art 223 final

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  1. Figure 24-7, GIANLORENZO BERNINI, David, 1623.
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  2.  Figure 25-14, REMBRANDT VAN RIJN, Return of the Prodigal Son, 1665.
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  3.  Figure 26-26, REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children, 1649.
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  4.  Figure 25-30, HYACINTHE RIGAUD, Louis XIV, 1701.
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  5.  Figure 25-32, Aerial view of Versailles, France, begun 1669.
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  6.  Figure 29-1, JEAN-HONORE FRAGONARD, The Swing, 1766.
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  7.  Figure 29-6, ANTOINE WATTEAU, Pilgrimage to Cythera, 1717.
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  8.  Figure 29-15, WILLIAM HOGARTH, Breakfast Scene, from the Marriage a la Mode, 1745.
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  9.  Figure 29-23, JACQUES-LOUIS DAVID, Oath of the Horatii, 1784.
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  10.  Figure 29-28, THOMAS JEFFERSON, Monticello, Charlottesville, Virginia, 1770-1806.
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  11.  Figure 29-29, THOMAS JEFFERSON, Rotunda and Lawn, University of Virginia, Charlottesville, Virginia, 1819-1826.
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  12.  Figure 30-8, JEAN-AUGUSTE-DOMINIQUE, Grande Odalisque, 1814.
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  13.  Figure 30-13, FRANCISCO GOYA, Third of May, 1808, 1814-15.
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  14.  Figure 30-15, THEODORE GERICAULT, Raft of Medusa, 1818-19.
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  15.  Figure 30-27, GUSTAVE COURBET, The Stone Breakers, 1849.
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  16.  Figure 30-28, GUSTAVE COURBET, Burial at Ornans, 1849.
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  17.  Figure 30-33, EDOURD MANET, Luncheon on the Grass, 1863.
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  18.  Figure 30-39, JOHN SINGER SARGENT, The Daughters of Edward Darby Boit, 1882.
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  19.  Figure 31-2, CLAUDE MONET, Impression: Sunrise, 1872.
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  20.  Figure 31-9, EDOUARD MANET, Bar at Folies-Bergere, 1882.
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  21.  Figure 31-10, EDGAR DEGAS, Ballet Rehearsal, 1874.
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  22.  Figure 31-15, GEORGE SEURAT, A Sunday on La Grande Jatte, 1884-86.
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  23.  Figure 31-17, VINCENT VAN GOGH, Starry Night, 1889.
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  24.  Figure 31-18, PAUL GAUGUIN, Jacob Wrestling with the Angel, 1888.
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  25.  Figure 31-27, EDVARD MUNCH, The Scream, 1893.
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  26.  Figure 35-3, HENRI MATISSE, Red Room (Harmony in Red), 1908-09.
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  27.  Figure 35-12, PABLO PICASSO, Les Demoiselles d’Avignon, 1907.
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  28.  Figure 35-27, MARCEL DUCHAMP, Fountain, 1950 (original version produced 1917).
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  29.  Figure 35-41, PABLO PICASSO, Guernica, 1937.
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  30. Figure 35-68, DIEGO RIVERA, Ancient Mexico, 1929-35.
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  31.  Figure 36-5, JACKSON POLLOCK, Number 1, 1950.
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  32.  Figure 36-25, ANDY WARHOL, Marilyn, 1962.
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  33.  Figure 36-73, CHRISTO AND JEANNE-CLAUDE, Surrounded Islands, Florida, 1980
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  34. 1. Analyze WILLIAM HOGARTH’S, Breakfast Scene, from Marriage à la Mode (Modern Marriage), 1745 (Figure 29-15). How does Hogarth capture the spirit of the Rococo in this infamous painting of a ―modern‖ European family (Chapter 29)?
    • Rococo period is characterized by an opulence, grace, playfulness, and lightness.
    • Rococo motifs (a repeated idea, pattern, image, or theme) focused on the carefree aristocratic life and on lighthearted romance rather than heroic battles or religious figures; they also revolve heavily around nature and exterior settings.

  35. 2. How does ANTOINE WATTEAU’S Pilgrimage to Cythera, 1717 (Figure 29-6), capture the essence of the classical past? What was Watteau trying to achieve with this painting?
    • depict the outdoor amusements of French upper-class society. The haze of color, subtly modeled shapes, gliding
    • motion, and air of suave gentility match Rococo taste.
    • mythology story of cythera being the birth place of venus and these couples are going to there.
    • -WATTEAU’S captures the classical past in Pilgrimage to Cythera, with the brighter colors and attention to physical form, space, and perspective. Although it is more abstract it has a hint of classical...(examples)
    • -Watteau was trying the life styles of these aristocrats. Rather than be prestige and maintained they just sleep around with each other. This photo captures that as it seems that they are in the island of love...(examples)
  36. 3. Analyze FRANCOIS BOUCHER’S Madame de Pompadour, 1750 (below). What does this portrait represent? Who was Madame Pompadour?
    -Madame de Pompadour represents many things but the generally her she represents nature. She is comparable to the Mona Lisa with the looks of that gaze, sophistication, and class. Just like a geisha she represents everything that should be refined as she is knowledgeable in her culture. Also like Darwinism she represents the peahen who is looking for a suitable mate that is the best of the best. For example, she left her husband for Louis the XV.

    -Jeanne Antoinette Poisson was a member of the French court and was the official chief mistress of Louis XV from 1745 to her death. Before Louis cam along she was married and had a child but that changed when she saw a opportunity to get ahead in life. She left her husband and sent her daughter away to be the official mistress of Louis XV. Thus gaining her titles of nobility .
  37. 4. Scholars have compared JACQUES-LOUIS DAVID’S, The Death of Marat, 1793 (Figure 29-24 – below) with images of Christ - most notably that of MICHELANGELO BUONARROTI’S, Pieta, 1498-1500 (below – right, detail). What is your understanding of David’s painting? Is he attempting to replace Christian figures with politicians/ revolutionaries?
    I understand that Davids painting is of his friend that was murdered because of rivals. I don't understand the story that much but I do know that man was a writer/ journalist so that is why there is a paper and pen near him. I know the revolution that was occurring at this time which was a time of a lot of violence and murder. The letter must be a important message as it it faced towards the audience that way we can read it. I guess David used this in his favor to inform the people at the time the wrong doing the rival did as he friend was sacrificed for the greater good at the time.

    -I dont believe he is getting rid of them, just showing the sacrifice of what his friend did. Although it does resemble jesus with the form  Marat takes. examples...((same form as jesus, light direction? holy?)))
  38. 5. Neo-classical art – with its crisp, clean lines - appealed to many political leaders in the United States (Chapter 29). Compare GILBERT STUART’S neo-classical portrait of George Washington - Lansdowne, 1796 (below - right) with HORATIO GREENOUGH’S, George Washington, 1840 (below - left). Do you detect any differences between these two portraits? If so, what?
    This a case of man vs god.
  39. 6. As a U.S. ambassador in France, Thomas Jefferson developed a taste for classical art (the art of ancient Greece and Rome). He brought back many of these influences to the United States with him. Example: THOMAS JEFFERSON, Rotunda and Lawn, University of Virginia, Charlottesville, Virginia, 1819-1826 (below - bottom, Figure 29-29). Jefferson claimed that the building represented the ―authority of nature and power of reason‖. Compare Jefferson’s Rotunda with the classical Roman Pantheon, Italy, 118-125 (below-top). Do you detect any commonalities between these two buildings? What might these buildings symbolize?
  40. 7. What is Romanticism’s view of the sublime (nature)? And how does this view appear in the work of ALBERT BIERSTADT’S, Among the Sierra Nevada Mountains, California, 1868 (Figure 30-25), and JOSEPH MALLORD WILLIAM TURNER’S The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On), 1840 (Figure 30-23, Chapter 30)?
    • - It means that it transports you into another state that is felt by your subconscious rather than conscious mind
    • - you can see this my the enormous space nature takes in the piece compared to the scale of yourself.It relates to how people feel small and scarred to how big nature is and you feel swallowed up by it.
    • .... examples of animals and ppl. colors too
  41. 8. Analyze JEAN-AUGUSTE-DOMINIQUE INGRES’ Apotheosis of Homer, 1827 (below). Do you detect any commonalities (by way of themes) between this painting and the documentary on Ray Kurzweil – Transcendent Man? If so, what (Hint: what does apotheosis mean)?
    slightly, the birth of man evolving
  42. 9. How does GUSTAVE COURBET’S understanding of nature appear in The Artist's Studio: A Real Allegory of a Seven Year Phase in my Artistic and Moral Life, 1854-55 (below)? What is Courbet attempting to do with this painting?
    • Courbet's understanding of nature appears in the piece by
    • -the artist painting nature (also ignoring a christ figurine in front of him)
  43. 10. How does GUSTAVE COURBET declare independence from the Academy (not to mention history and religion) with the Burial at Ornans, 1849 (Figure 30-28, Chapter 30)?
    • glorify the lower working class 
    • brush strokes
  44. 11. Analyze EDOUARD MANET’S Luncheon on the Grass, 1863 (Figure 30-33). Why did this painting strike such a negative cord in Parisian society (so much so that people actually attacked the painting - Chapter 30)?
    • naked lady
    • Manet made a statement to society saying that this picture resembles you. Because many were were sleeping around with prostitutes and claiming to be high and prestige but in reality they are hypocrites.
  45. 12. What is your understanding of VINCENT VAN GOGH’S Potato Eaters, 1885 (below)? Why do some scholars consider this to be a secular version of the Last Supper?
    real portal of people because they are not edited to look pretty. they look poor with the food that they are eating and the roughness o that their hand display from working.

    - maybe scholars consider this piece to be secular to the last supper because the last supper had simple food just like the painting and they were average people eating. Also the man in the back seems to be passing a piece of his food the the woman next to him, sort of a reminder of the bread jesus broke and shared at the last supper.
  46. 13. Impressionism is interested in capturing objective representations of the natural world (an empirical approach). Post-Impressionism, on the other hand, is interested in a subjective representation (expressing feelings and emotions). Compare CLAUDE MONET’S Impression Sunrise, 1872 (example of Impressionism; below - top) with PAUL GAUGUIN’S, Where Do We Come From? What Are We? Where Are We Going? 1897 (example of Post-Impressionism; below – bottom).
    The Post-Impressionists rejected Impressionism’s concern with the spontaneous and naturalistic rendering of light and color.Post-Impressionists also believed that color could be independent from form and composition as an emotional and aesthetic bearer of meaning.

     They painted contemporary landscapes and scenes of modern life, especially of bourgeois leisure and recreation, instead of drawing on past art or historical and mythological narrative for their inspiration. Interested in capturing transitory moments, the Impressionists paid attention to the fleeting effect of light, atmosphere and movement.
  47. 14. Analyze the work of MARCEL DUCHAMP. Why do some scholars consider him to be the doorway to Post-Modernism (Chapter 35)?

    Duchamp undermined the foundations of Modernism: eliminating the independent and inventive artist who “made” unique “objects,” and subverted the doxa of “original” art made by a sanctified “creator.” His ideas were not understood in their own time and were mi-translated in the Postmodern period, but he predicted the unraveling of a system of art based upon the impossible and imaginary edifice of art elevated above the real world, floating pure and free of the market and financial interest. Whether one argues that Duchamp “fathered” postmodernism because he laid the groundwork for the revolt against Modernism or because his once-alien ideas fell on ground fertilized by Fluxus and other post-war impulses, it can be said today that Duchamp’s greatest success was in drawing the line between representation and concept.
  48. 15. How does the following painting by ARSHILE GORKY (Artist and His Mother, 1929-36 - below) exemplify Abstract Expressionism? What was Gorky trying to convey with this image?
    • Expressionist art tried to convey emotion and meaning rather than reality.
    • color, abstraction, 

    • This painting is testimony to how much the Genocide anguished him. Very sad painting
    •  perhaps believing that to finish either work would be to acknowledge that his beloved mother was gone forever.(hands being covered)
  49. III. EPIC OF GILGAMESH1. What was the significance of Enkidu’s relationship with animal, and how does this symbolize his innocence?
    Enkinu’s relationship with the animals is very special as they view him similarly to a child. This is a symbol of his innocence because like a child is harmless since they have no knowledge to corrupt them.
  50. 2. Why do the animals reject Enkidu once he has slept with the temple harlot? What does the harlot represent?
    They reject Enkidu as they don’t see him as one of them. The harlot is the gasha/ eve who corrupts adam with knowledge.
  51. 3. Why did Gilgamesh develop a disdain towards women (and civilization/modernity in general) after befriending Enkidu - even going to so far as to reject Ishtar -Venus?
    • I feel that Gilgamesh loved Enkidu, wither it was friendship or a love relationship they were close and kept eachother tamed.
    • Gilgamesh is reminded of his innocense withing Enkidu.
  52. 4. Why did Gilgamesh decide to steal the trees from a cedar forest (forbidden to mortals) in order to make a raft? What does this act symbolize?
    Gilgamesh steals the trees because they belong to god and if he can take something that belongs to the them away then he can be closer to being one of them/ god like. This symbolizes the adam and eve story as eve took the forbidden fruit as Gilgamesh took the forbidden trees.
  53. 5. Why does Siduri (a veiled tavern keeper, perhaps Ishtar/Venus) tell Gilgamesh to be satisfied with this world and all its pleasures? What does she stand to gain?
    • She says a humans life eventuallys has to end, therefore you should not worry because it is up to the gods. 
    • She stands to gain if he stops worshiping the material world then they lose power.
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art 223 final
2014-06-05 19:14:01
art history
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