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Martini, Salon of 1787, 1787-infleunces all art production from there on, art academy gives prizes and trains art students, children frequent in addition to elite circle, which helped shaped future generations of artists. Supports certain genres and subjects, with religious/important paintings held on top. Category’s of importance: history, portrait, landscape ,stillife
Gaubert, Portrait of a Painter of the Royal Academy of Painting, 1709- author was an elitist academy member. Wig indicates nobility, extreme white collar indicates nobility, fabric associates himself with ancient royalty.
Watteau, Embarkation for Cythera, 1718- No clear symbols for trace or myths. Greenry indicates a landscape. However, too much going on and given the people, it's not a still life. Cheerful subject matter suggests Rococo. Cythera in ancient Rome was believed to be the birthplace of Venus, and thus became a place to love. Two pairs standing up with another family heading to the ship, with no single unity. Pleasure parties very popular with the upper middle class. Thus, the gerne is new, which often takes place in nature.
Chardin, The Silver Tureen, 1728 to 30- Establishes himself as a gifted stillife painter and shows internal difference between figures in stilllife. Thus, this shows a momentum in time rather than somerhing static and stable.
Chardin, The Benediction, 1740- Clean, uncluttered, and harmoniously designed. Easy to look at due to the people at sightline. Like most of his types of paintings, shows family life. In this case, a women is teaching children to pray. Appeal to owning fairly modest stuff: This is what he wanted the rich wanted the middle class to be like and wanted a world of virtue.
Boucher, Modiste, 1746- Opposite of Chardin and has excess decoration and pretty, with women offering another women color choices. Done by #1 painting to the king, not felt a worthy subject by enlightment. Feels art should be sensible, but this is in contrasts of enlightment values and thus does not keep sense of order and structure.
Greuze, Broken Eggs, 1756- Louis XV buys it. Appeals to elite patrons that tried to align with the 3rd estate. Expressions on faces more dramatic. Gestures more dramatic. Sense of emotion. By eyes and clothes, it is clear someone has gone wrong. Author aims to give art morals. Author was a bit of a surprise outside, succeeding due to his talent. Shows contrast with values of art critics, middle class, and elite. Egg broke and eyes suggest emotion. Mother furious, girl depressed. Home modest. Eggs represent virginity. Mother accusing father of being response to broken egg. Young baby boy trying to repair an egg (or trying to bring family back together). However, this task is tough, showing the impossibility of bringing it back.
Boucher, Jupiter, in the Guise of Diana, and Callisto, 1763- Opposite of sense of irreversibility, Rocco painting, Pleasure, Celebration of artists and decertation, Ornamental, Delegate, and described as very feminine.
Greuze, The Village Bride, 1761- Contrast being contract and father’s hand is the center. Women looks virtueless based on curved body and white dress. Her sister weeping on her shoulder. Women barely touching his hand. Downcast eyes indicates that thing aren't exactly perfect. Shows domestic social life in lower middle class. Very organized, with half women and half men. Vibrant setting. This genre painting functioning like a history painting due to larger canvas and subject of virtue and emotion. This was well liked by the general public. Broom based on fighting clothes shows his wealthy, business class. During this time, urbanization caused new political pressures and changes.
David, Belisarius Begging for Alms, 1781- Old man looks like he's struggling to hang on. By title, seems to be asking for money. Very successful military guy but he was banished due to fears of treason. Background column represents gradulness. Thus, painting advocates for enlightment values of more religious tolerance and merit based systems. This sort of painting is neo classism, with flatness and classical orders. History genre but classical subject matter.
David, Oath of the Horaiti, 1784- Very geometric, Very memorable, Vivid, Women are grieving in contrast to the strong, rigid men, Clear, masculine, assertive paintings. Triplets here trying to determine the outcome of a war. Very patriotic since the author was taking a painting of Rome – which was a Republic with the French Revolution around the corner. Thus, the painting is a revolutionary painting.
David, The Lictors Bring Brutus the Bodies of his Dons, 1789- Story of death over his son. Brutus looks grieving due to his son's death since he overthrew a king but plan backfires as his son is killed. Thus, this shows how difficult it is to overflow the government. Women are also sad, but they feel it'll be good for Rome overall.
Delacriox, Death of Sardanapalus, 1827- King commits suicide in his palace. Then the author thinks he burns everything he owned. Rising bodies intended to create drama. Progression of color from red to white creates tension. Force of event creates images of violence, especially evident on the left side of the painting. Suppose to bring about fear and terror. Unlike Oath of Hariti, there are disorganized bodies with no moral certainty compared to the calm and patriotic Oath of Hariti.
Gericault, The Raft of the Medusa, 1819- Romantic history patting that shows contemplatory Historical evident. Scandalous. Morbid and politicized subject unlike say Brutus. Nudes speak to classical tradition. Composition is a pyramid. Waiting on a ship but it captures the idea that you are part of the seen. Story about class because it is trying to show that the lower class needs to be rescued. On the raft, people were basically let to starve. Painting shows that is uncertain who is dead and alive. Violence is hidden and rather the aftermath is evident. Closeness and confusion of bodies creates uncertainty. Thus, he doesn't argue that there are winners and losers, just that everyone collectively is suffering. Eating humans is basically a metaphor here created by the closeness of the bodies.
Goya, Third of May, 1808, 1814 or 1815- Used to show the allegiance toward Spain since scene is a massacre in which Spanish citizens rose up to defy the French. The French respond by executing Spanish citizens. Celebrated for Spanish Christian tradition evident by arms being stretched out. However, this painting also represents an everyday setting. Eyebrows represent sadness rather than terror. Painting is romantic since it represents the dark side of nature rather than the dark nature of life. He is criticizing the way nations go out war but is also accepting the sstem.
Courbet, Stonebreaks, 1850- Portrayed ordinary ppl form his native region in a history painting. Seen as an anti authoritarian government threat. Two men working hard. Then there is a young man trying to learn, showing that works is not getting easier. Dehumanizing the people since the faces are not visible. Trying to show humans are exhausted and hidden behind the elite. Rough style. By brown colors, mood is sad. Workers have no face since they're basically ordinary machines with no rights. Realism artists have a passion for ugliness to avoid idealizing the contemporary world. Life doesn't change much under society then.
Courbet, Burial of Ornans, 1849- Clearly a history painting by size but also an ordinary, humble subject. Funeral. Multi figure. Paints normal folks add to magnitude of history paintings, indicating to him they should be more important than 1700s history paintings. Focus is unclear since we don't know who the is dying. Once again a major act of rebellion. Some sort of universal exhibition. Wants to paint life in front of him. Unlike David, he is showing iliegible narratives even if both favor truth telling. Shows what painting of 1850 should be, with a sense of emotionless. Ritual without feeling. People are bored and distracted, even the priest can't get attention. People in Paris did not want to see painting of depressed areas of France and did not want to know there was real tensions in rural areas. Works his politics into art like this by exposing class differences.
Goya, Saturn Devouring his children, 1820- Fresco painting on a wall. Author losses his ability to paint for the king and becomes isolated politically. Thus, he starts producing private paintings in a small country retreat. These generally show the failure of the enlightment in that it failed to save humanity. Here Saturn is eating his own children. Sense of melancholy and nostalgia to Enlightment era. Reaction to the failure of the enlightment.
Monet, Impression, Sunrise, 1872- Artists making a forceful statement to the normal art from the Salon. Gives Impressionism its name. Name is used initially as an insult. Rapidly roasting painting. Not initially considered presentable so it was called impressionism. Water color painters especially evident in the red sun, blueish sky, and hazy background ships. Represented an individual moment. Broken dabs of painting makes it look unfinished, thus showing his process and technique. Creates a sense of light moving along water. Thinks this is truer to human vision and the truth to nature. We don't see water as a smooth continuous thing with a sense of pleasure. Introduces a new kind of pleasure.
Monet, Women in the Garden, 1866 to 67-Paintned in garden outdoors for the first time. Sense of an informal social scene that shows free time of the upper middle class. Determination for art to show the moment. New belief in accuracy and speed of execution. Better to communicate light and weather outdoors. Show lack of concern on whether the painting is a picture. Rise of pictures allows artists to show some subjectivity, rather than the precision of photographs. Different from realism in terms of style as this is trying to exhibit the motion. Compared to realism, impression aims to show pleasures rather than work, with bright colors and a quick transient movement of people moving out through their life. Style in Monet's is radical but in realism the subject is the one that's radical as it is showing real scenes.
Riguad, Portrait of Louis XIV, 1701-To use his power Louis XIV reorganized everything including army, budget, heads of state. By 1701, his authority was contested. Thus, he has a portrait was created. Nobility indicated by column and empty space. Golden textiles were quite expensive and they had to be weaved together. Fabric required lots of money and labor. Legs being crossed representing naturalism and elegance. Due to his age, its not a naturalistic portrait. Body makes him look powerful.
After Riguard, Louis XV, as a Child 1716 to 24-Louis XV not suppose to take throne, but after mass small pox, takes throne as a child. People are nervous. This work is another propaganda work to make one more comfortable. Outfit toward front. Sword and sector shows power. Same rotated fabric on purpose and similar to his father, which indicates a smooth consistency. Louis XV sets pathway from French Revolution. However, Louis XV had a famous mistress from 1745 to 1754. She would use visual arts to communicate her own ideology. She was known as Pompadour.
Boucher, Jeanne Antionette Poisson, Marquise de Pompadour, 1756-Mistress was born middle class. She was ambitious. Eventually via court she gained and climbed into the nobility. Known for incredible beauty. Started as mistress of director of arts. Hosted famous art intellectual parties. Became a de fecto minster even after mistress with the king. Took advantage of power as an art administrator. Acquired power via arts and used arts to maintain power. Asks to have younger brother to be next art director. Thus, art became a family wide means of upward mobility. Color shown in the ribbons and brush with pinks associated with the artifacts and cosmetics. There is an equivalence between artifacts and medium of paint.
Boucher, The Toilette of Venus, 1751- Boucher is going to benefit from patronage through her death in 1764. Uses patronage to become a top 18th century artist. Designed to create decorative scene in private interior. Venus sits on couch with figures surrounding her. Shell shaped basin to show excess. Flowers. Possible mirror. Most noticeable theme is touch. Venus is stroking. Her hair is being touched. Goodness is good and resisting on several textures and surfaces.
Vigee Lebrun, Self Portrait, 1782- Painter and sitter. Most importance female artists of that time. Self taught. Very skilled as a portraitist. Achieved success after she had to flee France due to the Revolution. Showing herself in a natural style in contrast to showing makeup. Realistic. No powder. Hat. Hair in a natural style. Attractive but not appropriate. Cleavage mostly hidden. Not poor based on earrings.
Vigee Lebrun, Marie Antionette and Her Children, 1787- Now start of French Revolution. At this time, queen's criticism is at apex. Thus, she has to do more work here. Empty cradle to show lost infant. Increasing pressure to assert female virtue by allying controversial women with naturehood. Even though it tries to show her as a transformative and virtual women, she became very scandalous, and by the mid 1780s, she becomes a popular scapegoat.
David, Drawing of the Oath of the Tennis Court, 1791- people pledging in oath to not leave until needs met. Like most of the French Revolution, who are they pledging to is not clear. More pledging towards change. Wanted to show group loyalty to less individual power. Image of collectivity.
Girodet, Sleep of Endymoin, 1791- Mythological figure. Guy in the front is a goddess. Dog in right corner sleeping. Very unusual face directed away from us and sliced almost like the moon with a long neck. Erratic encounter between main guy and guy on the left. Offers vagueness versus clarity, and hype versus non hype, but take for granted nude men
David, Death of Marat, 1793- Lower class individual. Voted to kill the king. Killed by a woman part of the different faction of the war. Here, a letter is being delivered. Was asked to paint a portrait of Marat. Marat laying down to illness. Marat was part of internal infighting and purging. Dedicated to Marat in writing. Sense of stillness and subconsciousness. Adheres to Christianity by invoking imagery of a suffering man. Idealized as he's been launching into his death by making him more youthful. Painting the dead shows sacrifice. After death, cult forms of Marat's memory.

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