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The Holy Trinity with the Virgin, St. John, and Two Donors - Masaccio, 1425

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The Holy Trinity with the Virgin, St. John, and Two Donors - Masaccio, 1425

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Early Italian Renaissance

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High Renaissance

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Northern Renaissance

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The Garden of Earthly Delights - Hieronymus Bosch

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Mannerism

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Deposition from the Cross - Jacopo Da Pontormo

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Drama

Energy and movement

Dynamic balance (diagonals, curves, counter curves, etc.)

High Contrast (dark and light, etc.)

Emotion

Element of time

Viewer involvement

Naturalism of the Renaissance

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The Calling of Saint Matthew - Caravaggio, 1599-1600

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The Calling of Saint Matthew - Caravaggio, 1599-1600

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Levi - changes to Saint Matthews

San Luigi dei Francesi, Rome

Oil painting

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The Conversion of St. Paul - Caravaggio, 1601

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The Conversion of St. Paul - Caravaggio, 1601

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Oil Painting

Santa Maria del Popolo, Rome

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The Conversion of St. Paul - Caravaggio, 1601

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Judith Beheading Holofernes - Caravaggio, 1599-1602

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Judith Beheading Holofernes - Caravaggio, 1599-1602

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Judith and Holofernes - Artemisia Gentileschi, 1611-12

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Judith and Holofernes - Artemisia Gentileschi, 1611-12

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Women are strong

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Judith and Holofernes - Artemisia Gentileschi

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The Maids of Honor - Diego Velazquez, 1656

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The Maids of Honor - Diego Velazquez, 1656

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Genre-scene(a little slice of life)

Has very loose strokes

Can see the King and Queen reflected in a mirror so you are you are the King and/or Queen

Inspired by Arnolfini Portrait by Jan van Eyck (both have a minor in them)

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The Raising of the Cross - Peter Paul Rubens, 1610-11

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The Raising of the Cross - Peter Paul Rubens, 1610-11

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Baroque Art in the Netherlands

Diagonals in the body of Christ, lots of action, asymmetrical

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The Raising of the Cross - Peter Paul Rubens

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Portrait of Charles I Hunting - Anthony van Dyck, 1635

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Portrait of Charles I Hunting - Anthony van Dyck, 1635

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What makes Charles look like a king?

The horse is bowing to him, the elbow popping out, the bright clothes compared to the rest of the painting, the viewer is lower than the king(like they're bowing), is looking out at his vast kingdom.

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Portrait of Charles I Hunting - Anthony van Dyck, 1635

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The Feast of St. Nicholas - Jan Steen, 1660-65

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The Feast of St. Nicholas - Jan Steen, 1660-65

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Genre Scene

Gives us an example of what a Dutch House looks like

Moral: Look out for human foibles like greed

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Flower Still Life - Rachel Ruysch, After 1700

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Flower Still Life - Rachel Ruysch, After 1700

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Very dramatic lighting from dark and light

Not symmetrical and has movement in the small insects

Red is dramatic and a reminder of Christ's blood

Time is shown through the wilting flowers and can tell flowers have been put in some time later

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Bleaching Grounds Near Haarlem - Jacob van Ruisdael, 1670

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Bleaching Grounds Near Haarlem - Jacob van Ruisdael, 1670

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Very small still life painting

light is dipping behind and in front of clouds giving a feeling of time and movement

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Bleaching Grounds Near Haarlem - Jacob van Ruisdael, 1670

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The Night Watch - Rembrandt van Rijn - 1642

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The Night Watch - Rembrandt van Rijn - 1642

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The little girl in the painting is a symbol of the group (she holds some chicken feet)

The painting is of a militia group

The guy in the helmet in the back is a self portrait of Rembrandt

Dramatic light from front to back

lots of diagonals

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The Night Watch - Rembrandt van Rijn - 1642

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The Hundred Guilder Print - Rembrandt van Reign, 1647

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The Hundred Guilder Print - Rembrandt van Reign, 1647

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Matthew Chapter 19

Jesus is healing people, children were brought to him

There is very dramatic shadows contrasted with light

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The Hundred Guilder Print - Rembrandt van Reign, 1647

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Girl with the Pearl Earring - Jan Vermeer, 1665

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Girl with the Pearl Earring - Jan Vermeer, 1665

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Dramatic lighting, looks like she's about to say something, character type of exotic

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Girl with the Pearl Earring - Jan Vermeer, 1665

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Woman Holding a Balance - Jan Vermeer, 1664

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Woman Holding a Balance - Jan Vermeer, 1664

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Weighing jewels, coins, and other worldly things

There is a painting of the Last Judgement behind the woman (she stands right in the middle of the righteous and the damned)

Is pregnant, weighing life and her choices

Baroque lighting

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Woman Holding a Balance - Jan Vermeer, 1664

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Et in Arcadia Ego - Nicolas Poussin, 1637-38

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Et in Arcadia Ego - Nicolas Poussin, 1637-38

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Baroque Classicism

A scene of ancient Shepards and a woman that are near a tomb.

Through the tomb you can see time as the tomb is older than the people but you can also see time through the shadow that the kneeling figure casts onto the tomb caused by the setting sun.

Woman is very pantheon like from the Classical Era

"Arcadia" means here, understood as a mythic, ideal place. Written on the tomb it says 'I too am in Arcadia'(referring to death) or 'I too once lived in Arcadia' (referring to the person in the tomb).

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Landscape with St. John on Patmos - Nicolas Poussin, 1640

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Landscape with St. John on Patmos - Nicolas Poussin, 1640

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Rome was reborn during this time was all of the dramatic art but still taking inspiration from the Classical Era.

We know that the figure is St. John because of the eagle that is near him which is the symbol usually used to represent him.

He is writing the Book of Revelation and the Second Coming.

Poussin was credited with inventing the ideal landscape with this painting. This landscape has a "sense of rigor and order and rationalism". Main figure is in the foreground but small to the landscape.

St. John's pose is thought to be taken from the representations of river gods from Ancient Rome.

St. John is illuminated by his bright colors compared to the colder tones of the ruins he's in.

The ruins give a sense to passage of time as they have been worn down and broken.

The visual paths cause us to slow down and enjoy the painting.

The landscape is not specific but a whole bunch of ideal forms.

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Landscape with St. John on Patmos - Nicolas Poussin, 1640

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Peasant Family in an Interior - Le Nain Brothers, 1640

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Peasant Family in an Interior - Le Nain Brothers, 1640

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Is a genre painting.

It was made for the middle class to get a sense of what the lower class was.

You can see the virtuousness and morality of the family. They are good in their simplicity.

You feel relief because of the light in the room. The light is so visible because of the simple pallet. Strong contrast from dark to light(baroque!) similar to Caravaggio. This light and dark on the faces gives a psychological depth to the people.

The drapery that the people where moves you across the canvas but also holds tribute to the Classical Era.

Simplicity is shown in their economic class, their dress, the interior, and the food(bowl of salt, wine, and a loaf of bread). (Salt of the Earth)

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Portrait of Louis XIV - Hyacinthe Rigaud, 1701

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Portrait of Louis XIV - Hyacinthe Rigaud, 1701

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"l'etat, c'est moi" ("I am the state")

Louis was known as the Sun King which furthered his claim to being like Apollo.

The Portrait of Louis is a similar stance to Charles in Anthony van Dyck's painting of him. You can see it through how Louis holds the scepter in his right hand and the elbow he props outward. It is also how he stands with one leg out and his head turned to us.

Louis is at the center of the canvas, he's the focal point, and looks at you with confidence and directness.

The curtains are silk and embroidered and make a canopy to make the environment worthy of king. The marble column is on a gilded base, meant to represent Louis' strength as a monarch while playing homage to the classical era. He also looks down on us despite being short through an illusion of height.

Louis is wearing a coronation robe, which is symbolic of the French monarchy. His sword is also bejeweled with precious materials. In the dark to the left is the royal crown. His long hair represents his youth. So do his legs that are "dancer's legs" suggesting him being vital and vigorous.

The portrait was originally a gift for Louis' grandson, Philip V of Spain, but Louis liked it so much he sent a copy.

The painting was so successful it was used as his proxy while he was gone. It was placed over the throne and courtiers were forbidden to turn their backs on it.

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Portrait of Louis XIV - Hyacinthe Rigaud, 1701

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Versailles was originally nothing but a smallish hunting lodge.

Versailles was meant to emphasize on Louis' importance and was built to shift the seat of French government away from the noble families in Paris.

The Hall of Mirrors is the most famous room. One wall has a row of giant windows that overlook the gardens while the other wall has 357 mirrors to catch the setting sun's rays. This was done to show Louis' power and add to his claim as being similar to Apollo as the Sun King. It was mainly used as a passageway and many courtiers would squeeze in there to beg for a favor as the king passed by.

While the outside is not as ornate as the inside, it pays a heavy tribute to the Ancient Greek temples. It is symmetrical and repetitive. Which was another representation of Louis' power But it still shows as Baroque through the statues and embellishments.

In 1919 on June 28, the Treaty of Versailles was signed here to officially end World War 1.

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Joseph the Carpenter - Georges de La Tour, 1642

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Joseph the Carpenter - Georges de La Tour, 1642

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Very simple painting but based off of Caravaggio paintings and Artemisia.

Carpeting tools and scraps and their older clothes tells us who they are

What Joseph holds is similar to the cross, the candle represents Jesus is the Light of the World

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Joseph the Carpenter - Georges de La Tour, 1642

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The Death of Germanicus - Nicolas Poussin, 1627-28

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The Death of Germanicus - Nicolas Poussin, 1627-28

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What Baroque Art in France typically looks like

Grand Manner, noble, heroic

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The Death of Germanicus

French: La Mort de Germanicus

Artist
Nicolas Poussin

Year

1627

Medium

oil on canvas

Dimensions

147,96 cm × 198,12 cm (5,825 in × 7,800 in)

Location

Minneapolis Institute of Art

The Death of Germanicus is a painting made in 1627 by Nicolas Poussin for Francesco Barberini. It is kept at the Minneapolis Institute of Art.

The painting was commissioned by Cardinal Francesco Barberini (1597-1679), nephew of Pope Urban VIII and legate in France. The order was probably placed in October 1626, returning from a diplomatic visit to Spain. He called on Nicolas Poussin, then a young painter who had recently settled in Rome since 1624, whom he may have known thanks to the poet Giambattista Marino, perhaps through the intermediary of the banker and patron Marcello Sacchetti. Barberini had already commissioned a Capture of Jerusalem (Israel Museum) from Poussin, painted around 1625-1626 and given as a gift to Cardinal Richelieu. The painting was delivered on January 21, 1628 and a receipt signed by the painter's hand indicates that he obtained the sum of 60 crowns for this work. The painting very quickly obtained a great echo because from the following February, Poussin was chosen to paint an altarpiece in Saint Peter's Basilica, The Martyrdom of Saint Erasmus.

The painting is given by Francesco to his nephew Maffeo Barberini (1631-1685) , prince of Palestrina. It then remained in the collections of the Barberini Family in Rome and Florence until 1958. That year, it was acquired by the Minneapolis Institute of Art with the support of the William Hood Dunwoody Fund.

Poussin is probably the first painter to examine this subject. This episode in the history of ancient Rome is taken from the Annals of Tacitus. It describes the military successes of the roman general Germanicus, elder brother of Claudius, in the service of the Emperor Tiberius, especially against the Germans, which earned him his nickname. He was sent to fight in Syria, but there was opposition from Governor Cnaeus Calpurnius Piso. He died suddenly on the spot, in Antioch, accusing Piso of having poisoned him on the orders of Tiberius. He made his wife Agrippina the Elder and the rest of his family swear to avenge his death, enjoying great popularity among the Roman people. Poussin undoubtedly learned of Tacitus' text through an Italian translation, which was numerous at the time in Rome.

Sources of inspiration

The general composition of the painting could have been borrowed from the Death of Meleager, represented on several ancient Roman sarcophagi present in Rome at the time of Poussin. A copy is kept in the Vatican Museums, another in the Capitoline Museums and yet another, currently in Wilton House but present in Rome at the beginning of the 17th century. The figure of Agrippina recalls the personifications of vanquished nations in Roman representations, such as vanquished Judea (judea capta)

In addition to ancient influences, he also uses motifs present in the painting of his time or slightly earlier: the soldier represented on the far left is a revival of the one represented on the extreme right of the Crusaders in front of Jerusalem by Ambroise Dubois (castle de Fontainebleau). It also uses the curtain from The Last Supper by Frans Pourbus the Younger ( Musée du Louvre). Poussin's painting also seems to be inspired by The Death of Constantine, taken from a series of tapestries on the Life of Constantine from cartoons by Peter Paul Rubens, offered in 1625 by Louis XIII to Francesco Barberini.

Preparatory drawings?

Two drawings taking up the theme of the painting are attributed to Poussin. One is kept in the British Museum. Although very damaged, it already presents the main lines of the painting with a few variations: the soldier in the center does not extend his hand to the sky but holds the hand of Germanicus, thus remaining closer to the text of Tacitus. At the top left, two figures are shown climbing up a staircase, which are not included in the painting. The second drawing, kept at the Musée Condé in Chantilly, has many variations compared to the Minneapolis painting: the number of characters is different. According to the style of the drawing, Pierre Rosenberg and Louis Antoine Prat put forward the hypothesis that it is not a preparatory drawing but a later one, produced around 1630-1632 with a view to the development of a second painting on the same theme but probably never executed.

From the time of Poussin, the painting became famous in artistic circles and the painting was copied and commented on many times. However, it was not until the middle of the 18th century that the theme of Germanicus' death was taken up in the painting, but each time inspired by Poussin. He is thus represented by Piat Sauvage in 1774 and by Heinrich Friedrich Füger in 1789. If the subject is not taken up much by the artists, many are those who insert in their works allusions to Poussin's painting from this period. This is the case of Jean-Baptiste Greuze in his Septimius Severus and Caracalla in 1769 or, in a more subtle way, of Jacques-Louis David's Oath of the Horatii in 1785 who declares about him: "If it is to Corneille that I owe my subject, it is to Poussin that I owe my painting ". François Marius Granet in his Death of Poussin (Granet Museum), assimilates the painter to the Roman general. Finally, he still inspired Eugène Delacroix in The Last Words of the Emperor Marcus Aurelius in 1844 ( Musée des beaux-arts de Lyon).

Anthony Blunt, The Paintings of Nicolas Poussin. A Critical Catalogue, Londres, Phaidon, 1966, 271 p., p. 113-114 (notice 156)

Pierre Rosenberg and Nathalie Butor, La Mort de Germanicus de Poussin du Musée de Minneapolis, Éditions des musées nationaux, coll. " Dossier du département des peintures " ( 7), 1973, 72 p.

Jacques Thuillier, Nicolas Poussin, Paris, Flammarion, 1994, 287 p. , p. 249 (notice 58)

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The Death of Germanicus French: La Mort de Germanicus Artist Nicolas Poussin Year 1627 Medium oil on canvas Dimensions 147,96 cm × 198,12 cm (5,825 in × 7,800 in) Location Minneapolis Institute of Art The Death of Germanicus is a painting made in 1627 by Nicolas Poussin for Francesco Barberini.

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The Abduction of the Sabine Women - Nicolas Poussin, 1633-34

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The Abduction of the Sabine Women - Nicolas Poussin, 1633-34

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Intellectual Style - Read what is going on and the story

Romunlous is in Red and Rome is named after him.

Borrows from Giovanni Bologna's Abduction of the Sabine Woman

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The Abduction of the Sabine Women - Nicolas Poussin, 1633-34

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A Pastoral Landscape - Claude Lorrain, 1648

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A Pastoral Landscape - Claude Lorrain, 1648

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idyllic landscape - has a dreamy, poetic landscape

Holds a lot of color and very realistic. Wanted landscapes to be important so he added figures that looked biblical.

Painted outside

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Hans Georg Werdmüller (1616-1678) Collection, Zurich, Switzerland (commissioned through an agent in Rome; Liber Veritatis 116, dated 1648); Captain T. B. Brydges Barrett Collection, Lee Priory, England, 1777; T.B. Brydges Barrett collection, Christie's sale, London, 28 May 1859, no. 147 (as "Sunset"); Peter Norton, private dealer, London; Sir Francis Cook Collection, 1st Bart. (1817-1901), Doughty House, Richmond, Surrey, England, until 1901; by inheritance to Sir Frederick Lucas Cook, 2nd Bart. (1844-1920), Doughty House, Richmond, Surrey, England (1901- d. 1920); by inheritance to Sir Herbert Frederick Cook, 3rd Bart. (1868-1939), Doughty House, Richmond, Surrey, England (1920- d. 1939); by inheritance to Sir Francis Ferdinand Maurice Cook, 4th Bart. (1907-1978), Doughty House, Surrey, England (1939-1958); Cook Collection sale, Sotheby & Co., 25 June 1958, lot 55 (550£); Newhouse Galleries, Inc., New York.

Commission of Liber Veritatis 116 and Yale painting:
"First of three landscapes (nos. 115, 124) made in 1648 and 1651 for Hans Georg Werdmüller (1616-78). One is a small copper, the other, with somewhat similar scenery, a large canvas, and the third its pendant. The patron was a military engineer and collector from Zürich. He was elected a counselor of Zürich in 1648, and at the beginning of 1650 was sent as an envoy on a short military mission to Venice. He did not go to Rome. What brought him in touch with Claude is not known. In Italian he signed his name 'Verdmiller'; Claude's spelling is a correct phonetic rendering. Werdmüller, an amateur painter himself, increased his inherited collection; for instance, later he patronized the Dutch landscape painter Jan Hackaert (1629- c. 1699). The greater part of the collection was dispersed at the beginning of the 18th century and passed into foreign countries. The inventory of 1789 contains no Claude, but still has a few paintings of Asselyn, Salvator, Teniers, etc" (Röthlisberger 1961, Vol. I, p. 290).

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Hans Georg Werdmüller (1616-1678) Collection, Zurich, Switzerland (commissioned through an agent in Rome; Liber Veritatis 116, dated 1648); Captain T. B. Brydges Barrett Collection, Lee Priory, England, 1777; T.B. Brydges Barrett collection, Christie's sale, London, 28 May 1859, no. 147 (as "Sunset"); Peter Norton, private dealer, London; Sir Francis Cook Collection, 1st Bart.

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ancien regime (rule of the nobility and monarchy before the French Revolution

Theme: Fashionable, Flamboyant, Flirtatious, Frivolous, and French

Characteristics:

luxury, opulence

aristocratic tastes

conspicuous leisure

pastel colors

subjects of love, flirtation

fantasy

private, intimate scenes

lush landscapes

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Room from the Hôtel de Varengeville, Paris - Rococo

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Room in the Hôtel de Varengeville - Nicolas Pineau, 1735, 217 Boulevard St.-Germain, Paris

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Room in the Hôtel de Varengeville - Nicolas Pineau, 1735, 217 Boulevard St.-Germain, Paris

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Place where you would talk and have a mask

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Room from the Hôtel de Varengeville, Paris

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Gersaint's Signboard - Jean-Antoine Watteaus, 1721

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Gersaint's Signboard - Jean-Antoine Watteaus, 1721

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Was only a signboard for a very short time before it was bought.

Picture they are putting away is of King Louis, representing how he had just died and that there was a new king.

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Gersaint's Signboard - Jean-Antoine Watteaus, 1721

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Pilgrimage to Cythera - Antoine Watteau, 1717

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Pilgrimage to Cythera - Antoine Watteau, 1717

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fete galante - a scene of outdoor entertainment for the aristocracy

Lifestyle of the Arocrasticy

Cythera was an island that was mythically associated with Aphrodite(flowers, bow, cupid)

As they go towards the boat there is a progression of intimacy

Pute lead with torch towards the island with castle in the background

Love is represented here as a dance

Reception Piece done by Watteau to join the Royal Academy in France

Was put in a category of it's own despite the clash between (fete galante)

the Rubenistes (color, open brushwork) and the Poussinistes (line, finish)

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Madame de Pompadour - François Boucher, 1750

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Madame de Pompadour - François Boucher, 1750

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Lace and ribbons have a real volume and weight to them

Her bracelet is the opposite which portrays to her lover Louis XV

Not about her but her persona, about the surface level but she is very intimate

Very mysterious

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Portrait of Madame de Pompadour - François Boucher, 1756

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Portrait of Madame de Pompadour - François Boucher, 1756

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Was the King's mistress which was a very public thing and was well known. Was originally a middle class woman.

Shows her intelligence through the quill by her, the open book, and the books behind her.

Pompadour hair style is named after her and was a fashionista, big influence on fashion.

King Louis XV would go to her to ask for advice

Boucher was Watteau's student

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Portrait of Madame de Pompadour - François Boucher, 1756

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Commissioned by a member of the French Royal Court who asked Fragonard to paint his lover being pushed by a bishop (the older man in the painting)

Sexual and intimate painting, stepped away from history paintings to more intimate, private paintings

Style was not the only thing changing but also his technique

The Cupid hushing is based off of Étienne-Maurice Falconet's sculpture named Menacing Love. Keeping a secret

Two cupids are in the lower right under the edge of the woman's skirt

Has a sense of moment that carries her forward and her slipper off her foot, had diagonals (much like Baroque period)

lush aristocratic garden and represents the indulgently of the Rococo period

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Mr. and Mrs. Andrews - Thomas Gainsborough, 1750

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Mr. and Mrs. Andrews - Thomas Gainsborough, 1750

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Takes place in England

Painting was commissioned by the Andrews to celebrate their marriage and combination of their families' fortune.

Is a genre of "conversation pieces," informal group of portraits that presents a small group in an outdoor space, engaged in discussion, compared to the formal, straightforward portraits of earlier periods.

Gainsborough knew the Andrews since childhood and was able to capture their destain of him being below them in the hierarchy socially.

Gainsborough gives equal attention to his landscape as he does to the figures.

Mr. Andrews looks relaxed and like he has just done all his work.

The painting is considered "unfinished" by modern scholars as their is a bare piece of canvas were Mr Andrews' hands are, suggesting that something is to be there.

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Mr. and Mrs. Andrews - Thomas Gainsborough, 1750

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Marriage A-la-Mode - William Hogarth, 1743

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Marriage A-la-Mode - William Hogarth, 1743

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Well known for making prints instead of paintings. This painting is representing the prints that he is going to make.

Aristocracy is losing power to the middle class audience of merchants gaining money. Targets the middle class.

Shows a family called the Squanderfields and the family is in trouble so they arranged a marriage to marry a woman who is a daughter of a Wealthy Merchant.

Everyone is in it for themselves expect for the couple.

The second painting Tête à Tête shows that they need to take finances seriously and pleasure.

Third painting is a doctor appointment. Hogarth is trying to downgrade the young Lord Squanderfield. The skull on the desk and human figures in the background are represent that we are all going to die one day.

Fourth painting is of the woman at her dressing table. Coral beads represent that the woman has had a child but she is hanging out with her friends instead of her child. Paintings represent love affairs

Fifth Painting is a place to where you want secrets to occur. Woman is on her knees as her lover (Silver tongue from the first painting) flees through the window. He has impaled the husband with his sword.

Six painting shows the woman's death and now both the husband and wife are dead. Wife has poisoned herself after the news of Silver tongue being hanged for killing the husband. Shows how the marriage was of money and not love. The dog represents greediness as it steals from the table. Back in her home and not the aristocratic home.

Don't listen Silver-tongued evil, don't marry a man for his rank, don't marry a woman for her money, ruin will ensue as karma.

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Marriage A-la-Mode - William Hogarth, 1743

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Sex, booze and 18th-century Britain

Main character is Tom Rakewell (a rake is a term for a man of loose morals or a womanizer).

(Piece one) Tom's father was a rich merchant who died and Tom goes to collect/spend the wealth while rejecting his pregnant fiancé, Sarah Young. He holds out coins to her as she sobs into a handkerchief and her mother holds love letters from Tom.

(Piece two) Tom moved to a bachelor pad from his cozy home surrounded by people who wish to exploit his wealth.

(Piece three) Tom sits on the lap of someone who robs him. Portraits of Roman Emperor's hang on the wall including Nero's(a corrupt womanizer) has been defaced.

(Piece four) Tom has been thrown in jail while Sarah bails him out.

(Piece five) Tom is marrying a wealthy old hag. The woman lust the ring and Tom lusts her maid. Sarah and her mother in the background try to object but are held back by guests.

(Piece six) Tom is wealthy again but no better with his money. On his knees in a gambling den having lost his money. (Excessive gambling was a real problem and fortunes could be lost in one evening)

(Piece seven) Tom is in debtors' prison. He is harassed. Sarah faints seeing the situation while their with her child. (Personal as Hogarth's father spent much of his childhood in a debtors' prison) Debtors are trying to find ways to get out of debt (Tom wrote a play)

(Piece eight) The Madhouse - Tom has lost his mind and is in Bedlam (London's mental hospital). Mark on chest suggest failed suicide. Young women watch and all he has left is faithful Sarah.

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Entrance to the Grand Canal, Venice - Canaletto, 1730

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Entrance to the Grand Canal, Venice - Canaletto, 1730

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Used an early version of Lightbox to trace

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Entrance to the Grand Canal, Venice - Canaletto, 1730

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Charles Sackville, Second Duke of Dorset - Rosalba Carriera, 1730

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Charles Sackville, Second Duke of Dorset - Rosalba Carriera, 1730

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Used pastel chalks as the medium to make fast portraits.

First time using pastels as a medium for a finished piece of artwork

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Planarity

Linearity

Tight brushwork

Even lighting

Sculptural forms

Classical architecture, figures, dress, and themes

serious, moralistic subjects

strong hero figures

Austerity and reduction of form

nationalism expressed through patriotism

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The Oath of the Horatii - Jacques-Louis David, 1784

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The Oath of the Horatii - Jacques-Louis David, 1784

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Draws from Rome and Greece throughout the clothes, arches, and it is from Rome history/mythology

Strong heroic features

tight brushstrokes

First French Revolution is on the horizon

Three brothers from each side are going to fight over a border between the city-states Rome Albania (Three from the Horatii and three from the Croatia)

The women are upset because their family is intermarried with the Croatia meaning that no matter what happened, they all lost.

David did not believe that women could give up their love for their country like a man could which is why the women are bent and curved like that.

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The Oath of the Horatii - Jacques-Louis David, 1784

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The Death of Marat - Jacques-Louis David, 1793

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The Death of Marat - Jacques-Louis David, 1793

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David was all for the Revolution that was occurring at the time of this.

Marat had a very horrible skin condition so it would sit and worked in his bathtub because it made it feel better.

Charlotte Corday was another Revolutionist from a different factor who killed Marat.

Marat's death was as a martyr and David likened it unto Christ's Death.

The painting has some edits to it compared to real life. For one, Rococo had just ended so Marat had a very fancy bathroom that David did not include alongside Marat's skin condition. The desk also appears as if it is a tomb.

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The Death of Marat - Jacques-Louis David, 1793

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Cornelia Presenting Her Children as Her Treasures - Angelica Kauffmann, 1785

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Cornelia Presenting Her Children as Her Treasures - Angelica Kauffmann, 1785

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Show of Neoclassicism - the columns, their clothes, the contraposo, the thight brushstrokes, all on one plane

Her father made sure she was very educated and made Neoclassicism important in England. Was a founder of the England Royal Art Academy.

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A moment of moralizing

To the artists of 18th century Europe, it was not enough to simply paint a beautiful painting. Yes one could marvel at your use of colors, proportions, and how masterfully you draped the fabric on your figures, but this was just not enough. The story that is represented must also improve the viewer and impart a moralizing message. This was a common theme even before the emergence of the Neoclassical trend (for example, Chardin's canvases of simple French country life or Hogarth's painted commentaries on the wealthy classes of England). When interest in the ancient cultures of the Mediterranean-more specifically Rome-arose in the mid 18th century the moralizing theme segued to also include stories from classical antiquity.

The Swiss-born painter Angelica Kauffmann is just one artist to contribute to this genre. Painted in 1785, Cornelia, Mother of the Gracchi, Pointing to Her Children as Her Treasures, is her subject. Roman architectural influences frame two women portrayed wearing what one can imagine is typical of ancient Roman dress, along with three children, also wearing masterfully draped togas with thin leather sandals. They look like they might have stepped directly off a temple's pediment.

An example of virtue

If you compare Kauffmann's simple presentation to the previous Rococo genre, with the lush landscapes, frothy pastel pink frocks, and chubby frolicking cherubs, it is clear that art is going in a different direction. This painting is an exemplum virtutis, or a model of virtue. The story that Kauffmann painted is that of Cornelia, an ancient Roman woman who was the mother of the future political leaders Tiberius and Gaius Gracchus. The brothers Gracchi were politicians in 2nd century B.C.E. Rome. They sought social reform and were seen as friends to the average Roman citizen. So where did these benefactors of the people learn their exemplary ethics? That would be their mother, Cornelia.

The scene that we see in Kauffmann's painting illustrates one such example of Cornelia's teachings. A visitor has come to her home to show off a wonderful array of jewelry and precious gems, what one might call treasures. To her visitor's chagrin, when she asks Cornelia to reveal her treasures she humbly brings her children forward, instead of running to get her own jewelry box. The message is clear; the most precious treasures of any woman are not material possessions, but the children who are our future. You can almost feel the embarrassment when you look at the face of the visitor, who Kauffmann has smartly painted with a furrowed brow and slightly gaped mouth.

The lure of ancient Rome

Born in 1740, Angelica Kauffmann received a first-rate artistic education from her father, who was a Swiss muralist. She traveled through her native Switzerland, Austria, and eventually Italy where she was able to see the work of the ancient artists with her own eyes. She was following in the tradition of the Grand Tour, the educational excursion that many wealthy Europeans took to marvel and study the art, architecture, and history of ancient Rome.

The interest in ancient Mediterranean cultures was fueled not just by the cultural productions of Rome, but also by the newly discovered remains of the ancient Roman cities of Herculaneum and Pompeii, which were excavated beginning in 1738 and 1748, respectively. Covered by the volcanic ash of Mount Vesuvius in August 79 CE, an almost perfect scene of typical ancient life was preserved. These findings did not just spark a renewed interest in classical antiquity in 18th-century art and architecture, but also inspired new fashions, interior design, and even gardens and tableware. This was a find that one must see in person, and Angelica Kauffman was lucky enough to take the Grand Tour like so many of her fellow artists.

Enlightenment ideals

While the geometric symmetry and simplicity of the arts in antiquity might have greatly inspired the work of Kauffman and other Neoclassical artists, these ancient societies also aligned with Enlightenment ideals, which were often seen as the zenith of human civilization. Greece and Rome-it was felt-were the cultures that gave us the enlightened political systems of democracy and republicanism, as opposed to the modern monarchies, which would be increasingly criticized as corrupt and arbitrary in the mid and late eighteenth century. The ancients could instruct modern audiences in patriotism, civic virtue, and ethics, and Kauffmann's moralizing message is a wonderful example of this trend.

This revival of classical antiquity was a cultural phenomenon that affected not just artistic practices, but also shaped the modern mind. Angelica Kauffman would eventually settle in England where she enjoyed great success as a portrait artist and history painter. In an age that can be described as patriarchal at its best and chauvinistic at its worst, Kauffmann played a major role in the British art scene. She was a regular exhibitor at the prestigious Royal Academy and had many aristocratic and even royal patrons. Cornelia Pointing to Her Children as Her Treasures is truly one of Kauffmann's most famous treasures, and permanently positioned her as a pioneer of the Neoclassical movement.

Additional resources:
This painting at the Virginia Museum of Fine Arts Angelica Kauffmann on the BBC's "Your Paintings" Works by Angelica Kauffmann in the National Portrait Gallery

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Angelica Kauffmann, Cornelia Pointing to her Children as Her Treasures - Smarthistory

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A moment of moralizing To the artists of 18th century Europe, it was not enough to simply paint a beautiful painting. Yes one could marvel at your use of colors, proportions, and how masterfully you draped the fabric on your figures, but this was just not enough.

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Based his house after the pantheon from Ancient Rome with the columns in the from and the dome on top.

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Death of General Wolfe - Benjamin West, 1770

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Death of General Wolfe - Benjamin West, 1770

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From the British colonies (America before the American Revolution) but lives in Britain.

Is an image of the French and Indian Revolution.

True to life through the British outfits

Everyone was stoic and there was not a lot of blood

People loved the Indian because of his pose that is based off of a Roman statue.

Wolfe was also in a position was usually reserved for a depiction of Jesus making him a political martyr.

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The Village Bride, or The Marriage: The Moment When a Father Gives His Son-in-Law a Dowry - Jean-Baptiste Grease, 1761

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The Village Bride, or The Marriage: The Moment When a Father Gives His Son-in-Law a Dowry - Jean-Baptiste Grease, 1761

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Big jump from more frilly Rococo dress to Revolutionary times clothes.

You can see the wealth through the house (water damage and wear) and the small dowry but you can also see how important this event is (look to the poor for your values of virtue).

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A story of love

It is a simple story of love. We are transported to a rural country village to attend a wedding. The happy couple is in the center, their arms entwined in an obvious symbol of their love. The bride's father, seated on the right, extends his arms in congratulations-he has just handed his new son-in-law his dowry.

The bride's mother and younger sister caress her arm, sad to see her leave the family but very happy that she has found love. On the other hand, the older sister leans over her father's shoulder to look on enviously and perhaps somewhat judgmentally, at her sister who has beaten her to the altar. The rest of the younger family members play nearby, accompanied by a few barnyard guests. With only a notary in attendance to make the marriage official, the ceremony can only be described as spare, and the French bourgeois public (or middle class) enthusiastically accepted Jean-Baptiste Greuze's composition of humble simplicity.

A "natural" art

The Enlightenment is arguably one of the most radical moments in Western philosophical history, and while The Village Bride-a painting of a rural wedding-does not initially seem philosophical in subject, the age of the Enlightenment provides an important context for understanding the painting. Scholars questioned the traditions of Western culture, including the authority of the church and the arbitrary rule of the monarchy. Figures such as Denis Diderot attempted to compile all human knowledge into the first Encyclopédie. François Marie Arouet, who went by the name Voltaire, advocated for the advancement of science and technology. Yet none of these thinkers were as widely read as Jean-Jacques Rousseau (even the Queen Marie Antoinette was a fan). The famous introduction to his 1762 work The Social Contract, "Man is born free, and everywhere he is in chains," clearly states his philosophical concern. According to Rousseau, the customs of modern society-even its arts, sciences, and laws-have corrupted the inherent virtue and moral character of "natural" man. If we could throw off these self-imposed chains and return to a more natural state where emotion was respected, then compassion would replace tyranny and the alienation of the individual.

This idea of "natural" man led to a focus on an idealized view of rural, peasant life. Peasants, according to this line of reasoning, lived more simply, were closer to the earth and had not been corrupted by the forces of elite society. Further "natural" man was not ruled entirely by reason and logic-important signifiers of the modern world. Rousseau wrote, "To exist is to feel; our feeling is undoubtedly earlier than our intelligence, and we had feelings before we had ideas." With its depiction of a simple rural interior and the emotions of love, sadness, and joy, Greuze's Village Bride encapsulates Enlightenment ideas of man-natural and uncorrupted.

Not a fête galante

Interest in the natural world had been central to the Rococo style since its inception earlier in the eighteenth century. We can see it, for example in the popular Rococo subject, the fête galante (typically a depicted the outdoor amusements of French upper-class society). Artists like Antoine Watteau created dreamy, romantic depictions like those of the young couples who have journeyed to the mythical island of love, Cythera (below).

Other Rococo artists like François Boucher and Jean-Honoré Fragonard were favorites of King Louis XV's mistresses Madame de Pompadour and Madame du Barry, respectively. Each commissioned scenes of voluptuous, rosy-bottomed cupids and young lovers. These paintings were about pleasure and indulgence, and when compared to Greuze's composition, The Village Bride becomes a commentary on aristocratic life. These fête galante love affairs are frivolous and lustful, while the actual marriages between various aristocrats was typically understood as a match made for political power, money, or convenience. In contrast, the couple that Greuze has given us is clearly the result of love. Here is a hard-working family with no power and little money, nevertheless rewarded for their virtuous love with happiness.

Professional success

Jean-Baptiste Greuze first achieved professional success in the Salon of 1755. His sentimental scenes found admirers among the upper middle-class public. At this time the art market had expanded beyond the wealthiest aristocracy, and a painting such a The Village Bride would have been a delight to the upper middle-class. It is easy to imagine the French public crowding around this painting, and discussing each pose and facial expression in detail. Greuze even found a fan in the philosopher, Denis Diderot, who remarked how difficult it was to even get close to the canvas because of the crowds. Greuze's art would eventually fall out of style with the advent of Neoclassicism, but his paintings will always stand as a testament to the movement of natural man and moral philosophy.

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It is a simple story of love. We are transported to a rural country village to attend a wedding. The happy couple is in the center, their arms entwined in an obvious symbol of their love. The bride's father, seated on the right, extends his arms in congratulations-he has just handed his new son-in-law his dowry.

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Poser of nature, sublime (something in nature that evokes awe, wonder, fear)

Exoticism

Supernatural

Violence/horrific themes

Nationalism (personal past vs. classical)

Longing for the past

Intense emotion, passion

Imagination

(New stories that were not biblical)

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The Family of Charles IV - Francisco Goya, 1800

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The Family of Charles IV - Francisco Goya, 1800

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Goya is hidden in the background by his painting. Is he looking in a mirror?

Painting pays a homage to The Maids of Honor by Diego Velazquez

Their posing is rather random and there is a woman looking behind were we cannot see her face at all.

Clothing glitters and Goya flattered the family.

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Charles IV of Spain and His Family - Wikipedia

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Charles IV of Spain and His Family is an oil on canvas painting by the Spanish artist Francisco Goya who began work on this painting in 1800 and completed it in the summer of 1801. It features life sized depictions of Charles IV of Spain and his family, ostentatiously dressed in fine costume and jewelry.

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The Sleep of Reason Produces Monsters, from Los Caprichos - Francisco Goya, 1799

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The Sleep of Reason Produces Monsters, from Los Caprichos - Francisco Goya, 1799

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"Fantasy abandoned by reason produces impossible monsters: united with her, she is the mother of the arts and the origin of their marvels.' - Goya

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The Sleep of Reason Produces Monsters, from Los Caprichos - Francisco Goya, 1799

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Napoleon is the King of France and starts to take over. Puts his brother on the throne of Spain who were welcoming, hoping for a change against their king. They didn't like Napoleon's brother so they revolted. On the third the French retaliated by lining up all these innocent people and killed them.

The French are faceless. They look inhuman, villainous, and machine like.

Man in the white shirt is a martyr and is similar to Christ. He is an innocent man being killed for no good reason (anti-war statement).

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Thor Battering the Midgard Serpent - John Henry Fuseli, 1790

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Thor Battering the Midgard Serpent - John Henry Fuseli, 1790

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Very loose brushstrokes in the serpent

Opposite of Neoclassicism in many ways

Odin is the guy up in the upper left

Thor is an Anti-hero in this painting

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Thor Battering the Midgard Serpent is a 1790 painting by the Swiss artist Henry Fuseli. It depicts one of the most popular myths in Germanic mythology, Thor's fishing trip, which was known to Fuseli through P. H. Mallet's 1755 book Introduction à l'histoire du Dannemarc, translated to English by Thomas Percy in 1770 as Northern Antiquities. The nude and muscular Thor stands in Hymir's boat with the Jörmungandr on his fish hook. In the top left corner, the god Odin appears as an old man.

The painting was Fuseli's diploma work for his election to the British Royal Academy of Arts in 1790. The subject has been interpreted in relation to Fuseli's support for the French Revolution, where the serpent could represent the Ancien Régime.

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Thor Battering the Midgard Serpent is a 1790 painting by the Swiss artist Henry Fuseli. It depicts one of the most popular myths in Germanic mythology, Thor's fishing trip, which was known to Fuseli through P. H. Mallet's 1755 book Introduction à l'histoire du Dannemarc, translated to English by Thomas Percy in 1770 as Northern Antiquities.

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Elohim Creating Adam - William Blake, 1795

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Elohim Creating Adam - William Blake, 1795

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Would put paint down and then push the print down which would then pull up a bunch of paint with the print

Difference between Michelangelo's and Blake's creation of Adam: Blake's was a struggle and Satan is already trying to get ahold of Adam (life is not going to be easy).

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Elohim Creating Adam - William Blake, 1795

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The Haywain (Landscape: Noon) - John Constable, 1821

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The Haywain (Landscape: Noon) - John Constable, 1821

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Sent it to the France Art Academy. When sent, they were really interested in his sky saying that it was amazing.

Romanticism: longing for the past, loose brush strokes, six-feet long (size of a history painting) which shows how important HIS backyard is (nationalism)

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The Haywain (Landscape: Noon) - John Constable, 1821

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Snowstorm: Hannibal and His Army Crossing the Alps - Joseph Mallard William Turner, 1812

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Snowstorm: Hannibal and His Army Crossing the Alps - Joseph Mallard William Turner, 1812

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Not a heroic painting since you cannot even really see Hannibal (white figure in the bottom right). Shows how powerful nature and the Alps are and how they will last a long time compared to empires that come and go.

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Joseph Mallard William Turner (1812). Snowstorm: Hannibal and his Army Crossing the Alps. The Tate Gallery, London.

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My blog is about formal and content analysis of master works of fine art with specific effort placed on writing from my own perspective.

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The Slave Ship - Joseph Mallory William Turner, 1840

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The Slave Ship - Joseph Mallory William Turner, 1840

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Slavery was abolished in England so this country was for other countries.

About a specific story about a captain that had sick slaves on his ship. He realized that if they died then he wouldn't get insurance, however; if they went overboard it was not the same.

Really loose and think brushstrokes. Looking at the bottom you can see the really horrific things, the shackles and body parts.

Nature doesn't take sides so everyone is being taken over by the ocean.

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The Slave Ship by Joseph Mallory William Turner 1840 http://t.co/4R6YMGnn
— Tim Shin (@ShinTim) June 2, 2012

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Tain, Steam, and Speed - The Great Western Railway - JMW Turner, 1844

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Tain, Steam, and Speed - The Great Western Railway - JMW Turner, 1844

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Train was moving faster than any human had ever gone.

Is very abstract and shows changing from the past to the future

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Monk by the Sea - Caspar David Friedrich, 1810

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Monk by the Sea - Caspar David Friedrich, 1810

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Very abstract painting.

Shows the power of nature and that nature is also very spiritual, a holy place (because of monk).

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Monk by the Sea - Caspar David Friedrich, 1810

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Abbey in an Oak Forest - Caspar David Friedrich, 1809-10

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Abbey in an Oak Forest - Caspar David Friedrich, 1809-10

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Mourning the monk. Everything looks dead

Partner piece to the Monk by the Sea.

Monk is old, then the abbey, then the trees, and then the moon in hierarchy of oldest.

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The Abbey in the Oakwood ( German: Abtei im Eichwald) is an oil painting by Caspar David Friedrich. It was painted between 1809 and 1810 in Dresden and was first shown together with the painting The Monk by the Sea in the Prussian Academy of Arts exhibition of 1810. On Friedrich's request The Abbey in the Oakwood was hung beneath The Monk by the Sea. This painting is one of over two dozen of Friedrich's works that include cemeteries or graves.

After the exhibition both pictures were bought by king Frederick Wilhelm III for his collection. Today the paintings hang side by side in the Alte Nationalgalerie, Berlin.

This large painting is an example of a way Friedrich uses his painting skills to represent human life issues. In the painting, Friedrich painted an old abbey in the center. There are figures entering the abbey with a coffin. The artist is trying to convey a sense of passage of time by painting a human passing away. There's a sense of coldness around the area. The remains of the abbey shows this old broken window with no remaining of glass. What is seen is that nature is forever there, while man's creation is temporary.

A procession of monks, some of whom bear a coffin, head toward the gate of a ruined Gothic church in the center of the painting. Only two candles light their way. A newly dug grave yawns out of the snow in the foreground, near which several crosses can be faintly discerned. This lower third of the picture lies in darkness-only the highest part of the ruins and the tips of the leafless oaks are lit by the setting sun. The waxing crescent moon appears in the sky.

The picture appeared at a time when Friedrich had his first public success and critical acknowledgment with the controversial Tetschener Altar. Although Friedrich's paintings are landscapes, he designed and painted them in his studio, using freely drawn plein air sketches, from which he chose the most evocative elements to integrate into an expressive composition. The Abbey in the Oakwood is based upon studies of the ruins of Eldena Abbey, which reappear in several other paintings. The same trees, in slightly altered forms, can also be seen in other works.

Eldena Abbey may well have had personal meaning for Friedrich, as it was destroyed during the Thirty Years War by invading Swedish troops, who later used bricks from the abbey to construct fortifications. In the painting Friedrich draws a parallel between those actions and the use of Greifswald churches as barracks by occupying French soldiers. Thus, the funeral becomes a symbol of "the burial of Germany's hopes for resurrection".

Friedrich may have begun work on The Abbey in the Oakwood in June 1809 after a stay in Rügen, Neubrandenburg. On 24 September 1810, shortly before the Berlin Academy exhibition, Carl Frederick Frommann described the setting sun and half-moon of the nearly-finished painting.

Boime, Albert (1993). Art in an age of Bonapartism, 1800-1815. Chicago: University of Chicago Press. ISBN 0-226-06336-4.

Friedrich, Caspar David: Die Briefe (2005, ed. and comm. by Herrmann Zschoche). Hamburg: ConferencePoint Verlag. ISBN 3-936406-12-X.

Börsch-Supan, Helmut & Jähnig, Karl Wilhelm, 1973: Caspar David Friedrich. Gemälde, Druckgraphik und bildmäßige Zeichnungen. Munich: Prestel Verlag. ISBN 3-7913-0053-9

Held, Heinz-Georg Held, 2003: Romantik. Cologne: Dumont. ISBN 3-8321-7601-2

Schulze Altcappenberg, H. Th., 2006: An der Wiege der Romantik, Caspar David Friedrichs Jahreszeiten von 1803. Staatliche Museen zu Berlin. ISBN 3-88609-561-4

Wolf, Norbert, 2003: Friedrich. Cologne: Taschen. ISBN 3-8228-1958-1

This article is a translation of the equivalent article on the German Wikipedia as of 21 November 2008

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The Abbey in the Oakwood ( German: Abtei im Eichwald) is an oil painting by Caspar David Friedrich. It was painted between 1809 and 1810 in Dresden and was first shown together with the painting The Monk by the Sea in the Prussian Academy of Arts exhibition of 1810.

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Landscapes were Nationalism for America because at the time they had large areas to explore.

Powerful nature on the left and comes tame as it goes to the right.

Artist painted himself in the piece painting in the middle of the painting in the foliage.

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Portrait of Napoleon on His Imperial Throne - Jean-Auguste-Dominique Ingres, 1806

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Portrait of Napoleon on His Imperial Throne - Jean-Auguste-Dominique Ingres, 1806

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Very over the top which makes it Romanticism and how exotic the piece is.

Throne is similar to the throne of the Father from the Ghent by Eyck.

Left staff is the golden scepter of Sharllamain the other is the ivory hand of justice.

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Portrait of Napoleon on His Imperial Throne - Jean-Auguste-Dominique Ingres, 1806

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Napoleon in the Pesthouse at Jaffa, March 11, 1799 - Antoine-Jean Gros, 1804

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Napoleon in the Pesthouse at Jaffa, March 11, 1799 - Antoine-Jean Gros, 1804

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Arches group people together.

Napoleon Brough Gros allons ro

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Napoleon in the Pesthouse at Jaffa, March 11, 1799 - Antoine-Jean Gros, 1804

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The Raft of the Medusa - Théodore Géricault, 1818-19

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The Raft of the Medusa - Théodore Géricault, 1818-19

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The Raft of the Medusa - Théodore Géricault

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Liberty Leading the People - Delacroix, 1830

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Liberty Leading the People - Delacroix, 1830

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The woman in the middle isn't an actual woman but a symbol of liberty.

Guy in the nightshirt - if the government knew that you sided with the revolution, they would drag you into the street and killed you in you night clothes

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Liberty Leading the People - Delacroix, 1830

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Death of Sardanapalus - Eugène Delacroix, 1827

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Death of Sardanapalus - Eugène Delacroix, 1827

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Guy said if I'm dying, then everyone is coming down with me and set the castle on fire

S curves everywhere that adds to the feeling of writhing and flames.

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Death of Sardanapalus - Eugène Delacroix, 1827

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Houses of Parliament, London - Sir Charles Barry and A. W. N. Welby Pugin, 1836

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Houses of Parliament, London - Sir Charles Barry and A. W. N. Welby Pugin, 1836

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Gothic revival in architecture

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Houses of Parliament, London - Sir Charles Barry and A. W. N. Welby Pugin, 1836

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Salt Lake Temple - Truman O. Angell, 1853-1893

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Salt Lake Temple - Truman O. Angell, 1853-1893

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Gothic towers and roman arches

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Art, Architecture and Engineering Library

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Under the Wave off Kanazawa (The Great Wave) - Hokusai, 1830-32

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Under the Wave off Kanazawa (The Great Wave) - Hokusai, 1830-32

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Under the Wave off Kanazawa (The Great Wave) - Hokusai, 1830-32

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In art, naturalistic means something looks how it does in nature, true to life. Realism, it is true to reality (true to what really happened).

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The Stone Breakers - Gustave Courbet, 1849

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The Stone Breakers - Gustave Courbet, 1849

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1 year after the call to the rights to working class. Shows the struggle of the poor

Loose and rough brushstroke which matches the tough conditions.

Even focus on all the parts of the painting and shows the weight of the work on their shoulders.

Workers represent the working class of the time. They have no names, no heroic traits, clothes are messed up.

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The Stone Breakers - Gustave Courbet, 1849

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Burial at Ornans - Gustave Courbet, 1849-50

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Burial at Ornans - Gustave Courbet, 1849-50

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Gigantic genre painting of a funeral.

Courbet tried to get into the Royal Academy using this painting. Was of Courbet's family history so the painting is a historical painting but the Royal academy didn't agree.

Dogs used to be a symbol so the Royal Academy didn't like that it was included with no symbol.

Everyday people and events was a new thing he introduced.

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Burial at Ornans - Gustave Courbet, 1849-50

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Plowing in the Nivernais: The Dressing of Vines - Rosa Bonheur, 1849

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Plowing in the Nivernais: The Dressing of Vines - Rosa Bonheur, 1849

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Oil painting

Has diagonal lines with the cows coming towards us in our view.

Was a very large painting that was normally reserved for religious and historical paintings.

Cows are the focus of the painting and was painted a year after the third French Revolution.

Very controlled brushstrokes

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Rosa Bonheur | Plowing in the Nivernais: the Dressing of the Vines (1849) | Artsy

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From Musée d’Orsay, Rosa Bonheur, Plowing in the Nivernais: the Dressing of the Vines (1849), Oil on canvas, 180 × 260 cm

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Max Schmitt in a Single Soul - Thomas Eakins, 1871

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Max Schmitt in a Single Soul - Thomas Eakins, 1871

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Meant to represent a victory of the Champion of Single Sculls but is of a practice one afternoon.

Loved sports so he added himself to the painting. Wanted his paintings to be true nature.

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Max Schmitt, Philadelphia; his wife, Mrs. Louise S. M. Nache, until 1930; Mrs. Thomas Eakins, Philadelphia, 1930-33; with Babcock Galleries, New York, 1930-31; with Milch Galleries, New York, 1934

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Thomas Eakins | The Champion Single Sculls (Max Schmitt in a Single Scull) | American | The Metropolitan Museum of Art

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Max Schmitt, Philadelphia; his wife, Mrs. Louise S. M. Nache, until 1930; Mrs. Thomas Eakins, Philadelphia, 1930-33; with Babcock Galleries, New York, 1930-31; with Milch Galleries, New York, 1934

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Was supposed to go into the first impression exhibition which was a place for artists that wasn't the Salon.

All in "ungainly" positions despite how beautiful the ballerinas look.

Dancers waiting their turn, dance master, dancer performing, mothers in the top right, and already finished dancers.

Mirror gives us a sense of the window that we cannot see that shows the city which is developing the culture of pleasure, leisure, performance

Not a self contained clear narrative, something that wasn't for the Salon. Intensely modern. Breaks compositional and narrative rules of history. Feels uncoreographed.

Empty bottom right creates asymmetry and flat plain with the hyper dimensionality of the upper left.

We are at eye level of the dance master.

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L’Orchestre de l’Opéra - Edgar Degas, 1868-69

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L’Orchestre de l’Opéra - Edgar Degas, 1868-69

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Realism

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L’Orchestre de l’Opéra - Edgar Degas | Musée d’Orsay

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everyday subjects

on-the-spot outdoor scenes

fleeting moments, impermanence

atmosphere, light, colored shadow

modern urban life, leisure activities

upper middle class/nouveau riche

times of day/year

look of ukiyo-e (Japanese print)

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Impression, Sunrise - Claude Monet, 1872

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Impression, Sunrise - Claude Monet, 1872

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Was heavily critized and said to be incomplete.

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Impression, Sunrise - Claude Monet, 1872

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The Gare Saint-Lazare: Arrival of a Train - Claude Monet, 1877

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The Gare Saint-Lazare: Arrival of a Train - Claude Monet, 1877

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Looks rather incomplete and focus on the light and atmosphere of the painting (what the painting is about).

Human figures are reduced to merely brushstrokes although recognizable.

Did 10 of these paintings

Very modern and brand-new

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The Gare Saint-Lazare: Arrival of a Train - Claude Monet, 1877

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Several different versions of it (around 30)

Was across the street in his own studio.

Loses the 3D of painting

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Wheatstack, Sun in the Mist - Claude Monet, 1891

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Wheatstack, Sun in the Mist - Claude Monet, 1891

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Impressionism

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Wheatstack, Sun in the Mist - Claude Monet, 1891

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Dance at La Moulin de la Galette - Auguste Renoir, 1876

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Dance at La Moulin de la Galette - Auguste Renoir, 1876

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Means biscuit mill

Loose brushstrokes that are soft and gentle with rich coloring.

Renoir avoided created a single focal point allowing your eyes to wander the painting.

Modern culture of leisure.

Renoir loves painting people and all of the social interactions.

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Dance at La Moulin de la Galette - Auguste Renoir, 1876

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Luncheon of the Boating Party - Auguste Renoir, 1881

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Luncheon of the Boating Party - Auguste Renoir, 1881

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One of his largest paintings.

Steps away from the city for a look into the suburbs.

Woman with the dog on the left is his wife and he has done a lot of paintings of her. Renoir knew most of the people in the painting.

While loose, the painting is very composed and has some classical elements.

Bright colors of the plants brighten up the painting compared to the darker color of their clothes and the shade.

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Luncheon of the Boating Party - Auguste Renoir, 1881

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The Child's Birth - Mary Cassatt, 1891-92

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The Child's Birth - Mary Cassatt, 1891-92

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Show this image

The Child's Bath

Date:

1893

Artist:

Mary Cassatt
American, 1844-1926

About this artwork

In this work, Mary Cassatt addressed the theme for which she is best known-women and children-while also experimenting with compositional elements of Japanese art. Cassatt saw a large exhibition of Japanese prints at the École des Beaux-Arts in Paris in 1890, and produced a series of prints influenced by their aesthetics. The Child's Bath is the culmination of her investigation of a flattened picture plane and decorative patterning. The intimate scene of everyday life also echoes the subject of many Japanese prints. In Cassatt's painting, the encircling arms and gentle touch of the mother or nurse convey an overall feeling of protection and tenderness.

Status

On View, Gallery 273

Department

Arts of the Americas

Artist

Mary Cassatt

Title

The Child's Bath

Place

France (Place depicted)

1893

Medium

Oil on canvas

Inscriptions

Signed lower left: "Mary Cassatt"

Dimensions

100.3 × 66.1 cm (39 1/2 × 26 in.)

Credit Line

Robert A. Waller Fund

Reference Number

1910.2

IIIF Manifest

https://api.artic.edu/api/v1/artworks/111442/manifest.json

Extended information about this artwork

Maud Howe Elliot, ed., Art and Handicraft in the Woman's Building of the World's Columbian Exposition (Chicago, 1893).

New York Times, Mar. 5, 1895, Supplement, 158, col. 2.

"Pictures by Mary Cassatt at Durand-Ruel," New York Times, May 18, 1895.

"In the World of Art, Cassatt at Durand-Ruel," New York Times, May 21, 1895, 13, col. 13.

Brush & Pencil, 6 (July 1900), 182, no. 183.

Sadakichi Hartman. A History of American Art, (Boston: L.C. Page and Company, 1901), vol. 2, 188, as The Toilet.

"The Cassatt Oils and Pastels at Durand-Ruel," New York Times, Nov. 6, 1903, 7, col. 1.

Wynford Dewhurst, Impressionist Painting, Its Genesis and Development (London, 1904), 75-77.

Brush and Pencil 15 (Mar.1905), 165, as The Toilet.

"Miss Cassatt's 'Triumphs of Uncomeliness,'" New York Times, Aug. 25, 1907, Section V, 8, col. 1.

Minutes Book of the Art Committee Meeting of Jan. 15, 1910, 45-46.

"Paintings by Miss Cassatt," New York Times, Mar. 6, 1910, Section III, 2, col.5.

The Bulletin of The Art Institute of Chicago 3 (1910), 61.

General Catalogue of Objects in the Museum, 287 (Art Institute of Chicago, 1910), 188.

Achille Segard, Mary Cassatt, un Peintre des Enfants et des Meres, (Paris, Librairie Ollendorff, 1913), 52.

General Catalogue of Objects in the Museum 287 (Art Institute of Chicago, 1913), 130.

Handbook of Paintings and Drawings (Art Institute of Chicago, 1920), 50, cat. 507.

Handbook of Paintings and Drawings (Art Institute of Chicago, 1922), 54, cat. 507.

Handbook of Paintings and Drawings (Art Institute of Chicago, 1923), 54, cat. 507.

Guide to Paintings of the Permanent Collection (Art Institute of Chicago, 1925), 93 (ill.).

New York Times, June 27, 1926, Section IV, 14, col. 1.

New York Times, June 16, 1927, 25, col. 3. Obituary.

Edith Valerio, Mary Cassatt, (Paris: Editions G. Cres & Cie, 1930), no. 5.

Forbes Watson, Mary Cassatt, (Whitney Museum of Art, American Artists Series, 1932. La Toilette, ill. pl. 77.

Guide to Paintings of the Permanent Collection (Art Institute of Chicago, 1932), 93 (ill.).

The Bulletin of The Art Institute of Chicago 27 (1933), 118.

Magazine of Art, 34 (June 1941), 295 (ill.).

"Paintings in the United States and the Santa Barbara Museum of Art," Apollo, 34 (Sept. 1941), 55-58.

"The Toilet," Art Digest 16 (Dec. 15, 1941), 8-9, ill. cover.

Time Magazine, Dec. 14, 1941, ill. as Mother and Child.

Pictures on Exhibit 5 (Dec. 1941), 2 (ill.), as La Toilette.

Life 12 (Jan. 19, 1942), 54-56 (ill.).

John Walker et al., Great American Paintings from Smibert to Bellows, 1729-1924, (Oxford University Press, 1943), pl. 77.

Margaret Breunig, Mary Cassatt, (Hyperion Press, 1944), 69 (ill.).

Edward Alden Jewell, French Impressionists, (Hyperion Press, Random House, 1944), pl. 89.

Emporium 101 (Jan. 1945), 33 (ill.).

Art Digest (Nov. 15, 1947).

Emporium 107 (Feb. 1948), 88 (ill.).

James Thomas Flaexner, A Short History of American Painting, (Mifflin Company, 1950), pl. 26.

The Bulletin of The Art Institute of Chicago 48 (Feb. 1954), 4-8 (ill.).

Revista de Arte 5 (Mar./Apr. 1955), 286, no. 3 (ill.).

Daniel M. Mendelowitz, A History of American Art, (Holt, Rinehart & Winston, Inc., 1960), 451, pl. 16B.

Paintings in the Art Institute of Chicago (Art Institute of Chicago, 1961), 69, no. 369.

The Pocket History of American Painting (New York, 1962), pl. 26.

American Artists, 26 (Jan. 1962), 54 (ill.).

Julia M. H. Carlson, Mary Cassatt (McKay Company, Inc., 1966), 89 (ill.).

Samuel M. Green, American Art, A Historical Survey (Ronald Press, 1966), 384 (ill.).

Frederick Sweet, Miss Mary Cassatt, Impressionist from Pennsylvania (University of Oklahoma Press, 1966), 156 (ill.).

Frederick Sweet, "Paintings and Pastels by Mary Cassatt," Museum Studies 2 (1967), 33-49, fig. 7.

Richard McLanathan, The American Tradition in the Arts (Harcourt, Brace, and World, 1968), 332 (ill.).

James Thomas Flaexner, Nineteenth Century American Painting (Putnam's Sons, 1970), 240 (ill.).

Russell Lynes, The Art Makers of Nineteenth Century America (Atheneum, 1970), 445 (ill.).

John E. Bullard, Mary Cassatt, Oils and Pastels (National Gallery of Art/Watson-Guptil Publications, 1972), pl. 16.

Donelson Hoopes, The American Impressionists (Watson-Guptil Publication, 1972), 37 (ill.).

"The Vincent Price Treasury of American Art," Country Beautiful (1972), 169 (ill.).

E. John Bullard, "An American in Paris," American Artist (Mar. 1973), 40-47.

"American Paintings at the Art Institute of Chicago, Part II: The Nineteenth Century," Magazine Antiques (Nov. 1973), 904 (ill.).

Nancy Hale, Mary Cassatt (Doubleday and Company, 1975), 192 (ill.).

Milton W. Brown, American Art to 1900 (Abrams, 1977), 569, pl. 67.

Guy Hubbard and Mary J. Rouse, Art: Choosing and Expressing (Benefic Press, 1977), 37 (ill.).

John Maxon, The Art Institute of Chicago (Thames and Hudson, 1970), 104-05 (ill.).

The Art Institute of Chicago: One Hundred Masterpieces, (Art Institute of Chicago/Rand McNally and Company, 1978), pl. 115.

Jay Roudebush, Mary Cassatt, (Crown Publishers, 1979), 49 (ill.).

Chicago Historical Society, "The Collections," Chicago History, 9, 1 (Spring 1979), 34-36 (ill.).

Pocketguide to The Art Institute of Chicago (Art Institute of Chicago, 1983), 38, no. 52.

William H. Gerdts, American Impressionism, (Abbeville Press, 1984), 43, no. 29.

Milo M. Naeve, "The Edwardian Era and Patrons of American Art at the Art Institute of Chicago: The Birth of a Tradition," America's International Exposition of Fine Arts and Antiques (Lakeside Group, 1988), 23, fig. 5.

Tom Armstrong, "The New Field-McCormick Galleries in the Art Institute of Chicago," Magazine Antiques 134, 4 (Oct. 1988), 822-35, pl. XIV.

Master Paintings in The Art Institute of Chicago (Little, Brown, and Company, 1988) p. 99 (ill.).

Lita Solis-Cohen, "Chicago Shows Off-Tastefully," Maine Antique Digest (Dec. 1988), 12B-15B (ill.).

"Tempo Women," Chicago Tribune, Sec. 6C, Apr. 21, 1991, 7 (ill.).

Mahonri Sharp-Young, American Realists, Homer to Hopper (Watson-Guptill, 1977), n.pag. (ill.).

Judith A. Barter et al., American Arts at The Art Institute of Chicago: From Colonial Times to World War I (Art Institute of Chicago, 1998), 262-65, no. 1893.

Judith A. Barter et al., The Age of American Impressionism: Masterpieces from the Art Institute of Chicago (Chicago: Art Institute of Chicago/Yale University Press, 2011), no. 24.

Thomas J. Bussey, "What Can Biochemistry Students Learn About Protein Translation? Using Variation Theory to Explore the Space of Learning Created by Some Common External Representations" (PH. D. diss., University of Nevada Las Vegas, 2013)., 9-10, fig. 5.

Ken Johnson, "Paul Durand-Ruel, the Paris Dealer Who Put Impressionism on the Map," New York Times, July 22, 2015 (ill.).

Paintings at the Art Institute of Chicago: Highlights of the Collection (Chicago: Art Institute of Chicago/Yale University Press, 2017) p. 78.

Judith A. Barter, "Prolog: Ein neue Welt der Kunst," in Es war einmal in Amerika - 300 Jahre US-amerikanische Kunst [Once Upon a Time in America: Three Centuries of American Art], eds. Barbara Schaefer and Anita Hachmann (Cologne: Wallraf-Richartz-Museum & Fondation Corboud/Wienand Verlag, 2018), 21, fig. 6 (ill.).

Paris, Galeries Durand-Ruel, Exposition de Tableaux, Pastels et Gravures de Mary Cassatt, Nov-Dec. 1893, cat. 1, as La Toilette de l'Enfant.

New York City, Durand-Ruel Galleries, Exposition of Paintings, Pastels and Etchings by Miss Mary Cassatt, Apr. 16-30, 1895, cat. 21, as La Toilette.

Philadelphia, Pennsylvania Academy of the Fine Arts, Sixty-Seventh Annual Exhibition, Jan. 10-Feb. 22, 1898, cat. 62, as The Toilet, lent by Messrs. Durand-Ruel and Sons.

Cincinnati Museum Association, Seventh Annual Exhibition of American Art in the Art Museum, May 19-July 9, 1900, cat. 13, as La Toilette, lent by M. Durand-Ruel, New York.

New York City, Durand-Ruel Galleries, Exhibition of Paintings and Pastels by Mary Cassatt, Nov. 5-21, 1903, cat. 6, as La Toilette.

Minneapolis Institute of Arts, Inaugural Exhibition, Jan. 7-Feb. 7, 1915, cat. 151, as The Toilet.

Art Institute of Chicago, Memorial Collection of the Works of Mary Cassatt, Dec. 21, 1926-Jan. 24, 1927, cat. 29, as The Toilet.

Pittsburgh, Carnegie Institute, A Memorial Exhibition of the Work of Mary Cassatt, Mar. 15-Apr. 15, 1928, cat. 38 or 39, as The Toilet.

Art Institute of Chicago, A Survey of American Art, July 21-Oct. 9, 1932, as La Toilette.

Cleveland Museum of Art, Ohio, Exhibition of American Painting from 1860 until Today, June 23-Oct. 4, 1937, cat. 27, as The Toilet.

Brooklyn Museum, Leaders of American Impressionism: Mary Cassatt, Childe Hassam, John H. Twachtman, J. Alden Weir, Oct. 1937, cat. 22, as La Toilette.

New York City, Museum of Modern Art, Art in Our Time, May 1-Sept. 25, 1939, cat. 48, as The Toilet.

Santa Barbara Museum of Art, California, Painting Today and Yesterday in the United States, June 5-Sept. 1, 1941, cat. 23, as La Toilette.

Baltimore Museum of Art, Mary Cassatt, Nov. 28, 1941-Jan. 11, 1942, cat. 25, as The Toilet.

New York City, Wildenstein Company, Oct. 29-Dec. 6, 1947, A Loan Exhibition of Mary Cassatt for the Benefit of the Goddard Neighborhood Center, cat. 25, p. 32, as The Toilet.

Des Moines Art Center, Jun-Jul, 1948, Nineteenth and Twentieth Century European and American Art, cat. 16, as La Toilette.

Springfield, Mass., Museum of Fine Arts, Fifteen Fine Paintings, Oct. 7-Nov. 7, 1948, no cat., as La Toilette.

New York City, Wildenstein and Company, Landmarks in American Art, 1670-1950, Feb. 26-Mar. 28, 1953, cat. 38, as La Toilette.

Art Institute of Chicago, Sargent, Whistler and Mary Cassatt, Jan. 14-Feb. 25, 1954, cat. 19, as The Bath.

Philadelphia, Pennsylvania Academy of the Fine Arts, The One Hundred and Fiftieth Anniversary Exhibition, Apr. 22-May 3, 1956, cat. 119, as The Bath.

Milwaukee, Brooks Memorial Union, Marquette University, Seventy-Fifth Anniversary Exhibition, Festival of the American Arts, Apr. 22-May 3, cat. 12, as The Bath.

Detroit Institute of Arts, Painting in America, The Story of 450 Years, Apr. 23-June 9, 1957, cat. 122, as The Bath.

New York City, M. Knoedler and Company, The Paintings of Mary Cassatt, Feb. 1-26, 1966, cat. 21, as The Bath.

New York City, Whitney Museum of American Art, Art of the United States: 1670-1966, Sept. 28-Nov. 27, 1966, cat. 39, as The Bath.

Omaha, Joslyn Art Museum, Mary Cassatt Among the Impressionists, Apr. 10-June 1, 1978, cat. 4, as The Bath (La Toilette).

New York City, Metropolitan Museum of Art, Nineteenth-Century America: Paintings and Sculpture, Apr. 16-Sept. 7, 1970, cat. 169, as La Toilette.

Washington, DC, National Gallery of Art, Mary Cassatt, 1844-1926, Sept. 27-Nov. 8, 1970, cat. 49, as The Bath.

Newport Beach, Newport Harbor Art Museum, Mary Cassatt 1844-1926, Dec. 12, 1973-Jan. 20, 1974, cat. 7, ill., as The Bath.

Museum of Fine Arts, Boston, Mary Cassatt at Home, Aug. 5-Sept. 24, 1978, cat. 19, as The Bath.

Museum of Fine Arts, Boston, A New World, Masterpieces of American Painting, 1790-1910, Sept. 7-Nov. 13, 1983, cat. 94; Washington, DC, Corcoran Art Gallery, Dec. 7, 1983-Feb. 12, 1984, Paris, Grand Palais, Mar. 16, 1984-June 11, 1984.

Fort Worth, Amon Carter Museum, American Painters of Modern Life, Aug. 22-Oct. 30, 1994; New York City, Metropolitan Museum of Art, May 2-July 24, 1994, Denver Art Museum, Nov. 28, 1994-Feb. 5, 1995, Los Angeles County Museum of Art, Mar. 6-May 14, 1995.

Omaha, Joslyn Art Museum, On View to the World: Paintings at the Trans-Mississippi Exposition, May 30-Sept. 6, 1998.

Art Institute of Chicago, Mary Cassatt: Modern Woman, Oct. 13, 1998-Jan. 10, 1999, cat. 72; Museum of Fine Arts, Boston, Feb. 14-May 9, 1999, National Gallery, Washington DC, June 6-Sept. 6, 1999.

Metropolitan Museum of Art, American Stories: Paintings of Everyday Life, 1765-1915, Oct. 12, 2009-Jan. 24, 2010; Los Angeles County Museum of Art, Feb. 28-May 23, 2010.

Paris, Musee d'Orsay, Paul Durand-Ruel: Defender of the Impressionists, Oct. 15, 2014-Feb. 8, 2015; London, National Gallery, Mar. 4-May 31, 2015; Philadelphia Museum of Art, June 18-Sept. 13, 2015, cat. 4.

The artist; sold to Durand-Ruel, Paris, November 24, 1893 [Paris 2015]; sold to Harris Whittemore, CT, January 17, 1894 [Paris 2015]; sold by him back to Durand-Ruel, New York, February 4, 1899 [Paris 2015]; sold to the Art Institute of Chicago, 1910.

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The Child's Bath | The Art Institute of Chicago

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Morisot focused a lot on women and their feminism.

Very pastel and warm colors and strives to show a woman's everyday life.

Innocence shown through the veil alongside purity.

Very loose brushstrokes with some tight brushstrokes.

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No solid shapes but blocks of colors, painting of everyday life, loose brushstrokes, boat is cut off in similar fashion to Japanese, is painted outside, fleeting moment in time.

Looser brushstrokes than most

Usually painted women the most and of a certain class so that they had time for leisure.

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Started by 3 students at the London Royal Academy: William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti.

Did not focus on Raphael (what the academy wants) but focused on before Early Renaissance and Gothic Art.

Wanted to depict "truth" (same time the Church was restored (Joseph Smith))

liked detail and symbolism.

subject matter was old literature - Bible, Shakespeare, Arthurian legends

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The Awakening Conscience - William Holman Hunt, 1853-54

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The Awakening Conscience - William Holman Hunt, 1853-54

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Woman with her lover

Man played a song from her childhood that she gets excited hearing, remember what it used to be like.

Waking up from sin and redemption and repentance.

Symbol of him carefully dropped his glove to represent how he could drop her.

New furniture represent how she is a mistress.

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The Awakening Conscience - William Holman Hunt, 1853-54

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Christ in the Carpenter's Shop - John Everett Millais, 1849-50

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Christ in the Carpenter's Shop - John Everett Millais, 1849-50

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Made on a light background which was rather new for depictions of the Holy Family. People are Joseph, Mary, Jesus, Anne (Mary's mother), and John the Baptist. Subtle references of his crucifixion like the blood on his foot, single red flower, lambs in the back, oil lamp, and the nails on the table.

John carries a bowl to represent baptism.

Christ for once is not the center point.

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Christ in the Carpenter's Shop - John Everett Millais, 1849-50

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Green Dining Room - William Morris (Morris & Co.), 1867

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Green Dining Room - William Morris (Morris & Co.), 1867

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rooms done by a company to try and make people's lives better but they were never made an affordable price

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Smarthistory – William Morris, The Green Dining Room

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The Green Dining Room’s harmonious color-scheme, craftsmanship, and medieval vibe shows Morris’s design style at its finest.

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A Sunday on La Grande Jatte - Georges Seurat, 1884

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A Sunday on La Grande Jatte - Georges Seurat, 1884

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Tried to make the scene illuminated and applied the science of color to it.

Optical mixture - adding colors next to each other and allowing light to mix them making a different color.

Leisure, outside, and wanted to bring in timelessness, composed and not simultaneously, classical

Has an illusion of space

No clear narrative

Made up of a whole bunch of different sketches that he made.

Divisionism or pointillism or neo impressionism is the little dots he uses to make up his painting

Solid figures - modern classical look

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A Sunday on La Grande Jatte - Georges Seurat, 1884

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Indoor painting with effects of artificial light (acidic).

Wanted to show the depressing scene of people who need to go home.

Complementary colors to give us a jarring feeling.

The floor is very tilted to cause an off feeling. Like the table will just slide across the floor.

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The large figure on the side is a Cyprus Tree that we can't see the bottom of so we believe it is close to us.

Looking down into a valley to see a humble but embraced village.

Brushstrokes have a lot of energy and dynamism.

Moon elites a pulsing light alongside the stars that contrasts with the calmness of the village.

Thinks of complimentary colors while going into his landscape.

Abstraction of form of what he can see that requires bravery.

Gogh struggled with mental health so he was in an asylum when he painted the Starry Night.

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Vision after the Sermon - Paul Gauguin, 1888

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Vision after the Sermon - Paul Gauguin, 1888

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Jacob is wrestling with an angel.

Is not a mirror of reality unlike what art is typically like.

There is not a lot of shadows to become abstract and refuse to be realistic.

Peasant Women in traditional headdresses are in the foreground with eyes closed.

It is about people having a spiritual experience.

Was originally a "Sunday painter" who is someone who paints for his or her own enjoyment

Similar to a Japanese Painting

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Vision after the Sermon - Paul Gauguin, 1888

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The Basket of Apples - Paul Cézanne, 1893

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The Basket of Apples - Paul Cézanne, 1893

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Still-life in David's Neoclassical Era was considered the least important in the hierarchy of painting subjects.

The fact that it was so neglected though attracted Cézanne to it though.

Cézanne would almost single-handedly revive the subject of still-life.

There is an odd stepping in a line at the back of the table that should be (or we expect to be) straight. The table also seems to be steeply tipped to the left and bottle looks tipsy. This was purposeful.

Argues against linear perspective due to illusionism.

Cézanne's concern was representing the true experience of human sight.

The painting is expressing multiple perspectives.

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The Basket of Apples - Paul Cézanne, 1893

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Mont Sainte-Victoire - Paul Cézanne, 1885-87

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Mont Sainte-Victoire - Paul Cézanne, 1885-87

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Japanese style.

The way the tree curves around the mountain makes them seem on the same plane/space. Causing the tree to be bigger than the mountain. Another addition to this is the outline of the mountain instead of fading into the distance.

Same brushwork in the tree and in the clouds in the sky.

Post-Impressionism: Closing off the background from us

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Mont Sainte-Victoire - Paul Cézanne, 1885-87

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Mont Sainte-Victoire - Paul Cézanne, 1902-04

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Mont Sainte-Victoire - Paul Cézanne, 1902-04

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Cézanne likes to paint the mountain called Mont Sainte-Victoire.

The Painting feels unfinished as we can see the canvas underneath and everything is not fully made.

People used to be concern of space but Cézanne puts forward that it is 2D.

People used to be worried of high finish which is you can barely tell the brushstrokes are there but Cézanne makes them obvious.

Important for Cubism

Breaks contour and form

denies illusionism

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Mont Sainte-Victoire - Paul Cézanne, 1902-04

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Mont Sainte-Victoire Seen from Bibemus Quarry - Paul Cézanne, 1897-1900

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Mont Sainte-Victoire Seen from Bibemus Quarry - Paul Cézanne, 1897-1900

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Flattened his painting even more than it looks like a curtain of paint. (Makes us aware that this is paint on a canvas).

Nothing that allows to gradually go back into the foreground. Space is completely compressed.

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In the earlier pictures of Mont Sainte-Victoire, the mountain was seen at a considerable distance, and its place in the broad panorama gave it a greater repose. Here, Cézanne comes closer to the peak; but it is even more inaccessible than before. Instead of suspending the observer above the valley, he places between him and the main object an abyss, the quarry across whose void he views the opposite rocks and the rising peak. In this process, the landscape itself has become dramatic, filled with striving, titanic energies; but these are outside the spectator's realm, beyond approach. The mountain, like a heroic sculpture, is set on a gigantic pedestal of rock enclosed by trees. One side rises in a sheer unbroken slope, the other, a strangely animated line, changes its course in several abrupt breaks. For the first time we see the peak as a personal object with a distinct profile, or with two sides, like a human face. It has lost the old classic symmetry and has become a complex, dynamic form. At the same time, its elevation, its strained upward movement, is more pronounced because of its position in space - close to the upper edge of the canvas and directly above the vertical walls of the quarry. There is no broad horizontal plane, no immense platform of earth, to tranquillize the natural pyramid, but a deep vertical cleft at its convex base, splitting the quarry wall in two and marked by unstable, tilted trunks, adds to the restless effect in this setting of great pressures and heat.

The taste for the vertical plane, which we have observed in the Louvre still life as typical for the late style, is realized in this landscape with a grandiose force, but with another expressive sense. The mountain is as distinct as the nearest objects, even more distinct if we compare its drawn outline with the vaguer (sometimes vanishing) silhouettes of the trees below. As we move from the foreground to the distance, the objects become larger, as in a primitive emotional perspective. The great mass of the tree at the upper right seems to belong to the same region of space as the mountain, and only when we follow the wavy line of its trunk along the edge of the canvas do we recognize its true place in the foreground. Very similar greens occur in the foreground and distance, uniting their far-separated planes in a common scheme of accents. The strongest contrasting chord, the orange rocks and blue sky, also binds the most distant space and the nearest. A scale of lavender, rose, and purple tones extends across the same depth. As in the still lifes, this closer view is associated with a greater intensity of sensation. There are few landscapes before Cézanne in which orange and blue are applied in such large, luminous contrast.

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Mont Sainte-Victoire seen from the Bibemus Quarry, 1897

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In the earlier pictures of Mont Sainte-Victoire, the mountain was seen at a considerable distance, and its place in the broad panorama gave it a greater repose. Here, Cézanne comes closer to the peak; but it is even more inaccessible than before.

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At the Moulin Rouge - Henri de Toulouse-Lautrec, 1892

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At the Moulin Rouge - Henri de Toulouse-Lautrec, 1892

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If it wasn't for the close, you could mistake this place as an actual city in the early, dark hours.

Is the short figure in the background walking with the super tall man.

We are divided from the group by the bar and we are pulled in by the people at the table who are showing of an interesting conversation.

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At the Moulin Rouge - Henri de Toulouse-Lautrec, 1892