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 Italy
VOCABULARY
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, 1299-1310
Maesta: 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, and
a 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 highlight VS.
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 Italy

Vocabulary
One-point or linear perspective: Method of creating three-dimensional illusion on a twodimensional 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 offaxis 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 Artist

Vocabulary
No Vocabulary?
Mannerism: group of artworks that show deliberate distortion to Renaissance convention
The 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 Architecture
Vocabulary

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 Renaissance
Vocabulary
Polyptych: multiple panels. Ghent Altarpiece Jan and Hubert van Eyck
Renaissance Courts
Vocabulary

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 Century
Vocabulary
Baroque:
Campanile: A freestanding Italian bell tower.Example:UC Berkeley,Cathedral of Florence
Maniera 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 Republic

Vocabulary
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 Art

Vocabulary
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
7

 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 Trent
Council 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 Trent

Twenty-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
10

 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 (*importantthis 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
11

 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 this
The 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

12

 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 dedifferentiation 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
13

 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 etcmade 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 artists
The Exceptional Woman By Mary D. Sherif
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
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 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
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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 centuries

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