Professional Documents
Culture Documents
Art Workbook
th
2008-2009: 18 -Century
th
and Early 19 -Century French Art
Table of Contents
Amanda Hockensmith
Williams College ‘97
edited by
Chris Yetman
Carleton College, B.A ‘86
University of Arizona, lots of coursework ’88, ‘95
DemiDec and The World Scholar’s Cup are registered trademarks of the DemiDec Corporation.
Academic Decathlon and USAD are registered trademarks of the United States Academic Decathlon Association. DemiDec is not
affiliated with the United States Academic Decathlon.
ART WORKBOOK PAGE 3 OF 119 DEMIDEC © 2009
Author’s Introduction
Bonjour, Decathletes!
For some of you, the art portion of the competition might seem
particularly daunting. Don’t be deterred. To master the art section,
you will need two things: (1) an understanding of how the formal
tools of art (e.g. line, color, and composition) create meaning and (2)
knowledge of the historical context of art production in eighteenth
and nineteenth century France.
Eighteenth and nineteenth century France was a time of great social and political change. It saw the rise
and fall (and rise again) of kings, emperors, and great statesmen. French art kept pace with these changes
as the intellectual and artistic milieu of Paris embraced the ideas of the Enlightenment and then the
Romantic Movement. In reading through the art curriculum, you will see how French political regimes
employed art to solidify their power. Commissioned portraits, sculptures, and history paintings depicted
the regime in power in a positive light, despite its moral failures or military losses.
Completing this workbook will help you organize the event in a more sensible way than just streams of
words and ideas. It was designed with the intent of helping you create your own study guide, with easy
reference charts of dates, historical figures, and comparisons of the major stylistic movements: rococo,
naturalism, neoclassicism, romanticism.
Special thanks go to all of the beta testers who diligently and conscientiously pointed out typos, missing
information, and bad jokes.
Good luck at competition,
Mandy
ART WORKBOOK PAGE 4 OF 119 DEMIDEC © 2009
TH
I. The Rococo & 18 -
Century Naturalism
This section covers pages 4-19 in the official curriculum
guide. It discusses the competing styles of rococo and naturalism
in the art of eighteenth-century France.
1
Poor Hyacinthe! I wonder if he got teased as much a kid named Hyacinthe would today. – Mandy
ART WORKBOOK PAGE 5 OF 119 DEMIDEC © 2009
Date Event
3. re-location of the royal court from Paris to Versailles in order to centralize the power
of the King
6. Pierre-Denis Martin’s painting showing the Palace of Versailles at the end of Louis
XIV’s fourth building campaign
baroque 1.
rococo 2.
salons 3.
ancien régime 4.
philosophe 5.
2
As in, “Wow, those linen tablecloths handmade by peasants in Eastern Europe are so bobo.” – Mandy
ART WORKBOOK PAGE 6 OF 119 DEMIDEC © 2009
T F 2. The Royal Academy of Painting and Sculpture was based on the Italian model of
the Accademia di San Luca (Academy of Saint Luke).3
T F 8. The most talented painters gained the most coveted positions of power.
3
Saint Luke is the patron saint of the arts because according to Christian legend, he was the first to paint Peter, Paul and
Mary. No, not the ‘seventies folk trio but the apostles Peter and Paul and the Virgin Mary. He reputedly painted the first
icon of the Virgin, a Black Madonna. – Mandy
ART WORKBOOK PAGE 8 OF 119 DEMIDEC © 2009
2. scenes from
ancient Greek and
Roman myths, sit-com
Biblical narratives, Chardin’s Soap Bubbles, ca. 1734
or momentous
contemporary
events
4. scenes of
landscape “30 Rock”
everyday life
5. representations
of significant history painting Chardin’s Still Life with Fish, 17696
persons
4
http://en.wikipedia.org/wiki/Death_of_Socrates.
5
http://www.metmuseum.org/toah/hd/lafr/ho_1978.205.htm.
6
http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=220364.
ART WORKBOOK PAGE 9 OF 119 DEMIDEC © 2009
WORD BANK
bronze history painting Greek and Roman sculpture oil painting
prints nude figure drawing coloristic portraiture
apprenticeships linear marble Italian Renaissance
4. A significant roadblock for women studying art at the Academy was their exclusion from the practice
of _____________________________________, which social mores deemed inappropriate.
5. After modeling a sculpture in plaster, an artist would often cast the final artwork in
________________________________ or carve it from
_______________________________________.
2. What genre of painting were students required to submit for competition for the top prize?
______________________________________________________________________________
5. What was the name of the school in Italy where winners studied?
______________________________________________________________________________
8. For which King did the founder of the school serve as advisor?
______________________________________________________________________________
9. What was the term for artwork students were required to submit to gain full Academy membership?
______________________________________________________________________________
7
In a juried exhibition, each artwork has to be accepted for exhibition, and the judges award prizes. It was to an unjuried
exhibition that Marcel Duchamp submitted his famous urinal in 1917. Because the exhibition was not juried, the organizers
could not refuse to exhibit his work. Scandal and outrage ensued. – Mandy
ART WORKBOOK PAGE 11 OF 119 DEMIDEC © 2009
3. Where was the best place a painting could be hung at the Academy’s Salon?
_____ centered on the wall
_____ close to the ceiling or the floor
R N 1. Its name was derived from the French word rocaille, used to describe a decorative
technique of garden and grotto design.
R N 2. It was the predominant artistic style from 1715-1800.
R N 4. Its genre scenes were meant to inspire pious and moral behavior in its viewers.
R N 6. It was strongly associated with the ancien régime, and in the context of
Enlightenment thought, it became politicized.
R N 7. Diderot advocated the modest representation and moral honesty of this style.
R N 9. It can be described as coloristic, with pale, frothy colors and delicate brushwork.
R N 10. It favored delicate coloring, romantic scenery, and suggestive subject matter.
R N 11. The Flemish painter Peter Paul Rubens was an important model for painters
working in this style.
R N 12. In this style, romantic scenes replaced representations of ancient battles.
R N 13. It depicted the daily lives of the middle class and peasants.
R N 14. It descended from the Baroque, adopting its theatricality and ornate decoration.
ART WORKBOOK PAGE 13 OF 119 DEMIDEC © 2009
WORD BANK
Claude Audran tuberculosis Dutch genre scenes subject
Pilgrimage to the Island French Academy in
Jacques-Albert Gérin Prix de Rome
of Cythera Rome
landscape Valenciennes morceau de réception mythical fantasy
Claude Gillot Venus Mezzetin fête galante
7. Watteau was not given the opportunity to study here, the rightful reward
of first and second place winners.
8. In 1712, Watteau was invited to submit this for entrance into the Academy
as a history painter.
10. With his morceau de réception submission, Watteau invented this new
genre.
11. Pilgrimage to the Island of Cythera depicts aristocratic couples paying
homage to this Roman goddess.
12. This genre became emblematic of the rococo period and included, for
example, paintings of aristocrats picnicking in the park.
13. In 1721, Watteau left Paris, shortly after which he died of this disease.
ART WORKBOOK PAGE 14 OF 119 DEMIDEC © 2009
T F 5. Comédie Italianne performances took place in the private salons of rich Parisians.
T F 6. Louis XIV’s expulsion of Italian actors from France led to the brief decline of the
genre.
T F 9. The figure of Mezzetin is depicted with more detail and clarity than the landscape.
T F 10. The depiction of popular contemporary art forms, such as the theater, was
embraced by the French Academy.
T F 11. The association of Watteau’s subject matter with the French people, rather than
with the Church or the monarchy, was controversial.
4. With what genre of painting did Chardin gain entrance to the Academy?
______________________________________________________________________________
______________________________________________________________________________
7. How did Chardin distribute his work to a broad audience, including the lower middle class?8
______________________________________________________________________________
______________________________________________________________________________
8
The distribution of art to the lower classes made available by improvements in printing technologies was one of the
revolutionizing forces of the eighteenth century. – Mandy
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Aspect Description
Subject 1. genre painting, landscape, still life
Style 2. naturalistic, simple, coloristic
Mood 3. fanciful, contemplative, somber
Color 4. muted, subtle, distracting
Symbolism 5. futility, transience, decadence, humility
Significance 6. social commentary, political statement, moral reflection
Date Event
1. Soft-paste porcelain production began in Rouen and Saint-Cloud.
2. Hard-paste porcelain production began at the Meissen factory.
3. A new factory was established at the chateau of Louis Henry in Chantilly.
4. The Vincennes porcelain factory began operation in the town of Vincennes.
5. The goldsmith Jean-Claude Duplessis became the head designer there.
6. Jean-Jacques Bachelier was appointed the director of the Vincennes factory.
7. The Vincennes Wine Cooler was manufactured in the rococo style.
8. Madame de Pompadour aided the relocation of the Vincennes factory to Sèvres, a
town near Versailles. There it became known as the Sèvres factory.
9. King Louis XV appropriated the factory and it became national property.
10. The discovery of a source of kaolin led to the production of hard-paste porcelain in
France.
11. The Vincennes Wine Cooler passed from the ownership of Louis XV into a private
collection.
12. The French Revolution took the Sèvres factory away from the monarchy.
13. Alexander Brongniart became director of the factory and succeeded in producing
porcelain items attractive to the rising middle class.
9
There are 3 flowers in a vase. The third flower is green. – Daniel
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WORD BANK
ceramic Louis XV grapes kaolin
hard-paste Vincennes bleu céleste Jean-Honoré Fragonard
Jean-Claude Duplessis “double-Louis” mark kiln soft-paste
gold flowers François Boucher Royal Crown
2. The _________________________ indicates that the vase belonged to the collection of Louis XV.
5. In addition to being the prominent rococo painter of the Portrait of Madame de Pompadour,
______________________________ also designed porcelain.
6. Embellishments of ______________________ decorate(s) the handles and base of the wine cooler.
7. The _______________________________ decorating the Wine Cooler are rendered in soft pastel
shades of pink and violet.
a. Bible Lecture _____ 1. Greuze’s patron and traveling companion in Italy from
b. Diderot 1755-57
c. genre painting _____ 2. Greuze’s first teacher in Lyons
d. Septimius Severus Reproaching _____ 3. name of the painting that secured Greuze the title of
his Son Caracalla for Having agréé in 1755
Made an Attempt on his Life in
_____ 4. decade during which Greuze’s work was the most
the Defiles of Scotland
popular among audiences and critics
e. Louis Gougenot
_____ 5. kind of painting that earned Greuze admission into the
f. Charles Grandon
Academy
g. 1760s
_____ 6. critic who was most appreciative of Greuze’s work
h. La Font
during his lifetime
i. still life painting
_____ 7. title of the history painting Greuze submitted for
j. 1740s
membership into the Academy in 1769
Date Event
5. became full member of the Academy and professor of history painting at the age of 31
6. painted the Toilet of Venus, using his patron Madame de Pompadour as a model10
10
Boucher didn’t paint the porcelain throne! “Toilet” actually refers to Venus adorning herself- putting on make-up,
perfume, jewelry etc. – Mandy
ART WORKBOOK PAGE 20 OF 119 DEMIDEC © 2009
chick flick Example: a sappy movie appealing primarily to girls and women
6. kind of history painting depicting the love lives of the gods of antiquity
9. social class for which Boucher’s fantasy idylls and pastoral scenes were
produced
ART WORKBOOK PAGE 21 OF 119 DEMIDEC © 2009
10. pair of paintings on the same theme that are meant to be seen together
Featured Pendant
Artist Interpretation
Painting
Example: Shepherd’s
Andy Idyll, 1768 boy building a house of cards romanticization of rural labor
Warhol
Soap Bubbles,
Chardin 1734 Washerwoman loss of virtue
Broken Eggs,
1756 tragic life of celebrities exposed to
Boucher The Neapolitan Gesture
the public
WORD BANK
Chardin feminine Greuze baroque
debauchery decadent theatrical gender
rococo neoclassical didactic Renaissance
linear Boucher Watteau romanticism
3. Rococo painting was seen as a sign of the moral _____________________ of the ancien régime.
6. Both contemporary critics and art historians characterized the rococo and the neoclassical periods in
________________ terms, with the ________________ style of the neoclassical seen as masculine.
ART WORKBOOK PAGE 23 OF 119 DEMIDEC © 2009
2. ___________________________________________________________________________
3. ___________________________________________________________________________
4. ___________________________________________________________________________
5. ___________________________________________________________________________
Date Event
1. Louis XV died of smallpox, leaving his grandson, Louis XVI, to occupy the
throne.
1789 2.
May 5, 1789 4.
August 4, 1789 6.
8. The National Convention met and abolished the monarchy, creating the
First Republic.
January 1793 9.
1793-94 11.
1795-99 12.
13. Napoleon Bonaparte established a new government called the Consulate and
appointed himself First Consul.
1802 14.
1804 15.
17. The brief return of Napoleon to rule during this year is known as the “One
Hundred Days.”
T F 2. Prior to the Revolution, King Louis XVI’s Director of the King’s Buildings, Comte
d’Angiviller, commissioned many portraits of the King and paintings of ancient and
modern history.
T F 3. The Revolution led to the development of new exhibiting and marketing strategies
for art.
T F 4. In 1799 Jacques-Louis David privately exhibited The Oath of the Horatii to the
public for a fee.
T F 5. Art in the years following the Revolution glorified the political and military heroes
ART WORKBOOK PAGE 25 OF 119 DEMIDEC © 2009
of the Revolution.
T F 6. In order to consolidate his power, Napoleon identified himself through art with the
leaders of ancient Greece.
T F 7. The re-emergence of the elite after the Revolution led to an increased demand for
landscapes, genre paintings, and portraits.
T F 8. Interior design in the years after the Revolution gradually transitioned from the
rococo style to the neoclassical.
WORD BANK
architecture Enlightenment Greek Jacques-Louis David
Johann Joachim
Denis Diderot ideal neoclassical
Winckelmann
Jean-Jacques
Roman decorative arts baroque period
Rousseau
Italian Renaissance nature masculine Empire Style
1. The use of the term _________________________________ to describe the style of early late
eighteenth and early nineteenth-century art was coined in the late nineteenth century.
2. The neoclassical style became popular not only in the fine arts of painting and sculpture, but also in
________________________________, ________________________________, and fashion.
4. In their imitation of ancient works of art, eighteenth-century artists followed the impressive
precedent of the ____________________________________.
9. The decorative __________________________ combined elements of Greek and Roman art with
an Egyptian influence acquired as a result of Napoleon’s military campaigns into Northern Africa.
a. frescos _____ 1. Three Italian cities that were necessary stops on the
b. Pompeii Grand Tour
c. Herculaneum _____ 2. Two cities buried by volcanic ash in 79 A.D.
d. Roman Empire _____ 3. Discovery of these revolutionized historians’
e. sketches and drawings understanding of Roman painting
f. Grand Tour _____ 4. Educational trip through southern Europe that was an
g. photographs indispensable part of a young man’s education in the
h. sculpture early nineteenth century
i. Rome _____ 5. Cities discovered in archeological excavations beginning
j. Florence in the mid-eighteenth century were part of this political
entity
k. Naples
_____ 6. Prior to excavation of Pompeii and Herculaneum,
knowledge of Roman art was limited to this medium
_____ 7. Images of excavated ruins were distributed throughout
Europe by means of this medium
ART WORKBOOK PAGE 27 OF 119 DEMIDEC © 2009
Example: (OPRAH WINFREY, MARTHA STEWART) was once a model in New York.
1. The eighteenth-century painter Angelica Kauffman was born in (ENGLAND, SWITZERLAND).
2. In 1768 Kaufmann became a member of the (ENGLISH ROYAL ACADEMY OF ARTS,
FRENCH ROYAL ACADEMY OF PAINTING AND SCULPTURE).
3. Kaufmann’s membership into the Academy was facilitated through her friendship with (MADAME
DE POMPADOUR, SIR JOSHUA REYNOLDS).
4. Like ambitious male artists of her generation, Kaufmann painted scenes of (EVERYDAY LIFE,
ANCIENT ROMAN HISTORY).
5. The groundbreaking 1971 article “Why Have There Been No Great Women Artists?” was written
by the art historian (LINDA NOCHLIN, SIMON SCHAMA).11
6. Kaufmann’s most famous painting is entitled Cornelia, Mother of the Gracchi, Pointing to her Children
as her Treasures and was painted in (1785, 1791).
7. Restriction from (TRAVELING, NUDE FIGURE DRAWING) severely hampered a woman’s
ability to develop her skills as an artist.
8. Kaufmann’s use of (LINEAR STYLE, “FEMININE” DECORATION) in her paintings identifies
her as a neoclassical painter.
9. In her most well-known history painting, Kaufmann illustrated a Roman narrative thematizing
(POLITICAL DIPLOMACY, FEMININE VIRTUE).
“Modern Rome” as
understood by the late
1.
18th and early 19th
century
vedute 2.
11
Why do we say “woman artist”? Imagine saying, “man doctor,” “man senator,” or “man professor.” – Mandy
ART WORKBOOK PAGE 28 OF 119 DEMIDEC © 2009
monumental 5.
illusionistic 6.
2. What two painting techniques did Panini use in his illusionistic paintings of Rome in ruins?
______________________________________________________________________________
______________________________________________________________________________
3. What were three of the most popularly visited monuments on the Grand Tour?
______________________________________________________________________________
______________________________________________________________________________
4. What famous Roman monument did Panini depict thronged with contemporary admirers?
______________________________________________________________________________
______________________________________________________________________________
5. For whom did Panini paint Modern Rome and Ancient Rome?
______________________________________________________________________________
______________________________________________________________________________
6. What is the setting depicted in Panini’s paintings Modern Rome and Ancient Rome?
______________________________________________________________________________
______________________________________________________________________________
ART WORKBOOK PAGE 29 OF 119 DEMIDEC © 2009
7. In Modern Rome and Ancient Rome, what strategy did Panini employ to depict many monuments in
the same picture?
______________________________________________________________________________
______________________________________________________________________________
9. During what years did the Count de Stainville serve as French ambassador to Rome?
______________________________________________________________________________
______________________________________________________________________________
10. How did Panini indicate that the Count de Stainville was a student of the city of Rome?
______________________________________________________________________________
______________________________________________________________________________
Date:
Monuments Pictured:
DATE BANK
1825 1782 1748 1780s 1775-80 1789 1814
1795 1770 1766 1774 1791 1816
WORD BANK
Royal Academy of
Collège des Quatre-
Raphael Painting and Prix de Rome
Nations
Sculpture
Antiochus and
Louvre Paris morceau de réception
Stratonice
The Lictors Returning
to Brutus the Bodies of Joseph-Marie Vien Jacobin Party Caravaggio
His Sons
Brussels Charles Bourbon Restoration Tennis Court Oath
the____________________________.
_____ 12. David was a founding member of a new art school to replace the
____________________________, which he had helped to dismantle during the early
1790s.
_____ 13. David’s political situation worsened after the____________________________.
_____ 14. David went into exile in ____________________________.
_____ 15. David died.
T F 3. David’s sketch of the Tennis Court Oath includes portraits of members of the
Constituent Assembly as they swear their allegiance to a new government.
T F 4. David executed the sketch of the Tennis Court Oath as preparation for a
monumental painting.
T F 5. As a member of the Jacobin Party, David voted in favor of executing King Louis
XVI.
T F 8. David’s painting Napoleon Crossing the Alps at the Saint-Bernard Pass was
commissioned by the Emperor to celebrate his victory.
T F 9. David represented Napoleon as the inheritor of the military genius of Hannibal and
Charlemagne.
T F 11. In 1804, David began a monumental painting of the coronation of the Emperor at
Notre Dame Cathedral.
T F 12. David’s representation of the coronation includes two portraits, one of Napoleon
and one of Empress Josephine.
ART WORKBOOK PAGE 33 OF 119 DEMIDEC © 2009
a. Denis Diderot _____ 1. He advised David on the proper pose for the figure of
b. Charles-Louis Trudaine Socrates.
c. Crito _____ 2. These three disciples of Socrates are included in the
d. Bastille painting.
e. Apollodorus _____ 3. This is the setting of the painting.
f. Charles-Michel Trudaine _____ 4. These two men commissioned the painting.
g. Plato
_____ 5. In 1785 he proposed that the death of Socrates would
h. stone prison cell be a good subject for a painting.
i. André Chénier _____ 6. The setting of the painting is reminiscent of this real
place.
2. At which two Salons was Carle Vernet’s painting The Triumph of Aemilius Paulus exhibited?
______________________________________________________________________________
______________________________________________________________________________
3. About how many feet wide is Vernet’s The Triumph of Aemilius Paulus?
______________________________________________________________________________
______________________________________________________________________________
5. As in David’s The Death of Socrates, where does most of the human action in The Triumph of
Aemilius Paulus take place?
______________________________________________________________________________
______________________________________________________________________________
6. What two examples of classical architecture are visible in the background of the painting?
______________________________________________________________________________
______________________________________________________________________________
7. What aspects of The Triumph of Aemilius Paulus represent the early development of the romantic
style in painting?
______________________________________________________________________________
______________________________________________________________________________
ART WORKBOOK PAGE 35 OF 119 DEMIDEC © 2009
WORD BANK
Napoleon 1811 weight relief sculpture
Church of Ste.
romantic plaster classical
Genevìeve
Panthéon Pierre Cartellier 1812 marble
2. Minerva Protecting the Young King of Rome was completed in 1811 toward the end of
________________________________’s reign as emperor.
5. Romagnési exhibited Minerva Protecting the Young King of Rome at the Salon of
_______________________________.
a.
b.
“Come to Rome! Plan
your Grand Tour now to
include all of Rome’s
renowned antiquities!
Take home a painted
souvenir of your
c. journey!” –Panini Tours
d.
ART WORKBOOK PAGE 38 OF 119 DEMIDEC © 2009
PAINTING BANK
Antiochus and Stratonice, 1774 The Oath of the Horatii, 1784
Belisarius Begging for Alms, 1781 The Lictors Returning to Brutus the Bodies of his Sons, 1789
The Tennis Court Oath, 1791 Self-Portrait, 1794
Napoleon Crossing the Alps at the Saint Bernard Pass, 1800-01
III. Romanticism
This section covers pages 31-41 of the official curriculum
guide. It discusses the emergence of a new artistic style in
opposition to neoclassicism that aspired to appeal to the
emotions of the viewer.
WORD BANK
linear style ca. 1800-50 ideal form foreground emphasis
Enlightenment late 18th century narrative climax vivid color
Neoclassical Romantic
ART WORKBOOK PAGE 40 OF 119 DEMIDEC © 2009
Event Bank
Napoleon’s army suffers greatly at Napoleon declares himself Napoleon takes the title of First
the Battle of Eylan. emperor. Consul for life.
Napoleon returns but is defeated Napoleon has control of Western Charles X tries to dissolve
at Waterloo. Europe. parliament.
1800 1900
1810
1814
1815 1830
1804
ART WORKBOOK PAGE 41 OF 119 DEMIDEC © 2009
C B 2. It was completed in 1808 to commemorate an 1807 battle between France and its
adversaries Russia and Prussia.
C B 3. It includes a portrait sculpture of Napoleon dressed in Roman military attire.
C B 7. It is decorated with bronze relief plates made from confiscated cannon of the
enemy.
C B 8. It depicts Napoleon surveying the carnage of the battlefield.
a. Edmund Burke _____ 1. author of the 1715 text A Philosophical Enquiry into the
b. Bible Origin of our Ideas of the Sublime and the Beautiful
c. literature _____ 2. German philosopher and art critic who first used the
d. emotions term “romantic” in the modern sense
e. sublime _____ 3. a genre of medieval literature
f. Germany _____ 4. author of 1810 text De l’Allemagne
g. rational thought _____ 5. eight sources of inspiration for romantic writers, artists,
h. romance and musicians
i. Friedrich von Schlegel _____ 6. vernacular language used in medieval France
j. empirical observation _____ 7. term that has its origins in ancient Roman thought
k. goal of ideal beauty _____ 8. term referring to the evocation of two contradictory
l. Madame de Staël feelings, usually of horror and beauty
m. imagination _____ 9. neoclassical qualities against which romanticism rebelled
n. medieval period _____ 10. authors who challenged the French emphasis on rationality
o. subjective experience
_____ 11. country that replaced Italy as a source of inspiration for
French artists
ART WORKBOOK PAGE 43 OF 119 DEMIDEC © 2009
WORD BANK
Mazeppa rational history paintings tragic
Middle East tourism Shakespeare horses
Napoleon at the Scenes from the Massacre
elemental force instinctive
Pesthouse at Jaffa, 1804 at Chios, 1824
illicit religious mysticism senses Dante
Grand Tour genre scenes Egypt primitive
4. Lord Byron’s poem tells the dramatic story of a violent punishment for
literature an _____________________________ affair.
Date Event
ca. 1808-10 2. Géricault’s early training took place in secret under the tutelage of Carle Vernet.
5. Charging Chasseur was exhibited at the Salon again with a companion painting
called Wounded Cuirassier Leaving the Field of Battle.
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7. Géricault completed Evening: Landscape with an Aqueduct, and at least two other
companion paintings.
10. After several years of illness, Géricault died at the age of 32.
3. Of what was Géricault’s 1814 painting, Wounded Cuirassier Leaving the Field of Battle, symbolic?
______________________________________________________________________________
______________________________________________________________________________
4. What Roman event did Géricault hope to make the subject of a large history painting?
______________________________________________________________________________
______________________________________________________________________________
6. What three aspects of Géricault’s life and work have led art historians to characterize him as the
most representative French romantic painter?
ART WORKBOOK PAGE 46 OF 119 DEMIDEC © 2009
______________________________________________________________________________
______________________________________________________________________________
12
Imagine people going to see this painting similar to crowds lining up to see Star Trek (without the Trekkies, of course).
Paintings and the Salons were to people in the nineteenth century what movies and movie theaters are for us.
ART WORKBOOK PAGE 47 OF 119 DEMIDEC © 2009
3. The architectural feature in the background of the painting is the ruin of a church modeled after the
one at Spoleto.
______________________________________________________________________________
4. The figures in the foreground of the painting are soldiers marching to battle.
______________________________________________________________________________
5. The human figures represented contribute to the narrative, didactic, and Biblical references in the
painting.
______________________________________________________________________________
6. Together with at least two other paintings, Evening: Landscape with an Aqueduct represents a
historical narrative of the French monarchy.
______________________________________________________________________________
7. Noon: Landscape with a Roman Tomb has been lost.
______________________________________________________________________________
8. Géricault’s four ambitious landscape paintings are reminiscent of Romagnési’s vedute of the Italian
countryside.
______________________________________________________________________________
9. Evening: Landscape with an Aqueduct is emblematic of the romantic period in its depiction of the
quotidian in nature.
______________________________________________________________________________
10. Gericault painted Evening: Landscape with an Aqueduct in 1824, after working on a series of
portraits of mentally ill patients.
______________________________________________________________________________
WORD BANK
“The Open Window and
Piazza di Venezia grooms balconies
the Storm-tossed Boat”
the rocks and the
North Africa large white horse sublime
sea
untamed wildness sketch small oil painting The Raft of the Medusa
1. In an 1820 painting of his studio, Vernet depicts artists sketching from a __+_________________.
2. The Start of the Race of the Riderless Horses found in the curriculum is a ______________________
made in preparation for a large painting that Vernet also completed in 1820.
3. The riderless horse race began at the Piazza del Popolo and ended at the
________________________________ in Rome.
6. Artists especially liked to represent the tense moment prior to the race when
_______________________________ struggled to control the horses in the starting gate.
7. The riderless horse race was a popular subject for romantic painters because of the
_______________________________ of the horses.
9. Vernet’s painting, Stormy Coast Scene after a Shipwreck, may have been inspired by Géricault’s
ambitious history painting, _______________________________.
10. The art historian Lorenz Eitner’s 1955 text on the subject of seascapes in romantic art is entitled
_______________________________.
ART WORKBOOK PAGE 49 OF 119 DEMIDEC © 2009
11. Eitner argued that romantic artists saw elements of the _______________________________ in
the battle between man and sea.
H S 9. man’s impermanence
6. Delacroix was just one of several romantic painters who took inspiration from the poetry of (LORD
BYRON, WILLIAM WORDSWORTH).
7. The work Delacroix presented at the Salon of 1822 was based on (LORD BYRON’S MAZEPPA,
DANTE’S DIVINE COMEDY).
8. Both Delacroix and Géricault liked to depict (ETHICAL DILEMMAS, HUMAN SUFFERING).
9. At the Salon of 1824 Delacroix was criticized for his (SUBJECT MATTER, MEDIUM) and style.
10. Delacroix exhibited Scenes from the Massacre at Chios at (THE SALON OF 1824, HIS STUDIO).
11. By 1827 Delacroix’s work was understood by his contemporaries to be at the forefront of a new
artistic movement called (POST-CLASSICISM, ROMANTICISM).
12. In 1832 Delacroix traveled to North Africa as part of a (GEOGRAPHICAL EXPEDITION,
DIPLOMATIC MISSION).
13. Delacroix’s paintings and drawings inspired by his trip to North Africa were instrumental in the
cultivation of western European (XENOPHOBIA, ORIENTALISM).
14. Throughout his life, Delacroix’s career was facilitated by his family’s affluence and (ARTISTIC
AMBITION, POLITICAL CONNECTIONS).
15. Delacroix’s stylistic trademarks are his sketchy, almost unfinished brushwork, extreme colorism, and
(HORIZONTAL, DYNAMIC DIAGONAL) compositions.
WORD BANK
its sketchy, coloristic
after Lord Bryon’s
painting appeared
1830 1824 1821 play
unfinished at the
Sardanapalus
Salon of 1824
set in an intimate based on the 1830
drowning at sea inspired by literature
interior July Revolution
most emblematic style influenced by
voyeuristic and
French romantic 1822 Michelangelo and
Orientalist
painting Rubens
allegorical history had an influence on king of Nineveh
painting of the Impressionists at surveying the total inspired by trip to
contemporary French the end of the 19th destruction of his North Africa in 1832
political event century household
lake of the damned struggle against the
1834 1827
souls Ottoman Empire
a bare-breasted
1821 Greek War for controversial piece at inspired by
woman brandishes the
Independence the Salon of 1824 contemporary events
French flag
ART WORKBOOK PAGE 51 OF 119 DEMIDEC © 2009
The Women of
Scenes from the Death of Liberty Leading
Dante and Virgil Algiers in their
Massacre at Chios Sardanapalus the People
Apartment
13
My cat is named Tiger Lily... the Lily came before we knew he was a boy. But every time I look at this artwork I think of
my cat lying in the grass and ears pricked back listening just like this tiger. – Caya
ART WORKBOOK PAGE 52 OF 119 DEMIDEC © 2009
7. What did Hippolyte Taine assert was the basis for Delacroix’s fascination with animals?
______________________________________________________________________________
______________________________________________________________________________
8. Upon what did Delacroix base his representation of the tiger in Royal Tiger?
______________________________________________________________________________
______________________________________________________________________________
10. Given your knowledge of the centrality of subjective experience to romantic artists, describe
Delacroix’s interest in depicting flesh-eating animals like lions and tigers.15
______________________________________________________________________________
______________________________________________________________________________
14
Be happy! It's amazing when the art curriculum helps with art basics. – Caya
15
If you’ve seen Werner Herzog’s film, Grizzly Man, you’ll recognize this aspect of romanticism there as well. – Mandy
ART WORKBOOK PAGE 53 OF 119 DEMIDEC © 2009
WORD BANK
clothing graphite on the floor face
out at the viewer foot watercolor animalistic
primitive exotic preparatory voyeuristic
2. The drawing was most likely a __________________________ work for a larger oil painting.
3. The area of the drawing treated with the most attention and detail is the woman’s
________________________________.
ART WORKBOOK PAGE 54 OF 119 DEMIDEC © 2009
6. The Resource Guide argues that French viewers would have perceived the woman being seated
____________________________________ as _______________________________ and
_______________________________.
16
You may have noticed the Resource Guide contradicting itself by at once declaring that “[s]he engages the viewer..” but it is
“as if we see her but we remain unseen.” In a voyeuristic scene, the person being looked at is not aware of the presence of the
viewer. See Ingres’ Turkish Bath (includes nudes) for a great example of a voyeuristic view:
http://en.wikipedia.org/wiki/File:IngresBainTurc.jpg – Mandy
ART WORKBOOK PAGE 55 OF 119 DEMIDEC © 2009
IV. Approaches to
th
Portraiture (18 and
th
Early 19 Centuries)
This section covers pages 42-48 of the official curriculum guide. It
discusses trends in portraiture from the mid-eighteenth to the mid-
nineteenth centuries.
T F 3. For centuries, only wealthy or powerful people were able to afford a painted or
sculpted portrait.
T F 5. Subjects and painters used clothing, jewelry, and objects to convey social status and
wealth.
T F 8. The objects included with the sitter in a portrait were chosen carefully to represent
the social, intellectual, and religious aspects of the sitter’s personality.
T F 10. The portraits featured in the curriculum were all influenced to some extent by the
romantic movement.
ART WORKBOOK PAGE 56 OF 119 DEMIDEC © 2009
WORD BANK
status symbol genre painting portraiture faster
energy landscape unfinished still life
artist models figures face
1. Within the French Academy, the order of genres was historical, mythological and religious scenes,
____________________________, ___________________________, landscape, and still life.
3. In French society, a portrait of one’s self painted by a famous and popular artist was a
________________________________.
5. The setting, pose, and included objects in a portrait were determined by the sitter and the
_______________________________ in collaboration.
8. Compared to neoclassical portraits, portraits by romantic artists often appeared sketchy and
______________________________.
• sculpture of Venus
• model of the celestial sphere
• Homer’s Odyssey
• ancient Roman relief sculpture
discovered in 1735 during the
excavation of Hadrian’s villa
• pens and writing paper
INFORMATION
• depicts him as a fashionable young
traveler
• illustrates his wealth and social
status
• demonstrates his knowledge of
contemporary Italian art
• provides proof of his studiousness
Date Event
1749 1. Adélaïde Labille was born in Paris.
2. Adélaïde Labille married Louis-Nicolas Guiard.
3. Labille-Guiard and her husband separated.
4. Labille-Guiard became an apprentice to François-André Vincent, the son of her former
teacher François-Elie Vincent.
5. Labille-Guiard established a studio in Paris, where she earned a living teaching
painting to female students.
6. Labille-Guiard achieved membership in the Royal Academy of the Arts.
7. Labille-Guiard divorced her husband.
8. Labille-Guiard agreed to destroy some of her pre-Revolutionary paintings.
9. Until her death in this year, Labille-Guiard continued to work with her student
Marie-Gabrielle Capet.
ART WORKBOOK PAGE 60 OF 119 DEMIDEC © 2009
1. What are the names of the two students pictured with Adélaïde Labille-Guiard in her Self-Portrait
with Two Pupils?
______________________________________________________________________________
______________________________________________________________________________
2. In what year did Labille-Guiard’s second husband win the Prix de Rome?
______________________________________________________________________________
______________________________________________________________________________
5. How many women at a time were allowed to have membership in the Academy?
______________________________________________________________________________
______________________________________________________________________________
6. What frustrating issue did Labille-Guiard encounter with her colleagues regarding her talent?
______________________________________________________________________________
______________________________________________________________________________
1. Voltaire was the pen name of the Enlightenment thinker (FRANÇOIS-MARIE AROUET, JEAN-
JACQUES ROUSSEAU).
2. Voltaire wrote essays, plays, poetry, political tracts and pamphlets, and over (500, 20,000) letters.
3. Voltaire’s ideas about the individual and citizenship influenced the cause of the (AMERICAN
REVOLUTION, PARIS COMMUNES).
4. Among the social structures that Voltaire criticized were the French government and
(ORGANIZED RELIGION, ROYAL ACADEMY OF ART).
5. As a result of his writing about the government, Voltaire was (EXILED, IMPRISONED).
6. Voltaire later made his home in the far east of France at an estate at (STRASBOURG, FERNEY).
7. Houdon received Voltaire to model for his portrait bust in Paris in (1789, 1778).
ART WORKBOOK PAGE 63 OF 119 DEMIDEC © 2009
WORD BANK
eyes tête nue clothing
one month plaster bronze
Catherine II of
terra cotta Voltaire
Russia
portrait bust ancient Roman Denis Diderot
2. After Voltaire modeled for the sculpture in March of 1778, it took Houdon about
_______________________________ to complete the plaster version of the sculpture.
3. Less than a month after the portrait bust was completed, _____________________________ died.
6. A portrait bust of a man depicting him without his wig was a __________________________.
7. Houdon depicted Voltaire not only un-wigged, but without his ___________________________.
17
This sculpture is creepy already, and the Decathlon season has barely begun. – Caya
ART WORKBOOK PAGE 64 OF 119 DEMIDEC © 2009
Date Event
4. winner of the Prix de Rome with the entry Achilles Receiving the Ambassadors of
Agamemnon
5. Ingres’ Prix de Rome scholarship at the French Academy was delayed until this date
due to political instability in France
T F 2. Ingres’ paintings use a linear style with near-invisible brushstrokes to depict elegant
subjects.
T F 3. Ingres most emulated the blend of idealism and naturalism seen in the works of the
Italian Renaissance painter Leonardo.
T F 4. Ingres specialized in painting portraits and rarely executed work in any other genre.
T F 5. Ingres was an atheist who painted religious paintings in order to satisfy his clients.
T F 6. As a student and administrator, Ingres spent time in Florence, Rome, and Naples.
ART WORKBOOK PAGE 65 OF 119 DEMIDEC © 2009
T F 8. Ingres is better known in the history of art for his portraits than for his history
paintings.
T F 9. Ingres pretended to be ambivalent about the genre of portrait painting, but his
practice of exhibiting his portraits reveals that he was secretly proud of them.
T F 11. Ingres’ preparatory drawings for his portraits were extremely detailed and were often
fully realized artworks in themselves.
T F 12. Ingres’ student Théodore Chassériau rebelled against Ingres’ neoclassical style by
studying the work of Delacroix.
1. What is the full name of the Princesse in this portrait and how
was she related to the Broglies?
_________________________________________________
_________________________________________________
_________________________________________________
3. When did Ingres begin planning the portrait and by what year
had he settled on the pose?
_________________________________________________
_________________________________________________
4. How did Ingres continue to refine the pose of the Princesse without requiring her to sit for more
modeling sessions?
_________________________________________________________________________________
18
What is the difference between “Oriental” and “Orientalist”? “Oriental” is an outmoded term to describe someone or
something from the East. “Orientalist” describes an attitude toward the East based on stereotypical assumptions and is used
to describe works of art or literature that embody those assumptions.
ART WORKBOOK PAGE 66 OF 119 DEMIDEC © 2009
5. What is the term for the kind of portrait pose Ingres selected for the Princesse’s portrait?
_________________________________________________________________________________
_________________________________________________________________________________
6. What kind of ornaments does the Princesse wear in her hair?
_________________________________________________________________________________
_________________________________________________________________________________
7. What included detail demonstrates Princesse de Broglie’s Christian devotion?
_________________________________________________________________________________
_________________________________________________________________________________
8. Describe the kind of jewelry the Princesse wears.
_________________________________________________________________________________
_________________________________________________________________________________
9. What techniques did Ingres use to focus most of the viewer’s attention on the figure of the Princesse?
_________________________________________________________________________________
_________________________________________________________________________________
10. Where was the portrait exhibited in 1855?
_________________________________________________________________________________
_________________________________________________________________________________
11. What happened to the portrait after the Princesse’s death in 1860?
_________________________________________________________________________________
_________________________________________________________________________________
ART WORKBOOK PAGE 67 OF 119 DEMIDEC © 2009
1.
2.
3.
4.
ART WORKBOOK PAGE 68 OF 119 DEMIDEC © 2009
WORD BANK
Church of Ste. ancient Greek and
Panthéon malleable
Geneviève Roman architecture
symbols public realm French monarchy European
French Revolution Vendôme Column Napoleon Catholic Church
1. Public monuments often serve as _________________________ of the ideology of the ruling class.
3. In the eighteenth century, the French monarchy erected many public monuments to promote Paris
as a ________________________________ capital.
4. Impressive public monuments required many resources to build and thus signified the power and
permanence of the _______________________________.
5. Constructing monuments was one method the French monarchy employed to curry favor with the
_______________________________.
8. Since monuments occupy the public realm, their meanings are ___________________________;
as regimes change, they are often altered to suit the needs of the ruling party.
ART WORKBOOK PAGE 70 OF 119 DEMIDEC © 2009
Date Event
1. Clovis I built the Church of the Holy Apostles on top of a hill in what is now the
Latin Quarter of Paris.
2. After the protector saint of Paris was buried there, the church was known as the
Church of Ste. Geneviève.
3. Louis XV decided to restore the church, which had by this time disintegrated into
ruins.
6. Soufflot passed away without having seen the church building to completion.
7. The dome of the church was completed, but not the program of interior decoration.
8. The Constituent Assembly declared that the church would be renovated from a sacred
building to a secular monument to fallen heroes of the French Revolution. They chose
Quatremère de Quincy to be the architect.
9. During the Bourbon Restoration, the French monarchy returned the church to its
function as a place of worship, after which it again became a secular monument.
10. During these years in the mid-nineteenth century the church was again a sacred
building.
ART WORKBOOK PAGE 71 OF 119 DEMIDEC © 2009
a. Jacques-Germain Soufflot _____ 1. She introduced her brother, who became the
b. Clovis I Director General of the King’s Buildings, to the
c. Madame de Pompadour architect Jacques-Germain Soufflot.
d. Voltaire _____ 2. A leader of the Third Estate during the French
e. Quatremère de Quincy Revolution; the first person buried in the Panthéon
f. Jean-Paul Marat _____ 3. He added a new pediment to the Church of Ste.
g. Abel-François Poisson, Geneviève in the early nineteenth century.
Marquis de Marigny _____ 4. Radical journalist buried in the Panthéon in 1794,
h. David d’Angers only to be disinterred the following year
i. Honoré Mirabeau _____ 5. French king who wanted to restore the Church of
j. Louis XV Ste. Geneviève
_____ 6. In 1750, he traveled to Italy to study classical art
and architecture with Jacques-Germain Soufflot.
_____ 7. Architect appointed during the French Republic to
convert the Church of Ste. Geneviève to the
Panthéon
_____ 8. Frankish king who converted to Catholicism in the
5th century
_____ 9. Enlightenment intellectual whose interment in the
Panthéon in 1791 was ceremonially celebrated
ART WORKBOOK PAGE 72 OF 119 DEMIDEC © 2009
1. The Place Vendôme was previously the location of a statue of (LOUIS XIV, LOUIS XV) on
horseback.
2. The sculpture of the king was destroyed in (1789, 1792) during the violent rebellions of the French
Revolution.
3. In 1805 Napoleon defeated the combined forces of Russia and Austria at the battle of
(AUSTERLITZ, WATERLOO).
4. Napoleon had the (PLACE VENDÔME, VENDÔME COLUMN) built to celebrate his military
victory of 1805.
5. At the top of the column was a sculpture of Napoleon wearing the clothing of (AN ANCIENT
ROMAN, A MILITARY GENERAL).
ART WORKBOOK PAGE 73 OF 119 DEMIDEC © 2009
6. The unveiling of the sculpture was celebrated with a grand public ceremony on Napoleon’s birthday
in (1810, 1808).
7. During the (ONE HUNDRED DAYS, BOURBON RESTORATION), the statue of Napoleon
was removed from the column.
8. Although the statue was replaced during the first half of the nineteenth century, it was taken down
again during the (PARIS COMMUNE, SECOND EMPIRE) in 1871.
WORD BANK
Dominique Vivant
Jean-Baptiste Lepère laurel wreath Place Vendôme
Denon
Austrian and Russian
Column of Trajan Roman clothing Jacques Gondouin
armies
5. The column was intended to be symbolic of Napoleon’s many victories, but specifically celebrated
his defeat of the ________________________________ at Austerlitz.
c. 1805 _____ 3. year the sculpture of Louis XIV at the Place Vendôme
d. 1804 destroyed
e. 130 _____ 4. height of the Vendôme Column in feet
f. 1792
_____ 5. year the Column of Trajan was erected
g. 1871
_____ 6. year of Napoleon’s victory at Austerlitz
_____ 7. year of the Paris Commune
6. List at least three strategies that Napoleon and his administration employed in the building of the
Vendôme Column to assert Napoleon’s ascendance over both his military enemies and the
monarchy.
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
ART WORKBOOK PAGE 75 OF 119 DEMIDEC © 2009
Vendôme
Panthéon Theme
Column
P V 1. It is located in a very famous square in Paris.
2. Throughout its history, its purpose has alternated between sacred and
P V
secular.
P V 3. It was originally built as a place of worship.
4. In the early nineteenth century, David d’Angers added a pediment to
P V
it.
5. It has been appropriated by different political regimes to serve their
P V
own purposes.
VI. Comprehensive
Exercises
The following exercises cover all of the material in the official
curriculum guide.
3. Louis XIV’s advisor, Jean-Baptiste Colbert, founded the French Academy in Rome.
(p. 7)
4. Louis XIV moved the Royal Court to Versailles to consolidate his power. (p. 4)
5. With the death of Louis XIV, Louis XV took the throne. The period known as the
rococo is said to have begun when Louis XV moved the court back to Paris. (p. 5)
6. King Louis XV died and left the throne to his grandson Louis XVI and his wife, Marie
Antoinette. (p. 20)
10. The Royal Academy of the Arts was dissolved. (p. 21)
11. A new arts academy was established by Jacques-Louis David and others. (p. 21)
ART WORKBOOK PAGE 77 OF 119 DEMIDEC © 2009
13. Napoleon established the Consulate and made himself First Consul. (p. 21)
16. Napoleon returned to power for one hundred days. (p. 21)
18. The deposition of King Charles X established the July Monarchy. (p. 31)
6.02 MATCHING
Great Thinkers, Inc. This exercise covers the noteworthy minds of the French eighteenth and early nineteenth
centuries. Match each philosopher or critic on the left with the correct title or description on the right. Some
letters will be used more than once.
a. Germaine de Staël _____ 1. Coined the term “romantic” to describe the anti-
b. Denis Diderot rational tendency emerging in European art and
c. Edmund Burke literature at the end of the beginning of the nineteenth
century
d. La Font de Saint-Yenne
_____ 2. Reflections on the Imitation of Greek Works in Painting
e. Johann Joachim
Winckelmann and Sculpture
f. Friedrich von Schlegel _____ 3. Reflections on Some Causes of the Current State of
Painting in France
_____ 4. Encyclopédie
_____ 5. A Philosophical Inquiry into the Origin of our Ideas of the
Sublime and the Beautiful
_____ 6. De l’Allemagne
_____ 7. Salons between 1759-71
ART WORKBOOK PAGE 78 OF 119 DEMIDEC © 2009
6.03 CHARTING
Style Home Companion with DemiDec Keillor. The purpose of this exercise is to provide you with a quick
reference sheet comparing the styles of eighteenth and nineteenth century art discussed in the official curriculum
guide. Summarize the characteristics of each style by completing the chart below using the word bank.
WORD BANK
ca. 1750-early
1715-1800 Boucher Greuze
nineteenth century
ca. 1700-mid-eighteenth
Carle Vernet Watteau Delacroix
century
flirtation, romance, idle pastel colors, coloristic associated with the ancient Greek and Roman
pleasure modeling Napoleonic era history
Dates
Political
Regime
Major Artists
Visual
Characteristics
ART WORKBOOK PAGE 79 OF 119 DEMIDEC © 2009
Subjects
T F 1. The French Royal Academy of Painting and Sculpture was modeled on the Roman
Accademia di San Luca. (p. 6)
T F 2. French artists strove to imitate the artists of the Italian Renaissance. (p. 7)
T F 3. Italian Renaissance artists immersed themselves in the study of ancient Greek and
Roman painting. (p. 23)
T F 4. The most valuable part of a Prix de Rome winner’s training in Italy was the
opportunity to study medieval manuscripts. (p. 23)
T F 6. Popular stops in Italy for a young man on the Grand Tour included Pompeii,
Herculaneum, Rome, Florence, and Naples. (p. 23)
T F 7. Travelers touring in Rome typically followed a path that included the Pantheon, the
Colosseum, and Saint Peter’s Basilica. (p. 23)
T F 8. Two ancient sculptures that were highly influential on Renaissance artists were the
Farnese Hercules and Apollo and Daphne. (p. 25)
T F 9. In the eighteenth century, “modern Rome” referred to Rome in the seventeenth and
eighteenth centuries. (p. 25)
T F 10. In the early nineteenth century, the writer Madame de Staël urged artists to
question the adoption of classicism from Italy. (p. 33)
T F 11. The rise of romanticism in the early nineteenth century marked a turn away from
the artistic culture and values that had long been imported from Italy. (p. 33)
ART WORKBOOK PAGE 80 OF 119 DEMIDEC © 2009
6.05 DEFINITIONS
Genre Jumping. In the column on the left, order the genres from highest to lowest. In the column on the right,
provide a definition of each genre.
a. landscape
b. portraiture
c. genre painting
d. history painting
e. still life
6.06 EITHER OR
Rococo v. Naturalism. This exercise covers the works included in Section I of the official curriculum guide.
1. Watteau invented the new genre of the fête galante with his painting (MEZZETIN, PILGRIMAGE
TO THE ISLAND OF CYTHERA).
2. Watteau’s work was controversial because it depicted (POPULAR FORMS OF
ENTERTAINMENT LIKE THE THEATER, FRIVOLOUS PARTIES AND OUTINGS OF
THE NOBILITY).
3. Chardin’s Soap Bubbles is an example of a humble genre scene intended to spur viewers to meditate
on the (PLEASURES OF YOUTH, TRANSIENCE OF LIFE).
4. Chardin’s painting style was influenced by seventeenth-century (DUTCH PAINTING, POPULAR
ENGRAVINGS).
5. Items such as the Vincennes Wine Cooler were made to be consumed by (ROYALTY AND
NOBILITY, FOREIGN TOURISTS).
6. The Vincennes Wine Cooler is made of (KAOLIN, PORCELAIN).
7. Greuze’s paintings were lauded by Diderot for their (NATURALISM, MORALISM).
8. Greuze’s (LINEAR STYLE, DRAMATIC SUBJECTS) and emphasis on paternal authority
identifies his work as a transition between the rococo and neoclassical periods.
9. Boucher was most popular for his gallant mythologies and bucolic scenes of rural life known as
(FANCIES, IDYLLS).
10. Boucher’s painting was attacked by critics who saw it as representing the (IGNORANCE OF THE
GOVERNMENT, PRIVILEGE OF THE ELITE).
ART WORKBOOK PAGE 81 OF 119 DEMIDEC © 2009
6.07 COMPARISON
Men in Tights? Each of these paintings concentrates on a single subject whose gaze is averted away from that
of the viewer. Yet the effect of each is profoundly different. Visually analyze the paintings in the chart below.
Artist
Title and
Date
Subject
Style
Tone or
Mood
Interpretation
ART WORKBOOK PAGE 82 OF 119 DEMIDEC © 2009
WORD BANK
philosophical model still life background landscape
contemporary
idealized naturalism decisive human action triumphal arch
travelers
foreground classical Napoleon ancient Romans
6.09 SORTING
Paint-by-Numbers. Compare the two paintings below by sorting the words from the word bank into two
columns.
WORD BANK
coloristic 1768 1787 David luxurious textures
moral and ethical
linear pleasure rococo
action
Shepherd’s Idyll fantasy ancien régime Boucher
diffuse lighting Enlightenment dramatic lighting stage-like setting
bucolic setting neoclassical history The Death of Socrates
ART WORKBOOK PAGE 84 OF 119 DEMIDEC © 2009
T F 1. Géricault’s Raft of the Medusa makes visual reference to baroque and Renaissance
art. (p. 35)
T F 2. Later in the nineteenth century, Géricault’s work was particularly influential on the
impressionists. (p. 35)
T F 3. Horace Vernet was renowned as a painter of horses, soldiers, and battle scenes. (p.
36)
T F 5. In Stormy Coast Scene after a Shipwreck, Vernet uses coloristic modeling to depict
the broken ship. (p. 38)
T F 6. While the exact details of the shipwreck depicted in Stormy Coast Scene after a
Shipwreck are known, the theme and meaning of the painting remain mysterious. (p.
38)
T F 7. Delacroix was inspired by his older friend Géricault, who encouraged him in his
ambition to paint contemporary events. (p. 39)
T F 9. In his early career, Chassériau gravitated away from the classicism of Ingres toward
the romantic Delacroix. (p. 40)
T F 10. Chassériau’s orientalist paintings were inspired by his trip to Egypt in 1846. (p. 40)
ART WORKBOOK PAGE 85 OF 119 DEMIDEC © 2009
6.11 MATCHING
Comparison shopping. Each of the statements below describes either Romagnési’s Minerva Protecting the
Young King of Rome or Chassériau’s Young Jewish Woman of Algiers. Match each statement to the correct
artwork, using R for Romagnési’s work, and C for Chassériau’s.
2. List three ways that a portrait artist can convey the wealth and status of his or her subject.
ART WORKBOOK PAGE 86 OF 119 DEMIDEC © 2009
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
6.13 EITHER OR
Face Painting. This exercise reviews the portrait artists covered in Section IV of the official curriculum guide.
Circle the answer that best completes the sentence.
1. (PANINI, BATONI)’s portraits of Grand Tour travelers functioned as souvenirs of their visits to
Rome.
2. Batoni’s reputation as a portraitist was due to his ability to (CAPTURE A LIKENESS, DEFY
CONVENTION).
3. Portraiture and (LANDSCAPE, STILL LIFE) painting were considered appropriate genres for
amateur female painters.
4. Labille-Guiard (WAS INDEPENDENTLY WEALTHY, EARNED A LIVING TEACHING
PAINTING).
5. An ambitious portrait such as Labille-Guiard’s Self Portrait with Two Pupils was excellent
(ADVERTISING, PRACTICE) for a painter seeking work as a portraitist.
6. (INGRES’, HOUDON’S) most famous works are portrait busts of the philosophers of the
Enlightenment.
7. Houdon’s talent lay in capturing both the (NATURALISTIC, IDEALISTIC) human visage of his
subject and his transcendent historical stature.
8. Ingres’ neoclassical training is visible in his linear draftsmanship, idealized forms, and dedication to
(VISUAL DETAIL, CHIAROSCURO).
9. Ingres’ extreme stylizations of the human body were seen by some as (UNPROFESSIONAL,
UNSEEMLY DISTORTIONS).
ART WORKBOOK PAGE 87 OF 119 DEMIDEC © 2009
WORD BANK
Pilgrimage to the Island
Chardin history painter Labille-Guiard
of Cythera
Raft of the Medusa Greuze agréé Angelica Kauffman
Scenes from the
A Shepherd’s Idyll David Prix de Rome
Massacre at Chios
6.15 COMPARISON
A Princess and a horse walk into a bar... These works are paradigmatic examples of the romantic and
neoclassical styles. Fill out the chart below to complete a visual analysis of the differences between the two styles
as embodied in these paintings.
Artist
Style
Subject
Tone or Mood
Setting
Interpretation
ART WORKBOOK PAGE 89 OF 119 DEMIDEC © 2009
APPENDIX: DATEBOOK
The chart below provides you with the names of important figures mentioned in the curriculum guide. Names
in bold indicate artists with selected works in the curriculum. Fill in the birth and death dates. A space has
been left for you to make notes to help you remember what each person did.
Livy
Emperor Trajan
Clovis I
Raphael
Caravaggio
Louis Le Vau
André Le Nôtre
Charles Le Brun
Jean-Baptiste Colbert
Hyacinthe Rigaud
François Cars
Francesco Fernandi
Jean-Antoine Watteau
François Lemoyne
La Font de Saint-Yenne
Voltaire (François-Marie
Arouet)
Jean-Claude Duplessis
Jean-Baptiste-Siméon
Chardin
François Boucher
François-Elie Vincent
Louis XV
Jacques-Germaine Soufflot
Denis Diderot
Jean-Baptiste Pigalle
Joseph-Marie Vien
Johann Joachim
Winckelmann
Count de Stainville
Madame de Pompadour
(Jeanne-Antoinette Poisson)
Jean-Baptiste Greuze
ART WORKBOOK PAGE 92 OF 119 DEMIDEC © 2009
Marquis de Marigny
Edmund Burke
Augustine Pajou
Comte d’Angiviller
Josiah Wedgewood
Jean-Honoré Fragonard
Jacques Gonduin
Jean-Antoine Houdon
Angelica Kauffman
Thomas Jefferson
Jean-Paul Marat
François-André Vincent
ART WORKBOOK PAGE 93 OF 119 DEMIDEC © 2009
Jacques-Louis David
Adélaïde Labille-Guiard
Honoré Mirabeau
Louis XVI
Quatremère de Quincy
Marie Antoinette
Louis XVIII
Charles X
Pierre Cartellier
Marie-Gabrielle Capet
ART WORKBOOK PAGE 94 OF 119 DEMIDEC © 2009
Marie-Margarite Carreaux
de Rosemond
Jean-Baptiste Lepère
Germaine de Staël
Antoine-Jean Gros
Louis-Philippe
Pierre-Narcisse Guérin
Jean-Auguste-Dominique
Ingres
Joseph-Antoine Romagnési
David d’Angers
Horace (Émile-Jean-
Horace) Vernet
Théodore Géricault
ART WORKBOOK PAGE 95 OF 119 DEMIDEC © 2009
Eugenè Delacroix
Théodore Chassériau
Princesse de Broglie
ART WORKBOOK PAGE 96 OF 119 DEMIDEC © 2009
Caya Simonsen is pictured here with a year’s worth of accumulated materials prior to her
team’s 2nd annual burning party. In those rare moments when her life is not engulfed by
the world of Academic Decathlon, Caya enjoys starring with the Kind of Amazing
Nebraskans Acting Troop, coming up with new nicknames for her kitty, picking
blueberries, pura vida, quilting, reading, s’mores, the ocean, and other oddities. If Omaha
Burke again takes Nebraska’s first place title, Caya will enjoy a free trip to her home state
for nationals.
Lok Wong will become a senior at Uvalde High School and hopes to be an early graduate
by end of the upcoming year. This will be his third and final year to be involved in
Academic Decathlon. Since his freshman year he has enjoyed many of the aspects and
qualities of both the AcaDec competition and DemiDec.
Vid Yogeswaran will be a senior at Collegiate Academy during the 09-10 school year,
where she's been competing since her junior year when she moved to Erie from New York
City. She was the first varsity in Pennsylvania to score over 8k in more than ten years. She
was the top varsity in division 3 at the 2009 nationals, and somehow got a medal in
Economics although she had scored a 480 only a few months earlier. After spending two
sleepless nights learning all of AP Bio two days before the test, she promised herself to
never procrastinate again.
Karanina Cruz did not submit her biography.