Understanding terminology that describes nineteenth-century 2D art - AP Art History
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Pictured above is a work entitled Impression, Sunrise.
Which of the following techniques is most common among works like this one?
Pictured above is a work entitled Impression, Sunrise.
Which of the following techniques is most common among works like this one?
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Impasto is the technique of using thick layers of paint on the canvas, often mixing colors directly on the work, and allowing the glob to dry. This creates depth and changes the way the light hits the painted surface; it is a favored technique of Impressionists.
Impasto is the technique of using thick layers of paint on the canvas, often mixing colors directly on the work, and allowing the glob to dry. This creates depth and changes the way the light hits the painted surface; it is a favored technique of Impressionists.
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Pictured above is a work entitled Impression, Sunrise.
The artist of this work most dominately paints in the city of .
Pictured above is a work entitled Impression, Sunrise.
The artist of this work most dominately paints in the city of .
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Monet was one of the leading rebels of the Salon de Paris. Most of his work comes from Paris and the surrounding countryside.
Monet was one of the leading rebels of the Salon de Paris. Most of his work comes from Paris and the surrounding countryside.
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Which painting technique of the nineteenth century, developed by Georges Seurat and Paul Signac, consists of many small, distinct dots of color to form one image?
Which painting technique of the nineteenth century, developed by Georges Seurat and Paul Signac, consists of many small, distinct dots of color to form one image?
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The name Pointilism itself refers to the act of using small points. Mannerism and Rococo are artistic movements stemming from different centuries than Pointilism, and cubism is a very geometrical artistic style created by Pablo Picasso.
The name Pointilism itself refers to the act of using small points. Mannerism and Rococo are artistic movements stemming from different centuries than Pointilism, and cubism is a very geometrical artistic style created by Pablo Picasso.
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Romantic paintings began to spring up as early as the 1760s. What type of paintings dominated the movement during its infancy?
Romantic paintings began to spring up as early as the 1760s. What type of paintings dominated the movement during its infancy?
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The first Romantic paintings were landscapes. Artists such as J. M. W. Turner and John Constable captures scenes of storms, as well as Gothic architecture, which is itself highly expressive and emotional in nature. Human subjects were included heavily in Romantic paintings later on.
The first Romantic paintings were landscapes. Artists such as J. M. W. Turner and John Constable captures scenes of storms, as well as Gothic architecture, which is itself highly expressive and emotional in nature. Human subjects were included heavily in Romantic paintings later on.
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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 composition above is a painting in the genre of .
The composition above is a painting in the genre of .
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The painter of this work, Paul Cézanne, was particularly noted for his still lifes. The one in this question, "Still Life with Skull," was painted in 1898 and is particularly notable for the inclusion of a skull, a notable feature of Cezanne's later work from the 1890s on. Cézanne's use of broad brushstrokes, layered color, and different perspectives helped create a bridge from impressionism to modern art movements like cubism.
The painter of this work, Paul Cézanne, was particularly noted for his still lifes. The one in this question, "Still Life with Skull," was painted in 1898 and is particularly notable for the inclusion of a skull, a notable feature of Cezanne's later work from the 1890s on. Cézanne's use of broad brushstrokes, layered color, and different perspectives helped create a bridge from impressionism to modern art movements like cubism.
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The Impressionist painter who was particularly known for his still lifes was .
The Impressionist painter who was particularly known for his still lifes was .
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The Impressionists as a group sought to focus the subject of paintings on everyday life and to use more emotional techniques, like vivid brushstrokes. Paul Cézanne took these approaches to the traditional still life to turn it on its head. Cézanne's still lifes had unique uses of light and shadow and included strange objects such as skulls and rotting fruit.
The Impressionists as a group sought to focus the subject of paintings on everyday life and to use more emotional techniques, like vivid brushstrokes. Paul Cézanne took these approaches to the traditional still life to turn it on its head. Cézanne's still lifes had unique uses of light and shadow and included strange objects such as skulls and rotting fruit.
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Francisco de Goya painted vivid wartime images of the conflict known as .
Francisco de Goya painted vivid wartime images of the conflict known as .
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Francisco de Goya was the court painter for the Spanish monarchy in the late eighteenth and early nineteenth century. As the Emperor Napoleon Bonaparte of France invaded Spain in the first decade of the nineteenth century, Goya's work saw a major transformation. In particular, Goya began painting haunting and disturbing images of scenes from the Napoleonic Wars in France.
Francisco de Goya was the court painter for the Spanish monarchy in the late eighteenth and early nineteenth century. As the Emperor Napoleon Bonaparte of France invaded Spain in the first decade of the nineteenth century, Goya's work saw a major transformation. In particular, Goya began painting haunting and disturbing images of scenes from the Napoleonic Wars in France.
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The artistic movement Impressionism was notable for featuring subjects that were .
The artistic movement Impressionism was notable for featuring subjects that were .
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Impressionism was inaugurated as a result against the standards of Paris' Salon, which was France's biggest art prize and show in the late nineteenth century. Impressionists like Paul Cézanne, Édouard Manet, Pierre-Auguste Renoir, and Claude Monet sought to paint people in cafes, scenes of everyday life, and basic landscapes. These artists also departed from the stark realism popular at the time to convey images with more emotional intensity by using more visible brushstrokes.
Impressionism was inaugurated as a result against the standards of Paris' Salon, which was France's biggest art prize and show in the late nineteenth century. Impressionists like Paul Cézanne, Édouard Manet, Pierre-Auguste Renoir, and Claude Monet sought to paint people in cafes, scenes of everyday life, and basic landscapes. These artists also departed from the stark realism popular at the time to convey images with more emotional intensity by using more visible brushstrokes.
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Figure 1 Figure 2
Both paintings reflect an influence from the art movement known as .
Figure 1 Figure 2
Both paintings reflect an influence from the art movement known as .
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Each of these paintings reflect some aspect of everyday life, as well as portraying that with non-representational, emotional painting techniques. These are hallmarks of the movement known as Impressionism, which arose in the 1860s and 1870s as a reaction to history painting and realism. Van Gogh, however, took these aspects to further extremes, with more representational images and basic depictions of his own life, and as such is usually dubbed a post-impressionist.
Figure 1: The Starry Night by Vincent van Gogh (1889)
Figure 2: Portrait of Père Tanguy by Vincent van Gogh (1887-8)
Each of these paintings reflect some aspect of everyday life, as well as portraying that with non-representational, emotional painting techniques. These are hallmarks of the movement known as Impressionism, which arose in the 1860s and 1870s as a reaction to history painting and realism. Van Gogh, however, took these aspects to further extremes, with more representational images and basic depictions of his own life, and as such is usually dubbed a post-impressionist.
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 shown in Figure 3 is highly indebted to .
Figure 3 Figure 4
The painting shown in Figure 3 is highly indebted to .
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Jacques-Louis David, before becoming Napoleon's official painter during the Empire, was noted as a painter of history works, which usually focused on stories from Ancient Greece and Rome. In creating these works in the late eighteenth century, David was the preeminent neo-classicist in France, using the clean lines and bright colors notable of the genre. These aspects are present as well in his Napoleon Crossing the Alps, especially the Roman tablet crushed in the bottom left corner of the painting.
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, before becoming Napoleon's official painter during the Empire, was noted as a painter of history works, which usually focused on stories from Ancient Greece and Rome. In creating these works in the late eighteenth century, David was the preeminent neo-classicist in France, using the clean lines and bright colors notable of the genre. These aspects are present as well in his Napoleon Crossing the Alps, especially the Roman tablet crushed in the bottom left corner of the painting.
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
Both of the above images contain
Figure 1
Figure 2
Both of the above images contain
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Both of these works by Gustave Courbet feature Courbet himself. Above, from early in his career in 1845, is Le desespere (The Desperate Man); below is the 1854 painting La recontre (The Meeting); both of these are non-traditional self-portraits. The Desperate Man portrays the artist as a man who is nearly insane, and is an important development in Courbet's signature realism, which is shown in the everyday scene of Courbet greeting his art dealer in The Meeting.
Both of these works by Gustave Courbet feature Courbet himself. Above, from early in his career in 1845, is Le desespere (The Desperate Man); below is the 1854 painting La recontre (The Meeting); both of these are non-traditional self-portraits. The Desperate Man portrays the artist as a man who is nearly insane, and is an important development in Courbet's signature realism, which is shown in the everyday scene of Courbet greeting his art dealer in The Meeting.
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Figure 1
Figure 2
Figure 2 has elements of the
Figure 1
Figure 2
Figure 2 has elements of the
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Amid increasing industrialization and urbanization, many intellectuals and artists in the nineteenth century saw an idyllic past open to them in rural life. Deemed "pastoral," images of rural life were prevalent in mid-nineteenth-century painting. Courbet's The Meeting demonstrates a few different aspects of the pastoral, including its setting in a field, the inclusion of a dog in the scene, and the image of the horse drawn carriage going away from the scene.
Amid increasing industrialization and urbanization, many intellectuals and artists in the nineteenth century saw an idyllic past open to them in rural life. Deemed "pastoral," images of rural life were prevalent in mid-nineteenth-century painting. Courbet's The Meeting demonstrates a few different aspects of the pastoral, including its setting in a field, the inclusion of a dog in the scene, and the image of the horse drawn carriage going away from the scene.
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Figure 3
Figure 4
Figure 4 is a
Figure 3
Figure 4
Figure 4 is a
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Paul Cezanne became immensely famous for his still-life paintings, of which Figure 4 is a key example. Still life as a genre of painting goes back to antiquity, but Cezanne's approach was highly individualistic and brand new for his time. Cezanne focused on the geometric shapes of the elements in his paintings and used specific, "just-off," colors to give the paintings an emotional depth.
Paul Cezanne became immensely famous for his still-life paintings, of which Figure 4 is a key example. Still life as a genre of painting goes back to antiquity, but Cezanne's approach was highly individualistic and brand new for his time. Cezanne focused on the geometric shapes of the elements in his paintings and used specific, "just-off," colors to give the paintings an emotional depth.
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The painting technique of placing small dots of paint in patterns to create larger images is called .
The painting technique of placing small dots of paint in patterns to create larger images is called .
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Pointilism was developed by George Seurat, who began his career as a traditional impressionist around 1880. Seurat created his massive canvases by putting images together through many small dots, or "points," of paint. This post-impressionist style is best exemplified in Seurat's Un dimanche après-midi à l'Île de la Grande Jatte – 1884 (A Sunday Afternoon on the Island of La Grande Jatte), which depicts a massive scene of Parisians relaxing by the Seine, all composed with small dots of color.
Pointilism was developed by George Seurat, who began his career as a traditional impressionist around 1880. Seurat created his massive canvases by putting images together through many small dots, or "points," of paint. This post-impressionist style is best exemplified in Seurat's Un dimanche après-midi à l'Île de la Grande Jatte – 1884 (A Sunday Afternoon on the Island of La Grande Jatte), which depicts a massive scene of Parisians relaxing by the Seine, all composed with small dots of color.
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"En plein air" refers to what technique used by the artist of the work shown?
"En plein air" refers to what technique used by the artist of the work shown?
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"En plein air" was a technique favored by Impressionists such as Claude Monet. In this painting from 1877, The Saint Lazare Station, Monet's choice of painting outdoors allowed him to capture the steam coming off of the trains and the general haze that surrounded the station. Painting outdoors was so common that many Impressionists would create works which showed their fellow artists working "en plein air."
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Claude\_Monet\_004.jpg
"En plein air" was a technique favored by Impressionists such as Claude Monet. In this painting from 1877, The Saint Lazare Station, Monet's choice of painting outdoors allowed him to capture the steam coming off of the trains and the general haze that surrounded the station. Painting outdoors was so common that many Impressionists would create works which showed their fellow artists working "en plein air."
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Claude\_Monet\_004.jpg
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The overlapping colors and mixed brushstrokes indicate that the artist utilized .
The overlapping colors and mixed brushstrokes indicate that the artist utilized .
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In order to achieve the visible, overlapping brushstrokes that give The Slave Ship its sense of movement and action, JMW Turner worked extremely quickly. Turner was able both to apply wet paint on wet paint, building up a texture, and create actual motion with his paint application. For these reasons, Turner always worked fast in an attempt to capture what he considered the "sublime" aspect of nature.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Slave-ship.jpg
In order to achieve the visible, overlapping brushstrokes that give The Slave Ship its sense of movement and action, JMW Turner worked extremely quickly. Turner was able both to apply wet paint on wet paint, building up a texture, and create actual motion with his paint application. For these reasons, Turner always worked fast in an attempt to capture what he considered the "sublime" aspect of nature.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Slave-ship.jpg
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The Coiffure, by Mary Cassatt, was created in the medium of .
The Coiffure, by Mary Cassatt, was created in the medium of .
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Drypoint is highly related to etching, in that to create art with the medium, an artist must carve the desired image into a piece of metal that is then printed onto a piece of paper by a printing press. Mary Cassatt made The Coiffure a color print by adding aquatint, a chemical ink that could both attach to the metal print, but also leave a lasting image. This very European style of printing was favored by Cassatt because of its resulting images similarity to Japanese woodblock printing.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Mary\_Cassatt\_-\_The\_Coiffure\_-\_NGC\_29882.jpg
Drypoint is highly related to etching, in that to create art with the medium, an artist must carve the desired image into a piece of metal that is then printed onto a piece of paper by a printing press. Mary Cassatt made The Coiffure a color print by adding aquatint, a chemical ink that could both attach to the metal print, but also leave a lasting image. This very European style of printing was favored by Cassatt because of its resulting images similarity to Japanese woodblock printing.
Image is in the public domain, accessed through Wikipedia Media Commons: https://commons.wikimedia.org/wiki/File:Mary\_Cassatt\_-\_The\_Coiffure\_-\_NGC\_29882.jpg
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Figure 3 Figure 4
The painting shown in Figure 3 is highly indebted to .
Figure 3 Figure 4
The painting shown in Figure 3 is highly indebted to .
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Jacques-Louis David, before becoming Napoleon's official painter during the Empire, was noted as a painter of history works, which usually focused on stories from Ancient Greece and Rome. In creating these works in the late eighteenth century, David was the preeminent neo-classicist in France, using the clean lines and bright colors notable of the genre. These aspects are present as well in his Napoleon Crossing the Alps, especially the Roman tablet crushed in the bottom left corner of the painting.
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, before becoming Napoleon's official painter during the Empire, was noted as a painter of history works, which usually focused on stories from Ancient Greece and Rome. In creating these works in the late eighteenth century, David was the preeminent neo-classicist in France, using the clean lines and bright colors notable of the genre. These aspects are present as well in his Napoleon Crossing the Alps, especially the Roman tablet crushed in the bottom left corner of the painting.
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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Which of these schools was an off-shoot of Impressionism?
Which of these schools was an off-shoot of Impressionism?
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Divisionism, also associated with Pointillism, creates a larger image from many smaller dots of color, dots that the eye mixes when standing at a distance from the painting. The Pre-Raphaelite Brotherhood sought to emulate works from the Renaissance. Realism was a mid-19th century movement in which painters rejected Romanticism; symbolism drew on mythology and dreams as its defining feature; and pictorialism was a movement in photography emphasizing beauty rather than reality.
Divisionism, also associated with Pointillism, creates a larger image from many smaller dots of color, dots that the eye mixes when standing at a distance from the painting. The Pre-Raphaelite Brotherhood sought to emulate works from the Renaissance. Realism was a mid-19th century movement in which painters rejected Romanticism; symbolism drew on mythology and dreams as its defining feature; and pictorialism was a movement in photography emphasizing beauty rather than reality.
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