art workbook answer guide

ART WORKBOOK PAGE 99 OF 119 DEMIDEC © 2009

Answer Key SECTION I (THE ROCOCO AND EIGHTEENTH-CENTURY NATURALISM)

1.01 MATCHING 1. B 2. A, E, F

3. G 4. C

5. D 6. I

7. H 8. B

1.02 DATING 1. 1624 2. 1643

3. 1682 4. 1715

5. 1715 6. 1722

1.03 DEFINITIONS

baroque 1. artistic style characterized by its grand theatricality, formal opulence, and use of expensive materials

rococo 2. artistic style characterized by its light-hearted decorative appeal, pastel colors, and fanciful subject matter

salon 3. name designating both a private reception room and the intellectual and artistic gathering held in such rooms

ancien régime 4. term designating the French monarchy

philosophe 5. term for an Enlightenment thinker 1.04 CAUSE AND EFFECT 1. E 2. C

3. D 4. A

5. B 6. F

1.05 TRUE OR FALSE 1. False – With the support of Louis XIV, the Académie royale de peinture et sculpture (Royal Academy of Painting and Sculpture) was

founded in 1648. 2. True 3. False – Women in the Academy were disadvantaged because they were not allowed to draw from the nude, the study of which

formed the foundation for the most ambitious history paintings. 4. False – Admission to the Academy required the support of a member of the Academy. 5. False – Attendance at the Academy required a certain amount of financial freedom. 6. False – The title “academician” was given to full members of the Academy. 7. True 8. False – The most talented painters did not always gain the most coveted positions of power, and vice versa. 9. False – Upon acceptance, applicants were referred to as agréé (accepted). 10. False – The Academy was organized hierarchically. 1.06 CONNECT THE DOTS

Example: genre of comedy that resolves narrative conflict by the end of each episode

sit-com “30 Rock”

1. small, intimate paintings of objects still life Chardin’s Still Life with Fish, 1769

2. scenes from ancient Greek and Roman myths, Biblical narratives, or momentous contemporary events

history painting

David’s The Death of Socrates, 1787

3. paintings of the countryside landscape Claude Lorrain’s View of La Crescenza, 1648-50 4. scenes of everyday life genre paintings Chardin’s Soap Bubbles, ca. 1734 5. representations of significant persons portraiture Boucher’s Portrait of Madame de Pompadour, ca.

1750 1.07 FILL IN THE BLANK 1. In coloristic painting, form is created by the blending of colors. 2. The artists of the French Academy emulated Italian Renaissance art. 3. In the hierarchy of genres, portraiture was second. 4. A significant roadblock for women studying art at the Academy was their exclusion from the practice of nude figure drawing.


5. After modeling a sculpture in plaster, an artist would often cast the final artwork in bronze or carve it from marble. 6. By drawing from copies of Greek and Roman sculpture, students at the Academy learned how to represent the nude figure. 7. The linear style, emphasized at the Academy, creates form and space by using line. 8. Prints and drawings were ranked last in the hierarchy of media. 9. In addition to attending the Academy, students also trained in apprenticeships with skilled artists. 10. Among two-dimensional media, oil painting ranked highest. 11. In the hierarchy of genres, history painting occupied the top spot.

1.08 SHORT ANSWER 1. Prix de Rome 2. history painting 3. the chance to study classical art in Rome 4. agréé 5. French Academy 6. Rome 7. Jean-Baptiste Colbert, 1666 8. Louis XIV 9. reception piece, morceau de réception 1.09 RANKING 1. 4,2,1,3 2. 2,1,3 3. 1,2 1.10 EITHER OR 1. (FRANÇOIS BOUCHER, JEAN-BAPTISTE SIMEÓN CHARDIN) was the patron Madame de Pompadour’s most favored artist. 2. Madame de Pompadour’s real name was (JEANNE-MARIE D’ANGERS, JEANNE-ANTOINETTE POISSON). 3. Madame de Pompadour was a celebrated hostess of salons in her home, and was also the mistress and close confidant of (LOUIS XV,

DIDEROT). 4. The Salons organized by the Academy served a similar function to today’s (MUSEUMS, COMMERCIAL ART GALLERIES). 5. The Academy’s Salons were held (AT VERSAILLES, IN THE LOUVRE). 6. Art criticism in the eighteenth century was published primarily for the (MIDDLE CLASSES, UPPER CLASSES). 7. “Reflections on the Current State of Painting in France” was the title of La Font de Saint-Yenne’s review of the (SALON OF 1748,

SALON OF 1746). 8. In addition to patronizing the arts, Madame de Pompadour also supported the critic (DENIS DIDEROT, LA FONT DE SAINT-

YENNE). 9. Diderot criticized the work of (FRANÇOIS BOUCHER, JEAN-BAPTISTE SIMEÓN CHARDIN) for its frivolity and sensuality. 10. Both Diderot and La Font criticized the (BLASPHEMOUS, DECORATIVE) tendencies of rococo art. 11. Diderot was particularly critical of the work of (JEAN-BAPTISTE GREUZE, FRANÇOIS BOUCHER) for its artistic and moral

superficiality. 12. Diderot was particularly fond of the work of (JEAN-BAPTISTE GREUZE, FRANÇOIS BOUCHER) for its moral didacticism. 13. Diderot favored the work of Chardin for its (TRUTHFUL REPRESENTATION OF LIFE, CHARMING SUBJECT MATTER). 14. Diderot’s central contribution to Enlightenment philosophy was the (ENCYCLOPÉDIE, TRACTATUS LOGICO-

PHILOSOPHICUS). 1.11 COMPARISON 1. R 2. R 3. N 4. N 5. R 6. R

7. N 8. R 9. R 10. R 11. R

12. R 13. N 14. R

1.12 FILL IN THE BOX 1. Valenciennes 2. Jacques-Albert Gérin 3. Dutch genre scenes 4. Claude Gillot 5. Claude Audran

6. Prix de Rome 7. French Academy in Rome 8. morceau de reception (reception

piece) 9. Pilgrimage to the Island of Cythera

10. fête galante 11. Venus 12. fête galante 13. tuberculosis

1.13 TRUE OR FALSE 1. True 2. False – Mezzetin, a popular Comédie Italianne character, was typically a servant or a husband.


3. False – Commedia dell’arte developed in sixteenth-century Italy. 4. False – Comédie Italianne performances were improvisational. 5. False – Comédie Italianne performances took place outdoors. 6. True 7. False – The mood of Watteau’s painting, Mezzetin, is melancholy. 8. False – By placing Mezzetin in front of a fantasy landscape, Watteau heightens the romantic and metaphorical meanings of the

painting. 9. True 10. False – The depiction of popular contemporary art forms, such as the theater, was frowned upon by the French Academy. 11. True 12. True 1.14 SHORT ANSWER 1. lower class 2. Pierre-Jacques Cazes, Noel-Nicholas Coypel 3. history painting 4. still life 5. treasurer, organizer of the Salons 6. bankers, merchants 7. print reproduction 8. Eduard Manet, Paul Cézanne 1.15 EXCLUSIONS 1. landscape 2. coloristic

3. fanciful 4. distracting

5. decadence 6. political statement

1.16 DATING 1. 1690s 2. 1710 3. 1730 4. 1740 5. 1748

6. 1752 7. 1753 8. 1756 9. 1759 10. 1768

11. 1774 12. 1789 13. 1800

1.17 FILL IN THE BLANK 1. Bleu céleste, a turquoise color, was first developed at the Vincennes factory in 1753. 2. The “double-Louis” mark indicates that the vase belonged to the collection of Louis XV. 3. Hard-paste porcelain is made from clay called kaolin. 4. The Vincennes Wine Cooler was likely designed by Jean-Claude Duplessis. 5. In addition to being the prominent rococo painter of the Portrait of Madame de Pompadour, François Boucher also designed porcelain. 6. Embellishments of gold decorate the handles and base of the wine cooler. 7. The flowers decorating the Wine Cooler are rendered in soft pastel shades of pink and violet 8. Eighteenth-century porcelain produced at Vincennes was acquired by the Royal Crown or the aristocracy. 1.18 MATCHING 1. E 2. F

3. A 4. G

5. C 6. B

7. D

1.19 COMPARISON 1. theatrical 2. moralizing 3. neither

4. theatrical 5. moralizing 6. theatrical

7. neither 8. moralizing

1.20 DATING 1. 1720 2. 1723 3. 1727

4. 1731 5. 1734 6. 1751

7. 1755 8. 1765 9. 1770

1.21 TRUE OR FALSE 1. True 2. True 3. False – Boucher’s work is categorized by art historians as “high rococo.” 4. False – In his early career, Boucher produced print reproductions of paintings by Watteau. 5. True 6. False – Boucher works in a painterly style, using color to separate figures from the background.


7. False – Diderot was Boucher’s severest critic during his lifetime. 8. True 1.22 DEFINITIONS 1. idyll 2. theatrical 3. romantic love 4. putti

5. Watteau 6. gallant mythology 7. shepherd 8. painterly

9. aristocracy 10. pendants

1.23 CONNECT THE DOTS

1. Chardin Soap Bubbles, 1734 boy building a house of cards transience of life 2. Greuze Broken Eggs, 1756 The Neapolitan Gesture loss of virtue 3. Boucher Shepherd’s Idyll, 1768 Washerwoman romanticization of rural labor

1.24 MATCHING 1. B, C, G 2. A, H 3. C 4. D, I 5. F 6. F 1.25 FILL IN THE BLANK 1. The work of Watteau and Boucher represents the sensual, frivolous, and decorative style of the rococo period. 2. The theatrical aspects of rococo painting were inspired by the dramatic art of the baroque period. 3. Rococo painting was seen as a sign of the moral debauchery of the ancien régime. 4. The painterly style of rococo artists was denigrated as feminine and decadent. 5. Greuze is often regarded by art historians as a transitional figure between the rococo and neoclassical periods. 6. The rococo and the neoclassical periods have been characterized in gender terms, with the linear style of the neoclassical being seen as

masculine.

SECTION II (THE EMERGENCE OF THE CLASSICAL IDEAL)

2.01 LISTING 1. social and political unrest 2. corrupt and indebted government 3. material excesses of the elite class 4. emerging model of democracy in the United States 5. philosophical impetus of the Enlightenment 2.02 CHARTING 1. 1774 2. Louis XVI raised taxes to try to bail the monarchy out of its steadily increasing debt. 3. May 1789 4. The First Estate (the aristocracy) and the Second Estate (the clergy) supported the King, but the Third Estate (representing the

populace) split from the meeting and convened the National Assembly. 5. June 20, 1789 6. The Constituent Assembly, created by Louis XVI in response to the National Assembly, abolished the absolute monarchy. 7. Louis XVI refused to ratify the new constitution, Declaration of the Rights of Man and the Citizen, drafted by the Constituent

Assembly. 8. September 1792 9. King Louis XVI was executed. 10. October 1793 11. A period of political instability known as the Reign of Terror took place. 12. A government known as the Directory ruled for these years. 13. 1800 14. Napoleon was given the title of First Consul for life by a national referendum. 15. Napoleon declared himself emperor. 16. 1814 17. 1815 2.03 TRUE OR FALSE 1. False - The abolishment of the Royal Academy of Painting and Sculpture in 1793 led to the creation of a new, more elitist school.


2. True 3. True 4. False - In 1799 Jacques-Louis David privately exhibited The Intervention of the Sabine Women for a fee. 5. True 6. False- In order to consolidate his power, Napoleon identified himself though art with the leaders of ancient Rome. 7. False- The rise of the bourgeoisie after the Revolution led to an increased demand for landscapes, genre paintings, and portraits. 8. True 2.04 FILL IN THE BLANK 1. The use of the term neoclassical to describe the style of early nineteenth-century art arose in the late nineteenth century. 2. The neoclassical style became popular not only in the fine arts of painting and sculpture, but also in architecture, decorative arts, and

fashion. 3. Johann Joachim Winckelmann’s 1755 text, Reflections on the Imitation of Greek Works in Painting and Sculpture, was an important

theoretical statement defending the neoclassical style. 4. In their imitation of ancient works of art, eighteenth-century artists followed the impressive precedent of the Italian Renaissance. 5. The ideal human form represented in ancient works of art appealed to Winckelmann for its superiority to nature. 6. Napoleon consciously compared himself to ancient Roman rulers to justify his autocratic rule. 7. Enlightenment philosophers looked to ancient Roman art and political history to provide models for the contemporary citizen of a

republican state. 8. Jacques-Louis David’s large-scale history painting, The Intervention of the Sabine Women, depicts a scene from ancient Roman political

history. 9. The decorative Empire Style combined elements of Greek and Roman art with an Egyptian influence acquired as a result of

Napoleon’s military campaigns into Northern Africa 2.05 MATCHING 1. I, J, K 2. B, C 3. A

4. F 5. D 6. H

7. E

2.06 EITHER OR 1. The eighteenth-century painter Angelica Kauffman was born in (ENGLAND, SWITZERLAND). 2. In 1768 Kaufmann became a member of the (ENGLISH ROYAL ACADEMY OF ARTS, FRENCH ROYAL ACADEMY OF

PAINTING AND SCULPTURE). 3. Kaufmann’s membership into the Academy was facilitated through her friendship with (MADAME DE POMPADOUR, SIR

JOSHUA REYNOLDS). 4. Like ambitious male artists of her generation, Kaufmann painted scenes of (EVERYDAY LIFE, ANCIENT ROMAN HISTORY). 5. The groundbreaking 1971 article “Why Have There Been No Great Women Artists?” was written by the art historian (LINDA

NOCHLIN, SIMON SCHAMA). 6. Kaufmann’s most famous painting is entitled Cornelia, Mother of the Gracchi, Pointing to her Children as her Treasures and was painted

in (1785, 1791). 7. Restriction from (TRAVELING, NUDE FIGURE DRAWING) severely hampered a woman’s ability to develop her skills as an

artist. 8. Kaufmann’s use of (LINEAR STYLE, “FEMININE” DECORATION) in her paintings identifies her as a neoclassical painter. 9. In her most well-known history painting, Kaufmann illustrated a model of (POLITICAL NEGOTIATION, FEMININE VIRTUE). 2.07 DEFINITIONS 1. period of the Italian Renaissance, i.e., fifteenth and sixteenth centuries, and the Baroque, i.e., seventeenth century 2. “view painting,” a large-scale representation of memorable historic sites in Italy 3. work composed by the artist combining things that cannot actually be seen together 4. pendants 5. large-scale; typically more than 15’ across for a painting 6. highly naturalistic to the point of seeming real 2.08 SHORT ANSWER 1. French Academy in Rome, Accademia di San Luca 2. Representation of detail, convincing perspective 3. Pantheon, Colosseum, St. Peter’s Basilica 4. the Pantheon 5. Count de Stainville 6. interior of an art gallery 7. the paintings hung on the walls in the art gallery show the monuments 8. a French collector and ambassador 9. 1753-57 10. He painted him holding a guidebook.


2.09 CHARTING Giovanni Paolo Panini Roman Capriccio Modern Rome Ancient Rome Date 1735 1757 1757 Monuments Pictured The Pantheon, statue of Marcus

Aurelius, the sarcophagus of Constantine, the Temple of the Sybil at Tivoli, Maison Carée at Nîmes

Michelangelo’s Moses, Bernini’s David and Apollo and Daphne

Colosseum, Pantheon, Laocoön, Farnese Hercules

Portraits Included

self-portrait self-portrait, Count de Stainville

2.10 FILL IN THE BLANK 1. 1748, David was born in Paris. 2. At the Collège des Quatre-Nations, David received a thorough education in the classics. 3. David’s early study of painting took place with the painter Joseph-Marie Vien. 4. 1766, David began formal training when he enrolled in the Royal Academy of Painting and Sculpture. 5. 1770, David’s first entry into competition for the Prix de Rome was a failure. 6. 1774, On his fifth try, David won the competition with the entry Antiochus and Stratonice 7. 1775-80 During his time in Rome, David was greatly influenced by the painting of Raphael and Caravaggio. 8. 1780, Upon his return to Paris, David began work on his morceau de réception 9. 1782, The assignment of a studio in the Louvre allowed David to pursue work on large-scale history paintings with the help of his

students. 10. 1789, David exhibited The Lictors Returning to Brutus the Bodies of his Sons at the summer Salon. 11. 1791, At this Salon, David exhibited his sketch for a monumental painting of the Tennis Court Oath. 12. 1795, David was a founding member of a new art school to replace the Royal Academy of Painting and Sculpture, which he had

helped to dismantle during the early 1790s. 13. 1814, David’s political situation worsened after the Bourbon Restoration. 14. 1816, David went into exile in Brussels. 15. 1825 2.11 CONNECT THE DOTS

Roman History Painting Contemporary Significance 1. A founder of the Roman Republic

sacrifices his sons to protect the Republic from supporters of the monarchy.

The Lictors Returning to Brutus the Bodies of His Sons, 1789

Great sacrifices are demanded in the name of political change.

2. Accused of corrupting his students, a philosopher is executed by the state.

The Death of Socrates, 1787 The ideals of the Enlightenment, education, reason, and knowledge, have their roots in the work of ancient philosophers.

3. A loyal general is accused of treason and blinded.

Belisarius Begging for Alms, 1781 Honest citizens are in danger of being abused by a corrupt government.

4. Three sons and their father swear allegiance to the Roman Republic.

The Oath of the Horatii, 1784 Citizens should be prepared to lay down their lives out of patriotic duty to the state. This painting was also the model for the sketch of the Tennis Court Oath, 1791.

2.12 TRUE OR FALSE 1. True 2. False- David was a supporter of the Republic during the French Revolution. 3. True 4. True 5. True 6. False- Although David was commissioned to paint large-scale works commemorating the Revolution, and he also participated in

producing propaganda. 7. True 8. False- David’s painting Napoleon Crossing the Alps at the Saint-Bernard Pass was commissioned by King Charles IV of Spain. 9. True 10. True 11. True 12. False- David’s representation of the coronation includes over 100 portraits. 2.13 MATCHING 1. I 2. C, E, G

3. H 4. B, F

5. A 6. D


2.14 EITHER OR 1. Antoine Charles Horace Vernet, known as Carle Vernet, was born Bordeaux in (1758, 1768). 2. Carle Vernet was the son of (CLAUDE JOSEPH VERNET, HORACE VERNET).19 3. Vernet’s first teacher was (HIS FATHER, HIS UNCLE). 4. Vernet won the Prix de Rome in 1782 at the age of (24, 30). 5. After five years studying in Rome, Vernet began painting his reception piece in (1791, 1787). 6. The painting Vernet submitted for his reception piece was (BATTLE OF MARENGO, THE TRIUMPH OF AEMILIUS PAULUS). 7. Vernet is considered a (NEOCLASSICAL, ROCOCO) painter. 8. The Triumph of Aemilius Paulus is typical of neoclassicism in its (CHOICE OF SUBJECT MATTER, SUBDUED LIGHTING). 9. The painting style of The Triumph of Aemilius Paulus is (SOFT, LINEAR). 10. In The Triumph of Aemilius Paulus, the landscape and the heightened drama of the scene foreshadow stylistic tendencies of the

(POST-CLASSICAL, ROMANTIC) period. 11. (CARLE VERNET, HORACE VERNET) was a romantic painter whose scenes of Napoleonic battles won him critical acclaim. 2.15 SHORT ANSWER 1. Livy 2. 1789, 1791 3. 15 feet 4. arrival and reception in Rome 5. foreground 6. The Temple of Jupiter and a triumphal arch 7. landscape and heightened drama 2.16 FILL IN THE BLANK 1. Joseph-Antoine Romagnési’s teacher was the sculptor Pierre Cartellier. 2. Minerva Protecting the Young King of Rome was completed in 1811 toward the end of Napoleon’s reign as emperor. 3. Cartellier worked as a sculptor on the transformation of the Church of Ste. Genevìeve into a secular monument for French heroes

called the Panthéon. 4. Minerva Protecting the Young King of Rome is a relief sculpture. 5. Romagnési exhibited Minerva Protecting the Young King of Rome at the Salon of 1812. 6. The finished work is made of plaster painted to resemble the more expensive material of marble. 7. Classical imagery and style inspired Romagnési’s sculpture. 8. Artists had to consider the weight of their materials when planning to exhibit sculpture at the Salon. 9. Romagnési planned to execute the sculpture in marble, but Napoleon was deposed before he could finish the commission. 2.17 FALSE 1. Romagnési completed only one sculpture related to the story of Minerva and the King of Rome. TWO SCULPTURES 2. Minerva is the Greek goddess of war and wisdom. ROMAN 3. In Minerva Protecting the Young King of Rome, the “King of Rome” represented is Napoleon. NAPOLEON’S SON 4. Minerva stands in contrapposto, while the little boy, sits at her feet. ALSO STANDING IN CONTRAPPOSTO, HAS HIS ARM

AROUND THE NECK OF A SHE-WOLF 5. The she-wolf is symbolic of the founding of the French Republic. ROME 6. Romagnési was commissioned to produce Minerva Protecting the Young King of Rome to celebrate the marriage of Napoleon to his

second wife, Marie-Louise. THE BIRTH OF NAPOLEON’S SON AND HEIR 7. Although the subject matter of Romagnési’s sculpture was taken from ancient sources, the technique and style used to model the

figures derived from rococo and romantic models. WAS ALSO DERIVED FROM CLASSICAL MODELS 8. In addition to Minerva Protecting the Young King of Rome, Napoleon also commissioned The King of Rome Sleeping from his favored

artist Jacques-Louis David. PIERRE PAUL PRUD’HON. 2.18 MATCHING 1. C 2. D 3. A 4. B 2.19 ANALOGIES

19 Horace Vernet was Carle Vernet’s son.


1. Napoleon 2. masculine 3. Angelica Kauffman

4. Egyptian art 5. The Triumph of Aemilius Paulus 6. Joseph-Antoine Romagnési

7. Salon of 1789 8. relief sculpture 9. Jacques-Louis David

2.20 FILL IN THE BLANK 1. Antiochus and Stratonice, 1774 2. Belisarius Begging for Alms, 1781; The Oath of the Horatii, 1784; The Lictors Returning to Brutus the Bodies of his Sons, 1789 3. The Tennis Court Oath, 1791 4. Self-Portrait, 1794 5. Napoleon Crossing the Alps at the Saint Bernard Pass, 1800-01

SECTION III (ROMANTICISM)

3.01 SORTING Neoclassical Romantic

late 18th century ca. 1800-50 linear style vivid color rationalism emotion Enlightenment subjective experience ideal form observation of nature narrative climax imagination foreground emphasis emphatic brushstrokes ancient Rome exoticism

3.02 TIMELINE 1800 Napoleon establishes the Consulate and makes himself First Consul. 1802 Napoleon takes the title of First Consul for life. 1804 Napoleon declares himself emperor. 1807 Napoleon’s army suffers greatly at the Battle of Eylan. 1810 Napoleon has control of Western Europe. 1812 Napoleon fails at invading Russia. 1814 Paris is captured and Napoleon is exiled to Elba. 1815 Napoleon returns but is defeated at Waterloo. 1815 Louis XVIII comes to power in the Bourbon Restoration. 1824 Charles X succeeds his brother to the monarchy. 1830 Charles X tries to dissolve parliament. 1830 July Revolution 3.03 COMPARISON 1. B 2. B 3. C

4. C 5. B 6. C

7. C 8. B 9. C

3.04 EITHER OR 1. The Bourbon Restoration was so named because (LOUIS XVIII, CHARLES X) gained power, restoring to the throne the noble

House of Bourbon. 2. During the Napoleonic era, the (NEOCLASSICAL, ROCOCO) style was used to glorify Napoleon’s military exploits. 3. The Restoration government turned away from art associated with the neoclassical style and ancient Rome in order to distance itself

from (THE ANCIEN RÉGIME, NAPOLEONIC ERA). 4. The conservative Bourbon Restoration government encouraged large-scale paintings of (HEROIC BATTLESCENES, MEDIEVAL

HISTORY) to reinforce the entrenchment of the Bourbon monarchy in French history. 5. The evolution of artistic styles during the years surrounding the French Revolution at the turn of the nineteenth century demonstrates

how art is often allied with (THE ACADEMY’S SALONS, POLITICAL AGENDAS). 6. (LOUIS XVIII, NAPOLEON) dissolved the arts institution created after the Revolution by David and his students. 7. The former Royal Academy became the (ACADÉMIE DES BEAUX-ARTS, ÉCOLE DES BEAUX ARTS). 8. The French Academy in Rome, the Prix de Rome, and the Salons came under the province of the (ÉCOLE DES BEAUX ARTS,

ACADÉMIE DES BEAUX-ARTS). 9. Artists gained (PATRONAGE, ADMINISTRATIVE ADVANCEMENT) by exhibiting at the Salons. 10. As previously, the Salons continued to take place (ANNUALLY, BIENNIALLY). 11. The preoccupations of romanticism with nature and the importance of subjective feelings led to a rise in the popularity of religious

paintings, landscapes, and (STILL LIFES, FEMALE NUDES).


3.05 TRUE OR FALSE 1. False- Writers played a central role in formulating the tenets of romanticism. 2. True 3. False- De Staël’s parents were part of the literary scene in pre-Revolutionary France. 4. False- Madame de Staël wrote novels. 5. False- De Staël’s book, De l’Allemagne, was published in France in 1810. 6. False- De l’Allemagne discussed the value of Germany’s aesthetic production. 7. True 8. False- De l’Allemagne advocated that contemporary artists look to the French Middle Ages for inspiration. 3.06 MATCHING 1. A 2. I 3. H 4. L

5. B, C, D, E, H, M, N, O 6. H 7. E 8. E

9. G. J, K 10. I, L

3.07 FILL IN THE BLANK

Source of Inspiration

Middle Ages 1. Romantic artists were drawn to the religious mysticism of the Middle Ages. 2. They were also fascinated by the tragic and violent stories that excited the emotions of the viewer.

literature 3. Mazeppa, an epic poem by Lord Byron, was the subject of many paintings. 4. Lord Byron’s poem tells the dramatic story of a violent punishment for an illicit affair. 5. The great poets Dante and Shakespeare (p. 39) inspired artworks based on their poetry.

the Orient

6. In the nineteenth century, the Orient referred to the Middle East. 7. A generally held assumption in nineteenth-century Europe was that the Orient was a more primitive

culture. 8. People imagined that the Orient was less rational and therefore more in touch with the pleasures of the

senses. 9. France occupied Egypt in North Africa from 1798 to 1801. 10. France’s colonial presence in Africa led to increased tourism as trips to the Orient competed with the

tradition of the Grand Tour. 11. Many painters set ambitious history paintings in the Orient. 12. In addition, genre scenes set in harems were popular for their detailed depiction of exotic interiors

decorated with rich materials and vibrant colors. 13. Gros’s Napoleon at the Pesthouse at Jaffa and Delacroix’s Scenes from the Massacre at Chios are two

examples of Orientalist history paintings.

nature

14. Romantic artists conceived nature as an elemental force beyond the control of humankind. 15. Animals, especially horses were a popular subject of romantic paintings. 16. The instinctive nature of animals appealed to romantic artists who were interested in the irrational and

primitive. 3.08 DATING 1. 1791 2. ca. 1808-10 3. 1810-11

4. 1812 5. 1814 6. 1816-17

7. 1818 8. 1819 9. 1821-24

10. 1824

3.09 SHORT ANSWER 1. emphasis on the direct observation of nature 2. Renaissance and Baroque artists 3. the larger failures of the Napoleonic empire 4. the riderless horse race 5. contemporary history, images of horses, genre scenes, landscapes (p. 35) 6. independence in early training, pursuit of his own vision, tragic early death (p. 34) 3.10 ORDERING 1.

In 1816, the frigate ship Medusa embarked for Senegal.


2. Medusa ran aground off the coast of Africa and the captain abandoned the crew on a makeshift raft.

5. The insufficient reaction of the Restoration government to the accident caused a political scandal.

4. Géricault completed a large painting of the raft and abandoned men inspired by the dramatic style of Baroque painting.

3. Fifteen men survived on the raft and returned to Paris to tell their story.

6. The Raft of the Medusa was exhibited at the Salon of 1819, where it drew enormous crowds.

3.11 FALSE 1. Evening: Landscape with an Aqueduct is an easel-sized painting. A MONUMENTAL, WALL-SIZED LANDSCAPE PANEL 2. The mood of Evening: Landscape with an Aqueduct is sunny and cheerful. DUSKY AND MOODY 3. The architectural feature in the background of the painting is the ruin of a church modeled after the one at Spoleto. ROMAN

AQUEDUCT 4. The figures in the foreground of the painting are soldiers marching to battle. MEN SWIMMING IN THE RIVER 5. The human figures represented contribute to the narrative, didactic, and Biblical references in the painting. HIGHLIGHT THE

ABSENCE OF 6. Together with at least two other paintings, Evening: Landscape with an Aqueduct represents a historical narrative of the French

monarchy. AN ALLEGORY OF THE PASSAGE OF TIME 7. Noon: Landscape with a Roman Tomb has been lost. NIGHT: SEASCAPE 8. Géricault’s four ambitious landscape paintings are reminiscent of Romagnési’s vedute of the Italian countryside. PANINI 9. Evening: Landscape with an Aqueduct is emblematic of the romantic period in its depiction of the quotidian in nature. SUBLIME 10. Gericault painted Evening: Landscape with an Aqueduct in 1824, after working on a series of portraits of mentally ill patients. 1818,

BEFORE 3.12 MATCHING 1. B 2. C 3. I 4. H

5. A 6. A 7. G 8. D

9. D 10. E 11. F

3.13 FILL IN THE BLANK 1. In an 1820 painting of his studio, Vernet depicts artists sketching from a large white horse. 2. The Start of the Riderless Horse Race featured in the resource guide is a sketch. 3. The riderless horse race began at the Piazza del Popolo and ended at the Piazza di Venizia in Rome. 4. The horses participating in the race were Barberi from North Africa. 5. Spectators watched the race from elevated platforms and balconies. 6. Artists especially liked to represent the tense moment prior to the race when grooms struggled to control the horses in the starting

gate. 7. The riderless horse race was a popular subject for romantic painters because of the untamed wildness of the horses. 8. Stormy Coast Scene after a Shipwreck is a small oil painting. 9. Vernet’s painting, Stormy Coast Scene after a Shipwreck, may have been inspired by Géricault’s ambitious history painting, The Raft of

the Medusa. 10. The art historian Lorenz Eitner’s 1955 text on the subject of seascapes in romantic art is entitled “The Open Window and the Storm-

tossed Boat: An Essay on the Iconography of Romanticism”. 11. Eitner argued that romantic artists saw elements of the sublime in the battle between man and sea. 12. Most of Stormy Coast Scene after a Shipwreck depicts rocks and landscape. 3.14 COMPARISON 1. H 2. H, S 3. S

4. H, S 5. S 6. H

7. S 8. S 9. S

3.15 EITHER OR 1. Eugene Delacroix’s father was an (ARTIST, ADMINISTRATOR) in the ancien régime. 2. In 1815 Delacroix began studying with the neoclassical painter Pierre-Narcisse Guérin, who had also taught (VERNET,

GÉRICAULT). 3. Guérin encouraged his students to look to (GERMAN LANDSCAPE PAINTING, GREEK AND ROMAN ART) for inspiration. 4. Delacroix and Géricault became (RIVALS, FRIENDS) in Guérin’s studio.


5. In contrast to Géricault, Delacroix found inspiration in (LITERATURE, CONTEMPORARY EVENTS). 6. Delacroix was just one of several romantic painters who took inspiration from the poetry of (LORD BYRON, WILLIAM

WORDSWORTH). 7. The work Delacroix presented at the Salon of 1822 was based on (LORD BYRON’S MAZEPPA, DANTE’S DIVINE COMEDY). 8. Both Delacroix and Géricault were attracted to depictions of (ETHICAL DILEMMAS, HUMAN SUFFERING). 9. At the Salon of 1824 Delacroix was criticized for both his (SUBJECT MATTER, MEDIUM) and style. 10. Delacroix exhibited Scenes from the Massacre at Chios at (THE SALON OF 1824, HIS STUDIO). 11. By 1827 Delacroix’s work was understood by his contemporaries to be at the forefront of a new artistic movement called (POST-

CLASSICISM, ROMANTICISM). 12. In 1832 Delacroix traveled to North Africa as part of a (GEOGRAPHICAL EXPEDITION, DIPLOMATIC MISSION). 13. Delacroix’s paintings and drawings inspired by his trip to North Africa were instrumental in the cultivation of western European

(XENOPHOBIA, ORIENTALISM). 14. Throughout his life, Delacroix’s career was facilitated by his family’s affluence and (ARTISTIC AMBITION, POLITICAL

CONNECTIONS). 15. Delacroix’s stylistic trademarks are his sketchy, almost unfinished brushwork, extreme colorism, and (HORIZONTAL, DYNAMIC

DIAGONAL) compositions 3.16 CHARTING

Dante and Virgil, 1822 Scenes from the Massacre at Chios, 1824

Death of Sardanapalus, 1827

Liberty Leading the People, 1830

The Women of Algiers in their Apartment, 1834

• drowning at sea

• lake of the damned souls

• inspired by literature

• 1821 Greek War for Independence

• struggle against the Ottoman Empire

• controversial piece at the Salon of 1824

• its sketchy, coloristic painting appeared unfinished at the Salon of 1824

• inspired by contemporary events

• king of Nineveh surveying the total destruction of his household

• most emblematic French romantic painting

• style influenced by Michelangelo and Rubens

• after Lord Bryon’s 1821 play Sardanapalus

• a bare-breasted woman brandishes the French flag

• allegorical history painting of contemporary French political event

• based on the 1830 July Revolution

• had an influence on the Impressionists at the end of the 19th century

• inspired by contemporary events

• voyeuristic and Orientalist

• inspired by trip to North Africa in 1832

3.17 SHORT ANSWER 1. Its spontaneous working method is similar to drawing or painting. 2. Germany, 1796 3. litho (stone) and graph (mark) 4. It allows for both dramatic contrasts of black and white and a wide-range of gray tones. 5. Jardin des Plants in Paris 6. “the workings of the smallest muscle” 7. a taxidermy tiger 8. He was interested in the analogies between animal and human physiology and instincts. 9. Dramatic sky, wild look in the tiger’s eye, psychological effect of confronting the tiger up close 10. He wanted to imagine the world through the tiger’s eyes in order to get in touch with the animal side of his human nature. 3.18 MATCHING 1. N 2. A 3. D 4. C

5. F 6. I 7. K 8. L

9. E, H, J 10. M

3.19 FILL IN THE BLANK 1. Young Jewish Woman of Algiers is a small watercolor and graphite drawing 2. The drawing was most likely a preparatory work for a larger oil painting. 3. The area of the drawing treated with the most attention and detail is the woman’s face. 4. Chassériau made a special effort to capture a general impression of the woman’s clothing.


5. The woman’s dress and pose make her seem exotic to a nineteenth-century French audience. 6. The Resource Guide argues that French viewers would have perceived the woman being seated on the floor as animalistic and

primitive. 7. Unlike many Orientalist works, this drawing is not voyeuristic because the woman’s gaze is directed out at the viewer.

SECTION IV (APPROACHES TO PORTRAITURE)

4.01 TRUE OR FALSE 1. False- The genre of portraiture arose in Renaissance Italy. ANCIENT GREEK AND ROMAN SOCIETY 2. True 3. True 4. False- A portrait painting is the representation of one individual. ONE OR MANY INDIVIDUALS, AS IN A GROUP PORTRAIT 5. True 6. True 7. True 8. True 9. False- Lithography made portraiture accessible to a broader spectrum of society. PHOTOGRAPHY 10. False- The portraits featured in the Resource Guide were all influenced to some extent by the romantic movement.

NEOCLASSICISM 4.02 FILL IN THE BLANK 1. Within the French Academy, the order of genres was historical, mythological, and religious scenes, genre scenes, portraiture,

landscape, and still life. 2. Compared to multi-figure history paintings, portraiture typically required fewer figures. 3. In French society, a portrait of one’s self painted by a famous and popular artist was a status symbol. 4. Artists were able to execute portraits faster than history paintings. 5. The setting, pose, and included objects in a portrait were determined by the sitter and the artist in collaboration. 6. Models were sometimes employed to pose for part of a portrait in place of the sitter. 7. The most important part of a typical portrait is the person’s face. 8. Compared to neoclassical portraits, portraits by romantic artists often appeared sketchy and unfinished. 9. A portrait by a romantic painter is more likely to convey the energy and vitality of the sitter. 10. The genres of landscape and still life are often included within a portrait. 4.03 EITHER OR 1. Pompeo Girolamo Batoni was born in (THE VENETO, TUSCANY). 2. Batoni’s father was a (RELIGIOUS PAINTER, GOLDSMITH). 3. As a young boy, Batoni gained valuable artistic skills by (WORKING IN HIS FATHER’S SHOP, DRAWING FROM LIFE). 4. Batoni’s first teacher in Rome was (GIOVANNI PAOLO PANINI, FRANCESCO FERNANDI). 5. Some of the earliest commissions that Batoni received in the (1740s, 1730s) were for (ALTARPIECES, VEDUTE). 6. By 1741, Batoni was well established as a religious painter and (PORTRAITIST, LANDSCAPE PAINTER). 7. A measure of Batoni’s professional success was his induction into membership in the (FRENCH ACADEMY IN ROME,

ACCADEMIA DI SAN LUCA). 8. As a portrait painter, Batoni received commissions from elite patrons (ACROSS EUROPE, IN ITALY). 9. Batoni’s impressive list of clients included members of the imperial courts of Russia and Austria, the royal houses of Germany, Poland,

England and (ROME, NAPLES), and the Vatican. 10. Batoni painted portraits of Popes (CLEMENT XIII AND PIUS VI, CLEMENT XIII AND PIUS V). 11. As a stop on the Grand Tour, Batoni’s (HOUSE, STUDIO) in Rome served as an artistic, musical, and intellectual Salon for the elite

of Europe. 12. Grand Tour travelers, especially young male elites, had their portraits painted by Batoni as a record of their (INTELLECTUAL AND

PHYSICAL SUPERIORITY, EXPERIENCES IN ROME). 13. Foreign tourists, especially those from (BELGIUM, BRITAIN) stopped at Batoni’s on their Grand Tour. 14. From (1750, 1740) to 1770, Batoni produced hundreds of portraits of individual men, women and children, as well as groups of

family and friends. 15. Batoni’s popularity was at its height in the 1770s, but after 1780 his (EYESIGHT, MENTAL CAPACITY) began to decline. 4.04 EXCLUSIONS

SETTING

• luxuriously furnished interior space

• ornately carved, marble-topped table

• brown and white dog lies on the floor

• landscape painting in the background

view through a draped window of the pastoral Italian landscape


SUBJECT

• young man, probably French

• wears red velvet jacket and breeches

• posed casually

• admires a sculpture on the table

• gestures grandly to the display of objects on the table

looks out toward the viewer

OBJECTS

• guidebooks to Rome • sculpture of Venus • model of the celestial sphere • Homer’s Odyssey • ancient Roman relief sculpture discovered in 1735 during the

excavation of Hadrian’s villa • pens and writing paper

sculpture of Minerva

INFORMATION

• depicts him as a fashionable young traveler

• illustrates his wealth and social status

• demonstrates his knowledge of contemporary Italian art

• provides proof of his studiousness

demonstrates knowledge of ancient Roman art, including the most recent archeological discoveries

4.05 DATING 1. 1749 2. 1769 3. 1776

4. 1777 5. 1780s 6. 1783

7. after 1789 8. 1793 9. 1803

4.06 SHORT ANSWER 1. Marie-Marguerite Carreaux de Rosemond, Marie-Gabrielle Capet 2. 1768 3. 4 4. aristocracy, royal court, male members of the Royal Academy 5. 4 6. suspicion of not executing her works herself 7. portrait miniatures 4.07 FALSE 1. Adélaïde Labille-Guiard depicted herself drawing from a model. PAINTING A LARGE CANVAS 2. Among the women pictured, Marie-Gabielle Capet is represented as being the most fashionable. ADÉLAÏDE LABILLE-GUIARD 3. Her clothes and the furnishings of the studio suggest that Labille-Guiard is of modest means. FINANCIALLY COMFORTABLE 4. The two sculptures in the shadowy background are the Vestal Virgin and a portrait bust of Augustine Pajou. HER FATHER,

CLAUDE-EDME LABILLE 5. Labille-Guiard included the sculptures in the picture to testify to her moral purity, role as a faithful, loving daughter, and adherence to

the tenets of romanticism. NEOCLASSICISM 6. Art historian Laura Auricchio has suggested two possibilities for the canvas Labille-Guiard is working on in this picture. THREE 7. According to Auricchio, the canvas could be a portrait of Labille-Guiard’s father Claude-Edme Labille, of one or both of her students,

or, more metaphorically, of the viewer of the Self-Portrait with Two Pupils. LABILLE-GUIARD HERSELF 8. In 1785, the year this portrait was painted, Labille-Guiard had already received numerous high-paying portrait commissions. NOT

YET 4.08 MATCHING 1. H 2. A, M 3. F 4. G, K

5. B 6. H 7. C, D, E, G, K, N 8. J

4.09 EITHER OR 1. Voltaire was the pen name of the Enlightenment thinker (FRANÇOIS-MARIE AROUET, JEAN-JACQUES ROUSSEAU). 2. Voltaire wrote essays, plays, poetry, political tracts and pamphlets, and over (500, 20,000) letters.


3. Voltaire’s ideas about the individual and citizenship influenced the cause of the (AMERICAN REVOLUTION, PARIS COMMUNES).

4. Among the social structures that Voltaire criticized were the French government and (ORGANIZED RELIGION, ROYAL ACADEMY OF ART).

5. As a result of his writing about the government, Voltaire was (EXILED, IMPRISONED). 6. Voltaire later made his home in the far east of France at an estate at (STRASBOURG, FERNEY). 7. Houdon received Voltaire to model for his portrait bust in Paris in (1789, 1778). 4.10 FILL IN THE BLANK 1. In addition to marble, the Bust of Voltaire was also executed in the materials of plaster, terra cotta, and bronze. 2. After Voltaire modeled for the sculpture in March of 1778, it took Houdon about one month to complete the plaster version of the

sculpture. 3. Less than a month after the portrait bust was completed, Voltaire died. 4. Voltaire’s renown resulted in crowds of people waiting to see Houdon’s portrait bust. 5. One of Voltaire’s correspondents, Catherine II of Russia commissioned the featured sculpture and exhibited it next to Houdon’s

sculpture of Denis Diderot. 6. A portrait bust of a man depicting him without his customary wig was known as a tête nue. 7. Houdon depicted Voltaire not only without his wig, but also without his clothing. 8. Houdon’s manner of balancing idealism with a humanizing naturalism was similar to ancient Roman portrait sculptures of civic and

military leaders. 9. Voltaire’s expressive intelligence is captured by Houdon’s treatment of his eyes and mouth. 4.11 DATING 1. 1780 2. 1791 3. 1797

4. 1801 5. 1806 6. 1806

7. 1800-1867

4.12 TRUE OR FALSE 1. True 2. True 3. False- Ingres most emulated the blend of idealism and naturalism seen in the works of the Italian Renaissance painter Leonardo.

RAPHAEL 4. False- Ingres specialized in painting portraits, and rarely executed work in any other genre. He was adept in all genres and completed

many religious and mythological works, as well as female nudes. 5. False- Ingres was an atheist who painted religious paintings in order to satisfy his clients. A DEVOUT CATHOLIC 6. True 7. False- Ingres was an administrator of the French Academy in Paris. ROME 8. True 9. True 10. True 11. True 12. True 4.13 SHORT ANSWER 1. Joséphine-Elénore-Marie Pauline de Galard de Brassac de Béarn. She married Albert de Broglie. 2. Albert de Broglie’s sister, the Vicomtesse d’Haussonville 3. He began in 1850 and had decided on the pose by June of 1851. 4. He probably used a professional model. 5. three-quarter length 6. satin bows and marabou feathers20 7. She wears a gold pendant necklace that is a reproduction of an early Christian pendant. 8. pearl earrings, a ruby and diamond bracelet, and a pearl cuff necklace as a bracelet 9. She stands in her sitting room against a plain, muted background. He painted her face and fan, gloves, cape, and embroidered shawl

with the most detail. 10. Universal Exposition of 1855 (a precursor to the World’s Fair exhibitions of the later nineteenth century) 11. Her husband hid it behind a curtain. 4.14 IDENTIFICATION 1. Jean-Auguste-Dominique Ingres, Self-Portrait 2. Adélaïde Labille-Guiard, Portrait of Marie Capet 3. Pompeo Girolamo Batoni, Portrait of Francis Bassett, Baron of Dunstanville

20 These feathers come from the down of the Marabou stork.


4. Jean-Antoine Houdon, George Washington 4.15 COMPARISON 1. I 2. B 3. B 4. H

5. B 6. I 7. L 8. B

9. H 10. L

SECTION V (IRT)

5.01 FILL IN THE BLANK 1. Public monuments often serve as symbols of the ideology of the ruling class. 2. Ancient Greek and Roman architecture influenced the design of public monuments both before and after the French Revolution. 3. In the eighteenth century, the French monarchy erected many public monuments to promote Paris as a European capital. 4. Impressive public monuments required many resources to build and thus signified the power and permanence of the French

monarchy. 5. Constructing monuments was one method the French monarchy employed to curry favor with the Catholic Church. 6. The Church of Ste. Geneviève was transformed into the Panthéon in the early nineteenth century. 7. The Vendôme Column was built by Napoleon to commemorate his military victory. 8. Since monuments occupy the public realm, their meanings are malleable; as regimes change, they are often altered to suit the needs of

the ruling party. 5.02 DATING 1. 5th century 2. 512 3. 1744 4. 1751

5. 1755 6. 1780 7. 1790 8. 1791

9. 1828-30 10. 1851-70

5.03 ORDERING

4. Windows in the dome of the church were blocked off and a renovation to change the church into a mausoleum was planned.

3. The dome of the church was completed, but the interior sculptural decoration was in progress.

1. The Church of the Holy Apostles was built on a hilltop in Paris by Clovis I.

5. A new pediment was attached to the façade of the building.

2. Louis XV decided to have the church restored and a new abbey added.

5.04 MATCHING 1. C 2. I 3. H

4. F 5. J 6. G

7. E 8. B 9. D

5.05 FALSE 1. The inscription on the Vendôme Column reads AUX GRANDS HOMMES LA PATRIE RECONNAISSANTE, which means “In

honor of great men from a grateful country.” PANTHÉON 2. The building known as the Panthéon was originally built as a mausoleum for dead Christian soldiers. THE CHURCH OF THE

HOLY APOSTLES 3. The design executed by the architect Soufflot in the late eighteenth century had a Latin cross plan. GREEK CROSS PLAN 4. Soufflot based his design on classical Greek and Roman examples, with a dome inspired by St. Peter’s Basilica in Rome. GOTHIC 5. The two rows of windows Soufflot had built into the dome were intended to provide adequate ventilation to the church interior.

ILLUMINATE THE SCULPTED DECORATION INSIDE 6. Quatremère de Quincy was a painter and archeologist. SCULPTOR 7. Voltaire was unlucky enough to have his remains cast out from the Panthéon in 1794 after it was discovered that during the French

Revolution he secretly negotiated with the monarchy. HONORÉ MIRABEAU 8. The transformation of the church into a secular monument reflects the greater transition in French society from a religious monarchy

to an atheist empire. A SECULAR REPUBLIC 5.06 EITHER OR 1. The Place Vendôme was previously the location of a statue of (LOUIS XIV, LOUIS XV) on horseback. 2. The sculpture of the king was destroyed in (1789, 1792) during the violent rebellions of the French Revolution.


3. In 1805 Napoleon defeated the combined forces of Russia and Austria at the battle of (AUSTERLITZ, WATERLOO). 4. Napoleon had the (PLACE VENDÔME, VENDÔME COLUMN) built to celebrate his military victory of 1805. 5. At the top of the column was a sculpture of Napoleon wearing the clothing of (AN ANCIENT ROMAN, A MILITARY

GENERAL). 6. The unveiling of the sculpture was celebrated with a grand public ceremony on Napoleon’s birthday in (1810, 1808). 7. During the (ONE HUNDRED DAYS, BOURBON RESTORATION), the statue of Napoleon was removed from the column. 8. Although the statue was replaced during the first half of the nineteenth century, it was taken down again during the (PARIS

COMMUNE, SECOND EMPIRE) in 1871. 5.07 FILL IN THE BLANK 1. Dominique Vivant Denon directed the building of the Vendôme Column. 2. Dominique Vivant Denon was the artistic advisor and director of museums under Napoleon. 3. The sculptors Jacques Gondouin and Jean-Baptiste Lepère collaborated on the design of the sculpture. 4. The column was erected in the Place Vendôme in Paris. 5. The column was intended to be symbolic of Napoleon’s many victories, but specifically celebrated his defeat of the Austrian and

Russian armies at Austerlitz. 6. The statue of Napoleon wears a laurel wreath on his head and is dressed in Roman clothing. 7. The Vendôme Column is modeled after the Column of Trajan. 5.08 MATCHING 1. B 2. D 3. F

4. E 5. A 6. C

7. G

5.09 SHORT ANSWER 1. stone 2. Doric order 3. scenes from the Battle of Austerlitz 4. relief sculptures 5. Emperor Trajan’s battle against Dacia 6. made an alliance between Napoleon and Trajan, a powerful leader of ancient Rome;

appropriated a site formerly aligned with the monarchy; used melted-down cannon confiscated from the enemy

5.10 COMPARISON 1. V 2. P 3. P

4. P 5. V, P 6. P

7. V 8. P 9. P

SECTION VI (COMPREHENSIVE EXERCISES)

6.01 ORDERING

Date Event

1643 1. beginning of the reign of King Louis XIV

1648 2. The Royal Academy of Painting and Sculpture was founded.

1666 3. Louis XIV’s advisor, Jean-Baptiste Colbert, founded the French Academy in Rome.

1682 4. Louis XIV moved the Royal Court to Versailles to consolidate his power.

1715 5. With the death of Louis XIV, Louis XV took the throne. The period known as the rococo is said to have begun when Louis XV moved the court back to Paris.

1774 6. King Louis XV died and left the throne to his grandson Louis XVI and his wife, Marie Antoinette.

1789 7. French Revolution

1792 8. The National Convention proclaimed the First Republic.

1793-94 9. Reign of Terror

1793 10. The Royal Academy of the Arts was dissolved.


1795 11. A new arts academy was established by Jacques-Louis David and others.

1795-99 12. A government referred to as the Directory maintained control.

1802 13. Napoleon established the Consulate and made himself First Consul.

1804 14. Napoleon declared himself the Emperor of France.

1814 15. Napoleon was deposed and exiled.

1815 16. Napoleon returned to power for one hundred days.

1815-24 17. Bourbon Restoration

1830 18. The deposition of King Charles X established the July Monarchy.

6.02 MATCHING 1. F 2. E 3. D

4. B 5. C 6. A

7. B

6.03 CHARTING

ROCOCO NATURALISM NEOCLASSICISM ROMANTICISM

Dates 1715-1800 ca. 1700-mid-eighteenth century

ca. 1750-early nineteenth century

ca. 1800-1850

Political Regime

seen as emblematic of the decadence of the ancien

régime

co-existed with the rococo and was associated by

Diderot with moral virtue

associated with the Napoleonic era

arose with the Restoration, but outstripped political associations during the

nineteenth century

Major

Artists Watteau, Boucher Chardin, Greuze David, Carle Vernet,

Panini, Romagnési Géricault, Delacroix,

Chassériau, Horace Vernet

Visual

Characteristics

pastel colors, coloristic modeling

subdued palette, modest brushwork smooth, polished, linear

painterly, with visible, textured brushwork

Subjects flirtation, romance, idle pleasure everyday subjects, still life ancient Greek and Roman

history

dramatic, often tragic stories from literature and

contemporary events

6.04 TRUE OR FALSE 1. True 2. True 3. False- Italian Renaissance artists immersed themselves in the study of ancient Greek and Roman painting. SCULPTURE 4. False- The most valuable part of a Prix de Rome winner’s training in Italy was the opportunity to study medieval manuscripts

ANCIENT ROMAN ART 5. False- Mid-seventeenth century excavations at Pompeii and Herculaneum introduced the scholars and artists of Europe to preserved

examples of ancient painting. MID-EIGHTEENTH 6. True 7. True 8. False- Two ancient sculptures that were highly influential on Renaissance artists were the Farnese Hercules and Apollo and Daphne.

LAOCOÖN. 9. False- In the eighteenth century, “modern Rome” referred to Rome in the seventeenth and eighteenth centuries. 14TH AND 15TH

CENTURIES OF THE ITALIAN RENAISSANCE 10. True 11. True 6.05 DEFINITIONS 1. d. history painting- often monumental painting of famous historical or contemporary events 2. c. genre painting- the representation of everyday life 3. b. portraiture- painting capturing the likeness of an individual (or group) 4. a. landscape- painting of nature, including fields, woodlands, seascapes 5. e. still life- painting of an arrangement of objects


6.06 EITHER OR 1. Watteau invented the new genre of the fête galante with his painting (MEZZETIN, PILGRIMAGE TO THE ISLAND OF

CYTHERA). 2. Watteau’s work was controversial because it depicted (POPULAR FORMS OF ENTERTAINMENT LIKE THE THEATER,

FRIVOLOUS PARTIES AND OUTINGS OF THE NOBILITY). 3. Chardin’s Soap Bubbles is an example of a humble genre scene intended to spur viewers to meditate on the (PLEASURES OF

YOUTH, TRANSIENCE OF LIFE). 4. Chardin’s painting style was influenced by seventeenth-century (DUTCH PAINTING, POPULAR ENGRAVINGS). 5. Items such as the Vincennes Wine Cooler were made to be consumed by (ROYALTY AND NOBILITY, FOREIGN TOURISTS). 6. The Vincennes Wine Cooler is made of (KAOLIN, PORCELAIN). 7. Greuze’s paintings were lauded by Diderot for their (NATURALISM, MORALISM). 8. Greuze’s (LINEAR STYLE, DRAMATIC SUBJECTS) and emphasis on paternal authority identifies his work as a transition between

the rococo and neoclassical periods. 9. Boucher was most popular for his gallant mythologies and bucolic scenes of rural life known as (FANCIES, IDYLLS). 10. Boucher’s painting was attacked by critics who saw it as representing the (IGNORANCE OF THE GOVERNMENT, PRIVILEGE

OF THE ELITE). 6.07 COMPARISON

Artist Watteau Chardin Title &

Date Mezzetin, 1718-20 Soap Bubbles, ca. 1734

Subject a character from the Commedia dell’arte theater

an anonymous boy and a child

Style rococo- coloristic naturalistic- modest rendering Tone or Mood

wistful, romantic sombre, contemplative

Interpretation The viewer is moved by Mezzetin’s melancholy over lost love.

The viewer is invited to meditate on the transience of life.

6.08 FILL IN THE BLANK 1. Panini’s 1747 painting of the interior of the Pantheon depicts contemporary travelers admiring the building. (p. 25) 2. Panini’s monumental paintings of Roman historical sites document the breadth of what was considered classical in the eighteenth

century. (p. 26) 3. The ideals of neoclassicism as exemplified by David’s The Death of Socrates were intended to serve as a philosophical model for

contemporary Frenchmen. (p. 28) 4. In contrast to rococo art, the neoclassical paintings of David place the central focus on decisive human action. (p. 28) 5. In Carle Vernet’s reception piece for the French Academy, The Triumph of Aemilius Paulus, the action of the human figures takes

place in the foreground. (p. 28) 6. Although Vernet’s The Triumph of Aemilius Paulus is executed in a linear style characteristic of neoclassicism, the representation of the

landscape points to the emergence of a romantic sensibility. (p. 29) 7. Romagnési’s Minerva Protecting the Young King of Rome is modeled after ancient Roman sculpture in its idealized naturalism. (p. 30) 8. The primary purpose of Romagnési’s sculpture was to assert the parallel between Napoleon and the ancient Roman Empire. (p. 30) 6.09 SORTING • Boucher • Shepherd’s Idyll • 1768 • coloristic, diffuse lighting, bucolic setting, luxurious textures • fantasy, pleasure • rococo • ancien régime

• David • The Death of Socrates • 1787 • linear, dramatic lighting, stage-like setting • history, moral and ethical action • neoclassical • Enlightenment

6.10 TRUE OR FALSE 1. True 2. False- Later in the nineteenth century, Géricault’s work was particularly influential on the impressionists. REALISTS (p. 35) 3. True 4. True 5. False- In Stormy Coast Scene after a Shipwreck, Vernet uses coloristic modeling to depict the broken ship. ROCKY LANDSCAPE (p.

38) 6. False- While the exact details of the shipwreck depicted in Stormy Coast Scene after a Shipwreck are NOT known, the theme and

meaning of the painting remain mysterious. RELATES TO HUMAN INSIGNIFICANCE IN THE FACE OF NATURE (p. 38) 7. False- Delacroix was inspired by his older friend Géricault, who encouraged him in his ambition to paint contemporary events. (p. 39) 8. True


9. True 10. False- Chassériau’s orientalist paintings were inspired by his trip to Egypt in 1846. ALGERIA (p. 40) 6.11 MATCHING 1. B 2. A 3. B 4. A

5. A 6. A 7. B 8. B

9. B 10. A 11. B

6.12 SHORT ANSWER 1. to depict a recognizable likeness of a person’s facial features and body 2. clothing, jewelry, objects 3. It does not involve multiple figures or historical or mythological knowledge. 4. A romantic portrait would focus less on the details of clothing and physiognomy and more on capturing the energy and personality of

the sitter. 6.13 EITHER OR 1. (PANINI, BATONI)’s portraits of Grand Tour travelers functioned as souvenirs of their visits to Rome. 2. Batoni’s reputation as a portraitist was due to his ability to (CAPTURE A LIKENESS, DEFY CONVENTION). 3. Portraiture and (LANDSCAPE, STILL LIFE) painting were considered appropriate genres for amateur female painters. 4. Labille-Guiard (WAS INDEPENDENTLY WEALTHY, EARNED A LIVING TEACHING PAINTING). 5. An ambitious portrait such as Labille-Guiard’s Self Portrait with Two Pupils was excellent (ADVERTISING, PRACTICE) for a

painter seeking work as a portraitist. 6. (INGRES’, HOUDON’S) most famous works are portrait busts of the philosophers of the Enlightenment. 7. Houdon’s talent lay in capturing both the (NATURALISTIC, IDEALISTIC) human visage of his subject and his transcendent

historical stature. 8. Ingres’ neoclassical training is visible in his linear draftsmanship, idealized forms, and dedication to (VISUAL DETAIL,

CHIAROSCURO). 9. Ingres’ extreme stylizations of the human body were seen by some as (UNPROFESSIONAL, UNSEEMLY DISTORTIONS). 6.14 FILL IN THE BLANK 1. When Watteau submitted Pilgrimage to the Island of Cythera to the Academy as his reception piece in 1717, he invented the new genre

of the fête galante. 2. Chardin, though only admitted as a still life and genre painter, held important positions in the administration of the Academy. 3. After he was denied entrance into the Academy as a history painter, Greuze boycotted the Salon for thirty years. 4. After David failed to win the Prix de Rome for the fourth time, it is said he tried to commit suicide by starvation. 5. Labille-Guiard was one of four women admitted into the Academy in 1783. 6. Géricault’s monumental painting Raft of the Medusa depicted the scandal of the frigate Medusa, when the captain of the ship deserted

a raft of his men. 7. Delacroix’s painting of the Greek War for Independence Scenes from the Massacre at Chios caused a controversy at the Salon of 1824

over its sketchy, unfinished style. 6.15 COMPARISON

Artist Horace Vernet Ingres Title &

Date The Start of the Race of the Riderless Horses,

1820 Princesse de Broglie, 1851-53

Style romantic- extreme dramatic color, diagonal composition

neoclassical- linear form, smooth and polished

Subject a horse race in Rome portrait of a Princesse Tone or Mood

exciting, chaotic, passionate sedate, composed, proper

Setting The viewer is situated in the midst of the dangerous battle between man and horse.

The viewer is invited to admire the Princesse from a distance. (Notice the

expanse of drapery between her and us.) Interpretation The battle between man and nature is

ferocious but exciting. Princesse de Broglie is a beautiful,

admirable, Christian woman. APPENDIX

Name Birth Death Livy 59 B.C. A.D. 17 Emperor Trajan 53 117 Clovis I 466 511 Raphael 1483 1520


Caravaggio 1571 1710 Peter Paul Rubens 1577 1640 Louis Le Vau 1612 1670 André Le Nôtre 1613 1700 Charles Le Brun 1619 1690 Jean-Baptiste Colbert 1619 1683 King Louis XIV 1638 1715 Hyacinthe Rigaud 1659 1683 François Cars 1670 1739 Francesco Fernandi 1679 1740 Jean-Antoine Watteau 1684 1721 François Lemoyne 1688 1737 La Font de Saint-Yenne 1688 1771 Giovanni Paolo Panini c. 1691 1765 Voltaire (François-Marie Arouet) 1694 1778 Jean-Claude Duplessis 1695 1774 Jean-Baptiste-Siméon Chardin 1699 1779 François Boucher 1703 1770 Michel Ange Slotdtz 1705 1764 Pompeo Girolamo Batoni 1708 1787 François-Elie Vincent 1708 1790 Louis XV 1710 1774 Jacques-Germaine Soufflot 1713 1780 Denis Diderot 1713 1784 Jean-Baptiste Pigalle 1714 1785 Joseph-Marie Vien 1716 1809 Johann Joachim Winckelmann 1717 1768 Count de Stainville 1719 1785 Madame de Pompadour (Jeanne-Antoinette Poisson) 1721 1764

Sir Joshua Reynolds 1723 1792 Jean-Baptiste Greuze 1725 1805 Marquis de Marigny 1727 1781 Edmund Burke 1729 1797 Augustine Pajou 1730 1809 Comte d’Angiviller 1730 1810 Josiah Wedgewood 1730 1795 Jean-Honoré Fragonard 1732 1806 Jacques Gonduin 1737 1818 Jean-Antoine Houdon 1741 1828 Angelica Kauffman 1741 1807 Thomas Jefferson 1743 1826 Jean-Paul Marat 1743 1793 François-André Vincent 1746 1816 Dominique Vivant Denon 1747 1825 Jacques-Louis David 1748 1825 Adélaïde Labille-Guiard 1749 1803 Honoré Mirabeau 1749 1791 Louis XVI 1754 1793 Quatremère de Quincy 1755 1849 Marie Antoinette 1755 1793 Louis XVIII 1755 1824 Charles X 1757 1836 Pierre Cartellier 1757 1831 Carle (Antoine Charles Horace) Vernet 1758 1835

Marie-Gabrielle Capet 1761 1818 Marie-Margarite Carreaux de Rosemond 1788

Jean-Baptiste Lepère 1761 1844 Germaine de Staël 1766 1817 Antoine-Jean Gros 1771 1835


Friedrich von Schlegel 1772 1829 Louis-Philippe 1773 1850 Pierre-Narcisse Guérin 1774 1833 Jean-Auguste-Dominique Ingres 1780 1867 Joseph-Antoine Romagnési 1782 1852 David d’Angers 1788 1856 Horace (Émile-Jean-Horace) Vernet 1789 1863 Théodore Géricault 1791 1824 Eugenè Delacroix 1798 1863 Théodore Chassériau 1819 1856 Princesse de Broglie 1825 1860

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