The document provides a weekly schedule and breakdown of art to be covered, including: - Monday: Dutch Masters from the 17th century and an introduction to French Baroque. - Tuesday: French Baroque artists de La Tour and Poussin. - Wednesday: Sites to visit in Paris, including the Royal Academy, Louvre, and Versailles. - Thursday: Introduction to the Rococo period and artists Watteau and Hogarth. - Friday: Italian Rococo.

1. • Monday: Hals, Rembrandt,
Vermeer
– 606-609
• Tuesday: Intro to French Baroque,
de La Tour and Poussin
– 614-619
• Wednesday: Royal Academy,
Louvre, Versailles, St. Paul
– 620-625
• Thursday: Intro to Rococo,
Watteau, Hogarth
– 627-632
• Friday: Italian Rococo
– 639-642
Weekly Breakdown

2. Warm-Up 3/1/12
• What type of art ranks
high according to the
French Academy? What
type of art ranks low?
• What is the purpose of
the academy? Describe
its purpose, its main
contributors, and 1
aspect of their
philosophy.

3. Snapshot Quiz: Baroque

4. Snapshot Quiz: Baroque

5. French
Baroque
The Age of Versailles
Introduction to Rococo

6. France: The Age of Versailles
• Henry IV (1553-1610)
– Huguenot fightin the wars of
religion
– Converts to catholicism and enacts
the Edict of Nantes (Religious
tolerance)
• Louis XIII (1601-1643)
– 8 when made king
– Mother was Marie de Medici
– Defeats the Hapsburg Empire and
foreshadows French Dominance
• Louis XIV (1638-1715)
– The “Sun King”
– Reigns for 73 years
– Franco-Dutch, War with Augsburg
and Spanish Succession

7. Georges de La Tour .
Joseph the Carpenter. ñ. 1645.
Oil on canvas, 130 x 100 cm.
Musee du Louvre, Paris

8. Louts Le Nain. Peasant Family, . 1640.
Oil on canvas, 113 x 158.7 cm.
Musee du Louvre, Paris

9. Nicolas Poussin
• 1594-1665 French Painter and of
“French Classical” style
– Does not have traditional
apprenticeship
– Travels to Rome and is influenced by
Bernini, Boromini, and Titian
– 2 early Papal commissions gains him
public noteriety
• Style:
– Veiled eroticism in classical
forms
– Emphasis on “disegno” over
“colore”
– Predecessor of the “art salon”
or Academia
• Lasting Influence:
– David, Cezzanne, Picasso
• “The purpose of art is
delectation”

10. Nicola Poussin. Cephalus and Aurora, ñ. 1630.
Oil on canvas, 96.7 x 129.7 cm.
The National Gallery, London.

11. The Rise of the Royal Academy
• Jean-Baptiste Colbert,
built the administrative
apparatus to support the
power Louis XIV
• Transition from
apprentice, to guilds, to
“academies”, to the
formalized institutions
• Grading and marks, as
well as hierarchy of
importance is standarized

12. Academy Procedures
• The French academy created a strict
format for instruction with Colbert at the
top.
– Art could be “taught” as a rational process
• However, the style produced in the
visual arts represented a compromise.
– Baroque art appealed to Louis XIV for its
richness and grand scale. But baroque art
had been developed Religion
– France wanted a more secular style
• Tempered with le bon gout (good taste)
• The dictatorship of Colbert and Lebrun
imposed this style all over France.
Among the many results of this
dictatorship was the fact that Paris
began to supersede Rome as the artistic
capital of Europe.

13. Nicola Poussin. The Rape of the Sabine
Women, ñ. 1636-37.
Oil on canvas. The Metropolitan Museum of
Art, New York

14. David, The Intervention of the Sabine Women, 1799

15. Warm-Up 3/2/12
• What is this man’s
occupation?
• Describe his features and
give him a serious internal
dialogue. What is he
thinking?
• Use a story format. (3rd
person, 5 senses/imagery)

16. Versailles
• Louis XIV proclaimed Versailles to be
the seat of the government on May
6, 1682.
• The court consisted of 20,000
persons that included 9,000 soldiers,
5,000 servants, 1,000 great lords and
members of the nobility, 1,000
lesser aristocrats
• The great lords and members of the
nobility were required to live at
Versailles--in the palace--so that the
king could keep track of them.
– They could beg permission to return to
their lands periodically in order to
regroup financially!

18. First stage of the enlargement of the
hunting lodge of Louis XIII (built in 1624)
into the Palace at Versailles under Louis
XIV (1668-9) by Louis LeVau; the black
portions of the plan represent this stage.

19. Court of Honor
Garden Façade
in the scheme of
1669 by Louis
LeVau

20. In 1678, Jules-Hardouin
Mansart filled in the center
section of west side to create
the Hall of Mirrors (Galerie
des Glaces) as part of a major
expansion of the palace.

21. The Mansart expansion
of Versailles brought
the total length of the
garden façade to about
one-third of a mile.
Main pavilion
with south
wing, viewed
from the south

22. The garden façade seen from the “Tapis vert” (green
carpet) of the Versailles Park

23. The palace situated
between the village of
Versailles and the park
with grand avenues
radiating from the
Court of Honor
The garden in detail reflects the
geometry of the plan at the
urban and regional scale.
The principal approach
connected with the Champs
Elysees in Paris.

24. Naval battles were
staged on the lagoon
to the west of the
sloping grass terrace
The fountains with the
main e-w axis in view.

25. The fountains from a bird’s eye view of Versailles Park

26. The Ambassadors’ Staircase

27. The queen’s apartments

29. The bedroom of Louis
XIV, site of the rituals
called “Le Grand Lever”
and “Le Grand Coucher.”

30. La Salon de Guerre (Salon of War) was
the prelude to the Hall of Mirrors. The
relief portrait by Coysevox is based on…

31. The Hall of Mirrors: the axis between war and
peace crosses the axis of absolute power.

46. Rococo Style (1717-23): Louis XV
• Begins during the reign of
Louis XV
– Father-in-law to Marie
Antoinette
– Defined by debauchery of his
court, terrible financial polices,
and the independence of New
France (7 years war) makes him
unpopular
– Focused only on his mistress
• French Revolution 15
years after his death
(1789-1799)

47. Rococo Style: Characteristics
• Architectural Decadence:
– Tightly bound and gilded
webbing/tracery
– Light and airy
– Pastel colors of clean opulence
• Narrative fantasy
– Portrayed negatively as
“escapism” due to obvious
historical instability
– However, aesthetically light-
hearted, and tender-minded
– Classical narratives with
bourgeois subjects.

48. Poussinistes vs. Rubenistes
• Even though Colbert and
the Royal Academy lost
most influence
(temporarily) an ongoing
legacy/debate remains:
• Rubenistes: Emphasized
Color at the detriment of
line/drawing
• Poussinistes: Vice Versa
• What does this mean
regarding the philosophy
of art? (audience)

49. Weekly Breakdown
• Mon: Pierot, Italian and English Rococo
(Timed Writing)
– Turn in Ch. 19-20 French Baroque and Rococo
– 672-680: Neoclassical Painting
• Tuesday: 681-689 (Skip Neoclassical Theater)
• Neoclassical Sculpture and Architecture
• Wednesday: 690-699
– Romanticism: Goya, Gros, Gericault, Delacroix
• Thursday: 700-711
– Daumier, Rousseau, Millet
– English Romanticism: Constable, Turner
• Friday: 716-721: US and Italian R.
• Saturday: 724-733: Neo-Gothic-Empire Style
• Sunday: 734-737: Intro to Photography

50. Warm-Up 2/4/13
• 2005
• Most cultures have made use
of art’s narrative function.
•
• Select and fully identify two
works of art that visually
convey a narrative. At least
one of your choices must be
from beyond the European
tradition. Identify the subject
of each narrative and discuss
the means used to convey the
narrative. (30 minutes)

51. Antoine Watteau
Pilgrimage to Cythera
Oil on canvas; 129 x 194 cm;
Charlottenburg Palace, Berlin
Fete
Galantes…

52. Antoine Watteau
Pierrot (also known as Gilles)
c. 1718-19; Oil on canvas; 184
x 149 cm; Musée du Louvre,
Paris

54. Francois Boucher
The Toilet of Venus, 1751
Oil on canvas

55. Balthazar Neumann. Kaisersaal Residenz, Wurzburg, Germany.
1719-44. Frescoes by Giovanni Battista Tiepolo, 1751-52

56. Hogarth, William. The Orgy. 1735
Oil on canvas, 62,5 x 75 cm
Sir John Soane's Museum, London

64. Timed Writing (30 min.)
• Based on the tension
between extravagance
and excess in the Rococo
period, would you
consider Rococo true
Art?
• Choose an artwork and
describe the influence of
its historical context.

65. Chapter Jigsaw
• 3 Characteristics of the
overall style of art in
your section
• 3 historical
characteristics of your
section
• 1 MARCS from your
section