- In a letter published in 1861, Gustave Courbet declared,
“[An artist must apply] his personal faculties to the ideas and events of the times in which he lives. . . . [A]rt in
painting should consist only in the representation of things visible and tangible to the artist. Every age should be
respected only by its own artists, that is to say, by the artists who have lived in it. I also maintain that painting is
an essentially concrete art form and can consist only of the representation of both real and existing things.”
Identify the nineteenth-century artistic movement associated with the above quotation. Select and fully identify
at least one work of art from that movement. Analyze how your example reflects Courbet’s approach to the
making of art. In your answer, make specific references to both the text and the selected work. (10 minutes)
Jackson Pollock, Autumn Rhythm (Number 30), 1950.
- Both the 1950 painting shown in the slide and the quotation below are by the same artist.
“My painting does not come from the easel. . . . I prefer to tack the unstretched canvas to the hard wall orthe floor. . . . On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I canwalk around it, work from the four sides and literally be in the painting. . . . When I am in my painting, I’mnot aware of what I’m doing. . . . I have no fears about making changes, destroying the image, etc., becausethe painting has a life of its own. I try to let it come through.”
Identify the artist. How does the painting reflect the artist’s description of his process? In your answer, make
specific references to both the quotation and the painting. (10 minutes)
- “It is scarcely possible, even with hard work, to imitate what Michelangelo accomplished. This ceiling is a true beacon of our art, and it has brought such enlightenment to painting that it illuminated a world which for hundreds of years had been in the state of darkness.”
--Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors and Architects (1550, 1568)
In the quotation above, Vasari articulates a concept of artistic progress with reference to Michelangelo.
During what art-historical period did Michelangelo paint the ceiling mentioned in the quotation? How did the ceiling exemplify Vasari’s claims about Michelangelo’s accomplishments (10 minutes)
- The slide shown is Delacroix’s The Barque of Dante and Virgil, exhibited at the Paris Salon of 1822. The following text is an excrpt from a contemporary review of the exhibition.
“No painting in my opinion better reveals the future of a great painter than that of Delacroix depicting ‘Barque of Dante and Virgil’….The Brush stroke is large and firm, the color simple and vigorous although a bit raw, The artist has…artistic imagination that one might call imaginativedraughtmanship….He dispers his figures, groups them, gathers them at will with the boldness of Michelangelo and the richness ofRubens. I find it savage strength, ardent but natural, which gives way without effort to its own momentum.”
With what art historical movement is the work of this artist commonly associated? Discuss ways in which the critic’s response to Delacroix’s picture relates to artistic concerns and trends of the period. Ve sure to refer to both the slide and text in your answer. (10 minutes)
- This excerpt comes from Charles Baudelaire’s “On the Heroism of Modern Life,” part of a critique of the Salon of 1846.
“[S]ince all centuries and peoples have their own form of beauty so inevitably we have ours…
“The pageant of fashionable life and thousands of floating existences—criminals and kept women—which drift about in the underworld of a great city…all prove that we have only to open our own eyes to recognize our heroism…The life of our city is rich in poetic and marvelous subjects…”
“The themes and resources of painting are…abundant and varied; but there is a new element—modern beauty.”
What new approach to the making of art does Baudelaire suggest to artists in the excerpt above? Your essay must identify and discuss how at least one work of mid- to late-nineteenth-century art reflects Baudelaire’s ideas. (10 minutes)
- The following statement, made by Mary Cassatt in 1904, refers to her 1879 collaborations with the artistic group with which she is most closely associated.
“Our…exhibition…was a protest against official exhibitions and not a grouping of artists with the same tendencies…”
To which group of artists does Cassatt’s remark pertain? Referring to the Cassatt work shown and a work by one other artist in this group, defend her claim that these artists did not have the same stylistic tendencies. (5 minutes)