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Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
Art Appreciation-Chapter20
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Art Appreciation-Chapter20

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  • Musée du Louvre, Paris, France. Photograph: Copyright Scala/Art Resource, NY.
  • Museo del Prado, Madrid. Photograph: Arixiu Mas, Barcelona. Derechos reservados. © Museo Nacional Del Prado, Madrid.
  • Courtesy of the Library of Congress.
  • The Bridgeman Art Library International Ltd.
  • Mr. and Mrs. Martin A. Ryerson Collection, 1933.1158, The Art Institute of Chicago. Photograph: © The Art Institute of Chicago.
  • Musée Marmottan–Monet, Paris. The Bridgeman Art Library International Ltd.
  • Musée d’Orsay, Paris. Photograph: Art Resource, NY.
  • Philadelphia Museum of Art. Purchased with the W. P. Wilstach Fund. W1937-2-1.
  • Helen Birch Bartlett Memorial Collection. Photograph: © 2005 The Art Institute of Chicago. All rights reserved.
  • Acquired through the Lillie P. Bliss Bequest. (472. 1941). Digital Image © The Museum of Modern Art/Licensed by Scala-Art Resource, NY.
  • Transcript

    • 1. Late Eighteenth and Nineteenth Centuries Chapter 20
    • 2.  
    • 3. Neoclassicism
      • Neoclassicism refers to the emulation of Greek and Roman art, specifically Roman art because is represents a republic government
      • It was believed, at this time, that art should serve a social purpose
    • 4. Jacques-Louis David. Oath of the Horatii . 1784. 10'10" × 14'. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    • 5. Oath of the Horatii
      • The sons pledge to take the swords offered by the father to defend Rome
      • This was an inspirational image for the revolutionaries in France
        • It’s meaning is that their cause is noble
    • 6. Romanticism
      • A wave of emotional expression
      • Romanticism comes from the word romances which were medieval tales of adventure written in romantic language
      • Romantic artists believed that imagination and emotion are most important
    • 7. Francisco Goya. The Third of May, 1808 . 1814. 8'9" × 13'4" (2.67 × 4.06 m). Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    • 8. The Third of may
      • Depicts Napoleon’s army shooting citizens suspected of rioting
      • The figure in white is the main focus
      • Shows the brutality and injustice of the situation
      • Like most romantics, Goya was interested in current events rather than distant historical stories
    • 9. Photography
      • Photography opened up a new way of seeing
      • Originally, people thought that photography would replace painting, but instead it opened painters up to new types of expression
    • 10. Carleton E. Watkins. The Three Brothers . 1861. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    • 11.  
    • 12. The Three Brothers
      • Yosemite in 1861
      • After these photos, the government decided to make Yosemite into a national park
      • Taken with a large wet plate camera
    • 13. Realism
      • Realism-depicts a ordinary existence without idealism, exoticism, or nostalgia
      • Artists are departing from depicting gods and history and moving toward painting the regular person
    • 14. Gustave Courbet. The Stone Breakers . 1849 (destroyed in 1945). 5'5" × 7'10". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    • 15. The Stone Breakers
      • Ordinary men
      • Not idealized
      • Not dramatic
    • 16. Impressionism
      • Portrayed contemporary life
      • Often painted outdoors
      • Sought to paint impressions of what the eye actually sees
      • Sketchy quality to the paintings
      • Strong observation of color
      • Used small dabs of colot
      • When seen far away, the painting looks relatively realistic
      • When seen up close the painting looks very loose and the brush strokes are visible
    • 17. Claude Monet. Arrival of the Normandy Train, Gare St. Lazare . 1877. 59.6 × 80.2 cm. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    • 18. Claude Monet. Impression: Sunrise . 1872. 49.5 × 64.8 cm. Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    • 19. Pierre-Auguste Renoir. Le Moulin de la Galette . 1876. 51-1/2" × 68-7/8". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    • 20. Edgar Degas. The Ballet Class . c. 1879–1880. 32-3/8" × 30-1/4". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    • 21. Post-Impressionistic Period
      • Artists reacted in various ways to the impressionistic painters
    • 22. Georges Seurat. A Sunday on la Grande Jatte . 1884–1886. 81" × 120-3/8". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.
    • 23. A Sunday on la Grande Jatte
      • Not as spontaneous as an impressionist
      • The composition is more refined and organized
      • Pointillism-tiny dots of color used to create a form and color
    • 24. The Starry Night
      • Very textural brush work
        • This creates a rhythmic movement
      • Uses colors to depict moods and emotions
    • 25. Vincent van Gogh. The Starry Night . 1889. 29" × 36-1/4". Copyright ©2011, ©2009 Pearson Prentice Hall Inc.

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