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Art History II: Exam 3 Study Guide

by: Elizabeth

Art History II: Exam 3 Study Guide ART 1023

Marketplace > Mississippi State University > History > ART 1023 > Art History II Exam 3 Study Guide
GPA 3.04

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this includes all of the material covered for the third exam.
History of Art 2
Benjamin Harvey
Study Guide
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This 5 page Study Guide was uploaded by Elizabeth on Sunday April 3, 2016. The Study Guide belongs to ART 1023 at Mississippi State University taught by Benjamin Harvey in Spring 2016. Since its upload, it has received 21 views. For similar materials see History of Art 2 in History at Mississippi State University.


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Date Created: 04/03/16
EXAM THREE 03/07/16 th Baroque: 17  century: Italy, France, Spain, and England in general (only some artists in the period embody the  baroque style) Rococo: 18  century – mid 19  century *All works in this section are oil on canvas Caravaggio’s style:  Tenebrism: more dramatic version of chiaroscuro  More realism  High drama  Eliminating foreground  Intense figuration  Dramatic foreshortening  Direct symbolism Caravaggio Calling of Saint Matthew Circa 1599­1600  Oil on canvas  Contarelli family  (Saint Matthew) – patrons   Contemporary costumes on the men counting money; Crist is in older/religious drapery Caravaggisti: people working in Caravaggio’s style  Artemisia Gentileschi: makes self­portrait of the Allegory of Painting Artemisia Gentileschi Judith Slaying Holofernes Circa 1620­21 Oil on canvas  Compare to Caravaggio’s version of the same scene o Difference between a woman’s interpretation and a man’s  o Artemisia’s is more gory and dramatic; realism in the blood squirting out and the struggle of  pinning him down o Caravaggio’s is more staged and artificial looking; not as active and dangerous looking 03/09/16 Bernini David 1623­24 Marble  Borghese Family commissioned the sculpture  7 months to complete  Around “life­sized”  Lyre and armor at his feet to represent that he is a musician and that he refused to wear the armor Bernini Ecstasy of St. Theresa 1645­52 Marble  Cornaro: patron  One of the best examples of Baroque art 03/11/16 Poussin: French artist working in Rome  Sees himself as an intellectual as well as an artist  Shifting away from the Baroque styles  Later works are more Classical Poussin  Et in Arcadia Ego Circa 1637­38 Oil on canvas  “I, too, in Arcadia” (Arcadia: ideal place, utopia) Landscape genre: bracketing trees, winding path for the eyes, clearer in the foreground, movement from  foreground to mid­ground  Claude: one of the best landscape artists Early 17  century Spain Velázquez Las Meninas 1656 Oil on canvas  “The Maids of Honor”  Uses mystery to keep the viewer intellectually involved in the painting (important Baroque technique) Rubens Allegory of the Outbreak of War 1638­39 Oil on canvas  Rubensian: style of painting people with larger bodies than the “ideal”  Allegory: another (non­traditional) way of suggesting/depicting and idea or concept  Mars: main figure  Temple of Janice: remains closed in times of peace, but is left open  Venus: main nude woman  Fury Alekto: dragging Mars to war  Broken lute: disharmony  Book under Mars’ foot: the risk war puts to arts and literature  Dressed woman: represents Europe robbed of all riches 03/21/16 Rembrandt van Rijn Self­Portrait with Saskia 1636 Etching  Double portrait of married couple Rembrandt The Company of Captain Frans Banning Cocq (The Night Watch) 1642 Oil on Canvas  Shows the “defensive” musketeer group protecting Amsterdam, the people have become more of a  social group 03/23/16 Vermeer Allegory of the Art of Painting 1666­69 Oil on canvas  Woman represents Clio (the muse of history)  Self reflective painting (not necessarily Vermeer in the painting though)  Alluding to history painting in the genre painting (painting focused on everyday life) o Genre painting is seen as less important/serious than history painting or portraiture   Map of the New Republic of Holland (where this was painted) from the 18  century (when this was  painted) Rubens: heavy influence on the Rococo movement (Rubenists) Poussin: heavy influence on the Neo­Classical (Poussinists) Watteau Return from Cythera / Pilgrimage to Cythera 1717 Oil on canvas  Fête Galante genre: landscape with figures wearing more stylish/fancy clothing o Genre created specifically to describe Watteau’s painting style  Painterly almost abstract landscape elements with more detail in the figures  Statue of Venus on the right side with roses adorning it  Carving of a siren on the front of the boat to the left (sirens are the daughters of Venus) o Also shows the good and bad aspects of love Fragonard The Swing 1766 Oil on canvas  Similar characteristics to the previous work o Landscape o Fancier dress o Statues 03/28/16 Hogarth Breakfast Scene (Marriage a la Mode) Circa 1745 Oil on canvas  “Fashionable marriage” not “marriage with ice cream”  Marriage a la Mode: a series of six paintings (to be replicated as engravings/prints) o Illustrates a bad marriage between an aristocrat and the daughter of a politician (old money &  new money) o Remember: prints are in reverse Joseph Wright of Derby  A Philosopher Giving a Lecture at the Orrery… in Which a Lamp is Put in Place of the Sun Circa 1763­65 Oil on canvas  Caravaggisti shown with extreme tenebrism  Universe compared to a machine o Orrery showing planets and eclipses  Joseph Wright of Derby is part of the enlightenment movement o Bringing rationality/logic into the world Jefferson  Monticello (nr. Charlottesville, Virginia) 1770­1806  Alludes to the Pantheon o Temple front on a building with a domed ceiling  It is a “working estate”; people actually live in it and the land is managed  Similar to French Palladianism (shudders on windows and other details), but tweaked for America 03/30/16 Jacques­Louis David Oath of the Horatii Oil on canvas 1784 Romantic Period Goya The Third of May 1808 1814­15 Oil on canvas  Continues the story in the painting The Second of May, 1808  Contrast between the executions/death and the church/religion Géricault Raft of the Medusa 1818­19 Oil on canvas  Transitional artist between Romanticism and Neo­Classism  The Medusa (ship) crashes, some passengers take life boats, others (~150) make a raft from scrap wood;  painting is of the surviving 15 on the raft just before they are rescued by The Argos (some figures on are dead)  Originally titled Scene of a Shipwreck to downplay its political statements 04/01/16 Delacroix Death of Sardanapalus 1827 Oil on canvas  Newer type of subject matter; “Orientalist” subject Turner The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) 1840 Oil on canvas  Turner was an abolitionist  Reference to the Zong Case (notorious case [based on compensation], ship captains wouldn’t get  compensation for dead slaves remaining on board, but could gain insurance for slaves lost at sea) o Captain is throwing dead, dying, and sick overboard (to be blamed on the storm) to claim  compensation  No horizon line to create confusion and distressed feeling (like the ship’s passengers)  Pathetic Fallacy: weather is in accordance with the events/emotions happening (sad=rain, etc.) Realism  Realism is very strongly associated with Courbet and visa versa  Subject is usually of humble origins, ordinary and “plain” subjects Courbet The Stone Breakers 1849 (displayed in the Salon of 1850) Oil on canvas  Large canvas (usually reserved for history and biblical paintings) o Figures are painted very nearly to life size o Political statement about the importance of the working class


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