Rococo – 18 th century Often considered the last stage of the Baroque. Derived from the French word, rocaille, or “rock-work.” The ‘softer side’ of the Baroque [or a reaction against it]. A backlash to the darkness of the Baroque  less formal & grandiose. The Rococo palette, softer and paler [pastels] than the rich primary colors and dark tonalities of the Baroque style. Begun as a French style of interior decoration begun following Louis XIV’s death. French power and fashion centered around the court of the Regent, Philippe d’Orleáns at the Palais-Royal in Paris. Elegant and ornately decorative, mood lighthearted and witty. Gave way to Neo-classicism.

1. Fantasy & Wistful Nostalgia An emphasis on ultra beauty and nature. Classical gods and goddesses. “Winter” by Etienne-Maurice Falconet, 1771

“The Triumph of Venus” François Boucher, 1740

2. Love, Romance, & Eroticism [about Boucher] His canvases often seem to consist of little beyond mounds of pink flesh… “The Toilet of Venus” by François Boucher, 1751

“The Stolen Kiss” Jean Honoré Fragonard, Also, “The Swing”

3. Domestic & Family Life Portrays the carefree life of the upper class. The Galante style. Informal, decorous intimacy of peoples’ manners.

The Basilica at Ottobeueren, Bavaria

Neo-Classicism: mid-late 18 th and 19 th century use of ancient Greek and Roman models and motifs development was greatly influenced by the excavations at Pompeii and Herculaneum closely linked to the Enlightenment's rejection of the aristocratic frivolity of Rococo, the style of the Ancien Régime. More than just an antique revival  a reaction against the surviving Baroque & Rococo styles.

Overview of Neo-Classicism Revolutions established republics in France and in America. [Neo- Classicism was adapted as the official art style]. Association with the democracy of Greece and the republicanism of Rome. Napoleon  used the style for propaganda. Return to the perceived “purity” of the arts of Rome. Model the “ideal” of the ancient Greek arts and, to a lesser, extent, 16c Renaissance classicism. A conviction that there is a permanent, universal way things are (and should be), which obviously entails fundamental political and ethical commitments.

The “Federal Style” in America Monticello, VA U. S. Capitol

“The Death of Socrates” Jacques-Louis David, 1787 The death of Socrates was a symbol of republican virtue.

“The Consecration of Napoleon & Josephine” Jacques-Louis David, A very different theme: The celebration of worldly splendor and power.

“The Apotheosis of Homer” Jean-Auguste-Dominique Ingres, 1827 This assembly of great artists and writers of all ages gathered to honor the ancient Greek poet before a classical temple.

“Romulus—Victory over Acron” Jean-Auguste-Dominique Ingres, 1812 Painted for Napoleon’s palace in Rome.

Neo-Classical Sculpture Profoundly influenced by ancient art since the Renaissance. Neo-Classical sculptors avoided the dramatic twisting poses and colored marble surfaces characteristic of late Baroque and Rococo sculpture. They preferred crisp contours, a noble stillness idealized in pure white marble forms.

Romanticism 19 th century The Artistic expression of “Liberalism” Early support of the French Revolution. Rise of the individual  alienation. Dehumanization of industrialization. Harkening back to the simplicity of rural life. Expressions of emerging force of nationalism Began in the 1790s and peaked in the 1820s. Mostly in Northern Europe, especially in Britain and Germany. A reaction against classicism.

Wandering Above the Sea of Fog Caspar David Friedrich, 1818 AP MC Question

The Dreamer Gaspar David Friedrich, 1835

The Slave Ship Joseph Mallord William Turner, 1842

Flatford Mill – John Constable, 1817

Liberty Leading the People Eugène Delacroix, 1830

Realism – Mid 19 th century The accurate and apparently objective description of the ordinary, observable world the truthful and accurate depiction of the models that nature and contemporary life offer Subjects are depicted in as straightforward a manner as possible Ordinary people and everyday activities are worthy subjects for art A reaction to the idealized excesses of Romanticism and Neoclassicism. A guiding influence on the philosophy of the Impressionists

The Gleaners, Jean-François Millet, 1857

The Winnowers, Gustave Courbet,, 1853

The Stonebreakers, Gustave Courbet

Impressionism – mid-late 19 th century Impressionist style probably the single most successful and identifiable "movement“ in European Art history The movement's name was derived from Monet's early work, Impression: Sunrise and critics who felt works were unfinished sketches or impressions Challenge and response to the emerging art of Photography The focus on subjectivity intensified Artists became more concerned with the individual expression. Reality became what the individual saw. With Impressionism the subjectivity of modem art was born.

As an extension of Realism Impressionists remained realists in the sense that they remained true to their sensations of the object Realism meant to an Impressionist that the painter ought to record the most subtle sensations of reflected light. Concern for realistically representing an object faded, while concern for representing the subjective grew.

As a reaction / rejection Critics and the public agreed the Impressionists couldn’t draw and their colors were considered vulgar. Their compositions were strange. Their short, slapdash brushstrokes made their paintings practically illegible. Why didn’t these artists take the time to finish their canvases, viewers wondered? Rejected by the Salon, the annual French state- sponsored exhibition that offered the only real opportunity for artists to display and sell their work, they created an independent exhibition, mounted in what was formerly a photographer’s studio

Leading figures Claude Monet August Renoir Edgar Degas Berthe Morisot Mary Cassatt Gustave Caillebotte Edouard Manet Paul Cézanne Camille Pissarro Pierre-Auguste Renoir Paul Gauguin Childe Hassam Georges Seurat

Haystacks at Chailly at Sunrise, Claude Monet 1865

Impression, Sunrise, Claude Monet, 1872

Races at Longchamp, Edouard Manet, 1867

The Railway, Edouard Manet, 1873

The Floor Scrapers, Gustave Caillebotte

The Dance Class, Edgar Degas, 1874

The Luncheon at the Boating Party, Renoir, 1881

A Sunday Afternoon on the Island of La Grande Jatte, Georges Seurat, Pointillism

Expressionism – late 19 th – early and mid 20 th century Art which distorts reality through exaggeration for emotional effect / impact Later, the movement stood out against fascism and this, together with its so called 'degenerate' qualities led to the persecution of many Expressionist artists by Nazis

Roots and Tree Trunk, Van Gogh, 1890

The Starry Night, Van Gogh, 1889

The Scream, Edvard Munch,1893 Expressionism  Using bright colors to express a particular emotion.

Cubism – Early 20 th century Key concept underlying Cubism is that the essence of an object can only be captured by showing it from multiple points of view simultaneously Subject matter portrayed by geometric forms without realistic detail, stressing the abstract. The artist should treat nature in terms of the cylinder, the sphere, and the cone. The subject matter is broken down, analyzed, and reassembled in abstract form.

Nude Descending a Staircase, Marcel Duchamp, 1912

Studio with Plaster Head, Picasso, 1925

Violin & Candlestick, Georges Braque, 1910

Late 1920s-1940s. Came from the nihilistic genre of DaDa. Influenced by Freud’s theories on psychoanalysis and the subconscious. Confusing & startling images like those in dreams. Surrealism

Soft Construction with Boiled Beans (Premonition of Civil War), Salvador Dali, 1936

The Persistence of Memory, Salvador Dali, 1931

Geopoliticus Child Watching the Birth of a New Man, Salvador Dali, 1943

Abstract Impressionism First American art movement to gain world- wide influence Put NY as center of art world Characterized by spontaneity, emotion, bold colors; often on large canvas Came out of surrealism Major Artists- – Jackson Pollock – ‘drip painting’  stand on canvas and paint around – William De Kooning

Pollock, ‘No. 5’

Pollock, ‘Lavender Mist’

De Kooning, ‘Woman V’

Pop Art Subject matter based on visual clichés and the impersonal style of mass-media imagery. Often aimed at broad audiences Sometimes uses ‘mechanical’ means of reproduction Andy Warhol and Claus Oldenburg Last ‘modern’ art before post-modern art

Warhol, ‘Campbell’s Soup Cans

Warhol, ‘Turquoise Marilyn’

Oldenburg