ART HISTORY ESSAY (no reference)

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Chapter21Lecture.pptx

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Not the greatest map since we don’t spend much time talking about the Colonial U.S. or the birth of our nation, but it does demonstrate how the new world is shaping up. The 18th century is one of great transition and upheaval. In Europe, we have the beginning of the Enlightenment which ushers in the Modern era. It is a philosophy that rejects the divine right of kings (i.e. the French Revolution stems from this) and religion. Science becomes the new “religion” for many which also ushers in the Industrial Revolution in the late 18th/early 19th century. In France, the art that is produced, the Rococo style, reflects the money and grandeur of the royal classes. Now that the country was consolidated into an absolute monarchy, lords and dukes no longer had anything to do. They kept their titles and their money, but they were no longer involved in the day to day running of their lands. This breeds an air of frivolity among the aristocracy and we definitely see it in the art. One of the most important developments at this time with the introduction of the Royal Academy is the way artists would gain patrons. Many high society ladies of the court would host parties in their homes, usually in sitting rooms called salons. This kind of exposure sponsored by women would prove crucial for both male and female artists making a living creating art. We will be talking more about the Salon as a state-sponsored exhibition after the Revolution, but this is where it starts.

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Rococo art is distinguished by its lightness, airiness, playfulness, visible brushstrokes (in painting), and is often very decorative (esp. in the applied arts of furniture design and household items like what you see above). It reflects the Parisian love of love and feminine beauty, but it is entirely a courtly style. This chapel in German is a great example of architecture that is a transition between Baroque and Rococo. It has the grandness of the Baroque, but where we would see dramatic light and dark, we see pastel colors and an airiness that the Baroque definitely doesn’t have.

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Peter Paul Rubens had a lasting effect on Watteau and others who felt that color appealed to everyone, not just the educated few. Before this, the French Academy wanted artists to use their drawing skills because it appealed to the mind. This painting got Watteau in the Academy, although it didn’t follow any established canon or category. Cythera is the island of love to pay homage to Venus. It has more noticeable brushstrokes, and it’s soft and full of pastel colors.

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Boucher was a follower of Watteau. His fame was gained through his paintings of graceful allegories with lots of light pastel colors. This can be described as a rosy pyramid of infant and female flesh set off against a cool, leafy background, with fluttering draperies both hiding and revealing the nudity of the figures. He uses many Baroque devices in his composition: crisscrossing diagonals, curvilinear forms, and slanting recessions. It is a transformation of Baroque drama into Rococo sensual playfulness.

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As with most Rococo paintings, the subject is not very complicated! Two lovers have conspired to get this older fellow (in the shadows) to push the young lady in the swing while her lover hides in the bushes. Their idea is that as she goes up in the swing, she can part her legs, and he can get a perfect view up her skirt. They are surrounded by a lush, over grown garden. A sculptured figure to the left puts his fingers to his mouth, as though saying "hush," while another sculpture in the background has two cupid figures cuddled together. The colors are pastel -- pale pinks and greens, and although we have a sense of movement and a prominent diagonal line -- the painting lacks all of the seriousness of a baroque painting. If you look really closely you can see the loose brushstrokes in the pink silk dress, and as she opens her legs, we get a glimpse of her garter belt. It was precisely this kind of painting that the philosophers of the Enlightenment were soon to condemn. They demanded a new style of art, one that showed an example of moral behavior, of human beings at their most noble.

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Clodion, whose career spanned the last decades of the ancien régime (the French aristocracy) through the French Revolution and Napoleon's reign, embraced his era's taste for antiquity. Sometimes this preference is more apparent in his choice of theme than in his style. While often Neoclassical, his manner at times remained quite Rococo, as in the present example. Although Clodion received a number of important commissions for monumental marble sculptures, his fame and popularity rested on his skill at modeling small-scale terracotta groups for private collectors. The seeming spontaneity of this composition, a rapturous embrace, in which it appears that the senses are totally abandoned, was achieved only after much meditation. This work is one of the most minutely studied of all the Bacchic orgies that were Clodion's specialty. The front and back show deliberate adjustments of angles, openings, and masses, all checked and balanced as the model passed under his fingers on his trestle table. Clodion's work was steeped in the imagery of Greek and Roman art, but the deliciously charged rhythms seen here are entirely his own.

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Lectures of this sort were common in the 18th century – during the time of the Enlightenment – in English towns like the artist’s hometown of Derby. The meetings were organized by the Lunar Society and were held each month on a Monday close to the full moon. They were supported by scientists and inventors in order to fill the ongoing demand for education. The orrery, a metal clockwork model of the solar system, was important as a symbol for the latest in technology. Building such a model would require both the practical skills of an engineer and the imaginative abilities of an inventor or scientific thinker. The machines were highly valued during the Enlightenment, although their value or reason for fascination are hard to imagine in our highly technological world of today. Wright uses a familiar Baroque lighting technique, but instead of a religious subject, we see a scientific one. The light illuminates the children’s faces who watch the orrery in wonder and awe, just like the shepherds would have done with beholding the baby Jesus. This is important because people understood those religious works of art, so by using a technique that people were used to seeing, Wright easily changes the subject matter. We will see this many times over the course of the 18th and 19th centuries.

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This bridge crosses the Severn River at the Ironbridge Gorge, by the village of Ironbridge, in Shropshire, England. It was the first arch bridge in the world to be made out of cast iron, a material which was previously far too expensive to use for large structures. However, a new blast furnace nearby lowered the cost and so encouraged local engineers and architects to solve a long-standing problem of a crossing over the river. Not only did iron founders and industrial spies flocked to see this wondrous bridge, but also artists and travelers. The Bridge had a far-reaching impact: on local society and the economy, on bridge design and on the use of cast iron in building. The story of the bridge's conservation begins in 1784 with reports of cracks in the Southern abutments, and is brought up to date with the English Heritage sponsored work of 1999. This bridge was very useful in the fact that it spans a wide part in the river that couldn’t be spanned effectively with a stone bridge. Before this bridge was constructed, people had to travel up or down river a few miles to find a bridge to cross a less wide gap in the river.

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Followers of Rubens cleared the way for a new interest in Dutch masters as well. Chardin was the finest painter of still-life and genre, and celebrated by Enlightenment thinkers. This work shows life in a Parisian middle-class household and he finds the beauty hidden in the commonplace. The painting shows an unpretentious urban, middle-class mother and two daughters at the table giving thanks to God before a meal. Artworks like these satisfied a taste for paintings that taught moral lessons and upheld middle-class values, the antithesis of Rococo frivolity.

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This portrait shows nothing of the extravagant nature of the sitters she painted. Vigeé-Lebrun was part of the Naturalist movement in painting, even though she painted for the aristocracy. Here she presents herself as a self-confident artist. Vigée-Lebrun was economically and personally independent for a woman during this time period. She was one of the few women accepted into the French Academy (her membership was rescinded after the Revolution). Vigée-Lebrun enjoyed great fame throughout Europe including Russia when she escaped the Revolution. She was the portraitist for Marie Antoinette and, as we know, she was beheaded.

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This painting hangs today at the Palace of Versailles. Vigée-Lebrun painted about 30 portraits of the queen, this is the last one. She is viewed with her three surviving children in a pyramidal composition recalling Renaissance paintings of the Virgin, Jesus and St. John. When Vigée-Lebrun was painting this work the queen's youngest child, Sophie-Béatrix died so the empty cradle refers to her demise. This flattering portrait depicting the much-hated queen as a loving mother had an important propaganda purpose. People were spreading rumors about Marie Antoinette saying she poisoned her baby, so she asked the artist to paint this work of her as a loving mother to counter such hateful attacks. Unfortunately, it had no effect and people continued to demonize and scapegoat her. Please watch this: https://www.youtube.com/watch?v=6eRwrNyhx3I

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The English never accepted Rococo like the French, but indeed had a profound impact in that it established the first English school of painting since the medieval era. Hogarth created works such as this as modern morality scenes or tales. His figures resemble actors on a stage acting out a story. He made these paintings as well as engravings in sets for public sale. There are many visual clues for the viewer of the time to understand Hogarth’s message. He is indeed the first artist in history to become a social critic in his own right. In the first of the series, he shows an arranged marriage between the son of bankrupt Earl Squanderfield and the daughter of a wealthy but miserly city merchant. The son looks indifferent while the merchant's daughter is distraught and has to be consoled by the lawyer Silvertongue. We look at the next painting in the series in the next slide…

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Please watch: https://www.khanacademy.org/humanities/monarchy-enlightenment/britain-18c/britain-ageof-revolution/v/william-hogarth-s-marriage-a-la-mode-c-1743

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Moralizing images: one being of good morals the other illustrating immorality. It was propaganda for the production of English made beer. The city became a prevalent backdrop for scenes such as these since the population was leaving the countryside behind. From artble.com: “The theme of this work is gin and the negative effects it has when consumed in high quantities as opposed to the 'healthy' consumption of much weaker English beer which was believed to cause less social problems. In Beer Street happy and healthy drinkers celebrate the king's birthday after a hard day's work. Business on the street is thriving apart from the pawnbroker who hides from debt collectors. On Gin Lane however, there is a shocking deterioration of morals; the street is in a state of ill repair and the people are almost skeletal and disheveled. People are pleading with the pawnbroker to buy their wares in order to find more money for gin and a neglectful mother lets her child fall to its death. If Hogarth was encouraged to produce these prints by his friend Henry Fielding they certainly continue in the same vain as many other works that he produced around this time. Unlike many of his earlier moral works, such as Marriage a la Mode which satirized the foibles of the upper classes in a gentle manner, Hogarth's later offerings became stark social warnings. Prints such as Beer Street and Gin Lane were designed to highlight the problems relating to drinking gin and to encourage the viewer to choose beer instead. Not only was beer much weaker, but it was also produced locally and in many ways Hogarth uses it to promote a kind of national unity within this picture. The consumption of large amounts of gin was a real problem in 18th century England. It had been introduced when Queen Anne married King George of Denmark and gin began to replace local beers as the drink of choice for the lower-class population. Gin was not only cheap and strong but readily available and began to cause a whole range of health and social problems across London, including: Stealing and Robbery Massive amounts of people living in small areas, encouraging disease Prostitution Unemployment Neglect of children In comparison, Beer Street was an image demonstrating Hogarth's pride in his country and shows an idyllic image of England without foreign influences.”

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Portraiture was the only constant source of income for English painters. Gainsborough was first a landscape artist, but ended up the favorite portraitist of English high society. This is a portrait of the actress Sarah Siddons. It retains an aristocratic flair, but has the Rococo softness.

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Reynolds was Gainsborough’s rival. He portrayed Sarah Siddons as the tragic muse and is done in a style similar to Rembrandt especially in its color and lighting, is rendered in a Rococo way, and the idea is rooted in antiquity. Reynolds was the President of the Royal Academy (founded in 1768). I show these two portraits because they are distinctly different from one another and demonstrates the wealth that some patrons had. Siddons could not only afford one portrait by one of the most important painters of her time, but two!

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West was an American artist who went to Rome, then London and became the second President of the Academy. It is an interesting painting that illustrates an actual event, the Battle of Quebéc between the French and the British in 1759, but the figures are grouped, and the figure of Wolfe himself, resembles a lamentation of Christ scene. It has classical elements of a heroic battle, but instead of putting the figures in classical clothing, he puts them in contemporary military clothing. The clothing West depicted in this scene was highly controversial at the time. Although the event was relatively recent -- only eleven years prior -- its subject matter made it a fitting example of the genre of history painting, for which contemporary dress was unsuitable. During the painting, several influential people, including Sir Joshua Reynolds, instructed him to dress the figures in classical attire, and after its completion, King George III refused to purchase it because the clothing compromised the dignity of the event. The work, however, eventually overcame all objections and helped inaugurate more historically accurate practice in history painting. The Indian in the picture adds an exotic/New World flair to the painting about which Europeans were quite curious.

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At the time Copley painted him, Paul Revere was an accomplished silversmith and engraver with a busy and varied trade. Active in the Boston community, he served on many civic committees. In 1765, he joined the Sons of Liberty, a secret organization formed to protest the Stamp Act. Copley shows Revere wearing a plain linen shirt and open waistcoat, apparently considering the design he will engrave on the silver teapot he holds; his engraving tools are scattered on the table before him. This portrait of a craftsman at work is unique in colonial American painting. Many people consider this painting mysterious since tea was a burning issue in colonial Boston: only Tories drank tea, while Whigs (like Revere) drank “Boston Tea” which was punch. However, it may simply be a portrait of a gifted silversmith showing off his great skill.

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A contemporary of Benjamin West’s, Copley was a renowned New England artist who moved to London two years before the American Revolution. In this work, Dr. Watson commissioned Copley to portray his horrific encounter with a shark while swimming in Havana Harbor. Here the African man has the same exotic effect as the Indian in West’s painting. The shark is the embodiment of evil and the man with the spear plays an “angelic” like role rescuing Watson from the shark. It is the kind of moral allegory that would be exemplary of Neoclassicism.

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Kauffmann was a Swiss-born, founding member of the Royal Academy in London. This work shows an allegorical friendship between two women – a theme that would last through the Romantic period. The painting showcases the legend of Cornelia from the 2nd century BCE. Cornelia was excellently educated, a master of rhetoric, and corresponded with philosophers, scientist, and other distinguished men. Through her sons she exerted political influence. She was a virtuous woman, a role model for generations of Roman women, but also for those of later centuries. Kauffman presents the women with stylized faces, simplified costumes and in the setting of austere architecture. Glowing colors and warm tonality show Kauffman’s achievements of the Venetian school. This was executed for George Bowles who owned 50 of Kauffman’s works. It received negative responses from English critics, but despite those criticisms, other royalty commissioned versions of it.

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Neo-Classical art : Born out of the thinking of the Enlightenment and its authors in England and in France: Hume, Voltaire, Rousseau, and others who proclaimed that all human affairs ought to be ruled by reason and the common good, rather than by tradition and established authority. This return to reason, nature and morality in art meant a return to the ancients. It is in the mid-18th century that artists revolted against the ornate and aristocratic Rococo. It is also important to note that antiquity was being rediscovered as archeologists had excavated Pompeii (which was buried by the eruptions of Mt. Vesuvius in 79 CE). The role Jacques Louis David played during the French Revolution (1789) and after: People broke with the divine right of kings and the sanction of an official church; the state was a completely human creation based on human perception, thus could be observed, measured, and changed Art as political propaganda: what it does is links the personality of the individual with the personality of some heroic figure who personalizes the state David created works before the revolution with classical themes that glowed with revolutionary fervor He hoped his paintings would influence people and make them more open to political change He was a member of the Jacobins, whose leader, Robespierre, initiated the infamous Reign of Terror in 1793 David initiated great national festivals whose aim was to give the people of France a new sense of mythic unity under the banner of human reason His work was reproduced in engravings as were other ideas that propagated in things like Images d’Epinal: comic strips of their day that brought official propaganda to the people The Oath of the Horatii depicts the heroism of three brothers who defied the restoration of a king in early Rome. It is prophetic in that the people of France would behead King Louis XVI to establish a new political order. This work is often thought of as the beginning of modern painting as it reacts against linear perspective and Renaissance ideals. David uses the elements of a sculptural relief. It is frieze-like in composition because he limits the space.

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This painting shows the Greek philosopher choosing death rather than accept the unjust verdict rendered by the Athenian political process. Again, it’s a link to the Revolution in that people were ready to die for their cause.

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This image is for SmartHistory HW #8.

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This home was designed in a Palladian style (characterized by symmetry and by the elaborated adaptation of classical architectural elements), but known as the Georgian style in the United States. Not only was Jefferson a founding father, a statesmen, an ambassador to Italy, and a president, but he also was an architect, much like the ancient Roman emperor, Hadrian (who designed the Pantheon). The house is made from brick and wooden trim (that’s what distinguishes it as Georgian style). Jefferson used the Roman Doric order of columns: very plain with no decoration at the top. There are 43 rooms in the structure, and it is 11,000 square feet. This country home is Jefferson’s essay on architecture. A dome room was added in 1800 and served as a bedroom for a married grandson, storeroom, and a playroom for grandchildren. 60% of the furnishings on display at Monticello are or may be items original to Jefferson.

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One of the oddest sculptures you’ll see of George Washington. The U.S. Congress commissioned Greenough to create a statue for display in the U.S. Capitol rotunda. Greenough decided to model his massive (30 tons) figure of “Enthroned Washington” on the great statue of Zeus Olympios which was one of the Seven Wonders of the Ancient World (and which was destroyed in late Antiquity). The seated and besandled Washington gazes sternly ahead. He is bare-chested and his right arm and hand gesture with upraised index finger toward heaven. His left palm and forearm cradle a sheathed sword, hilt forward, symbolizing Washington turning over power to the people at the conclusion of the American Revolutionary War. When the marble statue arrived in Washington, DC in 1841, however, it immediately generated controversy and criticism. Many found the sight of a half-naked Washington offensive, even comical. The statue was relocated to the east lawn of the Capitol in 1843. Disapproval continued and some joked that Washington was desperately reaching for his clothes, then on exhibit at the Patent Office several blocks to the north. In 1908, Washington was finally brought back indoors when Congress transferred it to the Smithsonian Institution. It remained at the Smithsonian Castle until 1964, when it was moved to the new Museum of History and Technology (now the National Museum of American History). The marble Washington has been exhibited on the second floor of that building since that time.

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Europe and America, 1700 to 1800: Rococo & Neoclassicism

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‹#› Figure 21-6 BALTHASAR NEUMANN, interior of the pilgrimage chapel of Vierzehnheiligen, near Staffelstein, Germany, 1743–1772.

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Figure 21-7 ANTOINE WATTEAU, Pilgrimage to Cythera, 1717–1719. Oil on canvas, approx. 4’ 3” x 6’ 4”. Louvre, Paris.

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Fête galante : French, “amorous festival”. A type of Rococo painting depicting the outdoor amusements of French upper-class society.

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Figure 21-8 FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on canvas, approx. 5’ 6” x 2’ 10”. The Wallace Collection, London.

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‹#› Figure 21-9 JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 11” x 2’ 8”. The Wallace Collection, London.

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‹#› Figure 21-10 CLODION, Nymph and Satyr Carousing, ca. 1780-90. Terracotta, approx. 1’ 11” high. Metropolitan Museum of Art, New York.

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Enlightenment : The Western philosophy based on empirical evidence that dominated the 18th century. The Enlightenment was a new way of thinking critically about the world and about humankind, independently of religion, myth, or tradition.

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2. Reason enables one to break free from primitive, dogmatic, and superstitious beliefs holding one in the bonds of irrationality and ignorance 3. In realizing the liberating potential of reason, one not only learns to think correctly, but to act correctly as well 4. Through philosophical and scientific progress, reason can lead humanity as a whole to a state of earthly perfection 5. Reason makes all humans equal and, therefore, deserving of equal liberty and treatment before the law 6. Beliefs of any sort should be accepted only on the basis of reason, and not on traditional or priestly authority 7. All human endeavors should seek to impart and develop knowledge, not feelings or character 1. Reason is the most significant and positive capacity of the human style.visibility style.visibility style.visibility style.visibility style.visibility style.visibility style.visibility

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Figure 21-12 JOSEPH WRIGHT OF DERBY, A Philosopher Giving a Lecture at the Orrery (in which a lamp is put in place of the sun), ca. 1763–1765. Oil on canvas, 4’ 10” x 6’ 8”. Derby Museums and Art Gallery, Derby, Derbyshire.

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Figure 21-13 ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England (first cast-iron bridge over the Severn River), 1776–1779. 100’ span.

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‹#› Figure 21-14 JEAN-BAPTISTE-SIMÉON CHARDIN, Saying Grace, 1740. Oil on canvas, 1’7” x 1’3”. Louvre, Paris.

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‹#› Figure 21-16 ÉLISABETH LOUISE VIGÉE-LEBRUN, Self-Portrait, 1790. Oil on canvas, 8’ 4” x 6’ 9”. Galleria degli Uffizi, Florence.

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‹#› ÉLISABETH LOUISE VIGÉE-LEBRUN, Portrait of Marie Antoinette with Her Children, 1787

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WILLIAM HOGARTH, The Marriage Settlement, from Marriage à la Mode, ca. 1745

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Figure 21-17 WILLIAM HOGARTH, Breakfast Scene, from Marriage à la Mode, ca. 1745. Oil on canvas, 2’4” x 3’. National Gallery, London.

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WILLIAM HOGARTH, Beer Street and Gin Lane, 1751

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‹#› THOMAS GAINSBOROUGH, Mrs. Siddons, 1785

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SIR JOSHUA REYNOLDS, Mrs. Sarah Siddons as the Tragic Muse, 1784

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Figure 21-21 BENJAMIN WEST, The Death of General Wolfe, 1771. Oil on canvas, approx. 5’ x 7’ National Gallery of Canada, Ottawa (gift of the Duke of Westminster, 1918).

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‹#› Figure 21-22 JOHN SINGLETON COPLEY, Portrait of Paul Revere, ca. 1768–1770. Oil on canvas, 2’ 11 1/8” x 2’ 4”. Museum of Fine Arts, Boston.

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JOHN SINGLETON COPLEY, Watson and the Shark, 1778

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Figure 21-1 ANGELICA KAUFFMANN, Cornelia Presenting Her Children as Her Treasures, or Mother of the Gracchi, ca. 1785. Oil on canvas, 3’ 4” x 4’ 2”. Virginia Museum of Fine Arts, Richmond.

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Figure 21-26 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 11’ x 14’. Louvre, Paris.

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JACQUES-LOUIS DAVID, Death of Socrates, 1787

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‹#› Figure 21-27 JACQUES-LOUIS DAVID, The Death of Marat, 1793. Oil on canvas, approx. 5’ 3” x 4’ 1”. Musées Royaux des Beaux-Arts de Belgique, Brussels.

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Figure 21-31 THOMAS JEFFERSON, Monticello, Charlottesville, United States, 1770–1806.

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Figure 21-34 HORATIO GREENOUGH, George Washington, 1840. Marble, 11’4” high. Smithsonian American Art Museum, Washington, D.C.

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