1. Art Section IV:Europe Envisions the Empire Angelica Aguilera Devora Lopez Valerie Ybarra Aileen Yum-Chan

3. Springfield, Pennsylvania

4. Adult life was spent in England

6. Established a strong reputation in his teenage years

7. Late 1750’s William Smith noticed him

8. Gave him the opportunities he needed:

9. Wealthy patrons helped West travel to Rome, Venice, and Florence before he settled in London in 1763

10. He exhibited his work at the Royal Academy in 1764

11. Was noticed by critics and King George III

12. Named court painter

13. Also the president of the institution from 1792-1805, 1806-1820

15. His characters were dressed in modern clothes in Wolfe’s lifetime, not the timeless drapery inspired by ancient art

17. Founder of Pennsylvania

18. Fair, heroic, promoter of freedom, and leader in positive relations with Europeans and Native Americans

19. Born to prosperous parents in London

20. Attached to the Anglican church

21. Agnostic towards: Catholics, puritans, Quakers, etc,.

22. He was dedicated to Quakers

23. Relationship with family was in jeopardy

24. Fathers death in 1670, moved him to promote religious freedom

25. King of England gave Penn proprietary grant in 1681 as a payment for a debt owed to his father

26. Sylvania – forests

28. The creation of a treaty dealing with land for goods and a peace promise

29. No formal documentation

30. 1682-1683

31. Took place 100 years before it was painted

32. He imagined it from the legends

33. The men kneel and present cloth to Lenape chief, who is surrounded by his men

34. Outside of circle the men natives go about their life

35. Left side is Europeans, including Penn

37. Thomas Penn commissioned the painting

38. Walking Purchase

39. The painting demonstrates how art can be politicized

41. London

42. Trained at young age

43. Richard Wilson, member of Royal Academy

44. James Cook, 1772

45. GB Royal Navy

46. First Voyage: 1768-1771

47. Cape Horn in South America

48. Second Voyage: 1772-1775, commanded HMS Revolution, companion, HMS Adventure

49. Returned to London in 1776

50. Popular because public wanted to see far-off lands

51. India, 1780-1784

52. Governor- General Warren Hastings and the East India Company

53. 1793 published illustrations from his visit

54. 1786 He became a member of the Royal Academy

55. Full member 1794

56. The effects of War and The Consequences of Peace, on bond street in 1794-1795

57. Duke of York, was innapropriate, and had a failure in show

58. Tried to regain financial position

60. August 1773, based on Hodges documentary sketches of the location

61. Served as an accurate documentation of places and people he and members of Cook’s entourage observed during travels

62. Would have seemed distant and new to urban European viewers in the Eighteenth century

63. Represented a level of domination of a new land

65. his paintings reveal horrific image of a slave ship caught on a storm at sea, slaves are thrown overboard and are being devoured by fish and sharks

66. emotionally provocative landscape paintings

67. serves and compliments abolitionist literature by graphically depicting the murder of slaves

68. it is shown in The history of Abolition of the slave trade 1808

70. North American-born artist who made his career in Europe

71. Born in Massachusetts; Most of his life abroad

72. Father an engineer

73. Loved the arts in England; West Point Military

74. Not successful, but very creative

75. Worked as a cartographer in Europe St. Petersburg

76. Moved to Paris-studio of Charles Gleyre (French Impressionist Painters); befriended Gustave Courbet

77. Rembrandt van Rijn-highly emotional, evocative works

78. “art for art’s sake”-create beauty

79. Titles based on music

80. Nocturne in Black and Gold: The Falling Rocket made Whistler infamous-”flinging a pot of paint in the public’s face”

81. Incorporated artists from the Far East, unlike Impressionists artists in France with Japanese art

83. Joanna Hiffernan-mistress; modeled for many of his works ( Symphony in White, No. 1, and No. 2); relationship with friend

84. Relaxed, casual pose

85. Chinese brocade robe; floral motif in peach and rose

86. Philadelphia Museum of Art- Purple and Rose

87. Imagines herself as a painter

88. Imitates Chinese courtly fashion

89. Dominate colors are beige and brown; vivid tones of Hiffernan’s robe and blue and white porcelain are accentuated

90. Patron of many shops that contained Chinese porcelains-Oxford and Sloan Street shop

92. Lange-Dutch for Long-Long Eliza

93. Six Marks-markings on the porcelains that were used to verify the authenticity

94. “Six Marks”- refers to a particular Chinese character; authentic signature

95. Interests in Imperialists countries were driven by demand imports, such as tea

96. Lange Leizen references this history-England has battled with Holland over tea exports from China

98. Painted watercolors and oil paintings

99. Made a member of the Royal Academy in 1865

100. Depiction of the Middle East was very accurate

101. Son of an artist (Frederick Christian Lewis-engraver and a landscape painter)

102. Traveled and worked abroad

103. Contemporaries driven by the art scene in Paris; however, he was drawn back East

104. Traveled to Spain, Greece, Turkey, and then Egypt

106. Egypt ruled by Turks in the Ottoman Empire; taken the life of an Ottoman Pasha. AKA governor; “gone native”; photograph of him traveled to England

107. Gave the artist legitamacy in his art to be documentary rather than fictional

108. Made over 600 watercolor paintings and drawings-Cairo

109. London (1851)- these images would be basis for his bigger paintings

110. Showed intimate interiors of harems and mosques. Audience would never see them., except through Lewis

112. Sunlight flickers throughout the painting; reflection of the pool we can see the lady and her servant

113. Clothed in elegant fabrics

114. Servant looks at viewer; arrival of visitor; gazes off into space

115. Colors bright and vivid; illusion of space is convincing (one-point perspective)

116. He catches the relationship with many upper-class women and her servants

117. Gazelles were popular domestic pets in upper-class Egyptian homes-female beauty

118. Mandarah-domain of men; subverted the normal social order in a witty manner; the educated member would notice his “error”

120. British interests in India increased during the 19th century/ France sought to expand in this region Suez Canal- water access to important trade routes/ France had an advantageous position

121. Great Britain became the largest single shareholder in the canal

122. Because of high debts and bankruptcy, the Ottoman Empire gave control to the British in 1882.

124. In his piece, Shonibare quotes The Sleep of Reason Produces Monsters

125. Francisco Goya (1746-1828), a Spanish painter and printmaker, created this famous print in the late 18th century

126. The Sleep of Reason is one of a set of 80etchings in a folio called Los Caprichos, meaning The Caprices or The Follies

127. Goya produced this particular etching between 1796 and 1798

128. The etching depicts a man asleep on a desk, his head in his arms

129. The man could either be the artist himself or a representation of the creative mind

130. The desk on which the man rests displays the writing “the sleep of reason produces monsters”

131. Threatening owls and bats surround the man

132. These creatures symbolize ignorance and superstition

133. One owl, standing on the table, pokes the main figure with a pen as if to wake him

135. Differences: Large scale, full color photographs and looks 3D, Shonibare’schoice of clothing for his main figure (Dutch wax cloth), the inscription on the desk is altered (“The sleep of reason produces monsters in Asia?”)

136. The varying ages, ethnicities, and continents all reference the complex and far-reaching networks as well as influences of the British Empire

137. Shonibare’swork leaves the viewer with a plethora of unanswered questions

139. Medium: C-print mounted on aluminum

140. Size: 72 x 49.5 in

142. grew up in Nigeria, but moved to England, currently lives in London

143. attended a boarding school in England; studied at Wimbledon College in London; Brym Shaw School of Art in London from 1984 to 1989; Goldsmiths College in London

144. earned a Master of Fine Arts degree

145. a contemporary, post-colonial artist who, in his art, addresses issues with cross-cultural identity and flaws in the British Empire

146. issues of cross-culturalism and imperialism

148. Afterward he became associated with the group called Young British Artists (YBAs); exhibited their work in a 1997 show called Sensation

149. 2004: a nomination for the prestigious Turner Prize; one British artist under 50 years of

150. 2005: Shonibare received one of England’s greatest honors: he was appointed a Member of the Order of the British Empire (rank just below knights, are honored for their military, social, or cultural contribution)