Chapter 26 Rococo to Neoclassicism- 18th century Art
Vocab Name___________________________________________________________
Enlightenment- a new way of thinking critically about the world and about humankind,
independently of religion, myth, or tradition. Based on using reason to reflect on the results of
physical experiments. Promoted the scientific questioning of all things and rejected unfounded
beliefs about nature, humankind, and the world. Embraced the Scientific Method.
Academy-the established art school
ancien regime French, "old order." The term used to describe the political, social, and religious
order in France before the Revolution at the end of the 18th century.
exemplum
Latin, "example or model of virtue."
virtutis
fasces
A bundle of rods with an axe attached, an emblem of authority in ancient Rome.
femme
French, "learned woman." The term used to describe the cultured hostesses of
savante
Rococo salons.
fête galante
French, "amorous festival." A type of Rococo painting depicting the outdoor
amusements of upper-class society.
gouache
A painting medium consisting of watercolor mixed with gum
Grand
A type of 18th-century portrait painting designed to communicate a person's
Manner
grace and class through certain standardized conventions, such as the large scale
portraiture
of the figure relative to the canvas, the controlled pose, the landscape setting,
and the low horizon line.
hôtel
French, "townhouse."
Neoclassicism A style of art and architecture that emerged in the later 18th century as part of a
general revival of interest in classical cultures. Neoclassical artists adopted
themes and styles from ancient Greece and Rome.
orrery
A mechanical model of the solar system demonstrating how the planets revolve
around the sun.
philosophe
French, "thinker, philosopher." The term applied to French intellectuals of the
Enlightenment.
Poussiniste
A member of the French Royal Academy of Painting and Sculpture during the
early 18th century who followed Nicholas Poussin in insisting that form was the
most important element of painting. See also Rubéniste.
Rayograph
A photograph produced without a camera by placing objects on photographic
paper and then exposing the paper to light; named for the American artist Man
Ray
rocaille
A style, primarily of interior design, that appeared in France around 1700.
Rococo interiors featured lavish decoration, including small sculptures,
ornamental mirrors, easel paintings, tapestries, reliefs, and wall paintings, as
well as elegant furniture. The term Rococo derived from the French word
rocaille ("pebble") and referred to the small stones and shells used to decorate
grotto interiors.
Rococo
A style, primarily of interior design, that appeared in France around 1700.
Rococo interiors featured lavish decoration, including small sculptures,
Chapter 26 Rococo to Neoclassicism- 18th century Art
ornamental mirrors, easel paintings, tapestries, reliefs, and wall paintings, as
well as elegant furniture. The term Rococo derived from the French word
rocaille ("pebble") and referred to the small stones and shells used to decorate
grotto interiors.
A member of the French Royal Academy of Painting and Sculpture during the
early 18th century who followed Peter Paul Rubens in insisting that color was
the most important element of painting. See also Poussiniste.
A weaving technique in which the weft threads are packed densely over the
warp threads so that the designs are woven directly into the fabric.
Rubéniste
tapestry
History
1. Death of Louis XIV in 1715 brought a resurgence of aristocratic life.
2. Town houses became centers for the Rococo style.
3. French Revolution broke out in 1789 which brings about an interest in the Greek ideal of
Liberty and democracy.
4. Napoleon saw himself as a new "Caesar", crowned in 1804.
5. Neoclassicism takes architectural hold in the U.S. with Thomas Jefferson.
6. New ways of thinking about the new world.
7. Voltaire (1694-1778) = Science/Technological Improvement
8. Rousseau (1712-1778) = Nature alone must be society's guide
Rococo:
• Was an interior design style first appearing in France, exterior rather plain, but opposite
inside.
• Comes from “rocaille” meaning “pebble” and is referring to small shells and stones used
to decorate
Grotto interiors, principal motifs in Rococo ornament
• Shift of power from Royal court to aristocrats reflected in shift from Baroque to Rococo
• French Royal Academy dictates artistic taste
• Architecture seeks to unite the arts in an artistic experience
• Quintessential painting is Fete Galante
• Satirical Neoclassicism:
• A movement that incorporated the subjects and the styles of the ancient art.
• Public appetite was wetted from the excavations of Pompeii in 1748, scholars began to
claim that art
from the ancient Greeks was the most perfect to come from human
hands
• Structured Composition
• Enlightenment rejects royal + artistic authority
• Inspired by Pompeii/ Johann Winckelmann (writer)
• Frequent classical allusions
• Industrial revolution: cast iron, bronze rather than marble
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

1700-1750
Shift of power to the aristocrats paralleled in Baroque and Rococo.
French Royal Academy set the taste for art in Paris
Chapter 26 Rococo to Neoclassicism- 18th century Art


Strong Satirical paintings
Epitome: paintings that show aristocratic people enjoying leisure
The Enlightenment page 736
Natural Art 738
Neoclassicism page 745 (the start of the Enlightenment)







Figure
26-1
1750-1815
Enlightenment brought about the rejection of royal and aristocratic authority
Supported by Napoleon in order to associate himself with the successes of the Ancient
Roman's Empire.
Jacques-Louis David becomes First Painter
Neoclassical art was more democratic
Current events depicted have classical influences
Late 18th century = Industrial Revolution (cast iron, and carvings from bronze is cheaper
than carving marble)
Image
Information
The wonders of _____________________ mesmerize everyone in Wright’s
painting, adults as well as children. At the right, two gentlemen pay rapt
attention to the demonstration.
Yes
N= name
D= date (century)
P/S = period / style
A = artist or architect
Wright’s choice of subjects and ___________ in depicting them appealed to
the great ______________ of his day, including Josiah Wedgwood (1730–
1795), who pioneered many techniques of ____________________, and Sir
Richard Arkwright (1732–1792), whose ___________ revolutionized the
textile industry. Both men often purchased paintings by Wright featuring
__________. To them, the Derby artist’s elevation of the
______________________ of the Industrial Revolution to the plane of
history painting was exciting and appropriately in tune with the new era of
_________________
Pa = patron L = location
M/T = material / technique
26-1a
VANBRUGH and HAWKSMOOR, Blenheim Palace, 1705–1725
26-2
GERMAIN BOFFRAND, Salon De La Princesse, with Paintings by
Charles-Joseph Natoire and Sculptures by Jean-Baptiste Lemoyne, Hôtel
De Soubise, Paris, France, 1737–1740
The delicacy and gaiety of the Rococo style makes itself felt most in the
interiors of the buildings Curvilinear decoration - Rococo architects
preferred asymmetry and delicate silver - Rooms became center of brilliant
social gatherings where wit and grace were prized above all other virtues.
Chapter 26 Rococo to Neoclassicism- 18th century Art
26-3
FRANçOIS DE CUVILLIéS, Hall of Mirrors, the Amalienburg,
Nymphenburg Palace Park, Munich, Germany, Early 18th Century
-French Rococo interiors were seen as total works of art, with elegant
_________, small sculptures, ornamented mirror frames, ceramics, and
untensils, decorative ________________ and easel paintings,
-looks like it is permanently decked for a_____________________
-bathed in ____________ light, with windows and mirrors, -everything
seems _______, growing, moving, in motion, artistic illusion
-this is built in the park of the Nymphenburg Palace
26-3a
FISCHER VON ERLACH, Karlskirche, Vienna, 1716–1737
Architecture became smaller- Classical themes were still popular but had
different meaning-
Exter
yes
N= name
D= date (century)
Rococo style was not exclusively a domestic phenomenon
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
Rococo appeared in France in about 1700, primarily as a style of
________________. The French Rococo ______________ was most often
simple, or even plain, but Rococo exuberance took over the _________.
The term derived from the French word ________________See Rococo.
(pebble), but it referred especially to the small
___________________________ used to decorate grotto interiors. Shells or
forms resembling shells were the principal _____________ in Rococo
ornamentation.
26-4
yes
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
The interior (FIG. 26-4) of Neumann’s church exhibits a vivacious play of
_______________ fantasy that retains the dynamic __________ of Italian
Baroque architecture (see Chapter 24) but not its ____________. Numerous
large windows in the richly decorated walls of Vierzehnheiligen flood the
interior with an even, bright, and cheerful light. The feeling is one of
________________________
Neumann adapted the intimate Rococo style to ____________________
architecture. Vierzehnheiligen’s interior is light and delicate in contrast to
the dynamic energy of Italian Baroque church designs.
Chapter 26 Rococo to Neoclassicism- 18th century Art
26-5
yes
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
Vierzehnheiligen’s plan (FIG. 26-5) reveals the influence of Francesco
____________________ (FIGS. 24-10 and 24-13), as does the
contemporaneous Wieskirche (Church of the Meadow; FIG. 26-5B) by
DOMINIKUS ZIMMERMANN (1685–1766). The Staffelstein plan,
however, is even more _________ than the plans for Borromini’s churches
in Rome. Neumann, perhaps deliberately, banished all
____________________. The ________________, made up of
______________ ovals and circles, achieves a quite different interior effect
within the essential outlines of a traditional rectilinear ______________
church with a nave, transept, and apse. Undulating space is in continuous
________________, creating unlimited vistas bewildering in their variety
and surprise effects. The structure’s features _____________________________________ as if they were ceaselessly in
the process of being ____________. The design’s fluidity of __________,
the floating and hovering surfaces, the interwoven _______________, and
the dematerialized masses combine to suggest a __________________ to
the intricacy of voices in a Baroque fugue by Johann Sebastian Bach (1685–
1750). The ______________ is a brilliant ensemble of architecture,
painting, sculpture, and music that dissolves the boundaries among the arts.
26-5a
NEUMANN, Kaisersaal, Würzburg, 1719–1744
26-5b
ZIMMERMANN, Wieskirche, Füssen, 1745–1754
26-6
ANTOINE WATTEAU, L’Indifférent, Ca. 1716. Oil on Canvas, 10″ × 7″.
Musée Du Louvre, Paris.
26-7
C: -painter most associated with French Rococo
-fete galante painting, depicted__________entertainment of upper-class
-influenced by_________, & his work contributed to the popularity of an
emphasis on color in painting
-French Royal Academy: divided by two doctrines: 1)________is most
important element in painting “Poussinestes” 2) ______ more supreme
“Rubenistes”, Watteau in their ranks=Rubenistes carried the day
-group of _______ ready to depart from Island of eternal youth and love
-smoothest, bodily poise and movements,
Yes
can
also be
called
Return
from
N= name
Chapter 26 Rococo to Neoclassicism- 18th century Art
Cythera
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
WATTEAU, Signboard of Gersaint,
1721
Landscape of pure pleasure0 Fetes Galantes- Studied _____________
after ________________ guard at Luxembourg palace- some feel he
surpassed his _____________ usage- - loosened his
___________________,
Watteau’s __________________French, “amorous festival.” A type of
Rococo painting depicting the outdoor amusements of French upper-class
society. paintings depict the outdoor _________________ of French upperclass society. The haze of __________, subtly modeled _____________,
gliding ________________, and air of suave gentility match Rococo.
The premier example of a fête galante painting is Watteau’s masterpiece
(painted in two versions), ____________________ (FIG. 26-7). The
painting was the artist’s __________ for admission to the
___________________________________________________ (see
“Academic Salons,” Chapter 28 ). In 1717 the fête galante was not an
__________________ category for submission, but rather than reject
Watteau’s candidacy, the academy _________________________ to
accommodate his entry. At the turn of the 18th century, two competing
_________________ sharply divided the membership of the French
academy. Many members followed Nicolas Poussin in teaching that
_____________ was the most important element in painting, whereas
“_____________ in painting are as allurements for persuading the eyes.”
_____________________ were additions for effect and not really
______________. The other group took Rubens as its model and
proclaimed the natural supremacy of _____________ and the coloristic
style as the artist’s proper guide. Depending on which doctrine they
supported, academy members were either _____________________A
member of the French Royal Academy of Painting and Sculpture during the
early 18thcentury who followed Nicolas Poussin in insisting that form was
the most important element of painting. See
also_________________________________.or A member of the French
Royal Academy of Painting and Sculpture during the early 18thcentury who
followed Peter Paul Rubens in insisting that ____________ was the most
important element of painting. See also Poussiniste.. Watteau was Flemish
and Rubens’s coloristic style heavily influenced his work. With Watteau in
their ranks, the ___________________ carried the day, establishing Rococo
painting as the preferred style of the early 18 th century.
Watteau’s Pilgrimage to Cythera (FIG. 26-7) presents luxuriously
costumed lovers who have made a “pilgrimage” to Cythera, the island of
eternal youth and love, sacred to Aphrodite. (Some art historians think the
lovers are returning from Cythera rather than having just arrived. Watteau
provided few clues to settle the question definitively.) The elegant figures
move gracefully from the protective shade of a woodland park, filled with
amorous cupids and voluptuous statuary. Watteau’s figural poses blend
elegance and sweetness. He composed his generally quite _____________
paintings from albums of drawings in which he sought to capture slow
_____________________ from difficult and unusual ____________,
searching for the smoothest, most poised, and most refined attitudes. As he
experimented with nuances of posture and _________________, Watteau
also strove for the most exquisite shades of ___________ difference,
defining in a single ________________ the shimmer of silk at a bent knee
or the iridescence that touches a glossy surface as it emerges from shadow.
The haze of color, the subtly modeled _________, the gliding motion, and
the air of suave gentility appealed greatly to Watteau’s wealthy patrons,
whom, as he was dying from ___________________, he still depicted as
carefree and at leisure in his most unusual painting, Signboard of Gersaint
(FIG. 26-7A
Chapter 26 Rococo to Neoclassicism- 18th century Art
26-8
maybe
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
After Watteau’s death at age ____________ brought his
brilliant career to a premature end, FRANÇOIS BOUCHER
(1703–1770) rose to the dominant position in French painting,
in large part because he was __________________________
favorite artist. Although Boucher was an excellent portraitist,
his success rested primarily on his graceful canvases depicting
Arcadian _______________________________ cavorting in
shady glens engulfed in pink and sky-blue light. Cupid a
Captive (FIG. 26-8) presents a rosy pyramid of infant and
female flesh set off against a cool, leafy background, with
fluttering draperies both hiding and revealing the nudity of the
figures. Boucher used the full range of Italian and French
Baroque devices—the dynamic play of crisscrossing
_____________, curvilinear ___________, and slanting
recessions—to create his masterly ___________. But he
dissected powerful Baroque curves into a multiplicity of
decorative flourishes, dissipating Baroque drama into sensual
playfulness. Lively and lighthearted, Boucher’s artful Rococo
fantasies became __________ for his affluent French patrons
to behold the ornamental reflections of their cherished
pastimes.
-an unsuspecting old bishop swings a pretty young woman while a
young man (the __________) has positioned himself strategically on the
ground, the girl is flirtatiously kicking off her shoe toward statue of
________, who holds his finger to his lips,
__________________out of Watteau style
-glowing__________colors and soft light convey the theme’s sensuality
26-9
yes
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
26-10
yes
N= name
Boucher’s greatest student, JEAN-HONORÉ FRAGONARD (1732–1806),
was a first-rate __________ whose decorative skill almost surpassed his
master’s. An example of his manner can stand as characteristic not only of
his work but also of the later Rococo in general. In The Swing (FIG. 26-9), a
young gentleman has convinced an unsuspecting old bishop to swing the
young man’s pretty sweetheart higher and higher, while her lover (and the
work’s patron), in the lower left corner, stretches out to admire her ardently
from a strategic position on the ground. The young lady flirtatiously and
boldly kicks off her shoe toward the little statue of ___________. The
infant love god holds his finger to his lips. The landscape emulates
Watteau’s—a luxuriant perfumed bower in a park that very much resembles
a stage scene for comic opera. The glowing pastel colors and soft light
convey, almost by themselves, the theme’s ______________.
The Swing is less than 3 feet in height and Watteau’s L’Indifférent (FIG. 266), as already noted, barely 10 inches tall. But the intimate Rococo style
could also be adapted for paintings _______________, as the work of
GIAMBATTISTA TIEPOLO (1696–1770) demonstrates. A Venetian,
Tiepolo worked for patrons in Austria, Germany, and Spain, as well as in
Italy. He was a master of _________________ ceiling decoration in the
Baroque tradition, but favored the bright, cheerful colors and relaxed
__________________ of Rococo easel paintings. In Apotheosis of the
Pisani Family (FIG. 26-10), a ceiling fresco in the Villa Pisani at Stra in
northern Italy (MAP 25-1), Tiepolo depicted seemingly weightless figures
fluttering through vast sunlit skies and fleecy clouds, their forms casting
dark accents against the brilliant light of high noon. The painter elevated
Chapter 26 Rococo to Neoclassicism- 18th century Art
D= date (century)
P/S = period / style
A = artist or architect
Pisani family members to the rank of ____________ in a heavenly scene
recalling the ceiling paintings of Pozzo (FIG. 24-24). But while retaining
17th-century illusionism in his works, Tiepolo softened the rhetoric and
created pictorial schemes of great elegance and grace, unsurpassed for their
sheer effectiveness as decor.
Pa = patron L = location
M/T = material / technique
26-11
maybe
N= name
D= date (century)
P/S = period / style
A = artist or architect
Rococo was nontheless a style best suited for small-scale works projecting a
mood of sensual intimacy. Claude Michel, called CLODION (1738–1814),
specialized in __________, lively sculptures representing sensuous Rococo
______________. Clodion lived and worked in ____________ for several
years after winning a cherished ____________________ (Rome Prize) from
the French royal academy to study art and paint or sculpt in the eternal city.
Clodion’s work incorporates echoes of Italian _________________
sculpture. His small group, Nymph and Satyr Carousing (FIG. 26-11),
depicts two followers of Bacchus, the Roman god of ____________. The
sensuous nymph who rushes to pour wine from a cup into the open mouth
of a semihuman goat-legged satyr is reminiscent of the nude female figures
of Benvenuto Cellini (FIGS. 22-52 and 22-52A), who worked at
Fontainebleau for Francis I, and of Giovanni da Bologna (FIG. 22-53), a
French Mannerist sculptor who moved to Italy. The erotic playfulness of
Boucher and Fragonard is also evident in Clodion’s 2-foot-tall terracotta
group destined for display on a marble tabletop in an elegant Rococo salon.
Pa = patron L = location
M/T = material / technique
The Enlightenment
The aristocratic culture celebrated in Rococo art did not go unchallenged during the 18th century. Indeed, the feudal system that
served as the foundation of social and economic life in Europe dissolved, and the rigid social hierarchies that provided the basis for
Rococo art and patronage relaxed. By the end of the 18th century, revolutions had erupted in France and America. A major factor
in these political, social, and economic changes was the Enlightenment.
WRIGHT OF DERBY, Experiment on a Bird, 176
26-11
26-1
yes
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
The fascination science had for ordinary people as well as for
the learned is the subject of A Philosopher Giving a Lecture at
the Orrery (FIG. 26-1) by the English painter JOSEPH
WRIGHT OF DERBY (1734–1797). Wright studied painting
near _____________-- (MAP 27-2), the center of the Industrial
Revolution, and specialized in dramatically lit scenes
showcasing modern scientific
______________________________ In this painting, a scholar
demonstrates a mechanical model of the solar system called an
________________A mechanical model of the solar system
demonstrating how the planets revolve around the sun., in
which each planet (represented by a metal orb) revolves around
the sun (a lamp) at the correct relative velocity. __________
Chapter 26 Rococo to Neoclassicism- 18th century Art
from the lamp pours forth from in front of the boy silhouetted
in the foreground to create ____________ that heighten the
drama of the scene. Awestruck children crowd close to the tiny
orbs representing the planets within the arcing bands
symbolizing their orbits. An earnest listener makes notes, while
the lone woman seated at the left and the two gentlemen at the
right pay rapt attention. Scientific knowledge mesmerizes
everyone in Wright’s painting. The artist visually reinforced
the fascination with the orrery by composing his image in a
circular fashion, echoing the device’s orbital design. The
postures and gazes of all the participants and observers focus
attention on the cosmic model. Wright scrupulously and
accurately rendered every ______________ of the figures, the
mechanisms of the orrery, and even the books and curtain in
the shadowy background
26-12
maybe
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
-______was first used on a bridge for this cast-iron bridge, previous
bridges had been built of wood and spanned relatively short distances,
Darby family (producing cast-iron was family business) spearheaded
the iron______________across England and supported innovative uses
-the style of the graceful center arch echoes the grand arches of the
Roman ________________
-also prefigured the skeletal use of iron and such visible structural
armatures became expressive elements in the design of buildings such
as the _______________________
The first use of _________ in bridge design was in the cast-iron bridge
(FIG. 26-12) built over the Severn River, near Coalbrookdale in England
(MAP 30-1), where ABRAHAM DARBY III (1750–1789), one of the
bridge’s two designers, ran his family’s cast-iron business. The Darby
family had spearheaded the evolution of the iron industry in England, and
they vigorously supported the investigation of new uses for the material.
The fabrication of cast-iron rails and bridge elements inspired Darby to
work with architect THOMAS F. PRITCHARD (1723–1777) in designing
the Coalbrookdale Bridge. The cast-iron _________________ supporting
the roadbed springs from stone pier to stone pier until it leaps the final 100
feet across the Severn River gorge. The style of the graceful center arc
echoes the grand arches of Roman aqueducts (FIG. 7-33). At the same
time, the exposed structure of the bridge’s cast-iron parts prefigured the
skeletal use of iron and steel in the 19th century, when exposed structural
armatures became expressive factors in the design of buildings such as the
Crystal Palace (FIG. 27-47) in England and the Eiffel Tower (FIG. 28-38)
in France.
“Natural” Art
Rousseau’s views, popular and widely read, were largely responsible for the turning away from the Rococo sensibility in the arts
and the formation of a taste for the “natural,” as opposed to the artificial and frivolous.
Chapter 26 Rococo to Neoclassicism- 18th century Art
26-13
JEAN-BAPTISTE-SIMÉON CHARDIN, Saying Grace, 1740. Oil on
Canvas, 1′ 7″ × 1′ 3″. Musée Du Louvre, Paris
26-14
The sentimental narrative in art became the specialty of French artist JEANBAPTISTE GREUZE (1725–1805), whose most popular work, Village
Bride (FIG. 26-14), sums up the ____________ of the genre. The setting is
an unadorned room in a ___________________. In a notary’s presence, the
elderly father has passed his daughter’s ______________ to her youthful
husband-to-be and blesses the pair, who gently take each other’s arms. The
old mother tearfully gives her daughter’s arm a farewell caress, while the
youngest sister melts in tears on the shoulder of the demure bride. An
envious older sister broods behind her father’s chair. Rosy-faced, healthy
children play around the scene. The picture’s story is simple—the happy
climax of a ________________. The picture’s moral is just as clear—
happiness is the reward of “________________.
maybe
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
26-15
yes
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
Greuze produced this work at a time when the audience for art was
expanding. The strict social hierarchy that provided the foundation for
Rococo art and patronage gave way to a bourgeois economic and social
system. The newly important _____________________ embraced art, and
paintings such as Village Bride particularly appealed to ordinary hardworking people. They carefully analyzed each gesture and each nuance of
sentiment and reacted with tumultuous enthusiasm. At the 1761 Salon of the
Royal Academy, Greuze’s picture received enormous attention. Diderot,
who reviewed the exhibition for __________________________, reported
it was difficult to get near the canvas because of the throngs of admirers.
Another manifestation of the “__________________” impulse in 18thcentury French art was the emergence of a new mode of portraiture
exemplified by Self-Portrait (FIG. 26-15) by ÉLISABETH-LOUISE
VIGÉE-LEBRUN (1755–1842). The painter looks ___________ at viewers
and ___________ in her work to ___________ their gaze. Although her
mood is lighthearted and her costume’s details echo the serpentine curve
Rococo artists and wealthy patrons loved, nothing about Vigée-Lebrun’s
pose or her mood speaks of Rococo _____________. Hers is the selfconfident stance of a woman whose art has won her an _______________
role in society. Like many of her contemporaries, Vigée-Lebrun lived a life
of extraordinary personal and economic ___________, working for the
nobility throughout Europe. She was famous for the ______________ and
grace of her portraits, especially those of highborn ladies and royalty. She
was successful during the age of the late monarchy in France and was one
of the few women admitted to the ________________________________.
After the French Revolution, however, the academy ______________ her
membership, because women were no longer welcome, but she enjoyed
continued success owing to her talent, wit, and ability to forge connections
with those in power in the postrevolutionary period.
Chapter 26 Rococo to Neoclassicism- 18th century Art
She portrayed herself in a close-up, intimate view at work on one of the
many portraits (for example, FIG. 26-15A) she painted of her most
important patron, ____________________ (1755–1793).
26-15a
yes
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
26-16
ADÉLAÏDE LABILLE-GUIARD, Self-Portrait with Two Pupils, 1785. Oil
on Canvas, 6′ 11″ × 4′ 11½″. Metropolitan Museum of Art, New York (Gift
of Julia A. Berwind, 1953)
26-17
C: -communicating _______________ through Satire
-newly prosperous and confident middle class in England can be seen
in Hogarth’s paintings, who satirized __________________ life,
yes
-this is part of a series of 6 paintings that satirize the immoralities pract
iced within_________of the wealthy classes in England, the wife stayed
home and played cards/music, husband tired from a night out on some
suspicious business, hand thrust deep into empty pockets, dog sniffing
a
lacy woman’s cap, a steward with__________raises hands to heaven,
painting on far wall show religious ones, while covered one suggests
an_________________subject
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
Hogarth’s favorite device was to make a series of narrative
______________ and ____________, in a sequence similar to chapters in a
_______________ in a play, ______________ a character or group of
characters in their encounters with some social evil. Breakfast Scene (FIG.
26-17), from Marriage à la Mode, is one in a sequence of six paintings
satirizing the marital immoralities of the moneyed classes in England. In it,
the marriage of a young viscount is just beginning to founder.
Hogarth designed the marriage series to be published as a set of
____________________. The prints of this and his other moral narratives
were so popular that unscrupulous entrepreneurs produced unauthorized
versions almost as fast as the artist created his originals. The popularity of
Chapter 26 Rococo to Neoclassicism- 18th century Art
these prints speaks not only to the appeal of their subjects but also to the
democratization of ________________________ the Enlightenment
fostered and to the exploitation of new printing technologies that opened the
way for a more affordable and widely disseminated visual culture.
maybe
Blue Boy
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
maybe
Sarah Siddons- both of theseN= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
C: -known as a “______manner” portraiture, and Gainsborough was known
as one of the leaders in this style,
-woman dressed informally, in a rustic___________(like Watteau’s in it’s
soft-hued light and feathery brushwork), her dark brown hair flows freely
in the wind, matching the tree branches,
-controlled poses, low___________________line,
26-18
yes
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
A contrasting blend of “naturalistic” representation and Rococo setting is
found in Mrs. Richard Brinsley Sheridan (FIG. 26-18), a characteristic
portrait by British painter THOMAS GAINSBOROUGH (1727–1788).
Gainsborough presented Mrs. Sheridan as a lovely, informally dressed
woman seated in a rustic landscape faintly reminiscent of Watteau (FIG. 267) in its soft-hued light and feathery _____________. Gainsborough’s goal
was to match the _____________, unspoiled beauty of the landscape with
that of his sitter. Mrs. Sheridan’s dark brown hair blows freely in the slight
wind, and her clear “English complexion” and air of ingenuous sweetness
contrast sharply with the pert sophistication of the subjects of Continental
Rococo portraits. Gainsborough planned to give the picture a more pastoral
air by adding several sheep, but he did not live long enough to
______________ the canvas. Even without the sheep, the painting clearly
expresses Gainsborough’s deep interest in the landscape setting. Although
he won greater fame in his time for his portraits, he had begun as a
landscape painter and always preferred painting scenes of ___________ to
depicting individual likenesses
Chapter 26 Rococo to Neoclassicism- 18th century Art
Summarize the image from the book-
26-19
yes
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
Summarize the image from the book-
26-20
yes
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
26-21
JOHN SINGLETON COPLEY, Paul Revere, Ca. 1768–1770. Oil on
Canvas, 2′ 11⅛″ × 2′ 4″. Museum of Fine Arts, Boston (Gift of Joseph W.,
William B., and Edward H. R. Revere)
American artist JOHN SINGLETON COPLEY (1738–1815) matured as a
painter in the Massachusetts Bay Colony. Like West, Copley later
emigrated to England, where he absorbed the fashionable English portrait
style. But unlike Grand Manner portraiture
Chapter 26 Rococo to Neoclassicism- 18th century Art
yes
Summarize the image from the internet-
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
not in book but important
Samuel Adams
about 1772
John Singleton Copley
(American, 1738–1815)
26-22
ANTONIO CANALETTO, Riva Degli Schiavoni, Venice, Ca. 1735–1740.
Oil on Canvas, 1′ 6½″ × 2′ ⅞″. Toledo Museum of Art, Toledo
Neoclassicism
One of the defining characteristics of the late 18th century was a renewed admiration for classical antiquity, which the Grand Tour
was instrumental in fueling. This interest gave rise to the artistic movement known as NeoclassicismA style of art and architecture
that emerged in the late 18thcentury as part of a general revival of interest in classical cultures. Neoclassical artists adopted themes
and styles from ancient Greece and Rome., which incorporated the subjects and styles of ancient art. Painting, sculpture, and
architecture, however, were only the most prominent manifestations of Neoclassicism. Fascination with Greek and Roman culture
was widespread and extended to the public culture of fashion and home decor. The Enlightenment’s emphasis on rationality in part
explains this classical focus, because the geometric harmony of classical art and architecture embodied Enlightenment ideals. In
addition, classical cultures represented the pinnacle of civilized society. Greece and Rome served as models of enlightened
political organization. With their traditions of liberty, civic virtue, morality, and sacrifice, these cultures were ideal models during
a period of great political upheaval. Given these traditional associations, it is not coincidental that Neoclassicism was particularly
appealing during the French and American revolutions.
Further whetting the public appetite for classicism were the excavations near Naples of Herculaneum and Pompeii, which the
volcanic eruption of Mount Vesuvius had buried (see “The Excavations of Herculaneum and Pompeii”). Soon, murals based on the
Chapter 26 Rococo to Neoclassicism- 18th century Art
paintings unearthed in the excavations began to appear in European townhouses, such as the Etruscan Room (FIG. 26-23) by
ROBERT ADAM (1728–1792) in Osterley Park House in Middlesex, begun in 1761.
ROBERT ADAM, Etruscan Room, Osterley Park House, Middlesex,
26-23
England, Begun 1761. Reconstructed in the Victoria & Albert Museum,
London
C: -his__________architecture was influencial throughout Europe
-__________________and great delicacy of design
-none of the massive splendor
-influenced heavily by the__________Discovery, he took the decorative
motifs of medallions, urns, vine scrolls, sphinxes, and tripods from
Roman art
26-23a
MENGS, Parnassus, 1761
26-24
Summarize the image from the book-
maybe
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
C: -David favored the academic teachings about using the art of the ancie
nts and the renaissance masters as models, he rejected the Rococo
“__________taste” and exalted________art as the imitation of nature in
her most beautiful and perfect form.
-depicts a story about the warring cities of Rome & Alba and how they
had decided to resolve the conflict by sending 3 representatives each to
fight it out, Rome=3 Horatius________-swear by their swords (held high
by their__________) to win or die for Rome, females were in anguish.
The setting like a great stage play, a simple architectural background
the______forms of the men speak to the Enlightenment stance of men
having courage, patriotism and unwavering loyalty to a cause,
26-25
yes
N= name
D= date (century)
P/S = period / style
-Arouses the prerevolutionary French public to____________________
Summarize the image from the book—add your comments
Chapter 26 Rococo to Neoclassicism- 18th century Art
A = artist or architect
Pa = patron L = location
M/T = material / technique
C: -David was thrust into the French Revolution and became the minister
of _____________and began to depict scenes from the Revolution itself
-this painting was meant to record an important event & provide inspira
tion and encouragement to the_____________________forces,
-depicts______, David’s personal friend who was a radical revolutionist
that was stabbed to death while he was taking a medicinal bath, identify
through the writing on box and the bath (he had a painful skin disease)
the_______emptiness above him makes for a chilling oppressiveness,
the knife, the wound, the blood, the letter with which the young woman
(the killer) gained entrance,
26-26
yes
N= name
-convincingly real, and masterfully composed, it was designed to inspire
viewers with the saintly____________________of their slain leader.
Summarize the image from the book—add your comments
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
26-27
Jacques-Germain Soufflot, Panthéon (Sainte-Geneviève; Looking
Northeast), Paris, France, 1755–1792
maybe
Summarize the image from the internet or book
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
Chapter 26 Rococo to Neoclassicism- 18th century Art
M/T = material / technique
26-27a
Walpole, Strawberry Hill, Twickenham, 1749–1777
26-28
yes
Summarize the image from the book—add your comments
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
26-28a
STUART, Doric Portico, Hagley Park, 1758
26-29
HENRY FLITCROFT and HENRY HOARE, the Park at Stourhead,
England, 1743–1765
26-30
yes
C: -spearheaded a movement to adopt Neoclassicism as the___________
architectural for the U.S. -a style he saw as a representative of U.S.
______________________qualities
-scholar, economist, educational theorist, statesman, and gifted amateur
________________, he was by nature attracted to classical architecture
-designed Monticello for his own personal_______, emullated Palladio’s
manner, materials are local wood and brick used in Virginia
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
Summarize the image from the book—add your comments
Chapter 26 Rococo to Neoclassicism- 18th century Art
26-31
THOMAS JEFFERSON, Rotunda and Lawn (Looking North), University
of Virginia, Charlottesville, Virginia, 1819–1826
26-32
yes
Summarize the image from the book—add your comments
N= name
D= date (century)
P/S = period / style
A = artist or architect
Pa = patron L = location
M/T = material / technique
26-33
HORATIO GREENOUGH, George Washington, 1840. Marble, 11′ 4″
High. Smithsonian American Art Museum, Washington, D.C