Humanities 100 Sayre ch12 ppt

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  • Paul Revere, after Henry Pelham. The Bloody Massacre.1770. Engraving, hand-colored. 8-15/16" x 10-3/16".The Metropolitan Museum of Art, New York. © Massachusetts Historical Society, Boston, MA. The Bridgeman Art Library. [Fig. 12.1]
  • John Trumbull. The Declaration of Independence, 4 July 1776.1786-97. Oil on canvas. 21-1/8" x 31-1/8".Trumbull Collection. 1832.3, Yale University Art Gallery, New Haven, CT/Art Resource, New York. [Fig. 12.2]
  • Jacques-Louis David. The Tennis Court Oath.1789-91. Pen, brown ink and brown wash on paper. 26" x 42".Musée National du Château, Versailles. MV 8409: INV Dessins. Photo: Gerard Blot. RMN Réunion des Musées Nationaux/Art Resource, New York. [Fig. 12.3]
  • To Versailles, to Versailles, 5 October 1789.1789. Engraving, colored.Musée de la Ville de Paris, Musée Carnavalet, Paris. [Fig. 12.4]
  • Jacques-Louis David. The Oath of the Horatii.1784-85. Oil on canvas. 10' 10" x 13' 11-1/2".Musée du Louvre, Paris. RMN Réunion des Musées Nationaux, France/Art Resource, New York. [Fig. 12.5]
  • Jacques-Louis David. David's The Lictors Returning to Brutus the Bodies of His Sons.1789. Oil on canvas. 10' 7-1/4" x 13' 10-1/4".Musée du Louvre, Paris. RMN Réunion des Musées Nationaux, France. Gerard Blot/C. Jean/Art Resource, New York. [Fig. 12.6]
  • Pierre-Alexandre Vignon. La Madeleine, Paris.1806-42. Length: 350’ Width: 147’ Podium Height: 23’ Column height: 63'.[Fig. 12.7]
  • Jacques-Louis David. Napoleon crossing the Saint-Bernard Pass.1800-01. Oil on canvas. 8' 11" x 7' 7".Musée National du Château de la Malmaison, Rueil-Malmaison, France. RMN Réunion des Musées Nationaux/Art Resource, New York. [Fig. 12.8]
  • Benjamin Henry Latrobe. View of Richmond showing Jefferson’s Capitol from Washington Island.1796. Watercolor on paper, with ink and wash. 7" x 10-3/8".Maryland Historical Society, Baltimore. [Fig. 12.9]
  • Pierre-Charles L’Enfant. Plan for Washington, D. C. (detail), published in the Gazette of the United States, Philadelphia, January 4, 1792.1791. Engraving after original drawing, Library of Congress, Washington, D.C.The Bridgeman Art Library. [Fig. 12.10]
  • Benjamin Henry Latrobe. Tobacco leaf capital for the U. S. Capitol, Washington, D. C., Senate wing.ca. 1815.[Fig. 12.11]
  • William Blake. Negro Hung Alive by the Ribs to a Gallows, from John Gabriel Stedman’s Narrative of a Five Years’ Expedition against the Revolted Slaves of Surinam.1796. Engraved book illustration.Library of Congress, Catalog no. 1835. Private Collection, Archives Charmet/The Bridgeman Art Library. [Fig. 12.12]
  • William Hackwood, for Josiah Wedgwood. “Am I Not a Man and a Brother?”1787. Black and white jasperware. 1-3/8" x 1-3/8".The Wedgwood Museum, Barlaston, Staffordshire, England. [Fig. 12.13]
  • J. M. W. Turner. Interior of Tintern Abbery.1794. Watercolor. 12-5/8" x 9-7/8".The Trustees of the Victoria and Albert Museum, London, Art Resource, New York. [Fig. 12.14]
  • John Constable. The Hay Wain.1821. Oil on canvas. 51-3/8" x 73".The National Gallery, London. [Fig. 12.15]
  • J. M. W. Turner. The Upper Falls of the Reichenbach.ca. 1810-15. Watercolor. 10-7/8" x 15-7/16".Yale Center for British Art, Paul Mellon Collection. The Bridgeman Art Library. [Fig. 12.16]
  • J. M. W. Turner. Snow Storm—Steam-Boat off a Harbour’s Mouth.1842. Oil on canvas. 36" x 48".Clore Collection, Tate Gallery, London/Art Resource, New York. [Fig. 12.17]
  • Caspar David Friedrich. Monk by the Sea.1810. Oil on canvas. 47-1/2" x 67".Inv.: NG 9/85. Nationalgalerie, Staatliche Museen zu Berlin, Berlin, Germany. Joerg P. Anders/Bildarchiv Preussischer Kulturbesitz/Art Resource, New York. Schloss Charlottenburg, Berlin. Bildarchiv Preussischer Kulturbesitz. Schloss Charlottenburg, Berlin. Bildarchiv Preussischer Kulturbesitz. [Fig. 12.18]
  • Tintern Abbey. Wye Valley, Monmouthshire, Wales.Robert Harding Picture Library. [Fig. 12-CL.1]
  • Hubert Robert. Pyramids.ca. 1750. Oil on canvas. 24" x 28-1/2".Smith College Museum of Art, Northampton, MA. [Fig. 12-CL.2]
  • Caspar David Friedrich. The Wanderer above the Mists.1817-18. Oil on canvas. 37-1/4" x 29-1/2".Inv.: 5161. On permanent loan from the Foundation for the Promotion of the Hamburg Art Collections. Photo: Elke Walford. Hamburger Kunsthalle, Hamburg, Germany. Bildarchiv Preussischer Kulturbesitz/Art Resource, New York. [Fig. 12.19]
  • Baron Antoine-Jean Gros. Napoleon in the Pesthouse at Jaffa.1804. 17' 5" x 23' 7".Musée du Louvre, Paris. [Fig. 12.20]
  • Francisco Goya. The Third of May, 1808.1814-15. Oil on canvas. 8' 9-1/2" x 13' 4-1/2".Museo del Prado, Madrid. [Fig. 12.21]
  • Musical Notation: Beethoven's First Symphony: opening four-note motif.[Fig. 12-MN.1]
  • Théodore Géricault. The Raft of the "Medusa.” First oil sketch.1818. Oil on canvas. 16' 1" x 23' 6".Musée du Louvre, Paris. Photo: Hervé Lewandowski. Inv.: RF 2229. © Réunion des Musées Nationaux/Art Resource, New York. [Fig. 12.22]
  • Humanities 100 Sayre ch12 ppt

    1. 1. Paul Revere, after Henry Pelham. The Bloody Massacre. 1770. Engraving, hand-colored. 8-15/16" x 10-3/16". The Metropolitan Museum of Art, New York. © Massachusetts Historical Society, Boston, MA. The Bridgeman Art Library. [Fig. 12.1]
    2. 2. John Trumbull. The Declaration of Independence, 4 July 1776. 1786-97. Oil on canvas. 21-1/8" x 31-1/8". Trumbull Collection. 1832.3, Yale University Art Gallery, New Haven, CT/Art Resource, New York. [Fig. 12.2]
    3. 3. Jacques-Louis David. The Tennis Court Oath. 1789-91. Pen, brown ink and brown wash on paper. 26" x 42". Musée National du Château, Versailles. MV 8409: INV Dessins. Photo: Gerard Blot. RMN Réunion des Musées Nationaux/Art Resource, New York. [Fig. 12.3]
    4. 4. To Versailles, to Versailles, 5 October 1789. 1789. Engraving, colored. Musée de la Ville de Paris, Musée Carnavalet, Paris. [Fig. 12.4]
    5. 5. Jacques-Louis David. The Oath of the Horatii. 1784-85. Oil on canvas. 10' 10" x 13' 11-1/2". Musée du Louvre, Paris. RMN Réunion des Musées Nationaux, France/Art Resource, New York. [Fig. 12.5]
    6. 6. Jacques-Louis David. David's The Lictors Returning to Brutus the Bodies of His Sons. 1789. Oil on canvas. 10' 7-1/4" x 13' 10-1/4". Musée du Louvre, Paris. RMN Réunion des Musées Nationaux, France. Gerard Blot/C. Jean/Art Resource, New York. [Fig. 12.6]
    7. 7. Pierre-Alexandre Vignon. La Madeleine, Paris. 1806-42. Length: 350’ Width: 147’ Podium Height: 23’ Column height: 63'. [Fig. 12.7]
    8. 8. Jacques-Louis David. Napoleon crossing the Saint-Bernard Pass. 1800-01. Oil on canvas. 8' 11" x 7' 7". Musée National du Château de la Malmaison, Rueil-Malmaison, France. RMN Réunion des Musées Nationaux/Art Resource, New York. [Fig. 12.8]
    9. 9. Benjamin Henry Latrobe. View of Richmond showing Jefferson’s Capitol from Washington Island. 1796. Watercolor on paper, with ink and wash. 7" x 10-3/8". Maryland Historical Society, Baltimore. [Fig. 12.9]
    10. 10. Pierre-Charles L’Enfant. Plan for Washington, D. C. (detail), published in the Gazette of the United States, Philadelphia, January 4, 1792. 1791. Engraving after original drawing, Library of Congress, Washington, D.C. The Bridgeman Art Library. [Fig. 12.10]
    11. 11. Benjamin Henry Latrobe. Tobacco leaf capital for the U. S. Capitol, Washington, D. C., Senate wing. ca. 1815. [Fig. 12.11]
    12. 12. William Blake. Negro Hung Alive by the Ribs to a Gallows, from John Gabriel Stedman’s Narrative of a Five Years’ Expedition against the Revolted Slaves of Surinam. 1796. Engraved book illustration. Library of Congress, Catalog no. 1835. Private Collection, Archives Charmet/The Bridgeman Art Library. [Fig. 12.12]
    13. 13. William Hackwood, for Josiah Wedgwood. “Am I Not a Man and a Brother?” 1787. Black and white jasperware. 1-3/8" x 1-3/8". The Wedgwood Museum, Barlaston, Staffordshire, England. [Fig. 12.13]
    14. 14. J. M. W. Turner. Interior of Tintern Abbery. 1794. Watercolor. 12-5/8" x 9-7/8". The Trustees of the Victoria and Albert Museum, London, Art Resource, New York. [Fig. 12.14]
    15. 15. John Constable. The Hay Wain. 1821. Oil on canvas. 51-3/8" x 73". The National Gallery, London. [Fig. 12.15]
    16. 16. J. M. W. Turner. The Upper Falls of the Reichenbach. ca. 1810-15. Watercolor. 10-7/8" x 15-7/16". Yale Center for British Art, Paul Mellon Collection. The Bridgeman Art Library. [Fig. 12.16]
    17. 17. J. M. W. Turner. Snow Storm—Steam-Boat off a Harbour’s Mouth. 1842. Oil on canvas. 36" x 48". Clore Collection, Tate Gallery, London/Art Resource, New York. [Fig. 12.17]
    18. 18. Caspar David Friedrich. Monk by the Sea. 1810. Oil on canvas. 47-1/2" x 67". Inv.: NG 9/85. Nationalgalerie, Staatliche Museen zu Berlin, Berlin, Germany. Joerg P. Anders/Bildarchiv Preussischer Kulturbesitz/Art Resource, New York. Schloss Charlottenburg, Berlin. Bildarchiv Preussischer Kulturbesitz. Schloss Charlottenburg, Berlin. Bildarchiv Preussischer Kulturbesitz. [Fig. 12.18]
    19. 19. Tintern Abbey. Wye Valley, Monmouthshire, Wales. Robert Harding Picture Library. [Fig. 12-CL.1]
    20. 20. Hubert Robert. Pyramids. ca. 1750. Oil on canvas. 24" x 28-1/2". Smith College Museum of Art, Northampton, MA. [Fig. 12-CL.2]
    21. 21. Caspar David Friedrich. The Wanderer above the Mists. 1817-18. Oil on canvas. 37-1/4" x 29-1/2". Inv.: 5161. On permanent loan from the Foundation for the Promotion of the Hamburg Art Collections. Photo: Elke Walford. Hamburger Kunsthalle, Hamburg, Germany. Bildarchiv Preussischer Kulturbesitz/Art Resource, New York. [Fig. 12.19]
    22. 22. Baron Antoine-Jean Gros. Napoleon in the Pesthouse at Jaffa. 1804. 17' 5" x 23' 7". Musée du Louvre, Paris. [Fig. 12.20]
    23. 23. Francisco Goya. The Third of May, 1808. 1814-15. Oil on canvas. 8' 9-1/2" x 13' 4-1/2". Museo del Prado, Madrid. [Fig. 12.21]
    24. 24. Musical Notation: Beethoven's First Symphony: opening four-note motif. [Fig. 12-MN.1]
    25. 25. Théodore Géricault. The Raft of the "Medusa.” First oil sketch. 1818. Oil on canvas. 16' 1" x 23' 6". Musée du Louvre, Paris. Photo: Hervé Lewandowski. Inv.: RF 2229. © Réunion des Musées Nationaux/Art Resource, New York. [Fig. 12.22]

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