or highlight or make notice of the most important things any way you can--if something really stuck out to you about a piece of art or a type of movement, let us know! (Be as specific as possible--with everyones help, we can all do great on this midterm!) Ive separated them into sections by the topic of the lecture, so the first would be lecture one, the second would be lecture two, etc. Just push enter and add what you have, and hopefully all of us together will be able to compile a pretty nice study guide for the class. :) Ill add my information in tomorrow. Happy studying and email me at kairegaj@usc.edu if you need anything!anyone know if this is graded on a curve?

...WE have to add the artwork image for the final exam for study too...

Dr. Ogata Me

2

^seriously tho...

14th Century ItalyVOCABULARY Piazza: a public square or marketplace. Example: Piazza della Signoria (14th century)Cathedral: A church building in which a Christian bishop has his official seat. Example:Duomo These were large, gilded bronze doors divided into squares that depict the life of John the Baptist (San Giovanni). (these are called quatrefoils)Palazzo Vecchio: Florence, 1299-1310Maesta: Duccio di Buoninsegna, 1308-11 (made for a Siena Cathedral) large and commanding piece, with the center stretching 13 feet across The Virgin is depicted in a blue robe, portraying her as being the Queen of Heaven. She is large, and in the center of the piece, and you can tell by the fact that everyone else in the scene is facing their bodies toward her that she is the main figure in the composition. The scenes found on the back side of the panel depict the life of Christ In the scenes on the back, specifically the Betrayal of Christ and the Healing of Lazarus in this case, the hands and bodies are used to show the viewers who to direct their attention to. In these pieces, there isnt a lot of depth, very two dimensional.Madonna and Child Enthroned: Giotto di Bondone, 1310 Giotto was a painter of the 14th century, the designer of the tower of the Duomo, anda student of Cimabue, who also depicted a version of the Virgin and Child. Giottos Madonna and Child vs. Cimabues Madonna and Child CIMABUE (1280)GIOTTO (1310)*Angels are all looking a different way VS. Angels are looking up at the Virgin*Both have drapery, but C. uses gold flecks to highlightVS.Gs drapery appears to be much heavier*The Madonna is very thin and frail looking, and has her head turned to the side (very similar to older styles of art)VS. The Madonna is looking straight into the eyes of the viewer of the painting, and is much more solid and attention commanding. Shes saying Look at me, I am the mother of Christ*In Cimabues painting, the people surrounding the Virgin are all kind of layered on top of one another, not showing very much depth or space in the painting VS. Giottos painting, which has much more depth. *Cs Madonna is gesturing toward the child, showing the viewer that this is a very important figure (the use of hands again)VS. Gs Madonna is laying her hand gently on the knee of Christ in a motherly and loving way.

All in all, the comparisons between the paintings are obvious: subject matter, throne, madonna and child in middle, angels surrounding her. The differences, though, all point to one thing: Cimabue was presenting this as a strictly religious piece, showing the Madonna and Child in all of their glory. While Giotto was doing the same, the way he depicted the scene made it much easier to connect with both the Virgin and her son, showing the viewers that these were, in fact, real people rather than just divine beings.

Arena Chapel (Capella di Scrovegni) Frescoes: Giotto di Bondone, 1305-06 Done in the style buon fresco (see definition in vocabulary above) Walls of the room depict the lives of the Virgin and Christ Heavenly looking realm of the sky with gold flecks on the ceiling to depict stars The scene of the Lamentation: shows the scene after Jesus had died. You can clearly see the grief in the faces of the people and angels surrounding the body of Christ. The clothing is heavy and draped everywhere. The mountain comes in at a diagonal to bring attention to the person that the piece is mainly about. Most important is the back wall, which is the scene of the Last Judgement Huge, takes up the entire back wall. This piece is vast and organized vertically, with the angels in Heaven at the top.In the center of the piece is Jesus, whose full body is shown with a heavenly gilded You cant idealize these relics to his right are the righteous people of the world who are trying to get into heaven. To his left, is a depiction of hell and the people who are doomed to live out their eternal lives there. This may have had ideas borrowed from Dantes Inferno. There are souls being tortured and attacked by monsters. On the bottom, in the middle, we can see the donor and Giotto on their knees, offering the chapel to three divine figures. The fact that this is slightly offset to the right shows that it is an act of devotion and a way of trying to ensure his eventual acceptance into Heaven.

Annunciation: Simone Martini, 1333 This triptych is a scene of the annunciation of the Virgin. This is when Mary finds out shes going to be giving birth to the son of God. The angel Gabriel looks as though hes just stepped out of thin air, and his cloak is flying back in the wind. Mary is turned away from the guest, and it can be seen in not only her face, but her finger marking the page of the book in her hand, that she was shocked by the sudden appearance of Gabriel. There are pots of lilies in the scene, which are often associate with the Virgin and symbolize purity. Its shallow, not much depth, although very gilded to show luxury and divinity. At the top of the central arch, there is a fluttery winged creature, showing the heavenly insemination of the Virgin. The words of Gabriel are actually etched into the painting.

The Allegory of Good and Bad Government: Ambrogio Lorenzetti, 1338-39 This piece was painted on the walls of the Palazzo Pubblico in Siena. This was where important people made political decisions, and the painting was there to remind the people in the room what happens when the people and the land are governed well, and also what happens when they are governed badly. Focus on the Good Government scenes The commune is seated and surround by virtues like temperance, fortitude, etc. Peace is lounging on a pillow, underneath which is her armor. Thrown aside, but there just in case she may need it. There is a personification of Justice depicted holding scales. On one side is a person giving money for something, and on the other someone is being beheaded. This is to show that justice can be both positive and negative. The Peaceful City: This depicts a happy city that has been governed well. There is trade going on, there are maidens dancing, and the people seem generally happy. This is kind of saying This is what will happen if you make good political decisions. Outside the gate is a vast landscape of the countryside, which was kind of rare in this time period. There are rolling hills, farmers and traders working, agriculture flourishing. Again, showing what could happen if good political decisions are made on behalf of the people of Siena.

15th Century ItalyVocabulary One-point or linear perspective: Method of creating three-dimensional illusion on a two-dimensional surface ex. Masaccio Trinity Contrapposto: is an Italian term that means counterpose. It is used in the visual arts to describe a human figure standing with most of its weight on one foot so that its shoulders and arms twist off-axis from the hips and legs. Example: Donatellos David Trompe loeil: (Trick of the eye) art technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions Example: Masaccio Trinity Intarsia: The technique of intarsia inlays sections of wood (at times with contrasting ivory or bone, or mother-of-pearl) within the solid stone matrix of floors and walls or of table tops and other furniture Example: Giuliano de Maiano, Studiolo of Federico de Montefeltro

RENAISSANCE (N. EUROPE): explosion of learning and creativity interest in the natural world landscapes 3D, perspective accurate visual depictions of the natural world

During this time there are ITALIAN ARTISTS (using TEMPERA - dried quickly, matte) & FLEMISH ARTISTS (using OIL PAINTS - changes can be made while still wet)

RENAISSANCE (ITALY): lifelike but idealized weighty figures set within a rationally configured space organized through a linear perspective system revival, rebirth philosophy as moral basis render illusion of physical reality

Dome of Florence Cathedral 1417-36; lantern 1471 The Dome was designed by Filippo Brunelleschi Was started to build at 1296 by Arnolfo di Cambio but failed to finished the dome until Filippo Brunelleschi picked up at 1419 and finished at 1436. It had a vote (Please add the group name here if you know, I think it was an Art and Architect Guild or something) to determine which artists would be offer the commission to build the dome. Filippo Brunelleschi and his major opponent, Lorenzo Ghiberti were in the toplist but Filippo Brunelleschi won. This is his first design commission One of the very important technique to make this dome happened was the Spina Pesca (Fish Bone) pattern technique. A technique believed to be inherited by the Etruscans that was revived in the Trecento. (14th Century) The Dome was inspired by Pantheon, Rome, 27 BCE-14CE, rebuilt C.126 CE It was a very impressive work in that time because the traditional way cannot complete this task. (Arch Centering Technique)

Filippo Brunelleschi was a goldsmith, so as Lorenzo Ghiberti. Filippo Brunelleschi also designed Ospedale Degli Innocenti (Nurse house for orphan), commission accepted at 1419, completed at 1445 Building: Both end of the side has bigger, heavier columns and thinner columbus in between Cube Space The space between the columbus/columbus is the same between the columbus/wall. A very classical style.

Luca Della Robbia

Known as a finder of Pottery glaze that makes sculpture waterproof and more durable in the outdoor environment

Lorenzo Ghiberti

As well as his major opponent Filippo, he also was a goldsmith. His major work was the Gate of Paradise, Baptistry, Florence Cathedral, 1425-52 (Jacob and Esau) He won a competition to Filippo Brunelleschi at 1401(The competition was announced by Arte Di Calimala - Cloth Importers Guild),for the right to design and build the Bronze door at the North of the Florence Cathedral. 28 pieces of panels, took him 21 years to completed. After he just completed the North Gate, he got another commission for design and build the Bronze East Door, so call The Gate of Paradise 1425.

16th Century Idea of the ArtistVocabulary No Vocabulary? Mannerism: group of artworks that show deliberate distortion to Renaissance conventionThe beginning of Mannerism can be traced to the contorted figures first seen in Michelangelos paintings in the Sistine Chapel (esp. The Last Judgement). The pastel colors seen in this work were also appropriated by Mannerist artists later on. Eventually, the movement of Mannerism came to portray a loosening of the strict regulations and apparent stiffness of prior Renaissance works. ** See Erwin Panofskys article What is Baroque? ** Parmigianino, Madonna of the Long Neck, 1534-40 Renaissance ArchitectureVocabulary The Orders: Roman Doric: simple cornice smooth or fluted shaft Greek Doric: Same as Roman Doric without a base Tuscan: A classical order similar to Roman Doric but having columns with an unfluted shaft and a simplified base, capital, and entablature Ionic: The Ionic was used for smaller buildings and interiors. It's easy to recognize because of the two scrolls, called volutes, on its capital. Corinthian: Corinthian is similar to the Ionic order in its base, column, and entablature, but its capital is far more ornate, carved with two tiers of curly acanthus leaves (MOST ORNATE) Composite: an order developed in Rome, that combines characteristics of both the Ionic and the Corinthian (acanthus leaves and volute scrolls on capital) Columns Base: Bottom; most columns rest on a round or square base Shaft:The main part of the column, the shaft, may be smooth, fluted (grooved), or carved with designs. Capital: The top of the column may be simple or elaborately decorated. Entablature: a horizontal, continuous lintel on a classical building supported by columns or a wall, comprising the architrave, frieze, and cornice. Pilaster: a rectangular column, especially one projecting from a wall; used for decoration in architecture Allantica: that which 'imitates the style of the ancients Nymphaeum: ancient Greek and Roman sanctuary consecrated to water nymphs. Example: Villa Barbaro Nymphaeum

Northern RenaissanceVocabulary Polyptych: multiple panels. Ghent Altarpiece Jan and Hubert van Eyck

Renaissance CourtsVocabulary Stucco: fine plaster used for coating wall surfaces or molding into architectural decorations. Example: Rosso Fiorentino and Francesco Primaticcio, Stucco and wall painting, Chateau of Fontainebleau, 1540s

Baroque Art and the 17th CenturyVocabularyBaroque: Campanile: A freestanding Italian bell tower.Example:UC Berkeley,Cathedral of FlorenceManiera Greca: Byzantine or Greek style of painting adopted by many Italian painters. Consists of heavy gilding, brilliant colors, and striations that depict the heavy folding in clothes. (think Cimabues Madonna and Child) Buon Fresco: Paint is applied directly to fresh plaster of wall. Colors are extremely vibrant and lasts a very long time, but can be difficult to execute. (think Arena Chapel done by Giotto) Triptych: winged altarpiece in which 2 wings can fold over a center section, forming a diptych when closed, an artwork made up of 3 panels Example: The Annunciation by Martini

The Duomo: begun in 1296 by Arnolfo di Cambio Campanile, Giotto di Bondone and others, 1334-1350- Gothic style cathedral of Florence- Cross shaped floor plan, detached bell tower and baptistery- The doors of the Baptistry (1330-36) are very famous, designed by Andrea Pisano. Cultural movement corresponding with the Catholic counter-reformation that sought to purge artwork of the excesses of the increasingly iconoclastic movement of mannerism

Counter-Reformation: Catholic Church emphasizing congregational worship Chiaroscuro: an Italian word designating the contrast of dark and light in a painting, drawing or print. Creates spatial depth and volumetric forms through gradations in the intensity of light and shadow. Example: Caravaggio - Calling of St. Matthew Parterre: is a formal garden constructed on a level surface, consisting of planting beds, typically in symmetrical patterns, separated and connected by gravel pathways. (ex. Palace of Versailles gardens) French Royal Academy of Art:

17th Century Spain, Flanders, Dutch RepublicVocabulary genre: painting of scenes from everyday life, of ordinary people at work or recreation, depicted in a generally realistic manner. Example: Vermeer, Woman Holding a Balance Rubeinistes vs. Poussinistes: Disagreement amongst artists, originating in 19th century France, that sought to determine the correct way to make art. Poussinistes (after Nicholas Poussin) argued that drawing, draughtsmanship and a heavy classical influence were ideal elements in painting while Rubenistes (after Peter Paul Rubens) argued that vibrant color and aggressive brush strokes were correct way to approach painting. still life: paintings of inanimate objects (still life with tazza) drypoint: style of printmaking in which needle is used to scratch image into metal plate

18th Century ArtVocabulary Rococo: Artistic movement that was started as a response to the strict regulations imposed by the Baroque period. Paintings from this era were more fanciful, ornate and bright. Themes of Rococo paintings were usually more playful and witty. arabesque: an ornamental design consisting of intertwined flowing lines. fte galante: Fte galante is a French term used to describe a type of painting which first came to prominence with Antoine Watteau, whose reception piece at the Academy of 1717, 'The Embarkation for the Island of Cythera', was described as representing 'une fte galante'. Ftes galantes, usually small in scale, show groups of elegantly attired men and women, most often placed in a parkland setting and engaged in decorously amorous play. chinoiserie: is a recurring theme in European artistic styles since the seventeenth century, which reflect Chinese artistic influence ormolu: golden or gilded brass and bronze used for decorative purposes.

Neoclassicism Vocabulary Palladianism: In the style of Andrea Palladio. The 16th century Architect was inspired by the buildings of Ancient Rome. British designers drew on his work to create a Classical British style. Grand Tour: extended visit to the major cultural sites of Southern Europe tourists visited historic sites from the Classical past visited studios of important Italian artists to view and purchase works Reynolds, The Discourses, 1769-90: lectures given at the Royal Academy: conveys ideas through writing, as well as painting outlines his theory of art - importance of studying the past, elevate the public through art to have people learn something and be educated, changed by art art has a social purpose J.-J. Winckelmann: Johann Joachim Winckelmann pioneering Hellenist who first articulated the difference between Greek, Greco-Roman and Roman art, Winckelmann was one of the founders of scientific archaeology and first applied the categories of style on a large, systematic basis to the history of art. ex: The prophet and founding hero of modern archaeology"

Art, Enlightenment, and Revolution

Blackboard Syllabus Readings...This is gold, thank you!The Life of Michelangelo - Giorgio Vasari (Life of The Artists) Father: Lodovico di Lionardo Buonarroti Simoni, nobility from Canossa family Birth of Michelangelo was shown by stars to expect to see among his accomplishments magnificent works created through his hands and his genius Michelangelo was placed with Master Francesco da Urbino in his grammar school Spending all his time drawing in secret Good friendship with Francesco Granacci With help from Grenacci and under Lodovico's advice, Michelangelo was placed with Domenico Ghirlandaio at 14 y/o Michelangelo's skill and character grew in such a way it amazed Domenico, surpassing his master In those days, Lorenzo de' Medici kept Bertoldo the sculptor in his garden near Piazza San Marco; He wanted to create a school for excellent painters and sculptors and wanted them to have the Bertoldo, who was a pupil of Donatello, as their teacher and guide Lorenzo told Domenico Ghirlandaio that if he had any young men in his shop who were inclined to this art, he should send them to his garden, where he wished to train and form them in a way that would honor himself, Domenico, and his city Michelangelo impressed Lorenzo and after seeing Michelangelo's simplicity and excellence, sent for his father Lodovico to ask if he could raise him as one of his own sons Lodovico accepted and Michelangelo lived with Lorenzo and his family among nobility. This happened a year after his apprenticeship to Domenico when Michelangelo was 15 or 16 y/o and he remained in that house for 4 years until the death of Lorenzo Michelangelo's talent caused envy by his peers and it is said that Torrigiani struck Michelangelo upon the nose with such force it broke and flattened it Unfortunately caused Michelangelo to be banned from Florence He dissected bodies in order to study the details of anatomy and began to perfect the great skill When Medici family were driven out of Florence, Michelangelo headed for Bologna then Venice for fear of association and was caught by Messer Giovanfrancesco Aldovrandi, who freed him out of compassion and kept him in his home for a year Realized he was wasting time and returned to Florence Carved St John figure for Lorenzo di Pierfrancesco de' Medici that was renowned for its ancient Roman appearance and was treated as such Figure was buried and sold by Baldassre de Milanese to Cardinal San Giorgio but it was said it was a copy and caused much drama regarding money, authenticity, and ownership This affair gave Michelangelo such a rep that he was brought to Rome and taken in by Cardinal San Giorgio for a year Messer Jacopo, a Roman gentleman, asked Michelangelo to carve another life-size Cupid Its slender young male figure and fleshy, round female qualities showed Michelangelo to be more skilled than any other modern sculptor After not receiving credit for Our Lady, Michelangelo carved his name on her sash which caused him to gain very great fame. Michelangelo returned to Florence to work on a project commissioned by the Works Department. Piece of marble was botched by Master Simone and left for no use Michelangelo managed to perform a miracle in restoring the marble to life and creating David in 1504 David eclipsed all other works-- both ancient and modern Michelangelo was commissioned to compete with Leonardo da Vinci by working on another wall of the Grand Hall of the Council His depiction of the Pisan War was seen as divine rather than human Everyone who studied the wall became distinguished in their profession By 1503 when Pope Alexander VI died and Julius II was named pope, Michelangelo at 29 y/o was summoned by Pope Julius II to build his tomb which was to be placed in the Saint Peter in Rome

Council of TrentCouncil of Trent and Religious Art In the 16th Cent, the Roman Catholic Church insisted art should be servant of Church Through decisions of the Council, art was made once again handmaiden of Catholic Church No humanism Went from natural world to theory, from human significance to theological import Closer to Middle Ages rather than Renaissance No nudity unless heroic and mythological Canons and Decrees of the Council of TrentTwenty-fifth Session in 1563 commands: All teaching within Catholic and Apostolic Church instruct faithful diligence in matters/art relating to saints, veneration of relics, and legitimate use of images Images of Christ or Virgin to be placed in churches Paintings and other representation must instill articles of faith to be borne in mind and reflected upon Great profit is to be derived from all holy images "be moved to adore and love God and cultivate piety" If anything contrary is taught Holy Council desires "false doctrines" to be removed All superstition, filthy quest for gain, and all lasciviousness or seductive charm be eliminated Nothing represented may appear disorderly, unbecoming, confusedly arranged, profane, or disrespectful Must be approved by bishop No new miracles or anything unless approved by same bishop If any graver question concerning these matters arise, Bishop shall await decision so that nothing new or anything that has not been used by the Church, shall be decided upon without having first been consulted by holy Roman pontiff

Three Essays on Style by Erwin Panofsky What is Baroque? Article talks about baroque as term that was derogatory at first- used to describe art that was obscure, fanciful, and useless it came to mean the style that followed the High Renaissance -- style of the 17th and early 18th centuries-- thought of opposite of classical Renaissance Baroque- unbridled movement, overwhelming richness in color and composition etc.. However mannerism preceded Baroque and was after Renaissance mannerism was a result of the inherent problems with Renaissance art- pg 25 Baroque is the opposition to mannerism-- countermovement 1590 in Italy (*important- this was an Italian phenomenon) most other countries remained mannerist under the framework of Baroque these changes were brought about 2 main ways revolutionary effort of Caravaggio- called a naturalist reformatory endeavor of the Bolognese Carracci school which tried to overcome manneristic tendencies and bring back good old traditions For Baroque: architecture breaks up or even curves, the walls, to express free dynamic interaction between mass reverts to one-view principle baroque art like to place art in stage like settings mannerism: a good sculpture must have a hundred views fundamental attitude of Baroque: tension between 2-dimensional surface and three dimensional space- subjective

What do pictures want? By W.J.T. Mitchell inoffensive objects can become objectified depending on display or presentation of the image Iconoclasm: defacement or destruction of images, people get offended by images and take action by destroying them 2 beliefs are in place when people offend images that image is transparently and immediately linked to what it represents image possesses a vital, feeling character that makes it capable of feeling what is done (treated as pseudo-persons) the tendency to endow them with life and immediacy is fundamental in the ontology of images as such or to a form of life we might call being with images the intractability of offensive images stems from their tendency to take up residence on the frontlines of social/political conflicts obvious points why images are treated as human beings capacity for harm depends on social context images offend because they degrade something valuable, glorify something hateful, some offend because of the manner of representation if image offends many- sooner.later it will invoke the law images are not offended all in the same way 3 basic strategies of iconoclasm annihilation disfigurement concealment Example: Chris Ofilis Madonna nothing to do with adulterours or god-subsitute but everything to do with the type of material used (elephant dung) artist respectful use of elephant dung was taken as an insult to the image of Madonna is it really the material that offends of the interpretation of the material making a statement or actually doing something to Madonna therefore if her image is offended, then she herself is offended, and because I respect her and I am offended as well outrage over more than just being offended by the image itself BUT outrage over an act of iconoclasm- or violence to an image - the painting itself seen as an act of desecretion, disfigurement, and defacement Heiner used white paint to veil the image- it did not the harm the image but hid it-- defense of the sacred image art it turns out has something to do with wealth and speculative capital guilty only of candor images are not words - it is unclear if they actually say anything verbal message of the speech has to be brought to them by spectator ambiguous- words that can decode an image The mere verbal report that the image of Madonna with elephant dung was enough to convict the image of being offensive- many people who were offended hadnt actually seen the image iconophobia syndrome: images make people anxious, we fight, blam, and destroy them

The Limewood Sculptors of Renaissance Germany by Michael Baxandall Iconoclasm: materials are tricky for icons- because if you use a profane material to represent an icon, for ex: wood is used for furniture but you shouldn't use it to create holy materials Two figures opinions on images (inconoclasms) Luther in the North More relaxed about it Viewed how we approach icons on a case by case basis From Noremburg- people didn't want to take a harsh stance of iconoclasm because of a socio-economic approach, lots of trade, did not want to interrupt that 3 ways they approached this Placement: rather than having these icons in the church they had them out of the church- more in the home Subject matter: rather than have a single holy figure, you depict narrative scenes with multiple people will decrease the possibility that you might just end up idealizing portrait Wingley in the South

More radical Need more info on thisThe Council on Trent They coordinated church doctrines concern Catholic church response to the reformation They argue that religious art should be the servant of the church Catholic church says we can have religious art, but the bishop has to approve that Images have to be respectful, not sensualspace***** in association with Trion, the portrait showed queens desire to escape being French- to bring what is Alien into heart of French realm the king is the husband and political spouse of the kingdom King married to the nation- poeple are his children-- queen is the mother of the future king-- paper queens- queenship exists only on paper Luois XIV was not a womanizer- had no official mistresses Marie-Antoinette most influential woman in his life, situation complicated by the perception that he was a weak ruler Marie-Antoinette was an archduchess of another kingdom- she presented the real and imagined threat of allegiance to her mothers house importation of Foreign woman was necessary proper running of monarchy Queen of France can be construed as ploticial alliance between two families Marie- Antoinette, 1793 by J.L. David royal person still standing tall and erect (dignity), apparently resigned to her fate she has no power his piece most authentic: because is showed Marie-Antoinette as she should have been when she was queen- dignified and helpless King rode in a closed carriage, queen rode in an open one for everyone to see **Closing: both images (Davids and Lebruns) show the queen as the most notorious, dangerous, and powerful public woman in France, and a woman who acted in public (both in 1783/93) not only raised fears of sexual de-differentiation but also bore the blame of societys moral decline

Why have there been no great women artists? by Linda Nochlin need women to critque art history to show inadequacies and biases different kind of greatness for women artist than that of men distinctive and recognizable feminine style differing in both formal and expressive properties and based on womens experiences-- Author is saying this is not true no great women artist because they were not born as white males- fault lies in our institutions there are always these grand stories about great aritst of the times and how they were just magically and extremely gifted with their talents BUT looked at social and institutional structures in which he worked and lived as mere secondary influences or backgrounds need to think about where these great male artist came from in terms of their social status, if they had relatives who were in artistic professions Why are there no great artist from aristocracy and females? the kinds of demands and expectations placed before both aristocrats and women- the amount of time necessarily devoted to social functions etc- made total devotion to art production impossible The Question of the Nude availability of the nude model to women was much more limited however, having access to nude models from the Renaissance until the near end of the 19th century was important for production of any work-- accepted as highest category of art Successes daughters of artist fathers rebellion Rosa Bonheur (1822-1899) one of the most successful, accomplished women painters of all time animal painting became artist when things were beginning to shift daughter of an impoverished drawing master, showed interest very early on he was influential in drawing her towards her lifes work she never wanted to marry for fear of losing her independence cropped her hair, and wore mens clothing Conclusion it was institutionally impossible for women to become great artistsThe Exceptional Woman By Mary D. Sheriff Marie-Antoinette en chemise by Elisabeth Vigee-Lebrun, Salon of 1783 public decried it, and forced Lebrun to remove it from the Salon saying the en chemise was unsuitable costume for public appearance style was immensely popular in England (where it made a fashion statement for the natural woman simplicity, and honest sentiment)-- In France this style was far less acceptable luxury garment visitors were shocked by the immodesty of the queen appearing publically-- as inappropriate as a nude man, if not more very informal, her person was pushed up in the picture plane so that the viewer can fancy himself with intimate conversation with the monarch showed that Maries conversion to Frenchness was not sincere came to represent queens foreign character, extravagant spending, and uncontrolled sexuality Louis Martins Portrait of the King (Louis XIV)- representation of power, and power of representation-- king face of absolute moarchy Salon of 1783- background Salon conceived by dAngiviller as move in his plan to revive the gloire of the French art during the reign of Louis XIV he wanted to restore the power of presentation and to make art once again an important instrument of state in this Salon, however, hung a huge portrait of of a queen exhibited by a woman that both stole the show and Embarrassed the monarchy by 1783 Salon known as school for virtue and morality, increasingly intolerant of immodest depictions What relations of representation, power, and imagination are at work in the queens portrait? the queen signified the wife of the king, and queen had no meaning except in relation to king Salic Law- what is this? justified that wife prescribed as one of subservience to her husband France was the only kingdom in Europe that prevented rule by women Marie-Antoinette as the queen (in general) first of the kings subjects- owing him obediance as husband and ruler a queen is a wife and an official portrait of the queen shows the wife of the king- it is always a possible companion piece to the kings portrait the Queens portrait points to not her own force and power, but to that of the king. the queen here is represented through her image as the regal and elegant consort not only in the gaze of her subjects but also in the gaze of her husband, the king- WHO is the real subject of the painting informal protraits should not appear in the Salon she may have wanted to escape her position as queen, she had no desire to be less than queen Controversy of portrait: queen playing at peasantry and the real state of the French people queen posed as fashionable woman in this portrait Trion Petit Trion given to Marie-Antoinette by King portrait symbolized what Trion had come to mean in the French monarchy transformed the grounds into English garden(natural grownth) -stark contrast to French regulated/trimmed garden English garden was a foreign import into the heart of French symbolic WITH YOU and ive been studying since like 7 did anyone else like only have time to memorize the bold images? ion and education

The Lives of the Artists by Giorgio Vasari Andrea Palladio (1508-1580) worked first as sculptor before turning to architecture talented, recognized by wealthy patron - Trissino employed in Venice Wrote 4 books- dependent on Vitruvius first published in Italian 1570 1- containing principles of good architecture discusses materials and techniques 5 orders of architecture : Tuscan, Doric, Ionic, Corinthian, and Composite 2-private constructions designed by him 3-city planning most from ancient Roman origin 4-pagan temples including Patheon his work forms the basis of French and english architecture of the 17th and 18th centuries1