Definitions:

History Painting- Painting in which the subject matter is taken from classical, mythological, or biblical history. From the
Renaissance to Neoclassicism this was regarded in academic circles as the highest form of painting, for the artist had to show all his
talents—not only the skill of eye and hand, but also his mastery of the often complex and erudite subject-matter.
Pointillism: Pointillism: a form of optical painting involving short lozenge-shaped dashes or dots of complementary colours,
intended to obtain the optimum degree of luminosity and brilliance
a technique of painting in which small, distinct dots of pure color are applied in patterns to form an image. developed the
technique in 1886, branching from Impressionism. The technique relies on the ability of the eye and mind of the viewer to
mix the color spots into a fuller range of tones. It is related to Divisionism, a more technical variant of the method.
Divisionism is concerned with color theory, whereas pointillism is more focused on the specific style of brushwork used to
apply the paint

Passage the breaking of the contours defining both the things depicted and the overall faceting so that surfaces appear to flow
together, blurring above all the distinctions between solid form and space, foreground and background. The emphasis later placed on
the planar depiction of space, mass and volume arose from its usefulness in asserting the flatness of the support. The painting is seen
both to capture the palpable three-dimensionality of the world revealed to the eyes and to draw attention to itself as a two-dimensional
thing

Multiple Perspectives creating the composition of a paining based on many different angles, or points of reference

Liberation of Color color is not mimetic (does not copy nature).

The GazeKnown as the new modern gaze, it is both intimate and distant. The new modernized Paris with wide boulevards, café’s,
and a new opera house creates new opportunities for the act of seeing and being seen.
Plein-Air This is the practice of painting outdoors. Its popularity corresponds to the growing interest in the observation of natural
phenomena. Portable paint boxes and easels were developed to respond to the needs of outdoor painters

Oriental the term was long employed in the Western world to describe the east. Europeans responding to Orientalism invested the
Middle East with several false stereotypes. It was seen as a sensual paradise, full of mysterious, enticing pleasures but also primitive
and ripe for colonization by the superior Western nations.

Linearity objects and figures have crisply drawn contours

Planarity - objects and figures are parallel to the picture plane

Paintings

David, Oath of Horatii, 1784 85, as a proclamation of the new neoclassical style in which dramatic lighting, ideal forms,
and gestural clarity are emphasized. Presenting a lofty moralistic (and by implication patriotic) theme.
He used lighting to ensinuate the manly effect and the woman use the dramaric white light to emphasis their femininity.
Francisco Goya. The Third of May, 1808. 1814- is a painting completed in 1814 by the Spanish

painter Francisco Goya, now in the Museo del Prado, Madrid. In the work, Goya sought to commemorate Spanish

resistance to Napoleon's armies during the occupation of 1808. it was commissioned by the provisional government of

Spain at Goya's suggestion.

The painting's content, presentation, and emotional force secure its status as a groundbreaking, archetypal image of the

horrors of war. Although it draws on many sources from both high and popular art, The Third of May 1808 marks a clear

break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct

precedent, and is acknowledged as one of the first paintings of the modern era.[4] According to the art historian Kenneth

Clark, The Third of May 1808 is "the first great picture which can be called revolutionary in every sense of the word, in

style, in subject, and in intention".[5]The Third of May 1808 has inspired a number of other major paintings, including a

series by Édouard Manet, and Pablo Picasso's Massacre in Korea as well as his masterpiece Guernica.
 Jean-Auguste-Dominique Ingres. Grand Odalisque. 1814 The subject's elongated proportions,
reminiscent of 16th-centuryMannerist painters, reflect Ingres's search for the pure form of his model…..is
an oil painting of 1814 by Jean Auguste Dominique Ingres depicting an odalisque, or concubine. Ingres'
contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward
exotic Romanticism. Grande Odalisque attracted wide criticism when it was first shown. It has been
especially noted for the elongated proportions and lack of anatomical realism. The work is housed in
the Louvre inParis.

He portrays a concubine in languid pose as seen from behind with distorted proportions. The small head,
elongated limbs, and cool color scheme all reveal influences from Mannerists such as Parmigianino,
[2]
whose Madonna with the Long Neck was also famous for anatomical distortion.1819, one critic remarked
that the work had "neither bones nor muscle, neither blood, nor life, nor relief, indeed nothing that
constitutes imitation".[3] This echoed the general view that Ingres had disregarded anatomical realism.
[4]
Ingres instead favored long lines to convey curvature and sensuality, as well as abundant, even light to
tone down the volume.[4]Ingres continued to be criticized for his work until the mid-1820s.[2]
Édouard Manet. Luncheon on the Grass (Le Déjeuner sur l’Herbe). 1863 , its juxtaposition of a female
nude with fully dressed men sparked controversy, Manet shocked the French It is not a realist painting in the social or political sense
of Daumier, but it is a statement in favor of the artist's individual freedom. The shock value of a woman, naked as can be, casually
lunching with two fully dressed men, which was an affront to the propriety of the time, was accentuated by the familiarity of the
figures. She is a prostitute. Her body is starkly lit and she stares directly at the viewer. The roughly painted background lacks depth —
giving the viewer the impression that the scene is not taking place outdoors, but in a studio. This impression is reinforced by the use of
broad "photographic" light, which casts almost no shadows: in fact, the lighting of the scene is inconsistent and unnatural. The man on
the right wears a flat hat with a tassel, of a kind normally worn indoors.

Renoir, Moulin de la Galette, 1876 (this is not in your book, i will send separate attachment in another
email)
Georges Seurat. A Sunday Afternoon on the Island of La Grande Jatte. 1884 1886 is a Pointillism the
technique of using dots of pure color in such a way that, seen at the appropriate distance, they achieve maximum luminosity.
Divisionism is a broader term meaning that it is possible to obtain brighter hues of color such as green, orange and purple, by a series
of dots (or blobs) of both primary colors so that they are optically intermingled in the spectator’s eye (rather than being pre-mixed)..
concentrating on the landscape of the park before focusing on the people; always their shapes, never their personalities.
Even if the people in the park are pairs or groups, they still seem alone in their concision of form - alone but not lonely. No
figure encroaches on another's space: all coexist in peace. The skirt of the woman in the center with a parasol is painted in an
orange-pink hue. It casts a blue shadow. Her red jacket is seen against bright green grass. The orange dress of the young girl running
(to the right) has a blue-tinted shadow. The skirt of the woman with a parasol walking beside a man is predominantly purple — so it
seems — but is made up of a myriad of hues. Notice the lighter yellowish “halo” separating the skirt from the foreground grass,
particularly just behind her skirt. At the same time, Seurat defines form by brushstrokes: close, parallel strokes define the contour of
the woman’s bustle. He continuously experiments in his manner of applying paint; in the sunlit grass, for example, short, even strokes
are laid over one another. It is clear that Seurat never followed any of the popular theories rigidly. His paintings are also intended to
convey social commentary. The Grande Jatte makes use of symbols. A monkey in French (and female) is known as “singesse,”
denoting a prostitute.

Henri Matisse. Le Bonheur de Vivre (The Joy of Life). 1905–1906

Henri Matisse did several versions of his Joy of Life painting. In this version, the artist has used bold, flat,
contrasting colors to create a work with much impact. His simplified figures with strong outlines are all
finding their own peace in their own way, with some dancing, others relaxing, while the couple in the
lower right are embracing each other.

Pablo Picasso. Les Demoiselles d’Avignon (The Young Ladies of Avignon). 1907