Nineteenth Century 2D Art - AP Art History
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This type of artwork is known as .
This type of artwork is known as .
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Engravings were the most common type of "quick" art created in the eighteenth and nineteenth centuries. When images had to be provided for newspapers or flyers, an engraving could be made quickly. Engravings were also cheaper and easier to create than early types of photographs.
Engravings were the most common type of "quick" art created in the eighteenth and nineteenth centuries. When images had to be provided for newspapers or flyers, an engraving could be made quickly. Engravings were also cheaper and easier to create than early types of photographs.
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The work depicts .
The work depicts .
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The exact subject of this painting is not definitively known, but it is almost certainly the son of a wealthy merchant. The subject is not depicted in the manner of a royal, but he still looks wealthy.
Figure: The Blue Boy by Thomas Gainsborough (c. 1770)
The exact subject of this painting is not definitively known, but it is almost certainly the son of a wealthy merchant. The subject is not depicted in the manner of a royal, but he still looks wealthy.
Figure: The Blue Boy by Thomas Gainsborough (c. 1770)
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Figure 1 Figure 2
The painting shown in Figure 1 is a .
Figure 1 Figure 2
The painting shown in Figure 1 is a .
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The painting shown in Figure 1, Vincent Van Gogh's The Starry Night, is a landscape, if a peculiar one. The scene is reputed to be the one Van Gogh saw from a sanitarium in Southern France, but the nighttime scene was painted during the day from memory. The painting has odd flourishes in its use of paint, swirling stars, and striking use of color, which are all hallmarks of Van Gogh's style.
Figure 1: The Starry Night by Vincent van Gogh (1889)
Figure 2: Portrait of Père Tanguy by Vincent van Gogh (1887-8)
The painting shown in Figure 1, Vincent Van Gogh's The Starry Night, is a landscape, if a peculiar one. The scene is reputed to be the one Van Gogh saw from a sanitarium in Southern France, but the nighttime scene was painted during the day from memory. The painting has odd flourishes in its use of paint, swirling stars, and striking use of color, which are all hallmarks of Van Gogh's style.
Figure 1: The Starry Night by Vincent van Gogh (1889)
Figure 2: Portrait of Père Tanguy by Vincent van Gogh (1887-8)
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Figure 3 Figure 4
The painting in Figure 3 is an .
Figure 3 Figure 4
The painting in Figure 3 is an .
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Jacques-Louis David's Napoleon Crossing the Alps (1801) shows the newly minted Emperor of France crossing into Austria to give battle to his enemies. While using classical motifs, the equestrian portrait shows, in the Emperor's uniform, positioning, and look, a Revolutionary man standing in the place of great generals of the past. David, a noted artist of history paintings, grants Napoleon a historical position from the outset of his campaigns.
Figure 3: Napoleon Crossing the Alps by Jaques-Louis David (1801)
Figure 4: Portrait of Sir Arthur Wellesley, First Duke of Wellington by Sir Thomas Lawrence (1814)
Jacques-Louis David's Napoleon Crossing the Alps (1801) shows the newly minted Emperor of France crossing into Austria to give battle to his enemies. While using classical motifs, the equestrian portrait shows, in the Emperor's uniform, positioning, and look, a Revolutionary man standing in the place of great generals of the past. David, a noted artist of history paintings, grants Napoleon a historical position from the outset of his campaigns.
Figure 3: Napoleon Crossing the Alps by Jaques-Louis David (1801)
Figure 4: Portrait of Sir Arthur Wellesley, First Duke of Wellington by Sir Thomas Lawrence (1814)
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Figure 3 Figure 4
The painting in Figure 4 portrays its subject as .
Figure 3 Figure 4
The painting in Figure 4 portrays its subject as .
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Fitting for an official portrait of the country's greatest military hero, Sir Thomas Lawrence's portrait of General Arthur Wellesley, Duke of Wellington, portrays him in a serious, uncompromising position. His serious demeanor is paired with his stiff pose, showing his arms crossed in front of him. In this portrait, Wellington is presented simply in front of a plain background, with little but his uniform to accent his own image and pose.
Figure 3: Napoleon Crossing the Alps by Jaques-Louis David (1801)
Figure 4: Portrait of Sir Arthur Wellesley, First Duke of Wellington by Sir Thomas Lawrence (1814)
Fitting for an official portrait of the country's greatest military hero, Sir Thomas Lawrence's portrait of General Arthur Wellesley, Duke of Wellington, portrays him in a serious, uncompromising position. His serious demeanor is paired with his stiff pose, showing his arms crossed in front of him. In this portrait, Wellington is presented simply in front of a plain background, with little but his uniform to accent his own image and pose.
Figure 3: Napoleon Crossing the Alps by Jaques-Louis David (1801)
Figure 4: Portrait of Sir Arthur Wellesley, First Duke of Wellington by Sir Thomas Lawrence (1814)
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Figure 3 Figure 4
Compared to the figure portrayed in the painting in Figure 4, the figure portrayed in the painting in Figure 3 is .
Figure 3 Figure 4
Compared to the figure portrayed in the painting in Figure 4, the figure portrayed in the painting in Figure 3 is .
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Jacques-Louis David's portrait of Napoleon Crossing the Alps makes the Frenchman an energetic figure, in motion and ready to lead his troops into battle. David is able to portray the French emperor as the trans-historical and trans-national warrior. By contrast, Sir Thomas Lawrence's portrait of the Duke of Wellington presents a serene figure, but no less serious in his purpose as a general.
Figure 3: Napoleon Crossing the Alps by Jaques-Louis David (1801)
Figure 4: Portrait of Sir Arthur Wellesley, First Duke of Wellington by Sir Thomas Lawrence (1814)
Jacques-Louis David's portrait of Napoleon Crossing the Alps makes the Frenchman an energetic figure, in motion and ready to lead his troops into battle. David is able to portray the French emperor as the trans-historical and trans-national warrior. By contrast, Sir Thomas Lawrence's portrait of the Duke of Wellington presents a serene figure, but no less serious in his purpose as a general.
Figure 3: Napoleon Crossing the Alps by Jaques-Louis David (1801)
Figure 4: Portrait of Sir Arthur Wellesley, First Duke of Wellington by Sir Thomas Lawrence (1814)
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Figure 3 Figure 4
Both of the above images are notable for using .
Figure 3 Figure 4
Both of the above images are notable for using .
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Each of these paintings are portraits of singular individuals, with little focus on other aspects, and use a heightened contrast of color to highlight the figures that are the main subjects of each painting. Jacques-Louis David's portrait of Napoleon has him in bold colors on a white horse, set against blue-gray backgrounds of storm clouds and mountains. Sir Thomas Lawrence's painting of Wellington places the Duke and his bright red uniform against a dark background, placing all focus on the Duke himself.
Figure 3: Napoleon Crossing the Alps by Jaques-Louis David (1801)
Figure 4: Portrait of Sir Arthur Wellesley, First Duke of Wellington by Sir Thomas Lawrence (1814)
Each of these paintings are portraits of singular individuals, with little focus on other aspects, and use a heightened contrast of color to highlight the figures that are the main subjects of each painting. Jacques-Louis David's portrait of Napoleon has him in bold colors on a white horse, set against blue-gray backgrounds of storm clouds and mountains. Sir Thomas Lawrence's painting of Wellington places the Duke and his bright red uniform against a dark background, placing all focus on the Duke himself.
Figure 3: Napoleon Crossing the Alps by Jaques-Louis David (1801)
Figure 4: Portrait of Sir Arthur Wellesley, First Duke of Wellington by Sir Thomas Lawrence (1814)
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Figure 1
Figure 2
The farthest left figure in the image on the right is probably
Figure 1
Figure 2
The farthest left figure in the image on the right is probably
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It is widely known that in The Meeting, Gustave Courbet painted himself, his art dealer Alfred Buyas, and Buyas' servant Calas, largely because of how accurate Courbet's depictions were. Even without the background knowledge, many things indicate the status of Calas. His clothes are shabbier than his companion's, and he defers to the figure in the middle with his head bowed.
It is widely known that in The Meeting, Gustave Courbet painted himself, his art dealer Alfred Buyas, and Buyas' servant Calas, largely because of how accurate Courbet's depictions were. Even without the background knowledge, many things indicate the status of Calas. His clothes are shabbier than his companion's, and he defers to the figure in the middle with his head bowed.
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Figure 1
Figure 2
The image in Figure 1 conveys
Figure 1
Figure 2
The image in Figure 1 conveys
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The figure in The Desperate Man, a self portrait by Gustave Courbet, looks like he is about to leap out of the painting. His eyes are bulging, and he appears to pulling out his hair, all while wearing an ill-fitting shirt. All of this conveys an element of madness in the figure.
The figure in The Desperate Man, a self portrait by Gustave Courbet, looks like he is about to leap out of the painting. His eyes are bulging, and he appears to pulling out his hair, all while wearing an ill-fitting shirt. All of this conveys an element of madness in the figure.
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This work is from .
This work is from .
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The Blue Boy, the portrait shown above, is a painting by the English artist Thomas Gainsborough. While the painting features clothing and artistic choices that were in vogue in the seventeenth century, particularly echoing the work of Anthony Van Dyck, Gainsborough's life and career were firmly in the eighteenth century. Gainsborough's brushwork and use of light more firmly show the style that was current in his own time.
Figure: The Blue Boy by Thomas Gainsborough (c. 1770)
The Blue Boy, the portrait shown above, is a painting by the English artist Thomas Gainsborough. While the painting features clothing and artistic choices that were in vogue in the seventeenth century, particularly echoing the work of Anthony Van Dyck, Gainsborough's life and career were firmly in the eighteenth century. Gainsborough's brushwork and use of light more firmly show the style that was current in his own time.
Figure: The Blue Boy by Thomas Gainsborough (c. 1770)
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Figure 3
Figure 4
The shape of the towel in Figure 4 indicates
Figure 3
Figure 4
The shape of the towel in Figure 4 indicates
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While this painting is a still life, portraying a bowl of fruit, Paul Cezanne overturns the notion of what a still life is by displaying an element of movement. The messy fold in the towel on the table and the spilled fruit indicate something has upset the bowl. Cezanne would later take other approaches to redefining still life painting by incorporating objects such as skulls.
While this painting is a still life, portraying a bowl of fruit, Paul Cezanne overturns the notion of what a still life is by displaying an element of movement. The messy fold in the towel on the table and the spilled fruit indicate something has upset the bowl. Cezanne would later take other approaches to redefining still life painting by incorporating objects such as skulls.
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The image above by John Singer Sargent was painted for the exhibition known as .
The image above by John Singer Sargent was painted for the exhibition known as .
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John Singer Sargent was an American-born painter who sought artistic success in late-nineteenth-century Paris. This painting, Portrait of Madame X, was presented at the 1884 Salon de Paris, the French art world's most important exhibition for new art to be judged. There, it caused a scandal thanks to the way it portrayed its subject and the fact that Sargent's attempt to keep the subject anonymous failed.
Image: Portrait of Madame X by John Singer Sargent (1883-4)
John Singer Sargent was an American-born painter who sought artistic success in late-nineteenth-century Paris. This painting, Portrait of Madame X, was presented at the 1884 Salon de Paris, the French art world's most important exhibition for new art to be judged. There, it caused a scandal thanks to the way it portrayed its subject and the fact that Sargent's attempt to keep the subject anonymous failed.
Image: Portrait of Madame X by John Singer Sargent (1883-4)
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The image presented above was controversial in its initial showing for all of the following reasons EXCEPT .
The image presented above was controversial in its initial showing for all of the following reasons EXCEPT .
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In its first showing at the Paris Salon of 1884, John Singer Sargent called this painting Portrait de Mme *** to keep its subject anonymous, but she was easily recognizable as a Paris socialite with a scandalous life. Responding to certain criticisms, Sargent would later raise the shoulder strap on his subject's dress and call it Portrait of Madame X. The scandalous nature of the work, and Sargent seeing it as representative of his style, caused him to never work seriously as a painter in France again.
Image: Portrait of Madame X by John Singer Sargent (1883-4)
In its first showing at the Paris Salon of 1884, John Singer Sargent called this painting Portrait de Mme *** to keep its subject anonymous, but she was easily recognizable as a Paris socialite with a scandalous life. Responding to certain criticisms, Sargent would later raise the shoulder strap on his subject's dress and call it Portrait of Madame X. The scandalous nature of the work, and Sargent seeing it as representative of his style, caused him to never work seriously as a painter in France again.
Image: Portrait of Madame X by John Singer Sargent (1883-4)
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The image presented above was made due to a request by the artist John Singer Sargent to paint .
The image presented above was made due to a request by the artist John Singer Sargent to paint .
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John Singer Sargent, an American artist struggling to have a career in Paris, requested to paint Virginie Amélie Avegno Gautreau for the Paris Salon of 1884, rather than being commissioned for a portrait. Virginie was married to the wealthy banker Pierre Gautreau and was a well known socialite in Paris, despite having been born in New Orleans. Madame Gautreau was so well-known in Parisian society that Sargent's attempt to make the portrait anonymous did not work, causing a scandal when it was displayed.
Image: Portrait of Madame X by John Singer Sargent (1883-4)
John Singer Sargent, an American artist struggling to have a career in Paris, requested to paint Virginie Amélie Avegno Gautreau for the Paris Salon of 1884, rather than being commissioned for a portrait. Virginie was married to the wealthy banker Pierre Gautreau and was a well known socialite in Paris, despite having been born in New Orleans. Madame Gautreau was so well-known in Parisian society that Sargent's attempt to make the portrait anonymous did not work, causing a scandal when it was displayed.
Image: Portrait of Madame X by John Singer Sargent (1883-4)
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The use of a black dress allowed the artist to highlight the subject's .
The use of a black dress allowed the artist to highlight the subject's .
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John Singer Sargent painted his "Madame X," the socialite Virginie Amélie Avegno Gautreau, in a black dress in a simple room with no accessories. The use of the black dress stands in stark contrast to the subject's pale skin, which also emphasizes just how much of the subject's skin Sargent is exposing by painting her in such a dress.
Image: Portrait of Madame X by John Singer Sargent (1883-4)
John Singer Sargent painted his "Madame X," the socialite Virginie Amélie Avegno Gautreau, in a black dress in a simple room with no accessories. The use of the black dress stands in stark contrast to the subject's pale skin, which also emphasizes just how much of the subject's skin Sargent is exposing by painting her in such a dress.
Image: Portrait of Madame X by John Singer Sargent (1883-4)
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The portrait shown above is an example of the artistic style known as .
The portrait shown above is an example of the artistic style known as .
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John Singer Sargent was in many ways out of step with his own time, as the late nineteenth and early twentieth century saw new movements such as Impressionism, Fauvism, Pointilism, and Cubism that wanted to capture moods and feelings rather than exact representations. Sargent was, at his best, a realist painter, which is exemplified in this painting, Portrait of Madame X, through Sargent's precise drawing of his subject, clean lines, and focus on his subject's classical positioning.
Image: Portrait of Madame X by John Singer Sargent (1883-4)
John Singer Sargent was in many ways out of step with his own time, as the late nineteenth and early twentieth century saw new movements such as Impressionism, Fauvism, Pointilism, and Cubism that wanted to capture moods and feelings rather than exact representations. Sargent was, at his best, a realist painter, which is exemplified in this painting, Portrait of Madame X, through Sargent's precise drawing of his subject, clean lines, and focus on his subject's classical positioning.
Image: Portrait of Madame X by John Singer Sargent (1883-4)
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The darkened colors of the background are intended to .
The darkened colors of the background are intended to .
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In this painting, The Blue Boy, Thomas Gainsborough intentionally contrasts the light and color used for his subject with those used for the background. The dark, warm colors featured in the landscape background allow for the bright blue clothing the subject is wearing to shine even brighter. Additionally, the focus of the light is almost entirely on the subject, rather than the background.
Figure: The Blue Boy by Thomas Gainsborough (1834-1835)
In this painting, The Blue Boy, Thomas Gainsborough intentionally contrasts the light and color used for his subject with those used for the background. The dark, warm colors featured in the landscape background allow for the bright blue clothing the subject is wearing to shine even brighter. Additionally, the focus of the light is almost entirely on the subject, rather than the background.
Figure: The Blue Boy by Thomas Gainsborough (1834-1835)
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The work is by .
The work is by .
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This painting, The Burning of the Houses of Lords and Commons, is by J. M. W. Turner and features many of the painter's stylistic hallmarks. The paint itself is vivid and applied in a way that creates a light, ethereal effect, and the general subject is nature's power over man. Turner's incredible speed while painting is also evident in his ability to capture such a chaotic situation.
Figure: The Burning of the Houses of Lords and Commons by J. M. W. Turner (1834-5)
This painting, The Burning of the Houses of Lords and Commons, is by J. M. W. Turner and features many of the painter's stylistic hallmarks. The paint itself is vivid and applied in a way that creates a light, ethereal effect, and the general subject is nature's power over man. Turner's incredible speed while painting is also evident in his ability to capture such a chaotic situation.
Figure: The Burning of the Houses of Lords and Commons by J. M. W. Turner (1834-5)
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This work depicts a fire at .
This work depicts a fire at .
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The conflagration that engulfed both Houses of Parliament in October of 1834 was the largest fire in London for over 150 years. J. M. W. Turner, along with many other people, ran to view the huge fire. Turner was quickly sketching the images of the fire in order to make full-scale paintings at a later time. This painting was first exhibited just a few months after the fire.
Figure: The Burning of the Houses of Lords and Commons by J. M. W. Turner (1834-5)
The conflagration that engulfed both Houses of Parliament in October of 1834 was the largest fire in London for over 150 years. J. M. W. Turner, along with many other people, ran to view the huge fire. Turner was quickly sketching the images of the fire in order to make full-scale paintings at a later time. This painting was first exhibited just a few months after the fire.
Figure: The Burning of the Houses of Lords and Commons by J. M. W. Turner (1834-5)
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The artist of this work heavily influenced the later movement known as .
The artist of this work heavily influenced the later movement known as .
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J. M. W. Turner was constantly playing with paint and texture to capture light and feeling to enhance the emotion in his paintings. The fire engulfing the buildings in The Burning of the Houses of Lords and Commons is painted in vivid and easily seen brushstrokes, which are then reflected in the water. This use of paint and light in naturalistic settings was a formative influence on all of the Impressionists, who deeply studied Turner.
Figure: The Burning of the Houses of Lords and Commons by J. M. W. Turner (1834-5)
J. M. W. Turner was constantly playing with paint and texture to capture light and feeling to enhance the emotion in his paintings. The fire engulfing the buildings in The Burning of the Houses of Lords and Commons is painted in vivid and easily seen brushstrokes, which are then reflected in the water. This use of paint and light in naturalistic settings was a formative influence on all of the Impressionists, who deeply studied Turner.
Figure: The Burning of the Houses of Lords and Commons by J. M. W. Turner (1834-5)
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