History Unit 4 Assignment Time Line
Chapter 26
ROCOCO TO NEOCLASSICISM: THE 18TH CENTURY IN EUROPE AND AMERICA
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Learning Objectives
Describe similarities and differences in French Rococo and French Baroque art.
Explain why fête galante paintings were popular in Rococo France.
Name and describe the work of an artist who adapted the Rococo manner to huge ceiling frescoes.
Explain what effect the Enlightenment had on 18th-century European and American art.
Identify which French painters were most closely allied with the thinking of Rousseau.
Describe the role of Neoclassicism in the end of the Rococo style as well as the relationship of Neoclassicism and politics in France.
Describe the role of Thomas Jefferson in popularizing Neoclassicism in the United States.
Analyze the impact of the French Revolution on painting of the period.
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Figure 26.1
26.1 Angelica Kauffman, Cornelia Presenting Her Children as Her Treasures, or Mother of the Gracchi, ca. 1785. Oil on canvas, 3' 4" 4' 2". Virginia Museum of Fine Arts, Richmond (Adolph D. and Wilkins C. Williams Fund).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 26.1A
26.1A Sir John Vanbrugh and Nicholas Hawksmoor, Blenheim Palace (looking southeast), Woodstock, England, 1705–1725.
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Figure 26.2
26.2 Germain Boffrand, Salon de la Princesse, with paintings by Charles-Joseph Natoire and sculptures by Jean-Baptiste Lemoyne, Hôtel de Soubise, Paris, France, 1737–1740.
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Figure 26.3
26.3 François de Cuvilliés, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century.
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Figure 26.3A
26.3A Johann Bernhard Fischer von Erlach, Karlskirche (Church of Saint Charles Borromaeus, looking south), Vienna, Austria, 1716–1737.
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Figure 26.4
26.4 Balthasar Neumann, facade of the pilgrimage church of Vierzehnheiligen (looking east), near Bad Staffelstein, Germany, 1743–1772.
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Figure 26.4A
26.4A Balthasar Neumann, Kaisersaal (Imperial Hall) of the Residenz (Episcopal Palace), Würzburg, Germany, 1719–1744, with stuccoes by Antonio Bossi and frescoes by Giambattista Tiepolo, 1751–1752.
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Figure 26.5
26.5 Balthasar Neumann, plan of the pilgrimage church of Vierzehnheiligen, near Bad Staffelstein, Germany, 1743–1772.
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Figure 26.6
26.6 Balthasar Neumann, interior of the pilgrimage church of Vierzehnheiligen (looking east), near Bad Staffelstein, Germany, 1743–1772.
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Figure 26.6A
26.6A Dominikus Zimmermann, interior of the Wieskirche (Church of the Meadow), near Füssen, Germany, 1745–1754, with frescoes and stuccoes by Johann Baptist Zimmermann.
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Figure 26.7
26.7 Antoine Watteau, Pilgrimage to Cythera, 1717. Oil on canvas, 4' 3" 6' 4 1/2". Musée du Louvre, Paris.
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Figure 26.7A
26.7A Antoine Watteau, L’Indifférent, ca. 1716. Oil on canvas, 10" 7". Musée du Louvre, Paris.
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Figure 26.7B
26.7B Antoine Watteau, Signboard of Gersaint, from the art gallery of Edmé-François Gersaint, Paris, France, 1721. Oil on canvas, 5' 4" 10' 1". Schloss Charlottenburg, Berlin.
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Figure 26.8
26.8 François Boucher, Cupid a Captive, 1754. Oil on canvas, 5' 6" 2' 10". Wallace Collection, London.
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Figure 26.9
26.9 Jean-Honoré Fragonard, The Swing, 1766. Oil on canvas, 2' 8 5/8" 2' 2". Wallace Collection, London.
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Figure 26.9A
26.9A Clodion, Nymph and Satyr Carousing, ca. 1780–1790. Terracotta, 1' 11 1/4" high. Metropolitan Museum of Art, New York (bequest of Benjamin Altman, 1913).
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Figure 26.10
26.10 Giambattista Tiepolo, Apotheosis of the Pisani Family, ceiling painting in the Villa Pisani, Stra, Italy, 1761–1762. Fresco, 77' 1" 44' 3".
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Figure 26.10A
26.10A Joseph Wright of Derby, An Experiment on a Bird in the Air-Pump, 1768. Oil on canvas, 6' 8'. National Gallery, London.
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Figure 26.11
26.11 Joseph Wright of Derby, A Philosopher Giving a Lecture on an Orrery, ca. 1763–1765. Oil on canvas, 4' 10" 6' 8". Derby Museums and Art Gallery, Derby.
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Figure 26.12
26.12 Abraham Darby III and Thomas F. Pritchard, iron bridge (looking northwest), Coalbrookdale, England, 1776–1779.
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Figure 26.13
26.13 Jean-Baptiste-Siméon Chardin, Grace, 1740. Oil on canvas, 1' 7" 1' 3". Musée du Louvre, Paris.
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Figure 26.14
26.14 Jean-Baptiste Greuze, Village Bride, 1761. Oil on canvas, 3' 3' 10 1/2". Musée du Louvre, Paris.
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Figure 26.15
26.15 Élisabeth Louise Vigée Le Brun, Self-Portrait, 1790. Oil on canvas, 8' 4" 6' 9". Galleria degli Uffizi, Florence.
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Figure 26.15A
26.15A Élisabeth Louise Vigée Le Brun, Marie Antoinette and Her Children, from the palace (fig. 25.26) at Versailles, France, 1787. Oil on canvas, 9' 1/2" 7' 5/8". Musée National du Château de Versailles, Versailles.
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Figure 26.16
26.16 Adélaïde Labille-Guiard, Self-Portrait with Two Pupils, 1785. Oil on canvas, 6' 11" 4' 11 1/2". Metropolitan Museum of Art, New York (gift of Julia A. Berwind, 1953).
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Figure 26.17
26.17 William Hogarth, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, 2' 4" 3'. National Gallery, London.
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Figure 26.18
26.18 Thomas Gainsborough, Mrs. Richard Brinsley Sheridan, 1787. Oil on canvas, 7' 2 5/8" 5' 5/8". National Gallery of Art, Washington, D.C. (Andrew W. Mellon Collection).
Kleiner, Gardner’s Art through the Ages: A Global History, 16th Edition. © 2020 Cengage. All Rights Reserved. May not be scanned, copied or duplicated, or posted to a publicly accessible website, in whole or in part.
Figure 26.19
26.19 Sir Joshua Reynolds, Lord Heathfield, 1787. Oil on canvas, 4' 8" 3' 9". National Gallery, London.
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Figure 26.20
26.20 Benjamin West, Death of General Wolfe, 1771. Oil on canvas, 4' 11 1/2" 7'. National Gallery of Canada, Ottawa (gift of the Duke of Westminster, 1918).
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Figure 26.21
26.21 John Singleton Copley, Paul Revere, ca. 1768–1770. Oil on canvas, 2' 11 1/8" 2' 4". Museum of Fine Arts, Boston (gift of Joseph W., William B., and Edward H. R. Revere).
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Figure 26.22
26.22 Antonio Canaletto, Riva degli Schiavoni, Venice, ca. 1735–1740. Oil on canvas, 1' 6 1/2" 2' 7/8". Toledo Museum of Art, Toledo.
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Figure 26.23
26.23 Pompeo Batoni, Charles John Crowle, ca. 1761–1762. Oil on canvas, 8' 1 5/8" 5' 7 3/4". Musée du Louvre, Paris.
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Figure 26.24
26.24 Robert Adam, Etruscan Room, Osterley Park House, Middlesex, England, begun 1761. Reconstructed in the Victoria & Albert Museum, London.
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Figure 26.24A
26.24A Anton Raphael Mengs, Parnassus, ceiling painting in the Villa Albani, Rome, Italy, 1761. Fresco, 10' 20'.
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Figure 26.25
26.25 Jacques-Louis David, Oath of the Horatii, 1784. Oil on canvas, 10' 10" 13' 11". Musée du Louvre, Paris.
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Figure 26.26
26.26 Jacques-Louis David, Death of Marat, 1793. Oil on canvas, 5' 5" 4' 2 1/2". Musées royaux des Beaux-Arts de Belgique, Brussels.
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Figure 26.27
26.27 Jacques-Germain Soufflot, Panthéon (Sainte-Geneviève; looking northeast), Paris, France, 1755–1792.
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Figure 26.27A
26.27A Horace Walpole and others, Strawberry Hill (looking northwest), Twickenham, England, 1749–1777.
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Figure 26.28
26.28 James Gibbs, St Martin-in-the-Fields, London, England, 1722–1726.
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Figure 26.29
26.29 Richard Boyle and William Kent, Chiswick House (looking northwest), near London, England, begun 1725.
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Figure 26.30
26.30 James Stuart, Temple of Theseus (looking north), Hagley Park, Worcestershire, England, 1758.
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Figure 26.31
26.31 John Pitt, rotunda and cascade (looking east), Hagley Park, Worcestershire, England, 1747.
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Figure 26.31A
26.31A Sanderson Miller, sham ruined medieval castle (looking north), Hagley Park, Worcestershire, England, 1747.
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Figure 26.32
26.32 Henry Flitcroft and Henry Hoare, the park at Stourhead, England, 1743–1765.
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Figure 26.32A
26.32A Henry Flitcroft, Temple of Apollo (looking east), Stourhead Park, Wiltshire, England, 1765.
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Figure 26.33
26.33 Thomas Jefferson, Monticello, Charlottesville, Virginia, 1770–1806.
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Figure 26.34
26.34 Thomas Jefferson, Rotunda and Lawn (looking north), University of Virginia, Charlottesville, Virginia, 1819–1826.
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Figure 26.35
26.35 Jean-Antoine Houdon, George Washington, 1788–1792. Marble, 6' 2" high. State Capitol, Richmond.
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Figure 26.36
26.36 Horatio Greenough, George Washington, 1840. Marble, 11' 4" high. Smithsonian American Art Museum, Washington, D.C.
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Discussion Questions
Compare and contrast Rococo and Neoclassical art in terms of subject matter and style.
How does Neoclassism differ from the Renaissance era’s revival of the classical past?
What role did art play in 18th-century political revolutions in France and North America and their aftermath?
Which examples from the past did early leaders of the United States choose to emulate in their buildings? Do you think these choices were appropriate?
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