CHAPTER 26—ROCOCO TO NEOCLASSICISM: THE 18TH CENTURY IN
EUROPE AND AMERICA
MULTIPLE CHOICE
1. What is the name of the specific style of Rococo painting that depicted the outdoor amusements and
entertainments of the upper classes?
a.
fête galante
b.
pays bonheur
c.
sans souci
d.
fête de jour
2. The Return from Cythera represents a group of lovers preparing to depart from the island of eternal
youth. Watteau emphasized that elegance and grace using which of the following?
a.
form
b.
shape
c.
line
d.
color
3. At the turn of the century, the French Academy was divided rather sharply between two doctrines.
Which taught that color was the most important element?
a.
Grand Manner
b.
Rubenistes
c.
Poussinistes
d.
Naturalists
4. Vigée-Lebrun portrayed herself as a self-confident painter looking directly at the viewer (and pausing
to return their gaze) this has been copied from an earlier artist. Which of the following is that artist?
a.
Artemisia Gentileschi
b.
Caravaggio
c.
Judith Leyster
d.
Vermeer
5. Which of the following works functions as an “altarpiece” for the new civic religion of inspiring the
viewer with the martyr’s dedication to service?
a.
Death of Marat
b.
Death of General Wolfe
c.
Cornelia, Presenting Her Children as Her Treasures or Mother of the Gracchi
d.
Oath of the Horatii
6. How did historical fact replace the fanciful notions of Rome and its ancient society?
a.
the monumental work of Edward Gibbon, Decline and Fall of the Roman Empire
b.
the work of Johann Winckelmann, History of Ancient Art
c.
the paintings of David
d.
the discovery and excavations of Herculaneum and Pompeii
7. Neoclassicism invoked classical references of patriotism and trust in unshakable authority serving
imperial agendas. Which of the following leaders embraced these aspects of Neoclassicism?
a.
Thomas Jefferson
b.
Napoleon
c.
George IV
d.
George Washington
8. Which of the following architects were the most influential in Thomas Jefferson’s re-design of
Monticello?
a.
Palladio and Robert Adam
b.
Soufflot and Vignon
c.
Palladio and Soufflot
d.
Vignon and Robert Adam
9. The Age of Enlightenment had its roots in which of the following centuries?
a.
early sixteenth century
b.
mid-sixteenth century
c.
seventeenth century
d.
eighteenth century
10. Which of the following eighteenth-century philosophers stressed the importance of the natural
goodness of human beings and was an important forerunner of the Romantic sensibility?
a.
Isaac Newton
b.
Voltaire
c.
John Locke
d.
Jean-Jacques Rousseau
11. The influences of Vitruvius, Palladio, and Inigo Jones are most apparent in which of the following?
a.
Houses of Parliament
b.
Monticello
c.
Chiswick House
d.
Panthéon
12. Who was the artist who portrayed contemporaries participating in the great events of the latter half of
the eighteenth century?
a.
Gainsborough
b.
Stubbs
c.
Wright of Derby
d.
Reynolds
13. A leading advocate of the Enlightenment in France was which of the following?
a.
Louis XVI
b.
Voltaire
c.
Isaac Newton
d.
John Lock
14. The artist whose work best spoke for the French Revolution was which of the following?
a.
Angelica Kauffmann
b.
Jacques-Louis David
c.
Honoré Fragonard
d.
Élizabeth Vigée-Lebrun
SLIDE IDENTIFICATION
Select the response that identifies or corresponds best to the image on the screen.
15. (Figure 26-28)
a.
Monticello
b.
Chiswick House
c.
Blenheim Palace
d.
Brighton
16. (Figure 26-1A)
a.
France
b.
England
c.
Italy
d.
Germany
17. (Figure 26-2)
a.
Latrobe
b.
Jefferson
c.
Vignon
d.
Boffrand
18. (Figure 26-18)
a.
Gainsborough
b.
David
c.
Vigée-Lebrun
d.
Greuze
19. (Figure 26-1)
a.
Gros
b.
Greuze
c.
David
d.
Wright of Derby
20. (Figure 26-13)
a.
Hogarth
b.
Chardin
c.
Greuze
d.
Reynolds
21. (Figure 26-29)
a.
the park at Stourhead
b.
Blenheim
c.
Rotunda and Lawn
d.
Doric portico
22. (Figure 26-23A)
a.
Parnassus
b.
Signboard of Gersaint
c.
Oath of the Horatii
d.
Pilgrimage to Cythera
23. (Figure 26-5B)
a.
Blenheim
b.
Kaiseraal
c.
Wieskirche
d.
Pantheon
24. (Figure 26-3A)
a.
Fischer Von Erlach
b.
Walpole
c.
Vanbrugh
d.
Neumann
25. (Figure 26-15A)
a.
Labille-Guiard
b.
David
c.
Boucher
d.
Vigée-Lebrun
SHORT ANSWER
1. What is “Grand manner Portraiture”?
2. How does Jean-Antoine Houdon’s George Washington make reference to the Roman Republic?
3. What type of subject matter did “veduta” painting portray?
4. How does Élisabeth Vigée-Lebrun represent eighteenth-century portraiture?
5. How did the work of Hogarth present a “moral tone”?
6. Who was Johann Winckelmann, and what was his importance in the history of art?
7. What was the political meaning attributed to David’s Oath of the Horatii?
ESSAY
1. Contrast the work of Vigée-Lebrun and Kaufmann. How does each artist reflect their environment and
how do they each define their work? Use examples to support your essay.
2. Evaluate the influence the discovery and excavation of Pompeii and Herculaneum had on late 18th
century and early 19th century Europe. How did these sites re-shape the visual arts? Use examples to
support your essay.
3. Select three works of art or architecture from the late eighteenth and early nineteenth centuries. Assess
these works as representational of the styles and periods from these centuries. How do they conform to
the philosophies and ideologies of their styles? How do they inform the viewer of the environment,
and how do they reflect the artist and the country of origin?
OTHER
SLIDE QUESTIONS
1. Compare the painting styles of Labille-Guiard and Vigée-Lebrun.
2. How did Balthasar Neumann create a new interior effect in a roughly traditional basilican plan church?
3. To which category of painting does this belong and why is it significant?
4. How does the subject of this work reflect the Enlightenment?
5. In what way do these works differ?
6. How do the moods expressed differ? Which do you feel is the most expressive?
7. How does this depict a successful “history” painting?