ART-HIST 110 1st EditionExam # 1 Study Guide Lecture 1 B aroqu e A r t i n F l and er s : 22-28 Peter Paul Rubens, The Raising of the Cross, 1610-1, oil on canvas- Baroque: a highly ornate, extravagant, and detailed style of art or architecture used in the 17 and 18 centuriesLecture 2 B aroqu e A r t i n t h e D u t c h R epub li c: 22-36 Judith Leyster, Self-Portrait, 1635, oil on canvasLecture 3B aroqu e A r t i n F r an ce :22-49 Hyacinthe Rigaud, Louis XIV, 1701, oil on canvasLecture 4B r iti s h C o l on i a l A r t i n N or t h Am er i c a : 29-1 John Singleton Copley, Mr. and Mrs. Thomas Mifflin, 1773, oil on canvas29-27 Benjamin West, The Death of General Wolfe, 1770, oil on canvas29-30 John Singleton Copley, Watson and the Shark, 1778 (oil on canvas; approx. 6 x 7 ½’) Lecture 5R ococo , A n ti- R ococ o R eac ti on , & N eo c l a ss i c i s mR o c o c o :29-4 Jean-Antoine Wateau, Pilgrimage to the Island of Cythera, 1717, oil on canvasThese notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.Lecture 6A n ti- R ococ o R eac ti on :29-22 William Hogarth, The Marriage Contract, from Marriage à la Mode, 1743- 1745, oil on canvasLecture 7N eo c l a ss i c i s m :29-26 Angelica Kaufmann, Cornelia Presentng Her Children as Her Treasures, c.1785, oil on canvas29-36 Jacques-Louis David, Oath of the Horati, 1784-85, oil on canvasLecture 8E i gh t een t h - an d E ar l y N i ne t een t h - C en t ur y A r t i n E u r op e Stokstad, pg. 946-47 Théodore Géricault, Raft of the ‘Medusa’, 1818-19, oil on canvas 29-53 Honoré Daumier, Rue Transnonain, 15 April 1834 (1834), lithograph29-28 Henry Fuseli, The Nightmare, 178, oil on canvas29-43 Francisco Goya, Third of May, 1808, 1814-15, oil on canvas29-55 Joseph Mallord William Turner, Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On (The Slave Ship), 1840, oil on canvasLecture 9M i d - to L a te N i ne t een t h - C en t ur y A r t i n E u r op e 19 th - C en t u r y Eu r opea n Pho t og r aphy :30-6 Louis-Jacques-Mandé Daguerre, The Artst’s Studio, 1837, daguerrotype30-11 Julia Margaret Cameron, Portrait of Thomas Carlyle, 1867, silver printR ea li s m :30-14 Jean-François Millet, The Gleaners, 1857, oil on canvas30-16 Rosa Bonheur, The Horse Fair, 1853–1855, oil on canvasLecture 10 N i ne t een t h - C en t ur y Am er i ca n A r tAm e ri ca n R o m a n ti c i s m :29-57 Thomas Cole, The Oxbow, 1836, oil on canvas19 th - C en t u r y Am e ri ca n Pho t og r a phy :30-10 Alexander Gardner, The Home of the Rebel Sharpshooter: Battle Field at Gettysburg, albumen print 1863Am e ri ca n R ea li s m :30-21 Thomas Eakins, The Gross Clinic, 1875, oil on canvas 30-24 Henry Ossawa Tanner, The Banjo Lesson, 1893, oil on canvasLecture 11R ococ o an d N e oc l ass i cal A rc h i t ec t u r eR o c o c o : 29-2 Germain Bofrand (1667-1754), Salon de la Princesse in the Hotel de Soubise, Paris, c. 173229-8,9 Neumann, Pilgrimage Church of the Vierzehnheiligen (14 Saints), 1743 and later, GermanyN eo c l a ss i c i s m :29-31, 32 Jacques-Germain Soufot, Pantheon (Church of Sainte-Geneviève), Paris, 1755-1762 and later alterationsLecture 12 N i ne t een t h - C en t ur y E uropea n A r c h i t ec t u r e 1830. 30-52 Henri Labrouste. Bibliothèque Nationale, Paris,1862-68.30-51 Joseph Paxton. Crystal Palace, London. 1850-1851.30-2, 3 Charles Garnier. The Opéra, Paris. 1861-1874.TERMS:Enlightenment: European intellectual movement of the late seventeenth and early eighteenth centuries that originated in England and France. The Enlightenment was a new way of thinking critically about the world and about humankind, independently of religion, myth, or tradition.Colonnade: A row of columns, supporting a straight lintel (as in a porch or portico) or a series of arches (an arcade).Sublime: A concept defined by the philosopher Edmund Burke in his treatise A Philosophical Enquiry intothe Origin of Our Ideas of the Sublime and Beautful (1757): “Whatever is fited in any sort to excite the ideas of pain and danger, that is to say, whatever is in any sort terrible (…) is a source of the sublime; thatis, it is productive of the strongest emotion which the mind is capable of feeling. I say the strongest emotion, because I am satisfied that the ideas of pain are much more powerful than those which enter on the part of pleasure.”Fête galante: “amorous