Toshiaki Iwakiri

Art 110
Dr.Karen
3/320/2021

Jacques-Louis David. The Oath of the Horatii. 1784.Page 361, Figure number 21.1
Define the subject matter.
One of the artists who led the way to revolutions in both art and politics was painter Jacques-Louis David.
Believing that the arts should serve a beneficial social purpose in a time of social and governmental
reform, he rejected what he saw as the frivolous immorality of the aristocratic Rococo style.

Identify the materials.

The women at the right of The Oath of the Horatii seem overcome by emotion, unable to participate in the
serious decisions required of men who would defend their home-land. This painting reflects the common
belief at that time that women were unfit for public life. Their exclusion from most professions was also
true of the art world, where women were banned from academy classes in which unclothed mod-els were
used.

Briefly describe the appearance of the work.

The Oath of the Horatii has the quality of Classical relief sculpture, with strong side light emphasizing
the figures in the foreground. Even the folds in the garments are more like carved marble than a soft cloth.
The background arcade gives strength to the design and provides a historically appropriate setting for the
Roman fig-ures.

How does the art reflect the category?

If a woman did succeed as an artist, it was because she either could afford private study or came from an
artistic family. In the works of the Neoclassicist Angelica Kauffmann, who overcame such obstacles, we
see a different vision of a woman’s abilities.

Francisco Goya. The Third of May, 1808. 1814. Page number 363, Figure number 21.4
Define the subject matter.
Goya’s painting deals with events that took place only six years before the artist took up the brush; a
preoccupation with current events (rather than a mythological past) is an important characteristic of the
Romantic movement. When the British Houses of Parliament burned in a disastrous fire one night in
1834, Joseph Mallord William Turner witnessed the event and made several sketches that soon became
paintings.

Identify the materials.

A structured pattern of light and dark areas organizes the scene, giving it impact and underscoring its
meaning. Mechanical uniformity marks the faceless firing squad, in contrast to the ragged group that is
the target. From the soldiers’ dark shapes, we are led by the light and the lines of the rifles to the central
figure in white. The focal point is this man, raising his arms in a gesture of helpless defiance. This work is
more than a mere reconstruction of history; it is a universal protest against the brutality of tyrannical
governments.
Briefly describe the appearance of the work.
Napoleon’s troops occupied Madrid in 1808; on May 2, a riot broke out against the French in the central
square. Officers fired from a nearby hill, and the cavalry was ordered to cut down the crowds. The
following night firing squads were set up to shoot anyone suspected of causing the disturbance.

How does the art reflect the category?

This work is more than a mere reconstruction of history; it is a universal protest against the brutality of
tyrannical governments.

Gustave Courbet. The Stone Breakers. 1849 (destroyed in 1945). Page 369, Figure number 21.11
Define the subject matter.
In the 1850s, French painter Gustave Courbet revived Realism with new vigor by employing a direct,
painterly technique for the portrayal of the dignity of ordinary things and common life. In doing so he laid
the foundation for a rediscovery of the extraordinary visual qualities of everyday experience

Identify the materials.

Courbet was one of the first to finish his paintings outdoors, working directly from nature. Previously,
most landscape paintings had been done in the artist’s studio from memory, sketches, and reference
materials such as rocks and plants brought in from outside. When portable tubes of oil paint became
available in 1841, oil paint-ing outdoors became practical.

Briefly describe the appearance of the work.

The Stone Breakers (fig. 21.11) shows Courbet’s rejection of Romantic and Neoclassical formulas. His
subject is neither historical nor allegorical, neither religious nor heroic. The men breaking stones are
ordinary road workers, presented almost life-size. Courbet did not idealize the work of breaking stones or
dramatize the struggle for existence; he simply said, “Look at this.”

How does the art reflect the category?

Courbet’s detractors were sure that he was causing artistic and moral decline by painting what they
considered unpleasant and trivial subjects on a grand scale. They accused him of raising “a cult of
ugliness” against cherished academic concepts of Beauty and the Ideal. He reportedly replied to his
critics, “Show me an angel, and I’ll paint one.”2 Conservative critics and most of the public saw Realism
as nothing less than the enemy of art, and many believed that photography was the source and the sponsor
of this disaster.

Claude Monet. La Gare Saint-Lazare (St. Lazare Station). 1877. Page number 375, Figure number 21.17
Define the subject matter.
Landscape and ordinary scenes painted outdoors in varied atmospheric conditions, seasons, and times of
day were among the main subjects of these artists. For example, in 1877 Claude Monet took his easel to
the St.-Lazare railroad station in Paris and painted a series of works in the train shed, among them La
Gare Saint-Lazare.
Identify the materials.
From direct observation and from studies in physics, the Impressionists learned that we see light as a
complex of reflections received by the eye and reassembled by the mind during the process of perception.
Therefore, they used small dabs of color that appear merely as separate strokes of paint when seen close
up, yet become lively depictions of subjects when seen at a distance. Monet often applied strokes of pure
color placed next to one another, rather than colors premixed or blended on the palette. The viewer
perceives a vibrancy that cannot be achieved with mixed color alone.

Briefly describe the appearance of the work.

Rather than focus on the human drama of arrival and departure, he was fascinated by the play of light
amid the steam of the locomotives and the clouds glimpsed through the glass roof above its cast-iron
support. He made a series of paintings there under the constantly shifting conditions, creating them almost
as quickly as traditional artists might make sketches.

How does the art reflect the category?

They saw the beauty of the world as a gift and the forces of nature as aids to human progress. Although
misunderstood by their public, the Impressionists made visible a widely held optimism about the promise
of the new technology.

Georges Seurat. A Sunday on La Grande Jatte. 1884–86. Page number 381, Figure number 21.25
Define the subject matter.
Formal Organization French artists Georges Seurat and Paul Cézanne were interested in developing
formal structure in their paintings. Each in his own way organized visual form to achieve structured
clarity of design, and their paintings influenced twentieth-century formalist styles

Identify the materials.

Through the application of tiny dots of color, Seurat achieved a vibrant surface based on an optical color
mixture. Seurat preceded A Sunday on La Grande Jatte with more than 50 drawn and painted preliminary
studies in which he explored the horizontal and vertical relationships, the char-acter of each shape, and the
patterns of light, shade, and color.

Briefly describe the appearance of the work.

Seurat’s large painting A Sunday on La Grande Jatte has the subject matter, light, and color qualities of
Impressionism, but this is not a painting of a fleeting moment; it is a carefully constructed composition of
lasting impact. Seurat set out to systematize the optical color mixing of Impressionism and to create a
more solid, formal organization with simplified shapes.

How does the art reflect the category?

Like Seurat, Cézanne sought to achieve strength in the formal structure of his paintings. “My aim,” he
said, “was to make Impressionism into something solid and enduring like the art of the museums.”6
Cézanne saw the planar surfaces of his subjects in terms of color modulation. Instead of using light and
shadow in a conventional way, he relied on carefully developed relationships between adjoining strokes of
color to show the solidity of form and receding space. He questioned, then abandoned, linear and
atmospheric perspective and went beyond the appearance of nature, to reconstruct it according to his own
interpretation.

Write your response to the photographs in the YouTube video "30 of the most powerful
images ever"
I was very impressed to see this video. Some of the photos in this video have been seen before.
But most haven't seen it. Among them, I will never forget the images of the Great East Japan
Earthquake that occurred in Japan. That image is very famous in Japan and many people know it.
Many people lost their families in an instant and their homes in an instant when the tsunami
struck Japan in an instant. Perhaps she is one of those who lost something. I was in sixth grade at
the time of the tsunami. When I was playing soccer outside, the alarm sounded and I remember
rushing home. When I got home and turned on the TV, I remember the town being destroyed by
the tsunami. It's been 10 years since then, but I still remember the scenery at that time.

Search YouTube for a video that shows photographs you think are compelling and include
the URL in your journal entry. Explain why you chose the video and what the images mean
to you
"Starving Child in Africa – Later photographer Kevin Carter committed suicide from guilt. Photo won
the pulitzer prize in 1993"
URL: https://www.youtube.com/watch?v=rz0LrZAoyhU
I was impressed by this photo. This is a picture of a vulture in the back aiming at a dying child in the
foreground. First of all, take a look at this kid. He is very thin. He isn't nutritious because he sees it,
and he's about to die right away. But this may be the reality of Africa. There are many people around
the world who can't eat the rice we take for granted. Examining this image, it seems that many
children die every day in this country. There are various reasons, but it seems that starvation is the
most common. And I think the child in this picture is probably before starvation. Some children are
crying and asking for help, but they are better off crying. The hungry child can't cry, he just dies. And
children on the verge of starvation do not have the power to eat rice even if they try to feed it, and
they just die. And finally, it may be used as food for hawks and animals. I was surprised at the reality
that this is happening all over the world.

Identify three examples from chapter 9 in the text and explain how they are similar to or
relate in some way to the photos in the video you have chosen. Include the title,
photographer, page number, and figure number of the photographs.

Jacob A. (Jacob Augustus) Riis (1849–1914) Five Cents a SpotPage number 150, Figure number
9.10
I thought that both the photo in this text and the photo in my example reflected a poor condition.

Margaret Bourke-White. African American Flood Victims Lined Up. 1937. Page number 151,
Figure number 9.11
one of the more famous images of the Depression in the United States. In addition to focusing on
social problems, photography has aided the efforts of environmentalists. I think the pictures of
hawks and children are also very good for complaining about world poverty.

Chris Steele-Perkins. Marshall Islands. 2004.　Page number 152, Figure number ９.13
Marshall Islands shows a makeshift sea wall created out of castoffs and junk, a desperate attempt
to hold back rising tides. Steele-Perkins is one of ten photographers who collaborated on the
book and exhibition NorthSouthEastWest: A 360° View of Climate Change, a worldwide
compendium of views of the problem.
The hawk’s picture also made me thinking about climate change. If we do not stop wisting foods,
climate change will not stop and really rude for the kids in Africa