ___________ to depicting individual likenesses

26-19

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Summarize the image from the book-


26-20yes

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26-21

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JOHN SINGLETON COPLEY, Paul Revere, Ca. 1768–1770. Oil on Canvas, 2′ 11⅛″ × 2′ 4″. Museum of Fine Arts, Boston (Gift of Joseph W., William B., and Edward H. R. Revere)

American artist JOHN SINGLETON COPLEY (1738–1815) matured as a painter in the Massachusetts Bay Colony. Like West, Copley later emigrated to England, where he absorbed the fashionable English portrait style. But unlike Grand Manner portraiture

Summarize the image from the internet-


not in book but important Samuel Adamsabout 1772John Singleton Copley (American, 1738–1815)

26-22 ANTONIO CANALETTO, Riva Degli Schiavoni, Venice, Ca. 1735–1740. Oil on Canvas, 1′ 6½″ × 2′ ⅞″. Toledo Museum of Art, Toledo

Neoclassicism

One of the defining characteristics of the late 18th century was a renewed admiration for classical antiquity, which the Grand Tour was instrumental in fueling. This interest gave rise to the artistic movement known as NeoclassicismA style of art and architecture that emerged in the late 18thcentury as part of a general revival of interest in classical cultures. Neoclassical artists adopted themes and styles from ancient Greece and Rome., which incorporated the subjects and styles of ancient art. Painting, sculpture, and architecture, however, were only the most prominent manifestations of Neoclassicism. Fascination with Greek and Roman culture was widespread and extended to the public culture of fashion and home decor. The Enlightenment’s emphasis on rationality in part explains this classical focus, because the geometric harmony of classical art and architecture embodied Enlightenment ideals. In addition, classical cultures represented the pinnacle of civilized society. Greece and Rome served as models of enlightened political organization. With their traditions of liberty, civic virtue, morality, and sacrifice, these cultures were ideal models during a period of great political upheaval. Given these traditional associations, it is not coincidental that Neoclassicism was particularly appealing during the French and American revolutions.

Further whetting the public appetite for classicism were the excavations near Naples of Herculaneum and Pompeii, which the volcanic eruption of Mount Vesuvius had buried (see “The Excavations of Herculaneum and Pompeii”). Soon, murals based on the paintings unearthed in the excavations began to appear in European townhouses, such as the Etruscan Room (FIG. 26-23) by ROBERT ADAM (1728–1792) in Osterley Park House in Middlesex, begun in 1761.26-23 ROBERT ADAM, Etruscan Room, Osterley Park House, Middlesex,

England, Begun 1761. Reconstructed in the Victoria & Albert Museum, LondonC: -his__________architecture was influencial throughout Europe -__________________and great delicacy of design -none of the massive splendor -influenced heavily by the__________Discovery, he took the decorative motifs of medallions, urns, vine scrolls, sphinxes, and tripods from Roman art

26-23a MENGS, Parnassus, 1761


26-24

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26-25

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C: -David favored the academic teachings about using the art of the ancie nts and the renaissance masters as models, he rejected the Rococo “__________taste” and exalted________art as the imitation of nature in her most beautiful and perfect form. -depicts a story about the warring cities of Rome & Alba and how they had decided to resolve the conflict by sending 3 representatives each to fight it out, Rome=3 Horatius________-swear by their swords (held high by their__________) to win or die for Rome, females were in anguish. -The setting like a great stage play, a simple architectural background -the______forms of the men speak to the Enlightenment stance of men having courage, patriotism and unwavering loyalty to a cause,

-Arouses the prerevolutionary French public to____________________

Summarize the image from the book—add your comments


26-26

yes

N= name

D= date (century)





C: -David was thrust into the French Revolution and became the minister of _____________and began to depict scenes from the Revolution itself -this painting was meant to record an important event & provide inspira tion and encouragement to the_____________________forces, -depicts______, David’s personal friend who was a radical revolutionist that was stabbed to death while he was taking a medicinal bath, identify through the writing on box and the bath (he had a painful skin disease) -the_______emptiness above him makes for a chilling oppressiveness, the knife, the wound, the blood, the letter with which the young woman (the killer) gained entrance,

-convincingly real, and masterfully composed, it was designed to inspire viewers with the saintly____________________of their slain leader.Summarize the image from the book—add your comments

26-27 Jacques-Germain Soufflot, Panthéon (Sainte-Geneviève; Looking Northeast), Paris, France, 1755–1792

maybe

N= name

D= date (century)





Summarize the image from the internet or book


26-27a Walpole, Strawberry Hill, Twickenham, 1749–1777

26-28yes

N= name

D= date (century)






26-28a STUART, Doric Portico, Hagley Park, 1758

26-29 HENRY FLITCROFT and HENRY HOARE, the Park at Stourhead, England, 1743–1765

26-30yes

N= name

D= date (century)





C: -spearheaded a movement to adopt Neoclassicism as the___________ architectural for the U.S. -a style he saw as a representative of U.S. ______________________qualities -scholar, economist, educational theorist, statesman, and gifted amateur ________________, he was by nature attracted to classical architecture -designed Monticello for his own personal_______, emullated Palladio’s manner, materials are local wood and brick used in Virginia



26-31 THOMAS JEFFERSON, Rotunda and Lawn (Looking North), University of Virginia, Charlottesville, Virginia, 1819–1826

26-32yes

N= name

D= date (century)






26-33 HORATIO GREENOUGH, George Washington, 1840. Marble, 11′ 4″ High. Smithsonian American Art Museum, Washington, D.C

n -...

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