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AP Art History
Term 3
Test 3
Gare St-Lazare• 1877; Claude Monet• Off moment• Smoke, familiar buildings• One of 7 paintings made of the
famous Paris train station that served the suburbs
• The work was an example of modern iron-frame-and-glass architecture
• It was an enormous vault filled with steam and bustling with movement
• Used rapid, sketchlike brush strokes• Captured light as it poured through
the glass roof and mixed with the whirling clouds of steam
• Impressionist focus on city life
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Rouen Cathedral: The Portal• 1894, Monet• Monet desired to place
Impressionism within the great traditions of French art
• Seen in his series of works devoted to the play of light over the Rouen Cathedral
• Chose the subject for its iconographic associations
• The building symbolizes the continuity of human institutions such as the Church and the presence of the divine
• The work argues that beneath the veneer of shifting appearances is a complex web of durable and expanding connections
• He tried to place Impressionism in a more enduring context
• Pattern of rejection and reform
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Le Moulin de la Galette• 1876; Pierre-Auguste Renoir• Liked to paint the upper-middle
classes• Encouraged by Monet to
create pleasant, light-filled landscapes
• Shows dancers dappled in bright afternoon sun
• The place was an old-fashioned dance hall
• He glamorized its working class clientele by replacing them with his friends and their models
• Figures exude innocence and congeniality
• Painting knit together by the mood
• Idyllic image of a carefree age of innocence, a kind of paradise
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Young Dancer Fourteen Years Old• 1880, Edgar Degas• He was the only American
invited to exhibit with the Impressionists
• Between realism and impressionism
• Bronze, but not for such a grand subject
• Many criticized his work for that• Light flickers on the subject• Works with Mary CassattQuickTime™ and a
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Maternal Caress• 1891; Mary Cassatt• After 1800 she moved toward a
firmer handling of form and more classic subjects
• Shift in focus on mother and child
• One of the many colored prints she produced
• Shows her sensitive response to the tradition of the Madonna and Child
• The infant shares a tender moment with its adoring mother
• Their intimacy is underscored y the subtle harmony of apricots and browns
• The patterns, simple contours, and sharply sloping floor derive from Japanese prints
• Aiming for timeless and universal
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Paris Street, Rainy Day• 1877, Gustave Caillebotte• This work shows the city’s
rebuilding• Caillebotte selected a complex
intersection near the St. Lazare train station
• He distorted the size of the buildings and the distance between them to create a wide-angle view
• Reflects the sweeping modernity of the city
• His family owned property in the busy neighborhood shown here
• Highly crafted surface, monumental size, geometric order, elaborate perspective
• Gaslight used to separate foreground from middle and distant
• Meant to capture the momentary quality of everyday life
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Barmaid at the Folies-Bergere• 1881; Edouard Manet• Contradicts the happy aura of
works such as Moulin de la Galette
• The elegant crowd is reflected in the background
• He painted a glorious still life of the many pleasures for which the Folies Bergere was famous
• The liquor bottles also associate with the barmaid herself, with her wide hips, strong neck, and hair
• Her demeanor, however, refutes these associations
• She appears to be self-absorbed and depressed
• Her reflection tells a different story
• There appears now to be no pyschological or physical distance between them
• Wanted 2 contrast longing 4 happiness with reality of existence?
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Nocturne in Black and Gold• 1875; James Abbott McNeill
Whistler• He emphatically rejected the
precise depiction of objects in earlier drawings
• Sued a critic on behalf of this piece and won
• Depicts a fireworks show over the Battersea Bridge in London
• He was more interested in atmospheric effects than providing details of the actual scene
• Spatial ambiguity set against structure of line and form
• Qualities of energy and stillness
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Harmony in Blue and Gold• 1876-77; Whistler• The Peacock Room from a house
owned by Frederick Leyland• Inspired by the Japanese theme of
his own painting (The Princess from the Land of Porcelain) painted the shutters with peacocks
• He eventually painted the entire room, covering the walls with gilded peacock feathers
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At the Moulin Rouge• 1892-95; Henri de Toulouse-
Lautrec• Darker version of Galette• Edgy nightclubs• Comes from a wealthy family• Self portrait included• Makes $ print making• No longer leisure world• Darkness - end of century• He included many famous
people of his day• The eerie green light of the
interior evokes an unhealthy atmosphere
• He added to the visual drama by utilizing different lines
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Japonaiserie: Flowering Plum Tree• 1887; Vincent Van Gogh• Oil copy of Hiroshige’s• Learns flattened color world• Wants to start an art colony• Wanted to go to Japan but
actually goes to Arle, France• Here, his color comes alive• Direct Japanese influence• One of 3 that he painted• Steep transitions from red to
yellow to green create a banding effect that vertically balances out the painting
• Bolder in color
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Plum Orchard Kameido • 1857; Hiroshige; from 100 Views
of Edo• Foreground dominated by a
branch of plum blossom• Depicts scene from everyday life
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Starry Night• 1889; Van Gogh• He adopted Seurat’s
divisionism but he didn’t apply paint in dots
• He used thick applications of pigment
• Gave his works a greater sense of physical energy and a palpable surface texture
• Great example of expressionism
• Painted from his window in the asylum at Saint-Remy
• Above the quiet town, the sky pulsates with celestial rhythms and blazes with exploding stars
• Theory that after death, people journey to a star where they continue their lives
• Cypress tree = symbol of death and eternal life
• Brightest star = Venus
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Mahana No Atua (Day of the God)• 1894; Paul Gauguin• Inspired by nonacademic sources like
medieval stained glass, folk art• Rejected Impressionism because it
neglected subjective feelings • Called his style synthetism• = it synthesized observation of the
subject in nature with the artist’s feelings about that subject
• It was expressed through abstracted line, shpae, space, and color
• Tahitian subject, but painted in France during Gauguin’s return after 2 years in the South Pacific
• Wanted to find paradise in Tahiti but found a colonized country whose native culture was disappearing under the pressures of Westernization
• Ignored this reality & showed the Edenic ideal in his imagination
• 3 horizontal zones in increasing abstraction
• Upper centers around a statue of a god• 3rd zone = pool evokes “the mysterious
centers of thought”
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The Cry (Scream)• 1893; Edvard Munch• Image of modern alienation • merges Symbolist
suggestiveness with expressionist intensity
• The scream fills the landscape with clouds of “actual blood.”
• Chiefly a dread of death• Fear of open spaces• Reflects influence of Gauguin
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A Sunday Afternoon on La Grand Jatte• 1884-86; Georges Seurat• Exhibited at the 8th and final
Impressionist exhibition • Theme of weekend leisure• Rigorous divisionist technique• Stiff formality of figures• Highly calculated geometry• All produce a solemn , abstract effect
quite at odds with the causal naturalism of earlier Impressionism
• Depicts a contemporary subject in a highly formal style
• Recalls much older art, such as that of ancient Egyptians
• Meant to criticize the Parisian middle class?
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Mont Sainte-Victoire• 1885-87; Paul Cezanne• Sought to create art with a greater
degree of formal order and structure• Had little professional success• Studied art in Aix then in Paris• Participated in the circle of realist artists
around Manet• Sought to create a sense of order in
nature through a methodical application of color
• Shows a prominent mountain near his home in Aix
• The tree echoes the mountain’s contours• Creates visual harmony between the two
principal elements of the composition• Sense of timeless endurance• Handles painting more deliberately and
constructively• Breaks contours• Forms interpenetrate• Over multiple vantage points• Concept of time
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Still Life with Basket of Apples• 1890; Cezanne• Spatial ambiguities• Many objects seem incorrectly
drawn• Right side is higher than the
left• Shows his willful disregard to
the rules of traditional scientific perspective
• He studied different objects from different positions
• Composition is complex and dynamic and seems on the verge of collapse
• “a construction after nature”
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Burghers of Calais• 1884-1889; Auguste Rodin• Trained as decorative craftsperson• Failed 3x to gain entrance to the Ecole
des Beaux-Arts• Created vigorously modeled figures in
unconventional poses, which were scorned by academic critics and admired by the public
• He won the competition to create this work
• Commissioned to commemorate an event from the 100 Years War
• Edward III had offered to spare the city of Calais
• Shows the 6 volunteers preparing to give themselves up
• The commissioners weren’t pleased with his conception of the event
• He showed ordinary-looking men in various attitudes of resignation and despair
• Stylized the human body for expressive purposes
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The Waltz• 1892-1905; Camille Claudel• Assistant to Rodin• Became his mistress• Suffered from psychosocial problems
and went to an asylum• Depicts a dancing couple• She had to add drapery to the female
nude when the Ministry of the Beaux-Arts found it indecent
• The commission was never carried out• Conveyed an illusion of fluent motion• Encourages viewer to see the piece
from all sides• Little actual physical contact between
figures• Physical closeness reveals no passion• Sought to portray love as a union more
spiritual than physical
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Stairway to Tassel House• 1892-93; Victor Horta• Largely responsible for introducing the
Art Nouveau style in architecture• Worked in the office of a Neoclassical
architect in Brussels• Private commission by Professor
Tassel• Intricate series of long, graceful curves• Impressed with the stylized linear
graphic of the English Arts and Crafts movement
• Concern for integrating the various arts into a more unified whole
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Casa Mila• 1906-10; Antonio Gaudi• Alive, bending, curving• Hand cut stone• Emphasizes craftsmanship• Roof filled with clay pots
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Jane Avril• 1893; Henri de Toulouse-Lautrec• Lithograph• Dedicated himself to depicting the
social life of the Parisian cafes, theaters, dance halls, and brothels
• Designed advertisements for popular night spots and entertainers
• Demonstrates remarkable oringianlity • Juxtaposes the dynamica figure of
Avril dancing onstage at the upper left with the cropped image of a bass player
• Influence of Degas• But he departs from Degas naturalism• Radical simplification of form• Flattening of space• Integration of blank paper into the
composition• All suggest influence of Japanese
woodblock prints
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The Kiss• 1907-08; Gustav Klimt• Characteristically Art Nouveau in their
intricate ornamental quality• Tension in the couple’s physical
relationship• They kneel close to the edge of a
precipice• Unsettles the initial impression of a
beautiful surface• Flat, looks like glass• Made $ as portrait painter
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World’s Columbian Exposition• 1893• Landscape design by Frederick Law
Olmstead• Head architect: Richard Hunt• Abandoned metal and glass
architecture in favor of “permanent buildings”
• Single style associated with birth of democracy in ancient Greece and the imperial power of ancient Rome
• Reflects US pride in its democratic institutions
• Provided a model for the American city of the future
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Wainwright Building• 1890; Louis Sullivan• Studied at MIT• His first major skyscraper• Has a U-shaped plan• Provides an interior light well for
illumination• Seven floors• Attic wrapped in a foliate frieze of high-
relief terra-cotta• Philosophy of functionalism• Corner piers not needed for support• They emphasize upward thrust
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