29 Arts of Africa

• For formal, to post- 1500 African art, artists, and art history, apply the vocabulary and concepts relevant African art in its distinct cultures.

• African art is based on comparison and reasoning.

• Relate African artists and art after 1500 different media to support an argument or an interpretation of a work of African art political contexts.

• Since the 16th century, metal and stone materials that are frequently industrially of Africa and the art they produced have dramatically made to his specifications.

• They form an abstract image of herd animals in the fields when arranged on the ground.

• Shendi's sculpture speaks to both his observations of animals in the town of his birth and the fact that Africa is the second largest in the world.
• Trained as an artist and art historian, Nour's education allows him to see his own work as par groups call the continent home.
• It's difficult to summarize making with this kind of linguistic interplay in more than just African art history and art and cultural diversity.

• The international projects of conceptualism can art history from the royal arts of the sixteenth century and Postmodernism are some of the important moments in this chapter.
• Nour epitomizes the artistic choices of the colonial period, which dramatically reshaped many artists of African descent working today.
• Across the continent, art is being made.
• They see their work examples of postcolonial and contemporary art, which involve techniques, technologies, and materials countries of their birth, as interrogating the complex histories of the continent.

• There are four key concepts that can be discarded or reworked.

• Art objects are always contemporary or new in this way.
• innovation is always prized in the can art objects that are intended to be part of human activities.

• Seldom is to simply look at or contemplate them.
• European artists strive to emulate nature portable and can be changed or altered depending on the world around them in their arts.

• Art objects are not made in the real world.
• African artists are often made for temporary display in museums or galleries to convey non-visual ideas, such as modesty, justice, or the abuse of political power, or to serve a single town.

• This chapter explains how the Republic ofGhana took its name from the ancient and gave it a physical Empire that flourished during the fourth to thir form.
• Often the resulting work is far removed from what teenth centuries in what is present-day Maldive can be seen in the natural world.

• African artists who work in both are located over large deposits of gold.
• The ability to function in multiple cultures at once was solidified by the use of this gold African countries or who live and work elsewhere value.
• African countries are some of the most linguistically literate kingdoms of the 13th century because of the power of the Akan Empire.
• The Asante, the most skilled artists are those who can communicate who initially occupied the southern and coastal regions of with people from a variety of cultural background.
• A majority of the gold trade was along the area.

• The entire con Art was used for royal use in the Asante Empire.
• The first century of the Portuguese shows all of these qualities.
• In the 1470s, queens who ruled the Asante, Bamum, Edo, and Yor were so impressed by the abundance of Asante gold uba kingdoms that they commissioned dynamic kingdoms.
• The works of art include textiles, sculptures, decorated contemporary city of Elmina, and houses to personal items.
• The name from the fifteenth-century Portuguese trading of these items is still used today.

• They were forced into power sharing with the British and ruled from their capital city of Kumasi.

• The staff was made up of them all.
• The lowing traditions that were established at the inception of the Asante finished fabric are being made more dazzling and less predictable.

• The sculpture of a seated Weaving guilds at Kumasi produced cloth exclusively for man holding an egg enters into direct conversation with the royal patrons.
• Political power is like an all descent can now wear it.
• An Asante proverb says it is very expensive and an egg.
• It should only be worn on special occasions.

• There were hundreds of city-states and small kingdoms in the 20th century.
• The Bamileke, the Tikar, and the Bamum were the most dominant of these.
• The Bantu-speaking peoples migrated southward and became the dominant cultural group in Africa south of the equator.

• The walled city of Fumban is the location of the kingdom.
• It was founded in 1394 by King Nchare and has been there ever since.
• In order to prove to colonial powers that his culture was not lacking in literature, history, and the written arts, Njoya established a written script for the Bamum language.
• The wood and gold are tall.

• He and his son designed South Africa and the wooden palace was burned in a fire.

• Ramsey asked if he would give a gift to the Kaiser of Germany from one king to another.
• The beaded throne was commissioned by King Nsangu in the late 1880s, and Ramsey wanted it.
• The throne is covered in brightly colored seed beads that were acquired from European trade.

• There is a couple on the back of the throne.

• The ancestors looked over his shoulders when Nsangu was seated on this throne.
• The footrest shows the king resting his feet on the barrels of the guns, showing that the military rested under his feet.

• After Ramsey offered to pay for a new throne to be carved and beaded for Njoya, he gave him a German officer's uniform, complete with pith helmet and saber.

• The germans had a key ally in the form of Njoya.
• The German colony of the throne of King Nsangu was defeated in World War I.

• The king stands next to his father's throne, which he gave to Kaiser in 1908, after the French sent him into exile.

• He continued his father's work in support of the arts, Intersections between History and Anthropology in Cameroon.
• The Bamum kingdom is a semi-autonomous political entity within the supporter of all arts.

• The French deposed Njoya in 1924 and exiled him in 1931 under the pretense that he was a threat to their authority.
• He passed away in 1933 and his grandson Sultan Ibrahim Mbombo is the ruler of the Kongo kingdom.

• In this 1906 photograph, King Njoya stands next to the kingdoms of Luba and Lunda, his father's beaded throne still in use.
• The officer's outfit was all of them.
• The photograph shows a significant event in German history that was founded by Bantu speakers from the north.
• The level of cultural fluency and political structures is exemplified by the fact that they clashed over achieved by the Bamum artists.

• Their kingdom was an artistic powerhouse in the 17th and 18th century.
• It was possible to sell or trade Kuba sculptures, textiles, and luxury domestic goods outside of the kingdom with those willing to pay the very high price required for their manufacture.

• The structure is made of wood and palm canes and has a thatched gable roof.
• The exterior is decorated in its entirety.
• A border of contrasting natural and dyed palm fronds creates honeycomb patterns along the ridgeline, corners, and tops of the walls.
• The patterns are similar to the woven diamonds and "streets" seen on the Kongo textile.
• Both kingdoms shared many religious and aesthetic values.

• The mid-eighteenth century saw the reign of maMbul.

• The body of the Democratic Republic is carved smoothly and to a smaller scale.

• The only way to identify this sculpture wife is by standing behind him.

• Everyone in his kingdom faded because of this attribute.
• The queen was painted mostly in blue and would have been his symbol.
• The sculptures were often placed near the scale of the two figures on the central column, which is not the king's power.
• The queen is much larger than her smaller sculpture, now invested with the life force of its owner, was seated husband after the king's death.
• Olowe shows the scale to the next king.

• The angle of the queen's jaw is picked up in the angle of her breasts, and then in the Edo kingdom that ruled from the king's own jawline.
• The seat of the king's throne is well defined by the horizontal lines of the diagonals.
• The palaces were built at his bent legs.
• The city-states of Ise, Osi-Ilorin, and Ikere all have vertical lines of the throne.
• Throughout history, the Yoruba people have been known as prolific carvers.
• Wood was masterfully used to create sculptures such as columns and doors.

• The traditional arts are still being performed for wealthy kings, political leaders, and private patrons.

• Olowe of Ise carved doors and veranda posts for the rulers of the Ekiti-Yoruba kingdoms in southwestern Nigeria.
• The sculptural programs for several royal palaces can be attributed to him.

• Olowe was a royal court carver for the kings of Ise and Ikere who were located to the north and east of Ife.
• His competitor was a sculptor named Arowogun, who worked for the kings at Osi-Ilorin to the north.
• These two artists are part of a huge class of specialized artists who worked for the Yoruba kings in Nigeria.
• Olowe and Arowogun were more than just artists.

• Along with their fellow royal carvers, they depicted histories, lineages, important events, and rituals, all in the most unique, up-to-date styles so as to demonstrate the kings' prosperity and capacity for innovation.

• The left side of the New York fund depicts a royal wife standing with her hands on her twin.
• The threesome faces sideways in order of the matching fund.

• The portions are carved in the round.
• The first British travel he sits are done in relief.

• The British were welcomed to the palace of Ise by a second door ing relief and sculpture-in-the-round in the same figure panel.
• One of the attributes of door is carved very deeply on a single plank of Olowe's innovative style.

• Royal wives lifting their breasts is a gesture of generosity and affection performed by older women.
• The register depicts a dead person with birds looking at the corpse.
• There are two rows of heads on the left side of the panel.
• The doors were originally painted, but only some of the original colors remain.

• His style marked the art of his generation and he was renowned for his contemporary, cosmopolitan compositions and his ability to capture the abstract workings of political rule in visual form.

• Olowe's carved monuments are now in museum collections.

• The arts of Africa give visual form to Africans' merging and modern ties with Europe as a result of their colonial power struggles.

• The trade in human slaves was thought of as European and North American by early in the 19th century, while colo was becoming less profitable to European traders, and yet both concepts should be applied equally to both regions.
• Increasing urbaniza more profitable and less reprehensible activities, European tion, trade, travel, and war, which occurred in tandem with explorers began to investigate the African interior, is defined in an attempt to redirecting their business to African continent.
• Resources were created by the synthesis of these changes.
• They were joined by missionaries and eager the burgeoning artistic production in African nations.
• European interest in the continent was gained by artists.

• Euro pean governments began to seek territorial concessions from African rulers because of the new political and social realities of their lives.

• The divisions created at the Berlin Conference of 1884-1885 resulted in Italy 1000 kilometers being those of 1914.

• Out of the political boundaries that had been established side the city walls, he was told he couldn't enter by Africans himself.
• When ethnic groups meet with the king without permission, they are often split into two or more separate groups.
• The British were unable to visit each other across the new colonial borders because of the warrior unable to rule themselves.

• The treaties signed at the Berlin Conference of 1884-1885 meant that almost all of Africa fell under European rule by 1914.

• Over 2,000 objects, including Edo antiquities, tities of art objects flowed into European city, state, royal shrine sculptures, carved ivory tusks, brass palace national, and private, as a result of the British Punitive expedition of 1897.
• The entire store of artifacts from the collections entered Western adornment.
• The objects were brought by a British delegation to England in 1897.
• The rest were auctioned after the third was given to Queen.

• The items were taken to England.
• The three brass standing figures and the brass leopard in the foreground can now be seen at the British Museum.

• All rights belong to the person.

• The picture was taken in 1959 and is in museums and private collections.
• The Europeans introduced the idea of bronze stool decorated with frog, brass leopard, and the art object as an object just for aesthetic application back of an ivory leopard with copper disks forming the tion, not for actual use.
• Once artists understood what they were doing.

• The British Museum in London has an object in the ivory tusks that European buyers didn't want to use.

• They made them for the city of Calabar.
• The Edo had no formal state recognition until the African buyers of these new variations toration of the Benin monarchy in 1914.
• The previous altar shrines had been dismantled and taken by the objects, so Enweka II commissioned new altar shrines to be aware of the international value of their culture's art.

• The vessel is much larger than the one that died in exile.

• Unlike other Nigeria, the British government has been pressured to return carved patterns we have seen that have royal or religious items taken from Benin City during the 1897 Punitive meaning, but no decision has been reached as to whether for the visual effect or not.
• The kingdom has continued to rebuild and resurrect the art objects that were taken or ing the four handles and the ring that was destroyed by the British.

• The analysis of the inside of the vessel revealed that it had never been used to hold anything, and therefore was most likely to have been carved as a dis The colonial experience spurred the creation of modern play item.
• We don't know if the patron who purchased objects that responded to the new conditions of life was European or African, but the fact that society on the African continent was a factor.
• Artists gained new appreciative patrons in the European influence on how art objects were under European residents of their continent, and wealth was gained in the 19th century.

• It's time for attention and action.
• The object could punish whichever party was in the wrong.

• The wood's height is 2413/16'' (63 cm).

• Due to European interference in their daily lives, artists had to create new forms of objects.

• The wood, law, which was foreign and inapplicable to the tradi nails, was height 44'' (111.7 cm).

• The Field Museum is in Chicago.

• Over time, the spine and neck become damaged.
• There is a strong vertical line from the head to the feet created by the large number of objects.

• The bent knees indicate readiness to attack, a readiness to spear in an upraised right hand.

• Kongo culture is based on oral history.

• One's honor and the spoken word of chiefs or elders were the words of law.
• The open mouth indicates that it is capable of speaking justice.
• Additionally, it has teeth.
• The local custom of important members of society filing their teeth makes this 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 This painful process was a marker of important status and drew attention to the speaker's mouth, focusing on the power of the words being spoken.

• Baule peoples live in the present-day country of the Ivory Coast.

• The objects are a synthesis of physical, moral, and spiritual ideals in a carved wooden form.

• Baule spirituality says that if an individual is suffering in his or her romantic or married life, he or she is making trouble for the living person who is the object of their affection.
• To remedy the situation, the person imagines what the spirit spouse would look like and orders an artist to make a sculpture that flatters the spirit.
• The height of the objects is 191/4'' (48.9 cm).

• The cheeks, torso, and back of this figure are decorated with raised of freeing the person from his or her own guilt or inhibi bumps called cicatrizations.
• The sculpture's scarifications created a sensation of touch on the figure.
• The spirit spouse makes the person realize that he has oil.

• The Arts of Africa from the 16th Century to the Present move in a different way than the overall figure.

• The ability to think or wait before acting is a symbol of a woman's physical strength.

• The majority of her face is occupied by her eyes.
• They are much larger than human eyes and appear to be closed or downcast.
• She is not a gossip and will not pry into the affairs of others.
• Her breasts are small and constrained, symbolizing female physical beauty without overt eroticism.
• The shiny, well-oiled surface of the sculpture resembles healthy skin, and the full calves indicate health and beauty.

• The head is larger than the rest of the body.
• The torso and neck are long.
• The supernatural aspect of the object is indicated by the deviations from human proportion.
• It prevents anyone from understanding the sculpture as a portrait of a living woman and encourages viewers to see the abstractions as markers of what the Baule considered intangible aspects of character and moral beauty.

• Private objects that were once kept in bedrooms are now displayed in public museums.
• It is difficult to remember that the sculptures were not meant to be seen by strangers, but the bright lights and glass surrounding them make it difficult.

• Existing objects were frequently modified due to changing circumstances, along with new objects that emerged during the colonial period.
• In these cases, the uses of the original objects were still necessary, but often their use had to be concealed to prevent European colonizers' awareness of the objects and their functions, which were often seen as threatening to European social control.

• The sculptures were attached to their boxes with a post that descended from their buttocks and inserted into a hole in the top of the bark container.
• The sculptures were used to protect the relics from spirit forces.

• The heads were put into the lid of the container to represent the ancestral body.

• Here, the figure's firmly set jaw and powerful, muscu 211/4''.
• The Eugene and Margaret bodies have a sense of authority.

• These sculptures were often enhanced with feathers, beads, and markers of the family tree.
• They are the clothing and the frequent application of cleansing and focal points of ceremonies where families come together to purify palm oil.
• The medieval practice of preserving number by death in Europe is similar to the entire object being a reliquary at marriages or enlarge through births.
• The bones and clothing of saints would be in the post in its entirety.

• The family line was often destroyed because of the ban on many bolic phallus.

• The bark boxes were not as threatening to the French as the sculptures were.

• European dealers modified them to look more like sculptures and less like functional objects to make them more appealing to collectors.
• The posts used to secure them to their boxes were cut off, feathers and beads were removed, and some were even polished black to make them uniform in color.
• Many are missing their support posts, beads, feathers, and other decorations because they are missing their bark boxes.

• The earliest collections of African art were acquired by European museums of natural history or ethnography, which displayed the works as curiosities of the "less civilized" cultures that had come under European control during the colonial expansion.
• African objects were better understood and moved into art museums where their aesthetic qualities were studied.

• The sculpture is 39'' (99.06 cm) tall.
• Purchase, Daniel and Marian Malcolm, and male and female couple were once the top portion of James J. Ross Gifts.

• The exhibition and its programming was developed in London.

• A senior member of the Sande don would have worn the mask when it was used.
• The museum was looking for a better way to display the objects at the initiation ceremony of young girls.
• The performance welcomes the newest generation of young women and honors the female ancestors of the past.

• The chrysalis of a butterfly is referred to by the rounded conical form of the mask.
• The young woman entering adulthood is like a butterfly emerging from its shell.
• The small eyes and lips indicate modesty, and that the voice will only be used when it is important.
• A European style top hat is also worn by this mask.

• The top hat was a symbol of wealth and status for men in Europe in the 19th century.
• Sande women used this symbol to articulate the power of Sande to create women of sophistication, wealth, and power, who would of course go on to attract husbands of similar rank and wealth.

• The Sande society women in London asked that a new fringe be made for the mask after it lost its fringe due to decay.
• They were worried that the mask had lost its identity.
• The Sande women held a naming ceremony in which they sang songs to the mask and asked it to accept a name by suggesting historical ancestors and throwing cowrie shells.

• The Sande women presented the newly (43 cm) (mask) and the fringe.

• All rights belong to the person.

• All rights belong to the person.

• The years following World War I saw the emergence of traditional forms of local art and architecture resisting European domination.

• The transforma lives in an arid region on the northern border of the country.

• All of North Africa had a large swath of land that was broken away from European rule by the mid-1950s.
• The first sub-Saharan nation to declare independence is during the rainy season, which lasts three months.

• It would take until the late 1970s for all African nations to be free of colonial rule.
• Adobe gave up its claim on Britain in 1975, and Portugal painted adobe homes around the world.
• Sand and clay are mixed with water and fill material in France after it was let go of the Dji.

• The bricks are allowed to bake in the sun.

• The buildings have no windows, which makes them cool and keeps the pride of the people of the country high.
• Dust and Europe can be caused by no windows.
• Sand from Africa do not enter the house during the dry season.
• The regions wanted their own independence.
• The bricks and mortar are dry, a thick adobe slip is applied Nkrumah, the first president of independentGhana, was by hand over the entire surface of the building and allowed to harden.
• The Empire has their resources of gold.
• The slip can be sculpted and painted the "Gold Coast" by the British if he chose to use it as his country's name.

• Creating living areas is a project that is gender specific.
• Men build and women decorate.
• The structures are gendered as well.
• Women's houses are located in an interior courtyard, while men occupy rectangular flat-roofed houses.

• The homes seen in this 1972 photograph were most likely built in the first half of the twentieth century.
• Women are painting their homes because the exterior decorations have faded.
• Each young man performs one of the masks, and the young women sing the songs with good wishes and agricultural success in mind.
• The end of the ceremony and the triangular patterns contrast nicely.

• How important those symbols were in connecting the wild, untamed nature and the life force that it creates is what Do's realm is about.

• The Nankani were looking for ways to celebrate their own history and ceremonies, as well as performing at funerals.
• For exam traditions after so many centuries of having the traditions, dancing a masquerade for a funeral helps the deceased family member in making the languages and cultures of others imposed on them.

• The masks are made by family groups who compete with each other to make the most beautiful masks.
• The group that has elected to maintain their historic human and animal forms combined with painted abstract religion and traditions despite French colonialism and symbols using only three colors.

• The masks have bold colors.

• Artists around the world were being judged on their masks.
• Three small figures on top of the cen can interfered with the narrative.
• The mask uses organic materials family's own connection to the spirit world to stress the importance of painting's precious status.

• The theatrical masquerade performance can only be done with flour or potato sacks.
• They should be appreciated for participating in the event, the masks, with brushes, and with their feet.

• European artists who master the art of painting can sell their work on commission tocollectors.

• Few institutions of Europe's prized contemporary art forms, African art can exhibit such large objects, and museums often only ists, particularly in French-speaking countries, began to have the wooden headpieces.
• The feather, leaf, and fiber develop their own theoretical explorations, costumes are usually lost or removed due to focusing on the found object.
• The influence of the damage.
• African modes of art making that use found masks, and the incredible talent of the dancers, become objects as their primary materials go back centuries, but only by participating work by the artist.

• During the second half of working in the 1950s to 1980s, artists mastered by African artists engaged with new materi the twentieth century, along with retaining pre-colonial artistic traditions.

• The technology of photography, imported from Europe in the late colonial and early independence era of the 19th century, became a tool for Africans.
• Born in the capital city, they could regain their own image from the colonial gaze and display their bodies on their own terms for the camera.

• The Kodak Brownie flash camera was popular in 1935.
• He bought artists.
• The plank masks are 7' tall and the serpent masks are 14' tall.

• Bigger masks show greater means and influence on the part of the family that commissioned the mask, as well as greater talent on the part of the sculptor.

• Most plank masks are between 5 and 7 feet tall, while some Bwa masks reach over 25 feet in height.
• Those representing birds or butterflies may only be a couple feet high, but have wingspans of over 6 feet.

• The work of photography was done by Malians and all Africans.
• African artists' extensive tographed by Europeans as ethnographic subjects, exotic tory of using unexpected materials, and he is one of many others, or naked "savages," so as to belittle African civili in his generation to work with the powerful technique of z

• The aesthetic approach of Anatsui was unique in that he used a very shallow depth of field, which had the effect of mak Western in orientation.
• He used to be used as a backdrop.
• He shot most of his portraits in his studio to study the surface design traditions of the country.
• Anatsui took advantage of the natural light.
• In the family portrait position in the Fine Arts Department of the University of shown here, the sitters occupy a visually luxurious space Nigeria at Nsukka.
• He found a spirit that was similar to his own.

• While still concerned with the survival and trans mission of inherited traditions, Anatsui began to use found objects, including soda- and beer-bottle caps, aluminum can lids from canned goods, and the tops and neck labels from liquor bottles, to create new art forms.
• There are immense wall sculptures that fold and undulate like textiles but are made from metal bottle caps "sewn" together with copper wire and Anatsui's wall hangings have proven immensely popu lar around the world.
• They look like tapestries made of gold and silver, so they speak to the love of big objects that look expensive.
• Humans worldwide are consuming and throwing away more than we need and the earth can't handle it.
• Thousands of pounds of material is kept out of the trash stream by Anatsui's sculptures.
• His works have the weight of political critique.

• The wire is 16'4'' x 14'9'' (5 x 4.5 m).

• In 1973, he began working with an eastern European anthropologist who encouraged him to paint scenes of life.
• Tshibumba found great pleasure in this topic and embarked on a project to document the entire history of the Congo in a painted series of over 100 paintings on floursack canvases.
• Tshibumba painted early kings and queens, the violence of the regime of King Leopold II, and the excitement at independence, using vivid colors and violating the traditional rules of European linear perspective.

• Politics is one of the most common subjects explored by independence-era artists.
• Under suspicious circumstances, less artists were leaders in giving visual presence to the rap than four months after taking office, a victim of the changing and complex political and social realities of the 1960s and 70s.

• There are canvas, paint, wood, and staplers, 39.2 x 60.2''.

• Despite his bound arms, ripped T-shirt, and signs of being, he is peaceful, seemingly resigned to his fate.

• The death of Lumumba was not announced until a month after the fact, and there were rumors that he had escaped or that he was still alive.
• Each artwork by the four artists Jesus, he had risen from the dead and would come again to discuss and translate meanings across cultures.

• Asking in the early 1980s.
• It is not known if the global audience would consider the colonial burden on Aime Mpane if he lived or died during the civil war that raged near his hometown in the late 1970s.
• His paintings show the colonial history of his country, but also show the political turmoil that many people around the world do not know about.
• Many of the historical and visual objects of the violent end of the colonial era are what these four artists and their generations of generations of generations of generations of generations of generations of generations of generations of generations of generations of generations of generations of generations of generations of generations of generations of generations of generations of

• In addition to continuing traditional art making, adopt in the Democratic Republic of the Congo, where he was ing new materials and technologies, and confronting the born in 1968.
• His training with local masters brought him international recognition.
• The diversity ditional carver is made from small sticks of wood.
• The matchstick sculpture of the man stands at the foot of his grave, which has a cross marked with the words "Congo" on it.
• The exhibition "Shaping Power: Luba Masterworks from the Royal Museum for Central Africa" is at the Los Angeles County Museum of Art.
• Matchsticks, wood, shoes, beads, and metal are mixed media.

• He can be seen as a shadow of his former self.
• Around the man lie silhouettes made from with Africa: parrots, lions, cheetahs, water buffalo, and assembled planks of wood, shaped to resemble a man, snakes, while shredded papers create grass, palm fronds, woman, and child.
• There are shoes at the feet of the woman.
• Part woman, part tree, the figure each silhouette, and the impression is one of white lines seems wild and untamed, and the lions are all in drawn around fallen bodies to mark the act of eating their freshly killed prey, making the image places they died.

• The depiction of the Mpane human spots and geometric shapes of light and dark skin indicates that she is a universal female figure, rather than people during the colonial era and in the civil wars that one can be associated with.
• The country has been wracked by them ever since.
• By giving a "death snakes emerge from her head, reminiscent of Medusa in 1885", Mpane clearly indicates that the Berlin Con ancient Greek mythology.
• His home country was killed by exposing stereotypes.
• The territory now comprising the Democratic Republic of dangerous Greek goddess was granted to King Leopold II of Belgium as his personal property, according to Mutu.
• It would eventually be handed over to the Belgian government.
• During King Leopold's and Belgian control, Congolese men were forced to work in poor conditions in rubber plantations and diamond and mineral mines.
• The people who resisted were sent to work camps.
• Belgian investors and residents in the region were forced to live in slavery-like conditions.
• One of the most tragic and brutal accounts of human suffering is the history of the Congo.
• His sculpture mourns the many dead and the loss of his indigenous country to the greed of the European powers around the conference table in Berlin.

• The International Wangechi Mutu was born in 1972 and currently works in New York.
• She thought she would pursue a career in film after training as an anthropologist and artist.
• Images of women's bodies are removed from fashion magazines, historical books on fashion, medical and botanical textbooks, and gynecological drawings of the female body.
• She reassembles these images with her own painted imagery onto various grounds of paper, Mylar, and original pages from manuscripts.
• According to Mutu, women carry the marks of culture more than men do.

• The image was created by the artist.

• These fabrics are Dutch in origin and are the opposite of how women's bodies appear in the fashion.

• He dresses his mannequins in the style of European nineteenth-century men's dress: Flows of History straight trousers with a tuxedo shirt, vest, and bowtie.
• He has used plain wool and silk fabrics with wax to make his print, which is connected to the histories of Europe and Africa.
• It looks like he has dressed European men.
• The effect is rather funny because he was born in England to Nige.
• In his artistic career, he focuses on the fact that the "African" fabric is actually from the 19th century.
• The viewers realize that what is perceived to be works expose the power exchanges between Euro authentically European or authentically African cannot be peans and Africans and the damages they created over so easily separated after all.
• Cultures influence each time.
• He does this in a disarmingly beautiful man who is inspired by the global ner.
• The way in which history is conveyed can be beautiful and ugly at the same time.

• Cotton wax-print fabrics came to African coastal cities in the 19th century.
• In their journeys to Indonesia for trade, the Dutch bought expensive, hand-made Indo Cultural Discourse nesian batik (wax-printed) fabrics, thinking to trade them.

• Her work in photography, installation, fabrics, and film has always been part of her political activism, geared toward raising awareness of gender and sexual equality and fighting for equal civil rights, because her work in photography, installation, fabrics, and film was hugely popular.

• There are 14 life-size fiberglass mannequins, 14 chairs, table, and Dutch waxprinted cotton.

• The print is 197/8 x 301/8''.

• Phila leans her cheek on her partner's shoulder in a gesture of comfort.
• Both women gaze directly at the camera, Phila's soft expression balanced by Thobe's stronger, more aggressive stare.
• The "Faces and Phases" series, which began in 2006 and is one of the longest-standing art projects, is not about violence but about the couple and the viewer.

• Her goal with this project is to tell her own story.
• We give visual and aesthetic to people on their own terms, because most black people don't have the strength to compete in those spaces.
• I don't speak for the people, but for the communities.
• She began to share and change the portrayal of black bodies in another series.

• African objects made during the colonial period were different for artists working for royal patrons than they are for artists working for a global art market.

• The oil on canvas is 156.5 x 121.9 cm.

• The vocabulary and concepts relevant to early nineteenth-century European to eighteenth- and early nineteenth-century and American art can be applied.

• The art historical methods of observation and symbols can be used toInterpret a work of art from European and American eras.

• To support an argument or an artist to their cultural, economic, and interpretation of a work of art from the 18th to the 19th century, look at visual and text evidence in various century European and American art and media.

• In 1773, when the Philadelphia couple was visiting, she showed her commitment to Boston by portraying her involved.
• This was the year when she staged the Boston Tea Party to protest against the British tax on tea, as a woman without pretension who could manage well without British imported goods.
• Meeting throwing it into Boston harbor.
• The painting hung the viewer's gaze with confidence and intelligence, she is in the couple's Philadelphia home when Thomas Mifflin, clearly a full partner with her husband in the important merchant and politician, and other leading work of resisting British colonial power.
• He is content to sit representatives of the colonies negotiated a strategy for the in the background of this picture, interrupted his reading to look admiringly at his beloved Sarah.

• The painting proclaims the couple's identity as Amer by 1773, and it was done by Boston's preemi ican patriots.

• Sarah, not her famous husband, is the center of atten.
• She sits in the foreground, wearing a stylish silk dress of society in a clear, precise painting style that seemed to decorated with expensive laces, a finely wrought lace cap reveal not only every detail of a sitter's physical appear atop her smoothly coiffed head.
• She is rich and ance and personality, but also gorgeous and elegant, but she doesn't wear jewelry except for the laces of the women's dresses and the expensive pol choker.
• She is shown with her sleeves rolled up, status, rather uncharacteristically for a woman of ished furniture that signified his patrons' wealth and her social status.
• Although his father-in-law was the Boston rep working silk threads on the large wooden frame that sits resentative of the East India Company, the tea was on her polished table.
• Her work is domestic and pragmatic, dumped into the harbor, and she was sympathetic to the not the kind of activity we expect to see highlighted in a revolutionary cause, but it was included in the crisis in Boston.

• The conditions of urban workers were terrible, both at their factory jobs and in their overcrowded and Industrial, Intellectual, unsanitary neighborhoods.
• The seeds of dissent and revolution were sown in several European and Political Revolutions countries in the mid nineteenth century.

• The American War of Independence was one of many weak and ineffectual revolutions that shook the established order in France.
• This age of merchants dominated European commerce, industry, radical change in society, thought, and politics, and while and politics, and their beliefs and customs defined social transformations were felt especially in England.
• The consequences of the Enlighten France and the United States had eroded, particularly in France, in the wake of the throughout the West and the world.

• Chaos and bloodshed were brought by the people rather than by a new way of thinking that had its roots in the scien order and stability.
• The tific revolution of the previous century began as a literary movement in the 1790s.
• John Locke argued that reasonable ism was a counterpoint to Enlightenment rational England.
• The idea that the world was knowable and rational was critiqued.
• The central premise of Romanticism was that an exploration of emotions, the imagination, and vation, rational evaluation, and logical consideration in intuition--areas of the mind not addressed by Enlighten mathematics and science.
• Bernard de Fontenelle ment philosophy could lead to a more nuanced under, a French popularizer of scientific innovation.
• He anticipated that a century which will become Romanticism and Enlightenment thought coexisted as datememe datememe datememe datememe datememe, so that all previous centuries ferent parts of a complex cultural whole.

• When freed of past religious and political shackles, most Enlightenment philosophers believed that art could be sold to the industrial rich and the men and women could act rationally.
• When the state failed, the moral solution was to culture of Paris, because the court culture of Versailles was replaced by the salon rights.

• The aristocracy who owned the land and the power that came with it became fashionable in parts of Europe in the 1700s.
• Poor tenant farmers were trolled by the Rococo.
• When the land-based power king Louis XV was replaced by a regent for the boy Revolution in 1715, the Industrial moved his home and the aristocracy to Paris.

• There were three major artistic styles that flourished in Europe and North America during the 18th century.

• The French court moved to Paris after escaping its confinement in the rural palace of Versailles.
• These became the center of social life for the aristocracy, who cultivated witty exchanges, elegant manners, and a playfully luxurious life that was specifically dedicated to pleasure, leisure, and sensuality.
• The salon was hosted on a weekly basis by accomplished, educated women of the upper class.

• Their intricately decorated walls and ceilings burst intricate polished surfaces included carved wood panels with exquisite three-dimensional adornments in called boiseries and inlaid wood designs on furniture and gold, silver, and brilliant white paint.
• The glitter of silver and gold against white and pas sual paintings hung among the rich ornament; and their tel shades and the visual confusion of mirror reflections all enhanced this Rococo interior.

• When the Parisian salons were lit by candles, they must have glit Painting tered with light reflected and refracted by the gorgeous The paintings and sculpture that decorated their surfaces.
• The rooms and other elegant spaces were an important part of creating the energy of the aristocracy, which was fancifully dressed in a profusion of their atmosphere of sensuality and luxury.
• The Rococo architecture, paintings, tures and sculpted ornament were typically filled with and sculptures around them and were often taken from Classical love stories.

• Jean-Antoine Watteau's design of the 1730s was seen as the originator of the architectural elements of the French Rococo style in painting.

• Watteau painted this signboard for the Paris art gallery of Edme-Francois Gersaint, a dealer who introduced to France the English idea of selling paintings by catalog.
• The title, medium, and dimensions of each work of art were given in the systematic listing of works for sale.
• The shop depicted on the signboard is not Gersaint's but a gallery created from Watteau's imagination.
• Gersaint sold the sign 15 days after it was installed.
• The canvas on the sides of each section was lost when it was framed separately after it was cut down the middle.
• The painting was restored and 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611

• Watteau came to Paris Au GrandMonarque at the sign of the Great Monarch.

• Louis had died six Marie de' Medici.
• In the years before that, it was displayed.

• The paintings and drawings of Other elements in the work suggest transience.

• He saw a figure of Fame and shelter in a private room.

• The signboard he painted for the art ity case on the counter was familiar to the one of the art gallery filled with paintings of the fragility of human life since the Baroque period.

• Watteau died from Tuberculosis.
• The visitors to the gallery are elegant ladies before he was 40 and he produced this painting at ease in these surroundings.
• Watteau created a painting in eight days, working only in the morning sphere of aristocracy, according to Gersaint.
• A woman is at the left because of his failing health.

• There is oil on the canvas.

• The lovers, dressed in sumptuous fabrics, gather in the landscape.
• The decorations for the royal residences at Versailles made Fontainebleau jealous.
• In 1755, he was made chief inspector at Paris and most of Europe.
• The French Royal Academy of Painting and Sculpture was where Boucher worked.

• The First Painter to the King was Boucher.
• After Watteau's death, Francois created a series of erotic works sian Rococo painting, often depicting the adventures of Boucher.
• Watteau's paintings are not hired to be reproduced for a collector.
• The future direction of his career would be in the hands of the teenage Louise O'Murphy.

• Her clothes are crushed by an academician.
• His life and career were close to her, and her spread legs were bound up with two women.
• The first thing he did was decorate her hair with a blue ribbon and the second thing he did was highlight her hus in the floor.
• Louise's plump butt is a frequent model for the band.
• Madame de Pompadour, Louis XV's mistress, doubted the painting's subject at the center of the painting.
• Watteau's patron was his major supporter.
• After he received his first royal com, he was clearly human, a contemporary per mission in 1735, and was presented to us in a very real Rococo room.

• After winning the prize in 1752 and spending the young woman is suspended on a swing in Italy, she was finally accepted as a member by an elderly guardian obscured by the shadow of the he was finally accepted as a member.
• He pulls her with a rope.
• As the girl's blushing lover hides in the bushes, he began to fill the vacuum left by anticipation, as he was enamored with a decorator of interiors.
• He is rewarded with the death of Boucher as the swing approaches.

• Oil on canvas is 317/8 x 251/4''.

• Chapter 30 is about European and American art.
• The young man reached out toward her with his hat as if to make a mockery of his attempt to hide the view, while she looked at him seductively.

• In the last quarter of the 18th century, the style and subject matter of Rococo was attacked for being frivolous and immoral in France.
• ClaudeMichel, also known as Clodion, was one of the first sculptors to use the style.
• The majority of his work was erotic and playful.
• Clodion's balloon, circled with bands of ornament, rises from a columnar launching pad belching billowing clouds of smoke, assisted at the left by a wind god with butterfly wings and heralded at the right by a trumpeting Victory.

• A Terra-cotta model of a monument.

• Clodion's work commemorates the 1783 invention of the hot-air balloon and the manner in which churches continued to be built and decorated.
• He became one of the few Rococo artists tocracy as patrons diminished during the austere revolutionary period of the First.
• The more acceptable Neoclassical manner was adopted by the Rococo.

• The Carrousel Arch is near the Louvre.

• The Metropolitan Museum of Art has a variety of social meanings.
• One of the most opulent Art Resource, NY Rococo churches is dedicated to the "Fourteen auxiliary Saints" or "Holy helpers", which is a visionary world where surfaces barely exist.
• The viewer is surrounded by clusters of pilasters that were constructed in Bavaria between 1743 and 1772.
• The plan columns and arched openings are based on six interpenetrating oval spaces of to the side aisles and large clerestory windows with varying sizes around a vaulted ovoid center.
• The foliage of Borromini's Baroque church of San Carlo alle Quat fanciful capitals is repeated in arabesques, wreath, and tro Fontane in Rome.
• The frames of irregular panels lining the vault are ornamented.

• A complete integration of architecture and decoration is achieved by the undulating surfaces with the use of decoration.

• The Grand Tourist began in Paris and traveled to southern France, where he visited a number of well-preserved Roman buildings and monuments.

• The two prosperous Roman towns were buried by a volcanic eruption in 79 ce.

• The artists and intellectuals who found inspiration in the Classical past were instrumental in the development of Neoclassicism, which was both a way of viewing the world and an influential movement in the visual arts.
• The clear forms, tight compositions, and shallow space of ancient relief sculpture are reflected in Neoclassical paintings.
• The ancient world was seen as the embodiment of timeless civic and moral lessons because it was the source of British and European democracy.
• In order to inspire patriotism, nationalism, and courage, neoclassical paintings and sculptures were painted and displayed in public places.

• Artists in Italy benefited from their access to authentic works of antiquity, as well as from the steady stream of wealthy art collectors on the Grand Tour.
• Tourists visited the studios of important Italian artists in order to view and purchase works that could be brought home and displayed as evidence of their cultural travels.

• European visitors to Italy sat for portraits.
• The leading portraitist in Venice in the first half of the 18th century worked mostly in pastels, a medium better suited to accommodate sitters whose time in the city was limited.

• Carriera's career began with designing lace patterns and painting miniature portraits on the ivory lid of snuffboxes.
• There is a pastel on blue paper.

• The oil on canvas is 61.3 x 99.8 cm.

• There is an etching of 189/16 x 271/8''.

• The French Royal Academy of Painting and Sculpture, despite the 1706 rule forbidding the further admission of women, is still open.
• He established a publishing house in Venice in 1730 and 1731, and Carriera portrays one of the century's most successful printmakers.

• Intellectuals and artists came to study and work in the Venetians.

• Benjamin West was created by the Venetian artist Giovanni Antonio Canal.
• It was thought that Canaletto was the name.
• Under the sponsorship of views, his Albani on the outskirts of Rome is rarely topographically accurate.

• His dealer ture, sarcophagi, intaglios, sent him to London from 1746 to 1755 to paint views of into the surface, because he wanted to house and display his vast collection of antique sculp painted and sold so many to British visitors.

• Giovanni helped satisfy the growing craze for antiquities by selling items to artists and tourists alike.
• He moved to Rome in 1740 and studied etching without the use of the cardinal's employ.

• After the completion of it, Winckelmann was the first to ana, and he left for Spain, where he lyze the history of art as a succession of period styles, bringing Neoclassical approach which later became the norm for art history ideas.
• The style books were carried by other artists from Rome.

• The theories of the Albani-Winckelmann circle Rome were most vigorously applied by sculptors in Rome.
• The Cardinal remained committed to Neoclassicism for over 100 years.

• He adopted the Neoclassi painting, the first full expression of Neoclassicism, in Rome in 1781.
• There is a scene from Classical mythology.

• There is a ceiling fresco in Rome.

• The marble is 1.55 x 1.73 m.

• The Psyche is at the kiss.
• Romanticism describes not only the rounded forms of the two linked bodies and balance a style but also an attitude: It celebrates the individual the downward diagonal extensions of the figures' legs.
• The marble skin of Neoclassicism shines against the con universal and the rational.
• Romanticism is named after the texture of drapery and rocks.
• Although carved and many of its themes from the "romances", the work is meant to be experienced stories and poems written in Romance as a symmetrically stable composition of inter languages.
• "Romantic" suggests locking triangles and ovals.
• The effect is ordered and may be set in a remote time rous and calming.

• In Neoclassicism and Early, a sensitive, outcast young man fails at love and Romanticism in Britain kills himself.

• British tourists and artists in Italy became leading supporters of early Neoclassicism because of the ways in which they looked at the world.
• Classical revival in Britain had a slightly different form of neoclassicism and Romanticism was more private.
• We saw a lot in Rome.
• Neoclassicism was a part of British art and even worked within Romanticism.

• It was not always clear what distinctions were.

• The men and women wore white gowns and curled their hair in imitation of Classical statues.
• Colen Campbell was the leader of a group of architects and wealthy people in Britain who opposed the extravagance of the Italian Baroque.
• They wanted to return to the simplicity and austerity of the Classically inspired architecture of Palladio.

• His design West London, England was inspired by this.

• The central core of Palladio's villa is octagonal rather than round and there are only two entrances.
• There is a main floor resting on a basement and a tall, rectangular main entrance flanked by matching staircases.
• There is an imposing entrance for the earl in the Roman temple front.

• The result is a depiction of Palladio's design.

• Burlington convinced the English to look unkempt in Rome.
• William Kent was an expatriate who returned to London from a small lake by a rustic bridge.
• Kent designed a miniature version of the Pantheon in Rome.
• The ingly ornate interior as well as its grounds, the latter in a park is dotted with other Classically inspired temples, style that became known throughout Europe as the Eng copies of antique statues, artificial grottoes, a rural cottage, and a landscape garden.
• There was a Chinese bridge, a Gothic spire, and a Turkish tent in Kent's garden.

• The result is a mixture of styles and cultures.
• A lake with a cascade of irregular plant tic is part of the Neoclassical and Roman winding paths.
• Classical history is a Romanticized subject.

• As set scape architecture flourished in England in the hands of British aristocracy, land like Chiswick and Stourhead were designed to fit their needs.
• The grounds of Look were renovated in the 1740s.

• The result was art by Josiah Wedgwood.
• In 1769, near ing gardens at Stourhead carried Kent's ideas for his native village of Burslem.
• The production-line views mimicked the shop's structure, with each division having its own kilns and Claude Lorrain workers trained in diverse specialties.
• A talented CHEM.
• In the mid 1770s, a fine-grained, land was created by Wedgwood.

• Continuing additions were executed with the laying out of 1743.

• All of the objects shown here bear the marks of silver shops run by women, who played a significant role in the production of silver during the Georgian period from 1714 to 1830, when Great Britain was ruled by four successive kings named George.

• The British would have enjoyed the alcoholic beverage from the tray high society.
• The person is called a salver.

• The "double tobacco beaker" cups were used by both men and women to drink the punch.
• The curved sides are easy to use when traveling.

• The punch was poured from the bowl into the goblet.
• It's easy to retrieve from the bowl with its twisted whalebone handle.

• Nancy Valentine assembled a collection of silver.
• The funds were donated by Mr. and Mrs. Oliver Grace.

• The elief decoration was designed by the abolitionist cause, and he commissioned the sculptor William sculptor John Flaxman Jr. to design an emblem for the Wedgwood from 1775 to 1787.
• The British Committee to Abolish the Slave Trade was based on a book illustration of a Greek vessel.

• The Philadelphia Abolition Society is informed by the tionist movement.
• The Enlightenment thought that the image was so compelling that he established a village for his women's speach movement in the United States.

• It was made at the Etruria factory.

• The jasperware body has a blue dip and white relief.

• Black-and-white jasperware is 13 x 13 x 3.5 cm.

• The Gothic Revival and Neoclassicism combined to create a fashion for Britain in the mid eighteenth century.
• After 1800, Walpole began to rebuild his country.

• Over the next 30 years, he worked with several friends and architects to add decorative crenellations, tracery windows, and turrets.
• The interior was changed according to the fanciful Gothic interpretation of the British historical past.
• The Chapel of Henry VII at Westmin has a large-scale example of the use of structural metal in bridge ster, but it was transformed to suit the taste of the owner.
• The strawberry design on the fan vaults wouldn't have the voussoirs of earlier bridges because they were made of iron.

• A 100 foot span is formed by five pairs of arches.
• In functional architec Iron as a Building Material ture such as this, the form is determined in large part by the available technology, the properties of the material, and In 1779, Abraham Darby III built a bridge over the Severn the requirements of engineering, often producing an unin ) Here, the use of metal made possible land, a town typical of industrial England, with factories the light, open, skeletal structure sought by builders since and workers' housing filling the valley.
• It was built in the twelfth century.
• The bridge demonstrated a need for newer, construction of engineering wonders like the soaring train better transportation routes for moving industrial goods.

• The Eiffel Tower is probably the first such marvel.

• Hogarth believed that art should contribute to the improvement of society.

• Portraiture was a popular form of satire in Britain in the 18th century and was illustrated by mission them.
• The British landscape and its people were Illustrated by Hogarth in about 1730.
• Many of the paintings and prints created in of four to six paintings, which he then produced in sets of Britain, reflected Romantic sensibilities and Enlightenment mass-produced prints, enabling him to maximize his values.

• The industrialization of Britain was based on love.
• In creating a large and affluent middle class with enough disposable income to purchase smaller and less formal paintings and prints, he depicted the sordid story and sad end of an arranged marriage.

• A member of the newly wealthy merchant could be sold to large numbers of people.

• The painting is in the 18th century.

• Oil on canvas is 271/2 x 353/4''.

• A fop and a simpleton sits on the far left, admiring him as he attempts to create a British style self in the mirror and ignore his future wife.
• His neck is showing signs of aging, which would lead to lis.
• The bride-to-be is dressed extravagantly.
• His contempt for the decadent tastes of the rather plain, and her wedding ring is threaded through aristocracy, can be seen in the comic detail of the paintings a handkerchief to wipe away her tears.
• Her hanging is in the center of the room.
• At the same time red coat leans forward to study Lord Squanderfield's acerbic wit lays open the tensions of class and wealth so pedigree, an empty sack of Hogarth wanted father, the uncultured but wealthy merchant in the brash to entertain and amuse his audiences, but at In 1745, after his work became so popular, he gave up portraiture, which he considered a form of vanity.

• The mainstream of British art at the end of the century was represented by Sir Joshua Reynolds.
• After studying Renaissance art in Italy, Reynolds settled in London in 1753 where he worked to educate artists and patrons to appreciate Classically inspired history painting.
• He was the first president of the Royal Academy.

• He claimed that the ideal image communicated universal truths, and that artists should avoid representations based solely on observation, as these paintings merely communicated base reality.

• The large scale of the canvas suggests that it is a history painting, and the details evoke a Classical setting.
• Lady Sarah is dressed in a classicizing costume and plays the part of a Roman priestess making a sacrifice to the Three Graces in front of a monumental Classical pier and arch.
• The public rooms, halls, and stairways were supposed to be the subject of this portrait.
• Reynolds's studio in London was a hive of activity, with sitters, patrons, and assistants.
• The Art Institute has faded.

• Lady Sarah Bunbury was one of the great beauty of her era and she was depicted in the art of Thomas Gainsborough.
• A few years before this portrait was painted, she turned down a proposal from a man who wanted to marry rich and fashionable clients of George III.

• Oil on canvas is 271/2 x 47''.

• Gainsborough was going to paint the portrait of the couple after Robert and Frances Carter were married.
• An area of painting in her lap has been left unfinished, possibly anticipating a later addition of a child for her to hold.

• As part of the society's attempts to popularize science, Wright painted a ground.
• A series of "entertaining" scenes of scientific experiments are shown to the youthful Frances Carter.

• The second half of the eighteenth century was an age around her, while her husband appears more relaxed, his of rapid technological change, and the development of hunting rifle tucked casually under his arm and his favor the air-pump was among the many scientific innovations ite dog at his side.
• The couple has good care of the land.
• The neat rows of grain stocks and stubble erties of gas were used in dramatic public to show the use of the seed drill and plant demonstrations of scientific principles.
• Horses and sheep are outside.
• The significance of the painting lies in the pose of the scientist's head, which is informal, and the depiction of their land, which they take in from lack of oxygen.
• The artist's troduced by a simple mechanism at the top was the result of air reining the animal before it died.
• The source of bounty and beauty is depicted by Wright.

• The magician is about to perform a trick when artist Joseph Wright of Derby shows him.
• The young girls on the right have the first wave of the Industrial Revolution, while the young man on the left has a more emotional response to the proceedings.
• Wealthy industrial entrepreneurs were near the patrons.

• Oil on canvas is 6 x 8'.

• The National Gallery, London/Scala, Florence is an allusion to the "Lunar" Society.
• The painting suggests that science has the potential for wonder, excitement, and discovery about matters of life and death.

• The French government founded New York in 1802.

• The Academy of Painting and Sculpture in Paris began to mount occasional exhibitions of members' recent work after the French Royal's inclusion in 1664.

• The Salon was held in the Salon Carre in the Palace of the Louvre.
• Every other year, a jury of members selected the works to be shown at the Salon.

• The oil on canvas is 120.6 x 151.2 cm.

• A competitive shows how mainstream artists were taught.
• The painting shows artists, all men, setting up a life-drawing class and "Prix de Rome," or Rome Prize, which enabled the win to engage in lively conversation.
• For three to five years, the studio is decorated with ners to study in Rome.

• The Royal Collection Trust was established in Berlin in 1696 and in 1705 in London Bridgeman Images.

• In France, Louis XIV Winckelmann's portrait in Rome became an ardent prac proclaimed in his founding address to the French Royal titioner of Neoclassicism, and was elected to the Roman Academy that its purpose was to reward all worthy artists.
• The resolve artists specialized in the "lower" painting genres of por were not put into practice.
• Only seven women gained the traiture or still life, but Kauffmann embarked on a career as a history painter after earning the title of "Academician".
• The academy was closed to women.
• Despite this, four more London in 1766 to great acclaim and lived there until 1781; however, the men, worried that women would become too numerous, limited the ings and British patrons to buy them.
• She was welcomed with a total of four female members.
• One of only two women allowed to compete for Academy prizes, both of which were founding members of the Royal Academy, was a young woman immediately into Joshua Reynolds's inner circle.

• The scene in the members in 1768, but no other women were elected until painting took place in the second century bce during the 1922, and then only as associates.

• A woman asks to see her hostess after she shows her jewels.
• One of the patrons who preferred Clas greatest works of early Neoclassicism was the Swiss history painter Angelica, who exemplifies the "good mother."
• At the age of 15, Kauffmann painted moral virtue.

• 40 x 50'' is the size of the oil on canvas.

• When the painting was exhibited at the Royal Academy, the famous actor David Garrick enacted an interpretation of the painting in front of the work.

• The king commissioned one image with warm, subdued lighting and the tranquil grace of the four replicas of the painting because he wanted the British public to like it.

• West's painting glorifies the British general James, who died in 1759 in a British victory over the friends with the American-born Benjamin West.
• In 1759, West depicted Wolfe in his red uniform, where he met Winckelmann, and became a soldier under a cloud-swept dent of Mengs.
• He moved to London permanently in 1763.
• Wolfe died at the base of a tree where he specialized in Neoclassical history painting.
• In by two or three attendants, but the laws of history painting 1768, along with Kauffmann and Reynolds, he became a demanded nobler scene.
• West was a founding member of the Royal Academy.

• The North American West argued that history painting was not dependent on setting, and included a Native American dressing figures in Classical costume, as well as a warrior who contemplates the fallen Wolfe.
• mod the emotional intensity of the scene, as well as the poses of ern history, came to be known as "mod the dramatic lighting increases ing, and the genre it spawned."

• The British London's intellectual elite is similar to the analogy.
• The Christian cross was replaced by a flag by Joshua Reynolds.

• Wolfe sacrificed himself for the good to study in Rome, where he spent most of the next eight years, after he left England to become an artist.
• His encounter with the sometimes tortured and moralizing message made this image very popular with the British public.
• It was translated into a print and angelo's painting was the most popular in Britain.

• Romanticism in Britain was launched by his interest painting.
• John Henry Fuseli was one of the earliest practitioners of supernatural and irrational subjects.

• The oil is on a canvas of 101 x 127 cm.

• The English critics did not like Fuseli.
• Sigmund Freud believed that dreams were manifestations of the dreamer's repressed desires and that one of these prints would hang in his office.

• An image that recalls a medieval friend of Fuseli's is the compasses.

• Trained as a ris, Thomas Mifflin opened this chapter.
• After moving from Boston to London just before the Revolution, he quickly rejected the teachings of Reynolds, believing that ary War would never return to his native land.
• He doesn't aid creativity in London.
• He was an advocate of probing the unfettered imagination and became a lifelong established portraitist and painter.

• Reason was limited to the lower world of matter.

• The tian belief that was dramatized in the painting is based on elements from the Bible, Greek and British legend.

• A color print is finished in ink and watercolor.

• The canvas is 5'103/4 x 7'61/2''.

• Washington lost part of his right leg in the slave trade and was rescued by his Declaration of Independence.
• The hypocrisy of American calls for freedom is highlighted by the fact that the pyramidal composition is made up of Conservatives who oppose American independence, as well as figures in a boat and Watson in the water.

• The scene portrayed is not classical.
• In the lutionary War, the British offered freedom to every runaway foreground, and the ferocious shark tried to attack the American slave who joined the British army or navy.

• It is possible that two of the shipmates strain to reach him while American slaves look on in alarm.
• An African man standing at the top of the painting holds a rope that connects him to the boat and a Native American in West's painting of extended right arm.

• There are sites that show the picture.

• The African figure as a ser was one of the first artists in London to exhibit his large vant waiting to hand the rope to his white master, but his modern history paintings in public places around the capi inclusion has also been interpreted in more overtly politi tal.
• The shark attack happened while he was painting.
• The shipment of slaves from Africa to the West Indies was one of the highlights of the spectacular displays trade.
• The debate was raging in the British Parliament, panoramas, dioramas, and over the issues of the Americans' recent Eidophusikon, when the magic lantern display with smoke, mirrors, this painting was commissioned.

• Jacques-Germain Soufflot was the leading French Neoclas in the late 18th century.

• Roman architecture he had seen on two trips embraced presentations in a sober, Classical style, while painters and sculptors increasingly traditions.

• There is an interesting history to this building.
• The revolutionary government in control of Paris took all religious properties to raise money.
• They voted to make the Temple of Fame for the burial of Heroes of Liberty instead of selling Sainte-Genevieve.
• Under Napoleon I, the building was resanctified as a Catholic church, and under King Louis-Philippe, it was used as a church.
• It was permanently designated as a lay temple.
• The building was once used as a physics laboratory.
• The French physicist Jean-Bernard Foucault used the interior of the high crossing dome as a testing ground for his theory that the Earth rotates on its axis in acounterclockwise motion.
• The ashes of Marie Curie, the first woman to win a chemistry prize, were moved into this memorial to the great men of France in 1995.

• The Palladian style was revived in England.
• The Salon for a periodic newslet facade of the Pantheon with its huge portico is modeled after a Roman temple and is considered to be similar to a Roman temple.
• The founder of modern art criticism was the dome.
• Diderot believed that art should be moralizing, that it should promote architecture, and that it should inspire refined manners, like the Cathedral in London.
• The radi the Rococo was not designed to fulfill.

• Diderot was very fond of Jean-Simeon Char.
• It does to Christian tradition.
• The Pan din, an artist who began in the 1730s, is more than the sum of its parts.
• Its ratio to create moralizing pictures of refined intimacy in the nal, ordered plan is constructed with rectangles, squares, tradition of seventeenth-century Dutch genre painting and circles, while its relatively plain surfaces communicate by focusing on touching scenes of everyday middle-class severity and powerful simplicity.

• A mother is leaning on the family table to set a meal.
• Across from her sit two children: an older daughter French painters such as Boucher, Fragonard, and their partially concealed by the table and her younger brother in followers continued to work in the Rococo style in the foreground who has hung his toy drum on the back of later decades of the eighteen His mother was against the Rococo.
• Denis Diderot was a simple detractor of the Rococo and a leading pauses from her domestic chore to admire him.
• The Rond d'Alembert, which was an archive of toy drums, would have identified this youngster as a boy for Enlightenment thought in France.
• Diderot started an audience in 1759.

• There is oil on canvas.

• One of the first French artists to treat the lives of women and children with sympathy and to portray the dignity of women's work was Chardin.

• Greuze's painting visualizes the utopian notion that moral ing, which was inspired by the 1750s.
• Diderot expanded the traditional range of theatrical virtue.

• Greuze presents the action as a carefully con Antoinette's favorite portrait painter.
• Vigee-Lebrun was structed composition on a shallow, stagelike space under a notable for her election into the French Royal Acad dramatic spotlight.
• When his daughter married his son-in-law, the old man gave the painting and sculpture business to his daughter, and then only to her.

• The mother and sister are related.
• The queen is portrayed as embracing the bride who is reluctant to let her go.

• There is oil on the canvas.

• The public perception of Marie Antoinette was that she was selfish, extravagant, and immoral.
• The queen's children are depicted more sympathetically than she is.
• The princess leans against her mother's arm and points to the empty cradle of a recently deceased sibling.
• The image is meant to signify peace and prosperity for France under the reign of Marie Antoinette's husband, Louis XIV, who came to the throne in 1774 but would be executed along with the queen in 1793.

• On the eve of the Revolution of 1789, Vigee-Lebrun and her daughter fled to Rome, where Vigee-Lebrun was the favorite painter to the queen.
• The artist relocated to Paris in 1805 after a successful career in Italy, Austria, Russia, and England.
• Over the course of her career, she painted about 800 portraits in a vibrant style.

• He produced a series of plain Neoclassi Roman historical texts after returning to neille.
• The patriotism depicted in the patriotic oath-taking incident cal paintings is not the same as the patriotism depicted in the movies.

• A royal and its rival, Alba, agreed to set commission that David returned to Rome to paint, the tle a border dispute and avert a war by holding a battle to work reflects the taste and values of Louis XVI, who along the death between the three In David's painting, the Horatii stood with their arms out and the king believed that art should improve the public.

• The father was almost pushed back by the young men's outstretched hands.

• The group of women and children are limp in comparison to the men.

• They are sad for the lives of both the Horatii and the Curatii.
• One of the sisters of the Curatii is married to one of the Horatii and the other is engaged to one of the Curatii.
• David's composition, which separates the men from the women and children spatially by the use of framing background arches, dramatically contrasts the young men's self-sacrifice with the women's emotional collapse.

• French academic rules on decorum were pushed to their limit by the emotional intensity of this history painting.
• It became an emblem of the 1789 French Revolution because of its message of patriotism and sacrifice for the greater good, but its tragic aftermath--the dead Marat slumped in his tively captured the mood of the leaders of the new French bathtub.
• As the revolutionaries grasped the letter that Corday used to gain access to the monarchy and titles of nobility, they took education to his home.
• David joined the Jacobin party because of the wooden block next to the bath that was used as a desk by Marat.

• It is almost like the martyr's tombstone.

• Writing pamphlets urging the abolition of aris and a timeless feeling of the picture, just as the very different tocratic privilege is added to the blank background, adds to the quiet mood as furniture.

• Charlotte Corday, a supporter of an opposition party, stained sheets on which he lies, creating a compact shape that held Marat partly responsible for the 1792 riots in which hundreds of political prisoners were judged sympathetic to the draped over the bathtub.
• David transforms a brutal event king were killed into an elegiac statement of somber eloquence after she stabbed Marat.
• He sat in his bath.
• tionalism suggests that Marat was a martyr for the people because he was portrayed not as violent.

• David estal of a bust of the abbot Guillaume Raynal was a charismatic and influential teacher who trained a French philosopher whose 1770 book condemned slav most of the major French painters of the 1790s and early ery and paved the way for such legislation.

• The rights of women artists were championed by the painter Adelaide Labille-Guiard.
• The only male in this monumental painting of the artist at her easel is her father, shown in a bust behind her canvas, as her muse, a role usually played by women.
• While the self-portrait flatters Labille-Guiard, it also shows her as a force to be reckoned with, a woman who engages our gaze uncompromisingly and whose students are serious and intent on their study.
• After the French Revolution, Labille-Guiard petitioned the French Academy of Painting and Sculpture to allow women to join.
• The reform was reversed by the revolutionary government.

• Houdon traveled to the United States in 1785 to make a full-length statue of a number of important figures of Washington's features, including Diderot, and created a bust in plaster.
• The portrait with Classi promoted by Enlightenment thinkers provided mod cal ideals of dignity, honor, and civic responsibility.

• ington doesn't touch the sword.

• Philip V marginalized the Spanish art world by awarding most royal commissions to foreign artists.
• Spanish artists did not embrace Neoclassicism the way they had Baroque during the previous century, despite the fact that the German painter Mengs introduced it into Spain with his work for Charles III.
• Francisco Goya y Lucientes, one of the greatest Spanish artists of the period, was appointed to paint the Spanish court at the end of the eighteenth century.

• The Spanish had art in the distant lands of their American colonies as well as in their homeland.
• The artistic traditions of native peoples and the Spanish Baroque were mixed to create a new art in Mexico and the American Southwest.

• Goya was introduced to the Spanish royal workshop when he produced tapestry cartoons.
• He painted for Charles III and served as court painter to Charles IV, but he also belonged to an intellectual circle that embraced the ideals of the French Revolution, and his work began to criticize the court in which he served.

• After the French Revolution, Charles IV banned the entry of French books into Spain, halted reform, and reinstituted the Inquisition.
• Goya created a series of prints aimed at the ordinary people.

• Between 1796 and 1798, 80 etchings were produced.
• The marble is 6'2''.
• The son is a sleeping monster.

• The personification of Reason is haunted by a Roman soldier who was appointed dictator and a cat that dispatched to defeat the A.

• After leading the Americans to victory over the considered equally monstrous, Washington was compared to Cincinnatus.
• He resigned his commission and went back to farming in order to alert the Spanish people to the fact that he was not seeking political power.
• The Society of the Cincinnati was founded in 1783 by the son of Washington and is located just below Washington's waistcoat errors.
• The officers of the Continental Army were returning to their peacetime occupations when he tried to market his etchings.
• Washington lived in retirement in England for five years before his Mount Vernon plantation was brought to the attention of his royal patrons.
• As the first president of the United States, it was necessary to have an additional election.

• The aquatint is 21.6 x 15.2 cm.

• After printing about 300 sets of this series, Goya offered them for sale.
• He didn't explain why he withdrew them two days later.
• Historians believe that he was warned by the Church that if he did not do so he would have to appear before the Inquisition because of the unflattering portrayal of the Church in some of the etchings.
• The plates were donated to the Royal Printing Office by Goya.

• The images in the Yale University Art Gallery were not critical of the monarchy.
• He was torn between his position as a court painter who was loyal to the king and his desire for a more open Spain.

• His status as well as that of the king was raised.
• Goya places himself in the painting to the left behind the easel.
• The king and queen are surrounded by their immediate family in this portrait.
• The figures are not easy to read.
• Goya's patrons seem to be shown as faintly ridiculous here.

• The image is from Museo Nacional del Prado.

• Chapter 30 European and American Art has a chest full of medals.
• On May 2, 1808, there was a rumor that the French were going to kill the royal family.
• The double-chinned queen gazes populace rose up against the French, and a day of bloody obliquely toward the viewer, followed by mass arrests.
• Hundreds of an open affair with the prime minister; their eldest daugh were herded into a convent and then executed by a French ter, to the left, stares into space; and another, older relative firing squad before dawn on May 3.
• Goya's behind seems almost surprised to be there.

• The royal family liked Goya's tableau.
• At a time when the authority of the Spanish white shirt confronted his faceless killers with outstretched aristocracy was crumbling, this complex representation arms recalled the crucified Christ, an image of conflicting emotions, ambitions, and responsibilities.
• The painting is not cool and may have struck a nerve with them.
• It is an image of fear and desper were modern.

• Many is not a moral at first.

• The image is from Museo Nacional del Prado.

• The Spanish monarchy was restored.
• The new constitution was abolished by Ferdi nand VII.
• Goya was charged with obscenity for an earlier painting of a female nude.
• He spent the last four years of his life in France after he was acquitted and retired to his home outside Madrid, where he painted a series of black paintings on the walls.

• The suppression of indigenous religions was caused by the Spanish conquest of Central and South America.
• The Franciscan, Dominican, and Augustinian friars worked to convert the indigenous populations as temples were demolished and replaced with Roman Catholic churches.
• Some missionaries petitioned the Spanish king to help improve conditions after they were appalled by the treatment of the native peoples.

• Christian symbolism became intertwined with the symbolism of indigenous religious beliefs in the course of the forced conver sion to Roman Catholicism.
• The crosses were placed in the church to educate the converts.
• The images from Christian and native religions are interwoven into a dense symbolic whole.

• The Christian images were probably copied.
• The stone is 11'3''.
• There arerated books and Bibles in the Chapel of the Indians.

• The Virgin of the Immac is depicted in Europe as a symbol of regeneration because of the winged angel heads and pomegranates.
• The cross in the Chris site of Juan Diego's vision became a symbol of the tree of life in Spain.
• There is blood in the pilgrimage center.

• In 1700, the Jesuit priest Eusebio Kino built a church on a hill where an Aztec goddess had once laid the foundations for San Xavier del Bac.
• Juan Diego was able to show them to the archbishop as Pima had already laid out the desert site with irrigation proof of his vision.

• Oil and copper on a panel.
• The funds were contributed by Mr. and Mrs. Anderman.

• Pope Benedict XIV declared the Virgin of Guadalupe to be the patroness of the Americas in 1754.
• There is a sanctuary in Mexico between the figures.
• The story of Juan Diego and Mary's miracles are depicted in the four small scenes around the Virgin.

• Before con The Development of struction began, the site was turned over to the Franciscans as part of a larger change in Spanish policy towards Neoclassicism and the Jesuits.
• The Spanish Franciscan Juan Bautista Velderrain realized Father Kino's vision in 1776.

• The focus of visual attention is not on the art, but on the facade, which is not a copy of Spanish from the 19th century.
• The central entrance to the church and the style of the sculpture beyond the middle of the century are consistent with Spanish Baroque.
• The statue once stood for virtues of democracy and republicanism as patrons and artists continued to use it to promote their work.

• The embrace of art female saints, such as Lucy, Cecilia, and Catherine of Siena, was a part of neoclassicism.
• A cat confronting Raphael is one of the funnier elements hidden in the antique sculpture and the work of Classical artists.
• The academy's idea of itself as a repository of venerable was inspired by a local Pima who said: "When the of universal standards of taste and beauty complemented cat catches the mouse, the end of the world will come."

• A variety of forms were taken in the 23-54, 23-55 and early 19th century.
• The basis of all painting should be the common connecting thread.

• The viewer's emotions are being stimulated.

• During the 19th century, Paris became a major artistic cen due to its emphasis on expressiveness.

• Jacques re-established his position in instruction after Napoleon Bonaparte's rise to power.
• The artists were competing for a spot in the painting.
• The annual exhibition that gradually opened for realizing France's Enlightenment-oriented political to those who were not academy members was called Napoleon the best hope Paris Salon.
• There was a deep division for revolutionary values in the 19th century.

• He exhorts his troops to follow as he charges uphill on his horse, and he was Framed by a broad shock of red drapery.
• The horse's flying mane and wild eyes, combined with the swirl of the cape, convey energy, impulsiveness, and power, backed up by the heavy guns and troops in the background.
• David went into exile after Napoleon fell from power.

• The main action is meant to infuriate David's studio as a teenager and eventually compete with the veneration of Napoleon.
• Near the center of the painting, Napoleon was in Italy in 1797 and was rounded by a small group of soldiers and a doctor who was an official chronicler of his military campaigns.
• bubonic plague broke out during Napoleon's campaign against the sores of one of the victims in a pose that was meant to be used by the Ottoman Turks.

• The life of Theodore Gericault, a major proponent of French Romanticism, was cut short after he moved to Jaffa, a town in Israel that was part of the Ottoman Empire.
• His short career had a format of Gros's painting--a shallow stage with a series large impact on the early nineteenth-century Parisian art of pointed arches framing the main protagonists--recalls world.
• Gericault returned to ing after Gros discovered the art of Michelangelo.
• Paris wants to paint a great modern history painting.

• Jean Charles, a black man from French, the newly restored monarchy of Louis XIV, reserved all of the people of Senegal who showed endurance and emotional strength in the face of extreme danger.

• The rest of the passengers were on a makeshift raft and had Gericault's painting arranged in a pyramid.
• The raft had people on it.
• The diagonal axis that begins in the lower left extends rescued 13 days later, just 15 had survived, some only by the waving figure of Jean Charles.
• Since the captain had been a politi mentary diagonal beginning with the dead man in the cal appointee, the press used the horrible story to indict the lower right and the monarchy for atrocities in French.
• The figures are in Africa.
• The moment in the story that Gericault emotionally suspended between hope of salvation and chose to depict is fraught with emotion, as the survi fear of imminent death.
• The hope that the distant onal in Gericault's painting terminates in the vigorous ship might pass them by and the hope that they will be figure of Jean Charles are both significant.
• He was placed at the top of the rescue.

• The Gericault prepared his painting carefully, using each basis of its function--to expose incompetence and a will of the prescribed steps for history painting in the French ful disregard for human life rather than to ennoble, edu academic system.
• The work reminded viewers of their civic responsibility.

• Gericault made separate studies of the figures, corpses, severed heads, and limbs.
• Friends who worked at the hospital supplied him.
• Gericault's studio was a kind of mortuary.
• Rather, he traced the outline of his final composition onto his large canvas, and then painted each body directly from a living model, gradually building up his composition figure by figure.
• He drew from corpses and body parts in his studio to make sure he understood the nature of death.

• There is a pen and ink on paper.

• He gave his men athletic bodies and vigorous poses reminiscent of Michelangelo and Rubens.
• He wanted to generalize his subject so that it would speak to more fundamental human conflicts: humanity against nature, hope against despair, and life against death.

• The painting was interpreted as a political jibe at the king by most contemporary French critics and royalists.
• There is a pen and ink on the paper.

• The Musee des Beaux-Arts is in Rouen.

• There is a sad scene of a man grieving over a dead youth on the right side of the raft.
• The drawing is fast and lively.

• It reverses the composition, creates greater unity among the figures, and establishes the modeling of their bodies.
• Light and shade are studied in this study.
• Other studies would have looked at the composition, arrangement of figures, and overall color scheme.

• The oil is on the canvas.

• Many revolutionary reforms were undone as years passed.

• The French novelist Stendhal characterized the Romantic spirit when he wrote, "Roman tion to the control of the Catholic Church and limited vot ticism in all the arts is what represents the men of today."
• These actions triggered a large-scale uprising in Paris, not the men of those remote, heroic times.
• The most important Romantic painter in Paris after the death of Gericault was Eugene Delacroix.

• The July 1830 revolution was depicted in a painting by Delacroix.

• Although it records aspects of the event, it also departs from the facts in ways that further the message.
• Students, artisans, day laborers, and even children are part of Delacroix's revolutionaries.
• They cross a barricade of refuse and dead bodies.

• The work is plausibly accurate.

• Their leader is an energetic, allegorical figure of Liberty, personified by a gigantic, muscular, half-naked woman charging across the barricade with a revolutionary flag in one hand and a bayoneted rifle in the other.

• The ancient symbol for a freed slave that was worn arch on the Champs-Elysees in Paris has been placed within the battle itself by Delacroix.
• The event is emotional.
• Francois Rude received the commission charged moment before the ultimate sacrifice, as the for a sculpture to decorate the main arcade with a scene revolutionaries charge the barricades to near-certain death.

• The painting is full of pas Prussian invasion.

• The group stirred patriotism principles were used to represent the previous one.

• As a teacher and theorist, Ingres became one of the most influential artists of his time.
• The Romantic tradition is offered by his paintings.

• There is an interest in creating erotically charged images that appeal to viewers' emotions and a physical likeness with clarity.

• Although Ingres wanted to be accepted as a highly polished portrait artist, he also produced many life-size portraits that were made famous by his paintings of male fantasies of female slaves.

• Her gloved right hand draws woman's calm gaze is leveled directly at her master, while attention to her social status was hidden only by members of the upper class.
• The blues are cool with their hands.
• The effect of her marital status with a wedding band was set off by her ungloved left hand revealing the couch and curtain at the right.
• Ingres renders her cool, pale skin and blue eyes, while the tightangularity her shiny taffeta dress with its fashionably high waist of the crumpled sheets accentuates the sensuality of and sleeves with great economy and puffed, her body.

• The French discovered the Near East during Napoleon's campaigns against the British.
• The harem was attractive to the upper-middle-class European men because of the demands of the women of their own class.

• The paper is 125/8 x 91/2''.

• The youngest daughter of the famous Neoclassical sculptor JeanAntoine Houdon was married to a noted archaeologist at the age of 20.
• Ingres's portrait was also drawn by Ingres around the same time.

• The legal defense fund is modeled after light and shade.

• Honore Daumier came to Paris from his home in France.

• The first lithograph in cent family was disturbed from their sleep and then murdered.

• He was known for his biting carica lithographs.

• The natural antagonism between oil and water is what inspired the invention of lithography.
• Water and oil-based ink are used to wipe the stone's surface after it's been drawn.
• The ink doesn't stick to the damp areas.
• A sheet of paper is laid face down on a stone, pressed against it with a scraper, and then rolled through a flatbed press.
• This transfers ink from stone to paper in order to create a printed image.

• Henri de Toulouse-Lautrec used the medium to great effect.

• The photo was taken in the 19th century.
• In France, the technique was used for fine-art prints and to illustrate popular magazines.

• The middleman of the engraver could be eliminated with the use of lithography.
• Inexpensive prints were in every house by the end of the 19th century.

• The paper is 28 x 44 cm.

• Nature made numerous drawings and small-scale color studies for his paintings, the final works were carefully constructed and landscape painting became an important visual theme images produced in the studio.

• He was a painter before he picked up a paintbrush.
• Although he was trained at the Royal Academy, he was equally influ of the sky as well as the carefully rendered and meteorologically correct details.
• The painting is reminiscent of the Dutch landscape-paint of the 17th century that was nostalgic.
• In England, after moving to London.

• He considered Joseph Mallord William Turner to be as important as history painting.

• Turner was so strong that he opposed the establishment of the career that he was so committed to contemporary English subjects.
• He was elected a full academician at the Royal English National Gallery of Art in the late 18th century and later became a professor or ancient themes in unnatural styles.

• The oil on canvas is 130.2 x 185.4 cm.

• There is oil on canvas, 361/4 x 481/2''.

• The fire was a national problem.
• These buildings have seen some of the most heart of the viewer, but there is no real danger.
• Turner had the power of God within a few months and it was thrilling to witness the scene and quickly make watercolor that evoked the sketches on site.
• Turner translated the painting for the exhibition.
• The painting's true theme is of turbulence in the brilliant light and color that spirals across the canvas in the natural world and the urban environment.

• One of the first professional landscape painters in the world, Thomas Cole, was a great threat to the soldiers marching below him because of the wind, mist, and snow.
• Less than the United States.
• Cole left England at the age of 17 and went to work as a portrait painter.

• Between their encounter with the Roman army in 218 bce, he traveled in Europe with the help of a patron.
• After returning to the United States, Turner probably meant his painting as an allegory of the Napo settled in New York and became a successful landscape leonic Wars.
• Napoleon was a painter.
• He often worked from observation when he was making sketches for his paintings.
• Turner, like most landscape painters of his generation, ened with his troops by natural disaster, as if foretelling produced his large finished works in the studio during their eventual defeat.

• The oil is on the canvas.

• The oil on canvas is 114 x 174 cm.

• Cole painted this work in the mid-1830s for an exhibi poet who taught that the divine was visible through a tion at the National Academy of Design in New York.
• He has a personal connection with nature.
• Kosegarten argued that it was one of his "view" paintings because it showed that the landscape was not the same as God's book.
• Friedrich studied at the Copen and created a small view painting before moving to the National Academy where he created a large one.
• The scale allows for a sweeping landscape in his art.
• He sketched from a view of a spectacular oxbow bend in the Connecticut River nature, but painted his sketches from the top of Mount Holyoke with his memories of and feelings about nature.
• The kind of ments found in Rome are most prominent in America.
• He argued that America's natural wonders, such as this of oak trees, and nestled among them the ruin of a Gothic oxbow, should be viewed as America's natural antiquities.

• Cole depicts an actual spot from this cold and mysterious landscape in his painting.

• Many architects in the early 19th century worked in either mode, depending on the task at hand, because of the sweeping arcs produced by the dark clouds.

• The Gothic past with its associations of spirituality and community seems to have been evoked by the fading storm.

• According to the British, David Friedrich saw landscape as a vehicle Gothic as part of their patrimony and erected many Gothic through which to achieve spiritual revelation.

• In 1836 and 1841, Pugin published two influential books in which he argued that the Gothic style of Westminster Abbey was the embodiment of true English genius.
• The Greek and Roman Classical orders fell short of the true principles of stone construction because they were stone replicas of earlier wooden forms.

• The British government announced a competition for a new building to be designed in the English Perpendicular Gothic style, which is similar to the church of Westminster Abbey.

• The commission was won by Charles Barry and Augustus Welby Northmore Pugin.

• The Classical plan of the new building was designed by Barry and the Gothic decoration was designed by Pugin.
• Gothic was not a style but a principle.

• The majority of Gothic Revival buildings of this period were churches.

• The church quotes the British Gothic Schinkel who created interior courtyards on either side of a cen style that was admired by the Anglicans and Episcopa tral rotunda.
• The partition walls of the vaults are plaster, not masonry, and every detail is rendered with historical accuracy.
• The stained-glass win dicular to the windows eliminate glare on the dows above the altar were among the earliest of their kind.

• The capitals of Europe and the U.S. Capitol in Washington, DC, were originally designed by William Thornton, an amateur architect.
• His plan featured a large temple of culture and expressions of national dome over a temple front with two wings.
• The Old Museum in Berlin was designed in 1822 by Karl Fried and was built between 1824 and 1884.
• Commissioned to display the royal art Henry Latrobe, the building was built across from the Capitol.
• Thornton's design was modified by Latrobe to include a grand staircase and Corinthian colonnade in the heart of the city.
• The museum has an imposing facade.
• Latrobe repaired the wings and designed a central staircase after the British destroyed the building's sists.
• He created a variation on the Corinthian order for the interior by substituting indigenous crops such as corn and tobacco for the Corinthian order's acanthus leaves.
• Latrobe resigned his post.

• The engraving was done by T. Sutherland.

• In 1850, the American min ing in a much larger dome began after a major renovation of the bulfinch.

• The mod Jefferson began the first phase of construction of the worlds of England, France, and America, as well as when Virginia was still a British colony, using the ancient worlds of Greece and Rome.
• In the second half of the 19th century, he became dissatisfied with both the century and the scope of the world.

• Your answer should relate to the social context of salon life.

• Discuss how the Enlightenment is typical of the period style.

• The history of European and American art includes double portraits of couples.
• Take a look at the ways in which these two examples portray the nature of the relationship between men and women.