18th and 19th Century European and American Art   Short Response Test 18th and 19th Century European and American Art Each question should take you no more than seven minutes to write. On the AP test, you will have only five minutes. You may choose the work of art you prefer and about which you can best write. Make sure that you identify the title and artist. Make sure you refer to any significant date(s) that may ground this work or movement. Your responses will be graded upon your ability to connect the characteristics of a certain “ism” to observed and thoughtfully described visual evidence. A solid answer may begin in a way that feels somewhat formulaic. A solid answer may feel like this….(see the next slide).

The Taking of Christ by Caravaggio (1602) is an excellent example of Baroque art. A product of Counter-Reformation impulses, the work deliberately attempts to engage the viewer with dramatic action and tenebrism. Carravaggio has chosen to depict the moment immediately after Judas has kissed Christ’s cheek; a soldier in full armour reaches in to this “embrace” to grasp Christ by the neck. The reflected light gleams across this “metal” arm, which presses against the foreground frame of the image both because of its placement in the composition and because the strong white highlights draw the viewer’s eye to this aggressive gesture. In strong contrast, Christ face appears sorrowful and calm. His face is depicted very naturalistically. He seems like a man—not a God. The viewer can easily anticipate the pain he will suffer on the cross. Judas’ face contrasts strongly with Christ’s: his wrinkled brow, darker skin, and almost puzzled expression suggest that he perhaps already regrets his betrayal. Around these three central figures, the action swirls. Immediately to Christ’s right, a disciple seems to be crying out into the darkness; perhaps he is calling for help or fending off other soldiers. To Christ’s left, two soldiers advance—both are helmeted and almost anonymous. All the figures emerge from an almost opaque darkness. Only the faces of the figures and the gestures of the central triad are in full light. Caravaggio may be using the figure on Christ’s right as a proxy for the viewer’s reaction to this scene: this disciple in green cries out helplessly and throws his hands up in the air (one arm is actually cut off by the frame of the composition). This figure seems to embody the despair that the viewer is meant to feel as he too watches helplessly as this scene of betrayal is re-enacted before his eyes. Because all the dramatic action is pressed up against the foreground of the image, the viewer feels full engaged—as if he is present. (331 words) The Taking of Christ by Caravaggio (1602) is an excellent example of Baroque art. A product of Counter-Reformation impulses, the work deliberately attempts to engage the viewer with dramatic action and tenebrism. Carravaggio has chosen to depict the moment immediately after Judas has kissed Christ’s cheek; a soldier in full armour reaches in to this “embrace” to grasp Christ by the neck. The reflected light gleams across this “metal” arm, which presses against the foreground frame of the image both because of its placement in the composition and because the strong white highlights draw the viewer’s eye to this aggressive gesture. In strong contrast, Christ face appears sorrowful and calm. His face is depicted very naturalistically. He seems like a man—not a God. The viewer can easily anticipate the pain he will suffer on the cross. Judas’ face contrasts strongly with Christ’s: his wrinkled brow, darker skin, and almost puzzled expression suggest that he perhaps already regrets his betrayal. Around these three central figures, the action swirls. Immediately to Christ’s right, a disciple seems to be crying out into the darkness; perhaps he is calling for help or fending off other soldiers. To Christ’s left, two soldiers advance—both are helmeted and almost anonymous. All the figures emerge from an almost opaque darkness. Only the faces of the figures and the gestures of the central triad are in full light. Caravaggio may be using the figure on Christ’s right as a proxy for the viewer’s reaction to this scene: this disciple in green cries out helplessly and throws his hands up in the air (one arm is actually cut off by the frame of the composition). This figure seems to embody the despair that the viewer is meant to feel as he too watches helplessly as this scene of betrayal is re-enacted before his eyes. Because all the dramatic action is pressed up against the foreground of the image, the viewer feels full engaged—as if he is present. (331 words)

Rococo Rococo is refined, fanciful, and often playful (939).   Rococo How does this work demonstrate the characteristics of Rococo? Rococo is refined, fanciful, and often playful (939). Rococo is characterized by pastel colors, delicately curving forms, dainty figures and a light-hearted mood. Appeared in France around 1700, primarily as a style of interior design as the French court moved from Versailles back to Paris and all the rich courtiers (think entourage but incredibly wealthy) redecorated their hotels (mansions) in the latest style of the moment.

  Neoclassicism How does this work demonstrate the characteristics of Neoclassicism? Neoclassicism drew inspiration from the "classical" art and culture of Ancient Greece and Rome. 18th-century Neoclassical art demonstrates restrained, stable compositions and elided brushwork. The subject-matter of Neoclassical art and literature was inspired by the emphasis on martial (military) courage recorded in the Greek and Latin epics. The tone of Neoclassical paintings is stoic—emotion held in.

Romanticism Romantic painting is characterized by   Romanticism How does this work demonstrate the characteristics of Romanticism? Romantic painting is characterized by fluid, loose brushwork strong colors complex compositions powerful contrasts of light and dark expressive poses and gestures the depiction of strong emotion (not stoic)

  Romanticism How does this work demonstrate the characteristics of Romanticism? Romantic landscape painting is dramatic the content emphasizes turbulent or fantastic natural scenery disasters the sublime (something that inspires awe) naturalistic the content represents tranquil nature the content signals a religious reverence toward nature

dramatic the content emphasizes turbulent or fantastic natural scenery disasters the sublime (something that inspires awe)

dramatic the sublime (something that inspires awe) naturalistic the content represents tranquil nature and signals a religious reverence toward nature

Naturalistic: the content represents tranquil nature; the content signals a religious reverence toward nature

  Realism How does this work demonstrate the characteristics of Realism? A term first used in 1850 to describe a kind of naturalism (realistically depicted content) that has a political or social message—that describes a authentic “social” environment.

A Bar at the Folies-Bergère

   Impressionism How does this work demonstrate the characteristics of Impressionism? Works of art that are considered examples of impressionism have at least a few of these characteristics: visible brushstrokes the artist is usually interested in representing the particular quality of light of a specific moment often the works are painted in en plein air (outdoors) paint is used opaquely often the work is framed in an abrupt manner (figures are truncated)

Pierre-Auguste Renoir Le Moulin de la Galette 1876

Camille Pissarro Louveciennes 1872

Japonisme How does this work demonstrate the influence of Japonisme?   Japonisme How does this work demonstrate the influence of Japonisme? These characteristics suggest that the artist was probably influenced by Japanese woodblock prints: a tendency toward flatness (the background presses toward the surface or foreground of the image) flat areas of strong color surface patterning; the decorative quality of the surface pattern becomes almost as important as the content represented asymmetrical composition (the compositional freedom in placing the subject off-centre) abrupt framing a high horizon line

Ballet Class 1881

  Post-Impressionism How does this work demonstrate the characteristics of Post-Impressionism? Post-impressionism focused on line, pattern, form, and color. Post-Impressionism can be identified by the color scheme; complementary colors are often used which intensifies the colors—which makes the colors “pop.” They rejected the Impressionists’ emphasis on light and sought to create more formal and structured art. Often the artist is trying to convey the experience of looking—of perceiving the object.

Starry Night over the Rhône September 1888, Arles

Cherries and Peaches 1883–1887