Study Guide Midcourse Exam 2 PDF

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Study Guide Midcourse Exam 2 Midcourse Exam 2 includes 74 identification, matching, multiple-choice, short-answer, and essay questions. The exam is closed book and closed note and there is a 2.5-hour time limit to the exam. And as we have said in the past, one of the best ways to prepare for the Exams is to approach each chapter using the “Learning Outcomes,” “Focusing Your Reading,” and “Identification” suggestions given in Canvas. You can also use the Practice Quiz in the Exam folder. Art Historical Time Periods/Styles  

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Neo-Classicism Romanticism o Revolted against order and balance o Approached world with outpouring of feeling and emotional intensity o Reaction against enlightenment and classical culture o Growing taste for natural world - nature is greatest teacher/defining center of culture/pivotal force that guides human experience o Rejected truth of empirical observation o Mind is a feeling thing, feelings lead to truth o Found God in nature Realism o Depicting the world as it really is rather than idealizing it o Mirrored by growing popularity of scientific methodology Pointillism o Georges Seurat o Tiny dots of color Impressionism o Preference for painting out of doors o Natural effects of light that interested these younger painters o Cultivated the present moment, emphasizing improvisation and spontaneity o Quick and deliberately sketchy paintings (capture the ever-changing, fleeting effects of light in a natural setting) Post-impressionism o Generation of painters who followed the eight Impressionist exhibitions in Paris (ended 1886) o Rather than creating impressionist works that captured the optical effects of light and atmosphere and the fleeting qualities of sensory experience they sought to capture something transcendent in their act of vision, sth that captured the essence of their subject o Similar to goal of symbolist artists o Saw themselves as inventing the future of painting Modernism

Artwork & Artists to Know (Know: Title, Artist, Period/Style, Characteristics, Significance) 

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Reclining Nude (Venus of Urbino), Titian

Italian Renaissance Emblems of the beautiful rather than actual beings Women were increasingly better educated though 

The Upper Falls of the Reichenbach, J.M.W. Turner

Romantic landscape

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Romanticism

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Interested less in the objects of nature than the medium (more like coleridge than wordsworth) Earth and vegetation seem to dissolve into the medium Draws our eye not to the rocky mountain but the mist we see through

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Turner vs constable: constable’s is ‘close’ and familiar, people and human associations, Turner’s is exotic and wild, remote. While Constable’s people unite man and nature Turner’s are miniscule and almost indifferent (may be emphasizing nature’s indifference)  The Valpincon Bather, Jeane-Auguste-Dominque Ingres

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Neoclassicism Orientalism, exploits the deep-seated Western male belief in and envy of the Orientalist male dominance of the female in the harem - Inventory of the five senses (Turkish bath painting) - Ingres vs Delacroix (Ingres seems more cool, no brushstrokes…) - Neoclassicism Landscape and the Double Rainbow, John Constable

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English Romantic painter Painter of English countryside

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The Wanderer Above the Mists, Caspar David Friedrich

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Believed his art could be traced back to childhood on the Stour Sense that he was a worshipper of nature

romanticism

Represents imaginative capacities of Romantic minds by placing figures before sublime landscapes (often solitary) We can view wanderer as extension of ourselves Landscape in mist animates the imagination and heightens suspense Contrast between near and far, rock in foreground and ethereal landscape stretching out (earthly and spiritual realm)  Saturn Devouring One of His Children, Francisco Goya

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Romanticism Goya had a sense that the world had abandoned reason Black paintings Oil paintings made directly on the plaster walls of his house Image of society as a whole, the social order devouring the people Goya descends into a world of near madness and fear (contrast with Beethoven and his Ninth Symphony) 

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Le Dejeuner sur l’herbe (Luncheon on the Grass), Edouard Manet

Modernism? Can be understood as a “judgment of Paris” Manet judges Paris the city in its bourgeois decadence 

The Regatta at Argenteuil, Claude Monet

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Sees the relationship between his painting and the real scene as analogous to relationship between surface of water and shoreline above Reflect the fleeting quality of sensory experience 

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Red Roofs or The Orchard, Cotes Saint-Denis at Pontoise, Camille Pissaro

Deeply interested in science of color theory, argued that complementary colors of pigment intensify each other’s hue when set side by side 

The Kiss, Auguste Rodin

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Realism to symbolism (thought of as realist) Embodiment of ecstatic abandon in which the woman is clearly as active a participant as the man Homage to the opposite sex Based his sculpture on direct observation, depended on play of light  A Bar at the Folies-Bergere, Edouard Manet

Realism to impressionism Barmaid’s eyes capture viewer attention Eyes look past us, perhaps even inward in thought

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Barmaid seems totally alone 

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Painted after he was admitted to a mental hospital Suggest that he might be representing the wind in contrast to the harmonies of the painting’s color scheme 

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The Starry Night, Vincent Van Gogh

Grainstack (Snow Effect), Claude Monet

Impressionist Described effect: transient objects whose surfaces catch the mood of the environment, sudden glow… Each painting becomes a fragment in the duration of the whole, Money becomes an artist who in rendering nature also depicts his own interior landscape 

Mont Sainte-Victoire, Paul Cezanne

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Returned to this theme continually Acknowledges the illusion of space of the mountain scene by means of three bands of color Uniform size of brushstrokes, viewer aware of surface qualities and structure of his composition Tension between spatial perspectives and surface flatness

Literature to Know (Know: Title, Author, Period/Style, Characters, Significance)    

Ode on a Grecian Urn, John Keats The Communist Manifesto, Karl Marx and Friedrich Engels The Origin of Species, Charles Darwin A Doll’s House, Henrik Ibsen (Nora, Torvald)

People 

Charles Baudelaire Faced charge for Les Fleurs du mal Against bourgeoisie Ludwig van Beethoven o Originally liked Napoleon (Third symphony was for him) but later changed his mind o Saw Napoleon as the enlightened leader and despot o Later works(when he was going deaf) are often called heroic bc they evoke feelings of struggle and triumph, beginning of Romantic musical style o Evokes the sublime, more emotionally expressive o Long crescendos, sudden key changes that make harmonic sense, loud and soft repetitions of the same theme Napoleon Bonaparte o o

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Figure for Prometheus Napoleon personified Hegel’s “absolute mind” Louis-Jaques-Mande Daguerre o Inventor of daguerreotype – yielded a positive image on a polished metal plate o Photo of le boulevard du temple Charles Darwin o Wrote On the origin of species o Natural selection, but ppl thought he meant actual European race – social darwinism Claude Debussy o Music’s ability to bring to mind a torrent of images and thoughts without speech is almost perfectly realized o Use of chromatic scales  aimless wandering Paul Delaroche o French painter, said painting is dead after seeing daguerreotype Charles Dickens o Aim is to advocate reform o Criticized fruits of progress of Western civilization o Exasperated by the promise of Industrial Revolution to improve life and its ability to do the opposite o Descriptions Edgar Degas o Impressionist o Work is one of his primary themes o Most radical of impressionists, experimented with new media - pastels Paul Gauguin o Went to Tahiti o Mahana No Atua – based on idealized recollections of his escape to Tahiti, color is almost a pure expression of the artist’s feelings (like Van Gogh) Baron Georges-Eugene Haussmann Édouard Manet o Flaneur o Man about town, no apparent occupation, studying the city… o Had an acute ability to understand the subtleties of modern life and ability to create art o Distinguished by attitude toward bourgeoisie – holds their materialistic lifestyle in contempt, greatest devotion is to shocking them o Evokes fetes galantes of Watteau Karl Marx o Middle class German, believed that since the conditions in which one earns a living determined all other aspects of life (social, political,cultural), capitalism must be eliminated bc inherent unfairness o Reform is pointless John Stuart Mill o Advocate of utilitarian theory o o

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Goal of any action should be for greatest good for greatest number Three basic liberties: freedom of thought and feeling, (freedom to act on one’s thoughts and feelings), freedom to pursue ‘tastes and modes of life’ of one’s choosing, freedom to combine with other individuals for any purpose not involving harm to others Napoleon III o Louis-Napoleon o Nephew of Napoleon I, awkward and had German accent o Staged a coup d’etat o Later proclaimed emperor Claude Monet o Impressionist o Plein-air painting o Seems of the moment Camille Pissarro o Impressionist o Landscapes give us the impression of a view never quite fully captured by the painter o Deeply interested in color theory Auguste Renoir o Impressionist o Preferred painting crowds in cafes, entertainments and in countryside Georges Seurat o Post impressionist o Pointillism o Determined that color could be mixed in “gay, calm, or sad” combinations o Lines extending up are cheerful, and warm luminous colors also o Horizontal lines that balance dark and light, warmth and coolness create a sense of calm o Lines down and green/blue/violet are sad Paul Signac- pointillism painter, made pointilles bigger Vincent Van Gogh o Post impressionist o Color becomes symbolic and charged with feelings o Most personally expressive in the history of art, offering unvarnished insights into the painter’s unstable psychological state Emile Zola- natural novelist, defended his friend Manet, believed that we don’t have any control over our lives o o

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Terms & Events (in no particular order) 

1889 Exposition Universelle Commemeorated imperial supremacy, modern technology and national pride exactly one century after beginning of French revolution, symbolized by marvel of architecture and tech at heart of fair – Eiffel tower Societe anonyme

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Salon des Refuses Haussmannization: term used to describe Baron Haussmann’s approach to urban redevelopment, including the mass destruction of working-class neighborhoods. Plein-air: “in open air” referring to painting out-of-doors in front of the subject rather than in the studio idée fixe Fin de siècle: The end of a climate of decadence and world-weariness, and a dawn of a new kind of modernism in art. Against the prevailing, popular spirit of progress and optimism as represented in the bourgeois valued of the era. Sense of being trapped between the end of one era and the start of a new one. urbanization Leitmotif: in opera, a brief musical idea connected to a character, event, or idea that recurs throughout the work Flâneur: a French version of the aristocratic English dandy. A man-abouttown, with no apparent occupation, strolling the city, studying and experiencing it dispassionately French realist painting Ode: a poem of exaltation, exhibiting deep feeling nationalism liberalism Daguerreotype: a photographic process developed in the early 1800s that yielded a positive image on a polished metal plate; named after one of its two inventors academic art French 19th century art Romanticism Art Nouveau caricature apartheid Avant-garde Marxism Marx’ concept of history proletariat, bourgeoisie proletariat: a class of workers who neither own the means of production nor control their own work capitalism social power (accdg to Marx) eugenics industrialization Gestamtkunstwerk the Salon Romantic Hero pointilles Japonisme: imitation of Japanese art

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the sublime natural selection Social Darwinism evolution...