Art Workbook

ART WORKBOOK PAGE 1 OF 119 DEMIDEC © 2009
Art Workbook
th
2008-2009: 18 -Century
th
and Early 19 -Century French Art
Table of Contents
Author’s Introduction .................................................................................... 3

I. The Rococo and Eighteenth-Century Naturalism ........................................ 4
II. The Emergence of the Classical Ideal........................................................ 23
III. Romanticism.......................................................................................... 39
IV. Approaches to Portraiture (18th and Early 19th Centuries)........................ 55
V. IRT: The Impact of Classical Art............................................................. 69
VI. Comprehensive Exercises........................................................................ 76
About the Author......................................................................................... 96
About the Editor.......................................................................................... 96
About the Beta Testers ................................................................................. 97
Answer Key.................................................................................................. 99
Amanda Hockensmith
Williams College ‘97
edited by
Chris Yetman
Carleton College, B.A ‘86
University of Arizona, lots of coursework ’88, ‘95
DemiDec and The World Scholar’s Cup are registered trademarks of the DemiDec Corporation.
Academic Decathlon and USAD are registered trademarks of the United States Academic Decathlon Association. DemiDec is not
affiliated with the United States Academic Decathlon.
Author’s Introduction
Bonjour, Decathletes!
For some of you, the art portion of the competition might seem
particularly daunting. Don’t be deterred. To master the art section,
you will need two things: (1) an understanding of how the formal
tools of art (e.g. line, color, and composition) create meaning and (2)
knowledge of the historical context of art production in eighteenth
and nineteenth century France.
Eighteenth and nineteenth century France was a time of great social and political change. It saw the rise
and fall (and rise again) of kings, emperors, and great statesmen. French art kept pace with these changes
as the intellectual and artistic milieu of Paris embraced the ideas of the Enlightenment and then the
Romantic Movement. In reading through the art curriculum, you will see how French political regimes
employed art to solidify their power. Commissioned portraits, sculptures, and history paintings depicted
the regime in power in a positive light, despite its moral failures or military losses.
Completing this workbook will help you organize the event in a more sensible way than just streams of
words and ideas. It was designed with the intent of helping you create your own study guide, with easy
reference charts of dates, historical figures, and comparisons of the major stylistic movements: rococo,
naturalism, neoclassicism, romanticism.
Special thanks go to all of the beta testers who diligently and conscientiously pointed out typos, missing
information, and bad jokes.
Good luck at competition,
Mandy
TH
I. The Rococo & 18 -
Century Naturalism
This section covers pages 4-19 in the official curriculum
guide. It discusses the competing styles of rococo and naturalism
in the art of eighteenth-century France.
1.01 MATCHING (pp. 4-6)

Best Supporting Actor. Each of the following men contributed impressively to eighteenth century French
artistic and intellectual culture during the reigns of Louis XIV and Louis XV. Match the letter of the personage
on the left with the correct identification on the right. Some letters may be used more than once.
a. Charles Le Brun _____ 1. Louis XIV’s advisor

b. Jean-Baptiste Colbert _____ 2. three men responsible for the renovation of Versailles
c. Hyacinthe Rigaud1 under Louis XIV
d. Denis Diderot _____ 3. author of the satirical text Candide, and, with Diderot,
e. Louis Le Vau proponent of Enlightenment thought
f. André Le Nôtre _____ 4. painter of iconic royal portrait of Louis XIV in 1701
g. Voltaire
_____ 5. philosophe and art critic who advocated for the advance
h. Thomas Jefferson of reason and empirically derived knowledge
i. François-Marie Arouet
_____ 6. Voltaire’s given name
_____ 7. American adherent to Enlightenment ideals
_____ 8. founder of the Royal Academy of Painting and
Sculpture
1
Poor Hyacinthe! I wonder if he got teased as much a kid named Hyacinthe would today. – Mandy
1.02 DATING (pp. 4-6)

Going steady yet? The table below lists important events related to the history of the Palace of Versailles
during the reigns of Louis XIV and Louis XV. Fill in the date for each event.
Date Event
1. original construction of the Château de Versailles as a hunting lodge
2. beginning of the reign of Louis XIV
3. re-location of the royal court from Paris to Versailles in order to centralize the power
of the King
4. death of Louis XIV
5. return of the court to Paris under Louis XV
6. Pierre-Denis Martin’s painting showing the Palace of Versailles at the end of Louis
XIV’s fourth building campaign
1.03 DEFINITIONS (pp. 4-6)

Rococo My World. Define each tem related to French eighteenth-century culture as fully as possible.
“bourgeois bohemian:” describing an extravagantly priced necessity, indulged in

Example: bobo
by neo-yuppies2
baroque 1.
rococo 2.
salons 3.
ancien régime 4.
philosophe 5.
2
As in, “Wow, those linen tablecloths handmade by peasants in Eastern Europe are so bobo.” – Mandy
1.04 CAUSE AND EFFECT (pp. 4-6)

King me! Match each event in the left column with the correct consequence in the right column. Each letter
will be used only once.
1. Heavy taxation initiated by _____ a. …anti-monarchy sentiment among intellectuals who

Louis XV resulted in… challenged the reigning social order.
2. Members of the nobility were _____ b. …consolidate autocratic power.
required to be in residence at
the court of Versailles for part _____ c. …prevent the rise of regional factions.
of the year in order to… _____ d. …development of the rococo style, which was more
3. The shift of intellectual suited to intimate, private spaces.
culture to the Parisian _____ e. …resentment among the French people, especially the
townhouses of the nobility led lower classes and peasants.
to the…
_____ f. …his great-grandson King Louis XV to create a
4. The rise of Enlightenment
financially stable state.
philosophy and ideals
promoted…
5. The removal of the court to
Versailles under Louis XIV
was an attempt to…
6. King Louis XIV’s
accumulation of debt during
his reign made it nearly
impossible for…
1.05 TRUE OR FALSE (pp. 6-7)

On an Academic Power Trip. Some of the statements below are true. Others are false. If it’s false, make it
true and explain why the statement was wrong. An example has been provided.
T F Example: Artists submitting work to be accepted into the Academy had only 48
hours in which to complete their paintings.
as much time as they wanted [Watteau took five years.]
T F 1. With the support of Louis XIV, the Académie royale de peinture et sculpture (Royal
Academy of Painting and Sculpture) was founded in 1682.
T F 2. The Royal Academy of Painting and Sculpture was based on the Italian model of
the Accademia di San Luca (Academy of Saint Luke).3
T F 3. Women in the Academy were disadvantaged because they were considered

incapable of understanding ancient political history.
T F 4. Admission to the Academy required the support of the applicant’s mentor.
T F 5. Scholarships were awarded to students who lacked funds.
T F 6. The title “academician” was given to professors of painting and sculpture.
T F 7. The officiers occupied privileged administrative positions within the Academy.
T F 8. The most talented painters gained the most coveted positions of power.
T F 9. Upon acceptance, applicants were referred to as permis (permitted).
T F 10. The Academy was organized democratically.
3
Saint Luke is the patron saint of the arts because according to Christian legend, he was the first to paint Peter, Paul and
Mary. No, not the ‘seventies folk trio but the apostles Peter and Paul and the Virgin Mary. He reputedly painted the first
icon of the Virgin, a Black Madonna. – Mandy
1.06 CONNECT THE DOTS (p. 6)

Swimming in the genre pool. The diagram below asks you to connect each genre of painting (center) with its
correct description and example. An example has been provided.
Description Genre Example

Example: genre of
comedy that
resolves narrative David’s The Death of Socrates, 17874
portraiture
conflict by the end
of each episode
1. small, intimate Boucher’s Portrait of Madame

paintings of objects genre painting Pompadour, ca. 1750
2. scenes from
ancient Greek and
Roman myths, sit-com
Biblical narratives, Chardin’s Soap Bubbles, ca. 1734
or momentous
contemporary
events
3. paintings of the still life Claude Lorrain’s View of La

countryside Crescenza, 1648-505
4. scenes of
landscape “30 Rock”
everyday life
5. representations
of significant history painting Chardin’s Still Life with Fish, 17696
persons
4
http://en.wikipedia.org/wiki/Death_of_Socrates.
5
http://www.metmuseum.org/toah/hd/lafr/ho_1978.205.htm.
6
http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=220364.
1.07 FILL IN THE BLANK (p. 7)

Art School 101. The word bank below provides key terms relating to the teaching methods and artistic
techniques in use at the Royal Academy of Painting and Sculpture. Fill in the sentences with the word that
best fits each blank. Each word will be used once.
WORD BANK
bronze history painting Greek and Roman sculpture oil painting
prints nude figure drawing coloristic portraiture
apprenticeships linear marble Italian Renaissance
1. In ____________________________________ painting, form is created by the blending of colors.

2. The artists of the French Academy emulated _______________________________________art.
3. In the hierarchy of genres, _________________________________ was second.
4. A significant roadblock for women studying art at the Academy was their exclusion from the practice
of _____________________________________, which social mores deemed inappropriate.
5. After modeling a sculpture in plaster, an artist would often cast the final artwork in
________________________________ or carve it from
_______________________________________.
6. By drawing from copies of ____________________________________________, students at the

Academy learned how to represent the nude figure.
7. The ___________________________________ style, emphasized at the Academy, creates form

and space by using line.
8. ___________________________________ and drawings were ranked last in the hierarchy of

media.
9. In addition to attending the Academy, students also trained

in___________________________________ with skilled artists.
10. Among two-dimensional media, ___________________________________ ranked highest.
11. In the hierarchy of genres, ___________________________________ occupied the top spot.

1.08 SHORT ANSWER (p. 7)

If only Acadec would give you these prizes. Provide a short answer to each of the following questions
regarding the prize awarded at the Academy’s juried exhibitions.7
1. What was the most coveted prize awarded to students at the Academy?
______________________________________________________________________________
2. What genre of painting were students required to submit for competition for the top prize?
______________________________________________________________________________
3. What opportunity did the winner receive?

______________________________________________________________________________
4. What status did the winner of the top prize attain?

______________________________________________________________________________
5. What was the name of the school in Italy where winners studied?
______________________________________________________________________________
6. Where was the school located?

______________________________________________________________________________
7. Who founded the school and in what year was it established?

______________________________________________________________________________
8. For which King did the founder of the school serve as advisor?
______________________________________________________________________________
9. What was the term for artwork students were required to submit to gain full Academy membership?
______________________________________________________________________________
7
In a juried exhibition, each artwork has to be accepted for exhibition, and the judges award prizes. It was to an unjuried
exhibition that Marcel Duchamp submitted his famous urinal in 1917. Because the exhibition was not juried, the organizers
could not refuse to exhibit his work. Scandal and outrage ensued. – Mandy
1.09 RANKING (pp. 7-9)

Stats. Each question below contains a set of terms that can be ranked from greatest to least. Check out the
example provided, and complete the questions below.
Example: Who does the best impersonation of a political candidate?

2 Amy Poehler as Hillary Clinton
1 Tina Fey as Sarah Palin
3 Will Ferrell as George Bush
1. Who were the most important patrons of the eighteenth century?

_____ merchants, bankers, artisans
_____ Catholic Church
_____ French monarchy
_____ aristocracy
2. Which kind of painting sold for the most money?

_____ portraiture
_____ history painting
_____ genre scenes, still lifes, landscapes
3. Where was the best place a painting could be hung at the Academy’s Salon?
_____ centered on the wall
_____ close to the ceiling or the floor
1.10 EITHER OR (pp. 8-9)

Critic’s Pick. Circle the choice that best completes the sentence. An example is provided.
Example: (Simon Cowell, Paula Abdul) designs good luck jewelry for contestants on American Idol.
1. (FRANÇOIS BOUCHER, JEAN-BAPTISTE SIMEÓN CHARDIN) was the patron Madame de
Pompadour’s most favored artist.
2. Madame de Pompadour’s real name was (JEANNE-MARIE D’ANGERS, JEANNE-
ANTOINETTE POISSON).
3. Madame de Pompadour was a celebrated hostess of salons in her home, and was also the mistress
and close confidant of (LOUIS XV, DIDEROT).
4. The Salons organized by the Academy served a function similar to today’s (MUSEUMS,
COMMERCIAL ART GALLERIES).
5. The Academy’s Salons were held (AT VERSAILLES, IN THE LOUVRE).
6. Art criticism in the 18th century was published primarily for the (MIDDLE, UPPER) classes.
7. “Reflections on the Current State of Painting in France” was the title of La Font de Saint-Yenne’s
review of the (SALON OF 1748, SALON OF 1746).
8. In addition to patronizing the arts, Madame de Pompadour also supported the critic (DENIS
DIDEROT, LA FONT DE SAINT-YENNE).
9. Diderot criticized the work of (FRANÇOIS BOUCHER, JEAN-BAPTISTE SIMEÓN

CHARDIN) for its frivolity and sensuality.
10. Diderot and La Font criticized the (BLASPHEMOUS, DECORATIVE) tendencies of rococo art.
11. Diderot was particularly critical of the work of (JEAN-BAPTISTE GREUZE, FRANÇOIS
BOUCHER) for its artistic and moral superficiality.
12. Diderot was particularly fond of the work of (JEAN-BAPTISTE GREUZE, FRANÇOIS
BOUCHER) for its moral didacticism.
13. Diderot favored the work of Chardin for its (TRUTHFUL REPRESENTATION OF LIFE,
CHARMING SUBJECT MATTER).
14. Diderot’s central contribution to Enlightenment philosophy was the (ENCYCLOPÉDIE,
TRACTATUS LOGICO-PHILOSOPHICUS).
1.11 COMPARISON (pp. 8-11)

Kayak.com. Determine whether each statement below describes rococo or naturalism.
R N Example: Reaction against this style implied a call for change in the social order.
R N 1. Its name was derived from the French word rocaille, used to describe a decorative
technique of garden and grotto design.
R N 2. It was the predominant artistic style from 1715-1800.
R N 3. It took inspiration from seventeenth-century Dutch and Flemish genre paintings.
R N 4. Its genre scenes were meant to inspire pious and moral behavior in its viewers.
R N 5. François Boucher and Jean-Honoré Fragonard inherited this style.
R N 6. It was strongly associated with the ancien régime, and in the context of
Enlightenment thought, it became politicized.
R N 7. Diderot advocated the modest representation and moral honesty of this style.
R N 8. It depicted the fantasy lives of the elite strata of French society.
R N 9. It can be described as coloristic, with pale, frothy colors and delicate brushwork.
R N 10. It favored delicate coloring, romantic scenery, and suggestive subject matter.
R N 11. The Flemish painter Peter Paul Rubens was an important model for painters
working in this style.
R N 12. In this style, romantic scenes replaced representations of ancient battles.
R N 13. It depicted the daily lives of the middle class and peasants.
R N 14. It descended from the Baroque, adopting its theatricality and ornate decoration.
1.12 FILL IN THE BOX (pp. 10-11)

If not, Jack will fill it for you. Use the words in the word bank provided to fill in the chart below. Not all
words will be used, but some words will be used more than once.
WORD BANK
Claude Audran tuberculosis Dutch genre scenes subject
Pilgrimage to the Island French Academy in
Jacques-Albert Gérin Prix de Rome
of Cythera Rome
landscape Valenciennes morceau de réception mythical fantasy
Claude Gillot Venus Mezzetin fête galante
1. In 1684, Watteau was born here.
2. Watteau’s first apprenticeship was with this painter.

3. In 1702, after moving to Paris, Watteau earned a living copying this kind of
painting.
4. From 1703 to 1704, he was Watteau’s teacher.
5. From 1708 to 1709, Watteau studied with this ornamental painter.
6. In 1709, Watteau won second place in this competition.
7. Watteau was not given the opportunity to study here, the rightful reward
of first and second place winners.
8. In 1712, Watteau was invited to submit this for entrance into the Academy
as a history painter.
9. In 1717, Watteau submitted this painting as his morceau de réception.
10. With his morceau de réception submission, Watteau invented this new
genre.
11. Pilgrimage to the Island of Cythera depicts aristocratic couples paying
homage to this Roman goddess.
12. This genre became emblematic of the rococo period and included, for
example, paintings of aristocrats picnicking in the park.
13. In 1721, Watteau left Paris, shortly after which he died of this disease.

Comedic License. Some of the statements below are true. Others are false. If it’s false, make it true and explain
why the statement was wrong. An example has been provided.
T F Example: Britney Spears psyches herself up for shows by getting into character as “Sasha
Fierce.”
Beyonce [totally rocks!]
T F 1. Comédie Italianne, known in Italy as Commedia dell’arte, relied on a stock set of
characters.
T F 2. Mezzetin, a popular Comédie Italianne character, was typically a pompous doctor.
T F 3. Commedia dell’arte theater developed in seventeenth-century Italy.
T F 4. Comédie Italianne performances followed highly scripted plotlines.
T F 5. Comédie Italianne performances took place in the private salons of rich Parisians.
T F 6. Louis XIV’s expulsion of Italian actors from France led to the brief decline of the
genre.
T F 7. The mood of Watteau’s painting, Mezzetin, is satirical.
T F 8. By placing Mezzetin in front of a fantasy landscape, Watteau downplays the

romantic and metaphorical meanings of the painting.
T F 9. The figure of Mezzetin is depicted with more detail and clarity than the landscape.
T F 10. The depiction of popular contemporary art forms, such as the theater, was
embraced by the French Academy.
T F 11. The association of Watteau’s subject matter with the French people, rather than
with the Church or the monarchy, was controversial.
T F 12. Comédie Italianne actors were skilled acrobats.


History painting is so over. Provide brief answers to the questions below.
1. Into what social class was Jean-Baptiste-Siméon Chardin born?
______________________________________________________________________________
______________________________________________________________________________
2. Who were Chardin’s first teachers?

______________________________________________________________________________
______________________________________________________________________________
3. What genre of painting did Chardin long to practice?

______________________________________________________________________________
______________________________________________________________________________
4. With what genre of painting did Chardin gain entrance to the Academy?
______________________________________________________________________________
______________________________________________________________________________
5. List two administrative positions held by Chardin in the French Academy.

______________________________________________________________________________
______________________________________________________________________________
6. Which two social groups were Chardin’s most important patrons?

______________________________________________________________________________
______________________________________________________________________________
7. How did Chardin distribute his work to a broad audience, including the lower middle class?8
______________________________________________________________________________
______________________________________________________________________________
8. Which two nineteenth-century French painters were influenced by Chardin?

______________________________________________________________________________
______________________________________________________________________________
8
The distribution of art to the lower classes made available by improvements in printing technologies was one of the
revolutionizing forces of the eighteenth century. – Mandy
1.15 EXCLUSIONS (p. 13)

Party Crashers ‘r’ Us. Each of the following descriptions of Chardin’s painting, Soap Bubbles, includes one
incongruous word. Identify the party crasher in each description by circling it.
Aspect Description
Subject 1. genre painting, landscape, still life
Style 2. naturalistic, simple, coloristic
Mood 3. fanciful, contemplative, somber
Color 4. muted, subtle, distracting
Symbolism 5. futility, transience, decadence, humility
Significance 6. social commentary, political statement, moral reflection
1.16 DATING (pp. 14-15)

Check out my fancy new vase.9 Fill in the dates in the chart below.
Date Event
1. Soft-paste porcelain production began in Rouen and Saint-Cloud.
2. Hard-paste porcelain production began at the Meissen factory.
3. A new factory was established at the chateau of Louis Henry in Chantilly.
4. The Vincennes porcelain factory began operation in the town of Vincennes.
5. The goldsmith Jean-Claude Duplessis became the head designer there.
6. Jean-Jacques Bachelier was appointed the director of the Vincennes factory.
7. The Vincennes Wine Cooler was manufactured in the rococo style.
8. Madame de Pompadour aided the relocation of the Vincennes factory to Sèvres, a
town near Versailles. There it became known as the Sèvres factory.
9. King Louis XV appropriated the factory and it became national property.
10. The discovery of a source of kaolin led to the production of hard-paste porcelain in
France.
11. The Vincennes Wine Cooler passed from the ownership of Louis XV into a private
collection.
12. The French Revolution took the Sèvres factory away from the monarchy.
13. Alexander Brongniart became director of the factory and succeeded in producing
porcelain items attractive to the rising middle class.
9
There are 3 flowers in a vase. The third flower is green. – Daniel
1.17 FILL IN THE BLANK (pp. 14-15)

Amy Wine Cooler? Below is a word bank and a series of statements about porcelain and the Vincennes wine
cooler. Fill in each blank with the appropriate word from the word bank. Not all words will be used.
WORD BANK
ceramic Louis XV grapes kaolin
hard-paste Vincennes bleu céleste Jean-Honoré Fragonard
Jean-Claude Duplessis “double-Louis” mark kiln soft-paste
gold flowers François Boucher Royal Crown
1. ______________________, a turquoise color, was first developed at the Vincennes factory in

1753.
2. The _________________________ indicates that the vase belonged to the collection of Louis XV.
3. Hard-paste porcelain is made from clay called ______________________________.
4. The Vincennes Wine Cooler was likely designed by ____________________________________.
5. In addition to being the prominent rococo painter of the Portrait of Madame de Pompadour,
______________________________ also designed porcelain.
6. Embellishments of ______________________ decorate(s) the handles and base of the wine cooler.
7. The _______________________________ decorating the Wine Cooler are rendered in soft pastel
shades of pink and violet.
8. Eighteenth-century porcelain produced at Vincennes was acquired by the

_______________________________or the aristocracy.
1.18 MATCHING (p. 16)

The ‘60s were so Greuze-y! (1760s, that is.) Match the letter of the word on the left with its description on
the right. Not all letters will be used.
a. Bible Lecture _____ 1. Greuze’s patron and traveling companion in Italy from
b. Diderot 1755-57
c. genre painting _____ 2. Greuze’s first teacher in Lyons
d. Septimius Severus Reproaching _____ 3. name of the painting that secured Greuze the title of
his Son Caracalla for Having agréé in 1755
Made an Attempt on his Life in
_____ 4. decade during which Greuze’s work was the most
the Defiles of Scotland
popular among audiences and critics
e. Louis Gougenot
_____ 5. kind of painting that earned Greuze admission into the
f. Charles Grandon
Academy
g. 1760s
_____ 6. critic who was most appreciative of Greuze’s work
h. La Font
during his lifetime
i. still life painting
_____ 7. title of the history painting Greuze submitted for
j. 1740s
membership into the Academy in 1769

In the moral majority. Greuze’s work has been referred to as “moralizing” and “theatrical.” each of the
following statements describes the moralizing aspect of his work, its theatricality, or neither. Decide which is
which and check the box corresponding to the correct choice. The first one has been done for you.
Moralizing Theatrical Neither

Example: The figures’ facial expressions and gestures are
X
dramatically exaggerated.
1. The viewer is asked to judge the actions of the young man.
2. Broken Eggs is executed in a linear style.
3. The painting depicts a moment of narrative climax.
4. The broken eggs on the floor refer to lost virginity.
5. The little boy looks directly out at the viewer.
6. The painting was reproduced as a print in 1759.
7. The old woman in the painting appeals to the young man

to admit his responsibility.
1.20 DATING (pp. 17-18)

The French call them bidets. The table below lists important events related to the life of François Boucher.
Fill in the dates for each event.
Date Event
1. began his apprenticeship with the history painter François Lemoyne
2. awarded the Prix de Rome
3. traveled to Italy to study at the French Academy in Rome
4. returned from Rome and was made agréé
5. became full member of the Academy and professor of history painting at the age of 31
6. painted the Toilet of Venus, using his patron Madame de Pompadour as a model10
7. became head of the Royal Tapestry Manufactory at Gobelins
8. appointed First Painter to the King
9. died in Paris at the age of 67

Frivolous, fo shizzle! Some of the statements below are true. Others are false. If it’s false, make it true and
explain why the statement was wrong.
T F 1. Boucher was a celebrated decorator as well as a painter.
T F 2. Many of Boucher’s paintings were known to the public through engraved

reproductions.
T F 3. Boucher’s work is categorized by art historians as “early rococo.”
T F 4. In his early career, Boucher produced print copies of paintings by Chardin.
10
Boucher didn’t paint the porcelain throne! “Toilet” actually refers to Venus adorning herself- putting on make-up,
perfume, jewelry etc. – Mandy
T F 5. Both Jean-Honoré Fragonard and Jacques-Louis David were students of Boucher’s.
T F 6. Boucher uses outlines to separate figures from the background.
T F 7. La Font was Boucher’s most severe critic in his lifetime.
T F 8. Boucher’s preparatory drawings for his paintings were highly valued by

contemporary collectors.
1.22 DEFINITIONS (pp. 17-18)

Myth Manners. Provide the term for each definition.
chick flick Example: a sappy movie appealing primarily to girls and women
1. “charming bucolic scene of rural life”
2. using gestures and dramatic facial expressions to convey narrative
3. central recurring theme of Boucher’s artwork
4. figures of infant boys, generally found in the painting and sculpture of

the Italian Renaissance
5. this predecessor of Boucher significantly influenced his pastoral scenes
6. kind of history painting depicting the love lives of the gods of antiquity
7. central figure in Boucher’s Shepherd’s Idyll
8. style of painting characterized by broad applications of paint in which

the brushstrokes are visible
9. social class for which Boucher’s fantasy idylls and pastoral scenes were
produced
10. pair of paintings on the same theme that are meant to be seen together
1.23 CONNECT THE DOTS (pp. 14, 17, 19)

Two’s Company. The paintings by Chardin, Greuze, and Boucher featured in the Art Resource Guide were
all originally painted as pendants. Draw lines (of different colors?) connecting each painting to its correct
pendant, and to the interpretation furthered by the pair of paintings. An example is given.
Featured Pendant
Artist Interpretation
Painting
Example: Shepherd’s
Andy Idyll, 1768 boy building a house of cards romanticization of rural labor
Warhol
Soap Bubbles,
Chardin 1734 Washerwoman loss of virtue
Jackie Marilyn Monroe

Greuze Kennedy transience of life
Broken Eggs,
1756 tragic life of celebrities exposed to
Boucher The Neapolitan Gesture
the public
1.24 MATCHING (pp. 11,13,16,17)

Teacher’s Pet. Each of the painters listed on the right was taught by less famous men who have for the most
part been lost to history. The number of teachers to match to each painter has been provided in parentheses.
a. Pierre-Jacques Cazes ______ 1. Watteau (3)
b. Jacques-Albert Gérin ______ 2. Chardin (2)
c. Charles Grandon ______ 3. Greuze (1)
d. Jean-François Cars ______ 4. Boucher (2)
e. Denis Diderot ______ 5. Fragonard (1)
f. François Boucher ______ 6. David (1)
g. Claude Gillot
h. Noel-Nicolas Coypel
i. François Lemoyne
j. Claude Audran
1.25 FILL IN THE BLANK (pp. 9, 17, 19)

Ro-coco Chanel. Below is a series of statements about the rococo and the neoclassical styles. Fill in each blank
with the appropriate word from the word bank. Not all words will be used.
WORD BANK
Chardin feminine Greuze baroque
debauchery decadent theatrical gender
rococo neoclassical didactic Renaissance
linear Boucher Watteau romanticism
1. The work of Watteau and _____________________________ represents the sensual, frivolous,

and decorative style of the rococo period.
2. The ________________________________ aspects of rococo painting were inspired by the

dramatic art of the ________________________________ period.
3. Rococo painting was seen as a sign of the moral _____________________ of the ancien régime.
4. The style of rococo artists was denigrated as __________________ and __________________.
5. _______________________________ is often regarded by art historians as a transitional figure

between the rococo and _______________________________ periods.
6. Both contemporary critics and art historians characterized the rococo and the neoclassical periods in
________________ terms, with the ________________ style of the neoclassical seen as masculine.
II. The Emergence of

the Classical Ideal
This section covers pages 20 – 30 in the official urriculum
guide. It discusses the popularity and influence of ancient
Greece and Rome on eighteenth-century art and intellectual
culture.
2.01 LISTING (p. 20)

Recipe for Revolution. List five general factors that contributed to the events leading up to the French
Revolution.
1. ___________________________________________________________________________
2. ___________________________________________________________________________
3. ___________________________________________________________________________
4. ___________________________________________________________________________
5. ___________________________________________________________________________
2.02 CHARTING (pp. 20-21)

Ready, Set, Revolt! (But not against your AcaDec coach) The history of the French Revolution is
complicated, but the official curriculum guide has distilled it to key dates and events. Below, break it down
even further by filling in the blanks in the chart provided.
Date Event
1. Louis XV died of smallpox, leaving his grandson, Louis XVI, to occupy the
throne.
1789 2.
3. Louis XVI called a meeting of the Estates General to build a consensus to

support his recent policies.
May 5, 1789 4.
5. At an indoor tennis court, the National Assembly agreed to remain united in

the effort to write a new constitution. The swearing of the pact, known as
the Tennis Court Oath, was illustrated in a sketch by the neoclassical
painter Jacques-Louis David.
August 4, 1789 6.
August 27, 1789 7.
8. The National Convention met and abolished the monarchy, creating the
First Republic.
January 1793 9.
10. King Louis XVI’s wife, Marie Antoinette, was executed.
1793-94 11.
1795-99 12.
13. Napoleon Bonaparte established a new government called the Consulate and
appointed himself First Consul.
1802 14.
1804 15.
16. Napoleon was deposed and exiled.
17. The brief return of Napoleon to rule during this year is known as the “One
Hundred Days.”

Anti-establishmentarianism? Some of the statements below are true. Others are false. If it’s false, make it true
and explain why the statement was wrong.
T F 1. The abolishment of the Royal Academy of Painting and Sculpture in 1793 led to
the creation of a non-hierarchical, democratic school of the arts.
T F 2. Prior to the Revolution, King Louis XVI’s Director of the King’s Buildings, Comte
d’Angiviller, commissioned many portraits of the King and paintings of ancient and
modern history.
T F 3. The Revolution led to the development of new exhibiting and marketing strategies
for art.
T F 4. In 1799 Jacques-Louis David privately exhibited The Oath of the Horatii to the
public for a fee.
T F 5. Art in the years following the Revolution glorified the political and military heroes
of the Revolution.
T F 6. In order to consolidate his power, Napoleon identified himself through art with the
leaders of ancient Greece.
T F 7. The re-emergence of the elite after the Revolution led to an increased demand for
landscapes, genre paintings, and portraits.
T F 8. Interior design in the years after the Revolution gradually transitioned from the
rococo style to the neoclassical.

The Emperor’s New Clothes. As he came to power in the early nineteenth century, Napoleon took advantage
of the neoclassical style to assert his comparability to the rulers of ancient Rome. Fill in each blank with the
appropriate word from the word bank. Not all words will be used.
WORD BANK
architecture Enlightenment Greek Jacques-Louis David
Johann Joachim
Denis Diderot ideal neoclassical
Winckelmann
Jean-Jacques
Roman decorative arts baroque period
Rousseau
Italian Renaissance nature masculine Empire Style
1. The use of the term _________________________________ to describe the style of early late
eighteenth and early nineteenth-century art was coined in the late nineteenth century.
2. The neoclassical style became popular not only in the fine arts of painting and sculpture, but also in
________________________________, ________________________________, and fashion.
3. ______________________________’s 1755 text, Reflections on the Imitation of Greek Works in

Painting and Sculpture, was an important theoretical statement defending the neoclassical style.
4. In their imitation of ancient works of art, eighteenth-century artists followed the impressive
precedent of the ____________________________________.
5. The ______________________________ human form represented in ancient works of art

appealed to Winckelmann for its superiority to _______________________________.
6. Napoleon consciously compared himself to ancient _______________________________ rulers to

justify his autocratic rule.
7. _______________________________philosophers looked to ancient Roman art and political

history to provide models for the contemporary citizen of a republican state.
8. _______________________________’s large-scale history painting, The Intervention of the Sabine

Women, depicts a scene from ancient Roman political history.
9. The decorative __________________________ combined elements of Greek and Roman art with
an Egyptian influence acquired as a result of Napoleon’s military campaigns into Northern Africa.

Let’s Go Europe. Match each word with its correct description. Answers that require multiple letters are
indicated. Not all letters will be used.
a. frescos _____ 1. Three Italian cities that were necessary stops on the
b. Pompeii Grand Tour
c. Herculaneum _____ 2. Two cities buried by volcanic ash in 79 A.D.
d. Roman Empire _____ 3. Discovery of these revolutionized historians’
e. sketches and drawings understanding of Roman painting
f. Grand Tour _____ 4. Educational trip through southern Europe that was an
g. photographs indispensable part of a young man’s education in the
h. sculpture early nineteenth century
i. Rome _____ 5. Cities discovered in archeological excavations beginning
j. Florence in the mid-eighteenth century were part of this political
entity
k. Naples
_____ 6. Prior to excavation of Pompeii and Herculaneum,
knowledge of Roman art was limited to this medium
_____ 7. Images of excavated ruins were distributed throughout
Europe by means of this medium
2.06 EITHER OR (pp. 23-24)

Recovering Her-story. Circle the choice that best completes the sentence. An example is provided.
Example: (OPRAH WINFREY, MARTHA STEWART) was once a model in New York.
1. The eighteenth-century painter Angelica Kauffman was born in (ENGLAND, SWITZERLAND).
2. In 1768 Kaufmann became a member of the (ENGLISH ROYAL ACADEMY OF ARTS,
FRENCH ROYAL ACADEMY OF PAINTING AND SCULPTURE).
3. Kaufmann’s membership into the Academy was facilitated through her friendship with (MADAME
DE POMPADOUR, SIR JOSHUA REYNOLDS).
4. Like ambitious male artists of her generation, Kaufmann painted scenes of (EVERYDAY LIFE,
ANCIENT ROMAN HISTORY).
5. The groundbreaking 1971 article “Why Have There Been No Great Women Artists?” was written
by the art historian (LINDA NOCHLIN, SIMON SCHAMA).11
6. Kaufmann’s most famous painting is entitled Cornelia, Mother of the Gracchi, Pointing to her Children
as her Treasures and was painted in (1785, 1791).
7. Restriction from (TRAVELING, NUDE FIGURE DRAWING) severely hampered a woman’s
ability to develop her skills as an artist.
8. Kaufmann’s use of (LINEAR STYLE, “FEMININE” DECORATION) in her paintings identifies
her as a neoclassical painter.
9. In her most well-known history painting, Kaufmann illustrated a Roman narrative thematizing
(POLITICAL DIPLOMACY, FEMININE VIRTUE).
2.07 DEFINITIONS (p. 25)

It’s ancient history. Fill in the blanks in the chart below to complete the definitions of these terms related to
the 18th and 19th century understanding of classicism in the context of modern Rome.
“Modern Rome” as
understood by the late
1.
18th and early 19th
century
vedute 2.
composite image (used

by Panini to capture
3.
the glories of ancient
Rome)
11
Why do we say “woman artist”? Imagine saying, “man doctor,” “man senator,” or “man professor.” – Mandy
a pair of paintings, eg.

Panini’s Ancient Rome 4.
and Modern Rome
monumental 5.
illusionistic 6.

The Earl of Sandwich meets Mr. Panini. Provide brief answers to the following questions about Giovanni
Paolo Panini.
1. At which two art schools did Panini teach?
______________________________________________________________________________
______________________________________________________________________________
2. What two painting techniques did Panini use in his illusionistic paintings of Rome in ruins?
______________________________________________________________________________
______________________________________________________________________________
3. What were three of the most popularly visited monuments on the Grand Tour?
______________________________________________________________________________
______________________________________________________________________________
4. What famous Roman monument did Panini depict thronged with contemporary admirers?
______________________________________________________________________________
______________________________________________________________________________
5. For whom did Panini paint Modern Rome and Ancient Rome?
______________________________________________________________________________
______________________________________________________________________________
6. What is the setting depicted in Panini’s paintings Modern Rome and Ancient Rome?
______________________________________________________________________________
______________________________________________________________________________
7. In Modern Rome and Ancient Rome, what strategy did Panini employ to depict many monuments in
the same picture?
______________________________________________________________________________
______________________________________________________________________________
8. Who was the Count de Stainville?

______________________________________________________________________________
______________________________________________________________________________
9. During what years did the Count de Stainville serve as French ambassador to Rome?
______________________________________________________________________________
______________________________________________________________________________
10. How did Panini indicate that the Count de Stainville was a student of the city of Rome?
______________________________________________________________________________
______________________________________________________________________________
2.09 CHARTING (pp. 25-26)

Pack your Lonely Planet Guide to Rome. The chart below deals with three of Panini’s monumental vedute
of Rome. Fill in the details represented in each work.
Giovanni Paolo Panini 1. Roman Capriccio 2. Modern Rome 3. Ancient Rome
Date:
Monuments Pictured:
Portraits Included: (none)


Double Feature in the Life of David. Below are two banks. The first provides you with a date bank, from
which to fill in the significant dates in David’s life. Each date will be used just once, and all of them will be
used. The second corresponds to a series of statements about David’s life and artistic education. Fill in each
blank with the appropriate word from the word bank. The first one has been completed for you.
DATE BANK
1825 1782 1748 1780s 1775-80 1789 1814
1795 1770 1766 1774 1791 1816
WORD BANK
Royal Academy of
Collège des Quatre-
Raphael Painting and Prix de Rome
Nations
Sculpture
Antiochus and
Louvre Paris morceau de réception
Stratonice
The Lictors Returning
to Brutus the Bodies of Joseph-Marie Vien Jacobin Party Caravaggio
His Sons
Brussels Charles Bourbon Restoration Tennis Court Oath
1748 1. David was born in PARIS .

X 2. At the____________________________, David received a thorough education in the
classics.
X 3. David’s early study of painting took place with the
painter____________________________.
_____ 4. David began formal training when he enrolled in the____________________________.
_____ 5. David’s first entry into competition for the____________________________was a
failure.
_____ 6. On his fifth try, David won the competition with the
entry____________________________.
_____ 7. During his time in Rome, David was greatly influenced by the painting of the Renaissance
artist ____________________________and the baroque artist
____________________________.
_____ 8. Upon his return to Paris, David began work on his____________________________.
_____ 9. The assignment of a studio in the____________________________allowed David to
pursue work on large-scale history paintings with the help of his students.
_____ 10. David exhibited____________________________ at the summer Salon.
_____ 11. At the Salon in this year, David exhibited his sketch for a monumental painting of
the____________________________.
_____ 12. David was a founding member of a new art school to replace the
____________________________, which he had helped to dismantle during the early
1790s.
_____ 13. David’s political situation worsened after the____________________________.
_____ 14. David went into exile in ____________________________.
_____ 15. David died.
2.11 CONNECT THE DOTS (pp. 26-28)

When in Rome... David’s paintings often use episodes from Roman history to allude to contemporary conflicts
and to the ethical and moral ideals of the Enlightenment. The chart below provides you with four of David’s
most important paintings, the narratives they illustrate, and their contemporary significance. Draw lines to
connect the related items.
Roman History Painting Contemporary Significance

1. A founder of the
Citizens should be prepared to lay
Roman Republic
down their lives out of patriotic
sacrifices his sons to
Belisarius Begging for Alms, 1781 duty to the state. This painting was
protect the Republic
also the model for the sketch The
from supporters of
Tennis Court Oath, 1791.
the monarchy.
2. Accused of
corrupting his
Honest citizens are in danger of
students, a
The Oath of the Horatii, 1784 being abused by a corrupt
philosopher is
government.
executed by the
state.
3. A loyal general is
Great sacrifices are demanded in
accused of treason The Death of Socrates, 1787
the name of political change.
and blinded.
4. Three sons and their The ideals of the Enlightenment,
father swear The Lictors Returning to Brutus the education, reason, and knowledge,
allegiance to the Bodies of His Sons, 1789 have their roots in the work of
Roman republic. ancient philosophers.

Napoleon’s Right-hand Painter. Some of the statements below are true. Others are false. Circle the correct
letter. If it’s false, make it true and explain why the statement was wrong.
T F 1. Hallmarks of David’s paintings are their depictions of narrative tension and
restrained action.
T F 2. David was a supporter of the monarchy during the French Revolution.
T F 3. David’s sketch of the Tennis Court Oath includes portraits of members of the
Constituent Assembly as they swear their allegiance to a new government.
T F 4. David executed the sketch of the Tennis Court Oath as preparation for a
monumental painting.
T F 5. As a member of the Jacobin Party, David voted in favor of executing King Louis
XVI.
T F 6. Although David was commissioned to paint large-scale works commemorating the

Revolution, he did not participate in producing propaganda.
T F 7. Napoleon was one of David’s most important patrons in the 1790s.
T F 8. David’s painting Napoleon Crossing the Alps at the Saint-Bernard Pass was
commissioned by the Emperor to celebrate his victory.
T F 9. David represented Napoleon as the inheritor of the military genius of Hannibal and
Charlemagne.
T F 10. Napoleon appointed David First Painter to the King.
T F 11. In 1804, David began a monumental painting of the coronation of the Emperor at
Notre Dame Cathedral.
T F 12. David’s representation of the coronation includes two portraits, one of Napoleon
and one of Empress Josephine.

Pass the hemlock, please. Match the letter of the word on the left with its description on the right. Use each
letter only once.
a. Denis Diderot _____ 1. He advised David on the proper pose for the figure of
b. Charles-Louis Trudaine Socrates.
c. Crito _____ 2. These three disciples of Socrates are included in the
d. Bastille painting.
e. Apollodorus _____ 3. This is the setting of the painting.
f. Charles-Michel Trudaine _____ 4. These two men commissioned the painting.
g. Plato
_____ 5. In 1785 he proposed that the death of Socrates would
h. stone prison cell be a good subject for a painting.
i. André Chénier _____ 6. The setting of the painting is reminiscent of this real
place.
2.14 EITHER OR (pp. 28-29)

Which Vernet is that, again? There were three generations of famous Vernets. Here, answer questions that
relate to Carle Vernet. Circle the choice that best completes the sentence.
1. Antoine Charles Horace Vernet, known as Carle Vernet, was born in Bordeaux in (1758, 1768).
2. Carle Vernet was the son of the painter (CLAUDE JOSEPH VERNET, HORACE VERNET).
3. Vernet’s first teacher was (HIS FATHER, HIS UNCLE).
4. Vernet won the Prix de Rome in 1782 at the age of (24, 30).
5. After five years studying in Rome, Vernet began painting his reception piece in (1791, 1787).
6. The painting Vernet submitted for his reception piece was (BATTLE OF MARENGO, THE
TRIUMPH OF AEMILIUS PAULUS).
7. Vernet is considered a (NEOCLASSICAL, ROCOCO) painter.
8. The Triumph of Aemilius Paulus is typical of neoclassicism in its (CHOICE OF SUBJECT
MATTER, SUBDUED LIGHTING).
9. The painting style of The Triumph of Aemilius Paulus is (SOFT, LINEAR).
10. In The Triumph of Aemilius Paulus, the landscape and the heightened drama of the scene foreshadow
stylistic tendencies of the (POST-CLASSICAL, ROMANTIC) period.
11. (CARLE VERNET, HORACE VERNET) was a romantic painter whose scenes of Napoleonic
battles won him critical acclaim.
2.15 SHORT ANSWER (p. 28-29)

The Triumph of Emilio Estevez. Provide brief answers to the following questions about Carle Vernet’s
monumental painting, The Triumph of Aemilius Paulus.
1. Which Roman historian wrote about the victory of the Roman general Aemilius Paulus?
______________________________________________________________________________
______________________________________________________________________________
2. At which two Salons was Carle Vernet’s painting The Triumph of Aemilius Paulus exhibited?
______________________________________________________________________________
______________________________________________________________________________
3. About how many feet wide is Vernet’s The Triumph of Aemilius Paulus?
______________________________________________________________________________
______________________________________________________________________________
4. What moment of Aemilius Paulus’ victory does Vernet’s painting illustrate?

______________________________________________________________________________
______________________________________________________________________________
5. As in David’s The Death of Socrates, where does most of the human action in The Triumph of
Aemilius Paulus take place?
______________________________________________________________________________
______________________________________________________________________________
6. What two examples of classical architecture are visible in the background of the painting?
______________________________________________________________________________
______________________________________________________________________________
7. What aspects of The Triumph of Aemilius Paulus represent the early development of the romantic
style in painting?
______________________________________________________________________________
______________________________________________________________________________

Nothing beats some good ol’ fashioned propaganda. Though not a historically important sculptor, Joseph-
Antoine Romagnési is representative of many artists whose work was pressed into the service of Napoleon’s
ambitious construction of his own image. Minerva Protecting the Young King of Rome demonstrates in
sculpture how Napoleon was identified with figures from Roman myth and history. Not all words will be used.
WORD BANK
Napoleon 1811 weight relief sculpture
Church of Ste.
romantic plaster classical
Genevìeve
Panthéon Pierre Cartellier 1812 marble
1. Joseph-Antoine Romagnési’s teacher was the sculptor _________________________________.
2. Minerva Protecting the Young King of Rome was completed in 1811 toward the end of
________________________________’s reign as emperor.
3. Cartellier worked as a sculptor on the transformation of the ______________________________

into a secular monument for French heroes called the ______________________________.
4. Minerva Protecting the Young King of Rome is a ____________________________________.
5. Romagnési exhibited Minerva Protecting the Young King of Rome at the Salon of
_______________________________.
6. The finished work is made of _______________________________ painted to resemble the more

expensive material of _______________________________.
7. _______________________________ imagery and style inspired Romagnési’s sculpture.
8. Artists had to consider the _______________________________ of their materials when planning

to exhibit sculpture at the Salon.
9. Romagnési planned to execute the sculpture in _______________________________, but

Napoleon was deposed before he could finish the commission.
2.17 FALSE (pp. 29-30)

Roman-gnési. Each of the sentences below is false. Revise the sentences in the space below to make them true.
1. Romagnési completed only one sculpture related to the story of Minerva and the King of Rome.
______________________________________________________________________________
2. Minerva is the Greek goddess of war and wisdom.
______________________________________________________________________________
3. In Minerva Protecting the Young King of Rome, the “King of Rome” represented is Napoleon.
______________________________________________________________________________
4. Minerva stands in contrapposto, while the little boy sits at her feet.
______________________________________________________________________________
5. The she-wolf is symbolic of the founding of the French Republic.
______________________________________________________________________________
6. Romagnési was commissioned to produce Minerva Protecting the Young King of Rome to celebrate
the marriage of Napoleon to his second wife, Marie-Louise.
______________________________________________________________________________
7. Although the subject matter of Romagnési’s sculpture was taken from ancient sources, the technique
and style used to model the figures derived from rococo and romantic models.
______________________________________________________________________________
8. In addition to Minerva Protecting the Young King of Rome, Napoleon also commissioned The King of
Rome Sleeping from his favored artist Jacques-Louis David.

The medium is the message. The French embrace of classical idealism included everything from women’s
fashion and decorative objects for the home to national propaganda. Match each of the following artworks
with the “message” best describing it.
“Fellow citizens! Take

heart from the ancient
battles of the Romans!
We will triumph!” –Carle
Vernet
a.
“I have proved myself in

battle, have lain my
sword aside, and return
now to the helm of the
state.” –Napoleon
b.
“Come to Rome! Plan
your Grand Tour now to
include all of Rome’s
renowned antiquities!
Take home a painted
souvenir of your
c. journey!” –Panini Tours
“Men of wisdom and

learning! Students of life!
Admire the great teachers
of the ancient world
whose thought continues
to inspire us!” –Professor
David
d.
2.19 ANALOGIES (pp. 30-40)

Can’t stop ‘til I get enough…classicism? For each comparison below, fill in the missing information. An
example has been provided.
Example: Ray Charles : Ray :: Johnny Cash : Walk the Line
1. Louis XVI : French Revolution :: ____________________________ : Bourbon Restoration
2. Rococo : Neoclassicism :: feminine : ___________________________
3. Jacques-Louis David : The Death of Socrates, 1787 :: ___________________________________ :
Cornelia, Mother of the Gracchi, 1785
4. Neoclassical style : ancient Roman art :: Empire Style : ______________________________
(p.24)
5. Giovanni Paolo Panini : Modern Rome :: Carle Vernet : _________________________________
6. Joseph-Marie Vien : Jacques-Louis David :: Pierre Cartellier : ___________________________
7. The Lictors Returning to Brutus the Bodies of his Sons : Salon of 1789 :: The Triumph of Aemilius
Paulus : _______________________________
8. Minerva Protecting the Young King of Rome : ____________________________________ ::
Napoleon Crossing the Alps at the Saint Bernard Pass : oil painting
9. Napoleon : emperor :: __________________________________ : First Painter

Sequel to the Life of David. Use the titles in the painting bank to fill in the blanks in the statements below
relating to David’s most important history paintings.
PAINTING BANK
Antiochus and Stratonice, 1774 The Oath of the Horatii, 1784
Belisarius Begging for Alms, 1781 The Lictors Returning to Brutus the Bodies of his Sons, 1789
The Tennis Court Oath, 1791 Self-Portrait, 1794
Napoleon Crossing the Alps at the Saint Bernard Pass, 1800-01
1. David won the Prix de Rome with _____________________________________.
2. These three are among David’s most important works: ___________________________,

_____________________________________, _____________________________________.
3. ______________________________ is a preparatory sketch for a painting David never completed.
4. _____________________________________ depicts David holding a palette and brushes.
5. _____________________________ shows Napoleon as a leader guiding and inspiring his soldiers.

III. Romanticism
This section covers pages 31-41 of the official curriculum
guide. It discusses the emergence of a new artistic style in
opposition to neoclassicism that aspired to appeal to the
emotions of the viewer.
3.01 SORTING (p. 31)

Neo is not “the one.” As neoclassicism lost popularity, the emergent style of romanticism came to the forefront
of artistic production. From the bank below, sort out the characteristics of each style into separate columns.
WORD BANK
linear style ca. 1800-50 ideal form foreground emphasis
Enlightenment late 18th century narrative climax vivid color
emotion subjective experience observation of nature exoticism
rationalism emphatic brushstrokes ancient Rome imagination
Neoclassical Romantic
3.02 TIMELINE (p. 31)

“Here I go, trying to take over the world again.” Fill out the timeline with the events provided in the bank.
Event Bank
Charles X succeeds his brother to Paris is captured and Napoleon is

Napoleon fails at invading Russia.
the monarchy. exiled to Elba.
Napoleon establishes the

Louis XVIII comes to power in
Consulate and makes himself first July Revolution
the Bourbon Restoration
Consul
Napoleon’s army suffers greatly at Napoleon declares himself Napoleon takes the title of First
the Battle of Eylan. emperor. Consul for life.
Napoleon returns but is defeated Napoleon has control of Western Charles X tries to dissolve
at Waterloo. Europe. parliament.
1807 1815 1830
1802 1812 1824
1800 1900
1810
1814
1815 1830
1804
3.03 COMPARISON (p. 31)

The Power of Art. Napoleon invested greatly in artistic propaganda promoting his rule. Each of the statements
below refers either to the column in the Place Vendôme (C) or to Antoine-Jean Gros’s painting Battle of Eylan
(B). For each statement, circle the letter corresponding to the correct artwork.
C B 1. It exemplifies how romanticism could be used to elicit sympathy.
C B 2. It was completed in 1808 to commemorate an 1807 battle between France and its
adversaries Russia and Prussia.
C B 3. It includes a portrait sculpture of Napoleon dressed in Roman military attire.
C B 4. It is modeled after the ancient Column of Trajan.
C B 5. Napoleon is portrayed as an empathetic leader who suffers beside his troops.
C B 6. It celebrates Napoleon’s military victory at Austerlitz in 1805.
C B 7. It is decorated with bronze relief plates made from confiscated cannon of the
enemy.
C B 8. It depicts Napoleon surveying the carnage of the battlefield.
C B 9. It is a monumental public artwork.
3.04 EITHER OR (p. 31-32)

Hop onto the Merry-go-round of art and politics. Circle the choice that best completes the sentence.
1. The Bourbon Restoration was so named because (LOUIS XVIII, CHARLES X) gained power,
restoring to the throne the noble House of Bourbon.
2. During the Napoleonic era, the (NEOCLASSICAL, ROCOCO) style was used to glorify
Napoleon’s military exploits.
3. The Restoration government turned away from art associated with the neoclassical style and ancient
Rome in order to distance itself from (THE ANCIEN RÉGIME, NAPOLEONIC ERA).
4. The conservative Bourbon Restoration government encouraged large-scale paintings of (HEROIC
BATTLESCENES, MEDIEVAL HISTORY) to reinforce perceptions of the Bourbon monarchy.
5. The evolution of artistic styles at the turn of the nineteenth century demonstrates how art is often
allied with (THE ACADEMY’S SALONS, POLITICAL AGENDAS).
6. (LOUIS XVIII, NAPOLEON) dissolved the arts institution created after the Revolution.
7. The Royal Academy became the (ACADÉMIE DES BEAUX-ARTS, ÉCOLE DES BEAUX ARTS).
8. The French Academy in Rome, the Prix de Rome, and the Salons came under the province of the
(ÉCOLE DES BEAUX ARTS, ACADÉMIE DES BEAUX-ARTS).
9. Artists gained (PATRONAGE, ADMINISTRATIVE ADVANCEMENT) exhibiting at the Salons.
10. As previously, the Salons continued to take place (ANNUALLY, BIENNIALLY).
11. The preoccupations of romanticism with nature and the importance of subjective feelings led to a
rise in the popularity of religious paintings, landscapes, and (STILL LIFES, FEMALE NUDES).
3.05 TRUE OR FALSE (p. 33)

It’s not germane. Some of the statements below about Germaine de Staël are true. Others are false. If it’s false,
make it true and explain why the statement was wrong.
T F 1. Politicians played a central role in formulating the tenets of romanticism.
T F 2. Germaine de Staël was born into a highly educated family.
T F 3. De Staël’s parents were part of the literary scene in Switzerland.
T F 4. Madame de Staël wrote political tracts.
T F 5. De Staël’s book, De l’Allemagne, was published in France in 1812.
T F 6. De l’Allemagne discussed the value of Germany’s political organization.
T F 7. Napoleon banned her work in France.
T F 8. De l’Allemagne advocated that contemporary artists look to the Italian Renaissance

for inspiration.

True Romance. This exercise asks you to compare and contrast neoclassicism and romanticism. Note that
although the ideologies contrast starkly, as the official curriculum guide points out, stylistic developments often
overlapped. Match each word with its correct description. Some letters will be used more than once.
a. Edmund Burke _____ 1. author of the 1715 text A Philosophical Enquiry into the
b. Bible Origin of our Ideas of the Sublime and the Beautiful
c. literature _____ 2. German philosopher and art critic who first used the
d. emotions term “romantic” in the modern sense
e. sublime _____ 3. a genre of medieval literature
f. Germany _____ 4. author of 1810 text De l’Allemagne
g. rational thought _____ 5. eight sources of inspiration for romantic writers, artists,
h. romance and musicians
i. Friedrich von Schlegel _____ 6. vernacular language used in medieval France
j. empirical observation _____ 7. term that has its origins in ancient Roman thought
k. goal of ideal beauty _____ 8. term referring to the evocation of two contradictory
l. Madame de Staël feelings, usually of horror and beauty
m. imagination _____ 9. neoclassical qualities against which romanticism rebelled
n. medieval period _____ 10. authors who challenged the French emphasis on rationality
o. subjective experience
_____ 11. country that replaced Italy as a source of inspiration for
French artists

A Romantic at Heart. Fill in the blanks in the charts below using the words in the word bank.
WORD BANK
Mazeppa rational history paintings tragic
Middle East tourism Shakespeare horses
Napoleon at the Scenes from the Massacre
elemental force instinctive
Pesthouse at Jaffa, 1804 at Chios, 1824
illicit religious mysticism senses Dante
Grand Tour genre scenes Egypt primitive
Source of Inspiration Fill in the Blank

1. Romantic artists were drawn to the
_____________________________ of the Middle Ages.
Middle Ages
2. They were also fascinated by _____________________________ and
violent stories that excited the emotions of the viewer.
3. _____________________________, an epic poem by Lord Byron,

was the subject of many paintings.
4. Lord Byron’s poem tells the dramatic story of a violent punishment for
literature an _____________________________ affair.
5. The great poets _____________________________ and

_____________________________ (p. 39) inspired artworks based
on their poetry.
6. In the 19th century, the Orient referred to the ___________________.
7. A generally held assumption in nineteenth-century Europe was that the

Orient was a more _____________________________ culture.
8. People imagined that the Orient was less

the Orient _____________________________ and therefore more in touch with
the pleasures of the _____________________________.
9. France occupied _____________________________ in North Africa

from 1798 to 1801.
10. France’s colonial presence in Africa led to increased

___________________ as trips to the Orient competed with the
tradition of the _____________________________.
11. Many painters set ambitious ___________________ in the Orient.
12. In addition, _____________________________ set in harems were

popular for their detailed depiction of exotic interiors decorated with
rich materials and vibrant colors.
13. Gros’s _____________________________ and Delacroix’s

_____________________________ are two examples of Orientalist
history paintings.
14. Romantic artists conceived nature as a(n) _____________________

beyond the control of humankind.
15. Animals, especially _____________________________, were a

nature
popular subject of romantic paintings.
16. The _____________________________ nature of animals appealed

to romantic artists who were interested in the irrational and primitive.
3.08 DATING (pp. 34-36)

Or just friends? The table below lists events in the life of Théodore Géricault. Fill in the dates for each event.
Date Event
1. Géricault was born in Rouen.
ca. 1808-10 2. Géricault’s early training took place in secret under the tutelage of Carle Vernet.
3. Géricault studied with Pierre-Narcisse Guérin, a painter in the style of David.
4. Géricault submitted Charging Chasseur to the Salon.
5. Charging Chasseur was exhibited at the Salon again with a companion painting
called Wounded Cuirassier Leaving the Field of Battle.
6. Géricault traveled in Florence and Rome.
7. Géricault completed Evening: Landscape with an Aqueduct, and at least two other
companion paintings.
8. The Raft of the Medusa was exhibited at the Salon.
9. Géricault painted a series of portraits of mentally ill patients.
10. After several years of illness, Géricault died at the age of 32.

Géricault’s Genius. Although he died young, Géricault was one of the most influential painters of the
nineteenth century. Provide brief answers to the questions below.
1. What aspect of Carle Vernet’s work was the most influential for Géricault’s development?
______________________________________________________________________________
______________________________________________________________________________
2. Géricault copied artists of which period while studying in the Louvre?

______________________________________________________________________________
______________________________________________________________________________
3. Of what was Géricault’s 1814 painting, Wounded Cuirassier Leaving the Field of Battle, symbolic?
______________________________________________________________________________
______________________________________________________________________________
4. What Roman event did Géricault hope to make the subject of a large history painting?
______________________________________________________________________________
______________________________________________________________________________
5. List at least four different genres of painting practiced by Géricault.

______________________________________________________________________________
______________________________________________________________________________
6. What three aspects of Géricault’s life and work have led art historians to characterize him as the
most representative French romantic painter?
______________________________________________________________________________
______________________________________________________________________________
3.10 ORDERING (P. 35)

Cast Away. Beginning with first event, draw lines connecting the events in chronological order.
In 1816, the frigate ship Medusa

embarked for Senegal.
Medusa ran aground off the coast of The insufficient reaction of the
Africa and the captain abandoned Restoration government to the
the crew on a makeshift raft. accident caused a political scandal.
Géricault completed a large
painting of the raft and abandoned
men inspired by the dramatic style
of Baroque painting.
Fifteen men survived on the raft The Raft of the Medusa was
and returned to Paris to tell their exhibited at the Salon of 1819,
story. where it drew enormous crowds.12
3.11 FALSE (pp. 35-36)

Moody Blues. Géricault’s Evening: Landscape with an Aqueduct is a mysterious painting, both for the rarity
of the landscape genre in Géricault’s oeuvre and for its ambiguous subject. Each of the sentences below is false.
Revise the sentences in the space below to make them true.
1. Evening: Landscape with an Aqueduct is an easel-sized painting.
______________________________________________________________________________
2. The mood of Evening: Landscape with an Aqueduct is sunny and cheerful.
______________________________________________________________________________
12
Imagine people going to see this painting similar to crowds lining up to see Star Trek (without the Trekkies, of course).
Paintings and the Salons were to people in the nineteenth century what movies and movie theaters are for us.
3. The architectural feature in the background of the painting is the ruin of a church modeled after the
one at Spoleto.
______________________________________________________________________________
4. The figures in the foreground of the painting are soldiers marching to battle.
______________________________________________________________________________
5. The human figures represented contribute to the narrative, didactic, and Biblical references in the
painting.
______________________________________________________________________________
6. Together with at least two other paintings, Evening: Landscape with an Aqueduct represents a
historical narrative of the French monarchy.
______________________________________________________________________________
7. Noon: Landscape with a Roman Tomb has been lost.
______________________________________________________________________________
8. Géricault’s four ambitious landscape paintings are reminiscent of Romagnési’s vedute of the Italian
countryside.
______________________________________________________________________________
9. Evening: Landscape with an Aqueduct is emblematic of the romantic period in its depiction of the
quotidian in nature.
______________________________________________________________________________
10. Gericault painted Evening: Landscape with an Aqueduct in 1824, after working on a series of
portraits of mentally ill patients.
______________________________________________________________________________

Meet Horace “Giddy-Up” Vernet. This exercise relates to the biography of the romantic painter Horace
Vernet. Match the letter of the word on the left with its description on the right. Letters may be used more than
once.
a. 1822 _____ 1. born in Paris

b. 1789 _____ 2. studied with neoclassical painter François André
c. ca. 1808-12 Vincent
d. 1820 _____ 3. first exhibited at the Salon
e. 1829-34
_____ 4. rose to prominence for his dramatic battles scenes
f. 1863
_____ 5. two paintings glorifying Revolutionary and Napoleonic
g. 1824
battles rejected from the Salon
h. 1820s
_____ 6. Battle of Montmirail completed
i. 1812
_____ 7. Battle of Montmirail exhibited at the Salon
_____ 8. completed painting of the riderless horse race
_____ 9. completed The Artist’s Studio
_____ 10. director of the French Academy in Rome

_____ 11. passed away in Paris

Gotta see a man about a horse. Fill in the blanks in the sentences below using words from the word bank.
Each word will be used once.
WORD BANK
“The Open Window and
Piazza di Venezia grooms balconies
the Storm-tossed Boat”
the rocks and the
North Africa large white horse sublime
sea
untamed wildness sketch small oil painting The Raft of the Medusa
1. In an 1820 painting of his studio, Vernet depicts artists sketching from a __+_________________.
2. The Start of the Race of the Riderless Horses found in the curriculum is a ______________________
made in preparation for a large painting that Vernet also completed in 1820.
3. The riderless horse race began at the Piazza del Popolo and ended at the
________________________________ in Rome.
4. The horses participating in the race were Barberi from ______________________________.
5. Spectators watched the race from elevated platforms and

____________________________________.
6. Artists especially liked to represent the tense moment prior to the race when
_______________________________ struggled to control the horses in the starting gate.
7. The riderless horse race was a popular subject for romantic painters because of the
_______________________________ of the horses.
8. Stormy Coast Scene after a Shipwreck is a _______________________________.
9. Vernet’s painting, Stormy Coast Scene after a Shipwreck, may have been inspired by Géricault’s
ambitious history painting, _______________________________.
10. The art historian Lorenz Eitner’s 1955 text on the subject of seascapes in romantic art is entitled
_______________________________.
11. Eitner argued that romantic artists saw elements of the _______________________________ in
the battle between man and sea.
12. Most of Stormy Coast Scene after a Shipwreck depicts _______________________________.

HorsemanShip. As romantic paintings, The Start of the Race of the Riderless Horses and Stormy Coast Scene
after a Shipwreck share certain premises about the relationship between man and nature. They express these
ideas in different ways. Below, determine whether each statement pertains to one or both works. The first one
has been done for you.
The Start Stormy

of the Coast Theme
Race… Scene…
H S 1. the constraint of civilization on the natural human spirit
H S 2. man’s struggle with nature
H S 3. isolation of man in nature
H S 4. potential violence of nature
H S 5. overwhelming scale verging on the sublime
H S 6. untamed wildness of animals
H S 7. man’s vulnerability to the elements
H S 8. vastness of the ocean
H S 9. man’s impermanence
3.15 EITHER OR (pp. 38-40)

Deli-croissant and Jelly-rault. The two artists were close friends and continued to influence each other until
Géricault’s untimely death. Circle the choice that best completes the following statements about the life and
career of Delacroix.
1. Eugene Delacroix’s father was an (ARTIST, ADMINISTRATOR) in the ancien régime.
2. In 1815 Delacroix began studying with the neoclassical painter Pierre-Narcisse Guérin, who had
also taught (VERNET, GÉRICAULT).
3. Guérin encouraged his students to look to (GERMAN LANDSCAPE PAINTING, GREEK AND
ROMAN ART) for inspiration.
4. Delacroix and Géricault became (RIVALS, FRIENDS) in Guérin’s studio.
5. In contrast to Géricault, Delacroix found inspiration in (LITERATURE, CONTEMPORARY
EVENTS).
6. Delacroix was just one of several romantic painters who took inspiration from the poetry of (LORD
BYRON, WILLIAM WORDSWORTH).
7. The work Delacroix presented at the Salon of 1822 was based on (LORD BYRON’S MAZEPPA,
DANTE’S DIVINE COMEDY).
8. Both Delacroix and Géricault liked to depict (ETHICAL DILEMMAS, HUMAN SUFFERING).
9. At the Salon of 1824 Delacroix was criticized for his (SUBJECT MATTER, MEDIUM) and style.
10. Delacroix exhibited Scenes from the Massacre at Chios at (THE SALON OF 1824, HIS STUDIO).
11. By 1827 Delacroix’s work was understood by his contemporaries to be at the forefront of a new
artistic movement called (POST-CLASSICISM, ROMANTICISM).
12. In 1832 Delacroix traveled to North Africa as part of a (GEOGRAPHICAL EXPEDITION,
DIPLOMATIC MISSION).
13. Delacroix’s paintings and drawings inspired by his trip to North Africa were instrumental in the
cultivation of western European (XENOPHOBIA, ORIENTALISM).
14. Throughout his life, Delacroix’s career was facilitated by his family’s affluence and (ARTISTIC
AMBITION, POLITICAL CONNECTIONS).
15. Delacroix’s stylistic trademarks are his sketchy, almost unfinished brushwork, extreme colorism, and
(HORIZONTAL, DYNAMIC DIAGONAL) compositions.
3.16 SORTING (pp. 38-40)

Delacroix Buffet. The chart below lists all of the major works of Delacroix discussed in the official curriculum
guide. The word bank contains words and phrases relevant to each painting. Fill in the date of the work after
its title, and sort the remaining phrases into the correct columns.
WORD BANK
its sketchy, coloristic
after Lord Bryon’s
painting appeared
1830 1824 1821 play
unfinished at the
Sardanapalus
Salon of 1824
set in an intimate based on the 1830
drowning at sea inspired by literature
interior July Revolution
most emblematic style influenced by
voyeuristic and
French romantic 1822 Michelangelo and
Orientalist
painting Rubens
allegorical history had an influence on king of Nineveh
painting of the Impressionists at surveying the total inspired by trip to
contemporary French the end of the 19th destruction of his North Africa in 1832
political event century household
lake of the damned struggle against the
1834 1827
souls Ottoman Empire
a bare-breasted
1821 Greek War for controversial piece at inspired by
woman brandishes the
Independence the Salon of 1824 contemporary events
French flag
The Women of
Scenes from the Death of Liberty Leading
Dante and Virgil Algiers in their
Massacre at Chios Sardanapalus the People
Apartment

Eye of the Tiger. Romantic artists had a penchant for the terrifying species of the animal kingdom. Delacroix
was no exception. Provide brief answers to these questions about Delacroix’s work Royal Tiger of 1829.13
1. Among all forms of printmaking, why did lithography appeal so strongly to romantic painters?
______________________________________________________________________________
______________________________________________________________________________
2. Where and when was lithography invented?

______________________________________________________________________________
______________________________________________________________________________
3. From which Greek words is the word lithography derived?

______________________________________________________________________________
______________________________________________________________________________
13
My cat is named Tiger Lily... the Lily came before we knew he was a boy. But every time I look at this artwork I think of
my cat lying in the grass and ears pricked back listening just like this tiger. – Caya
4. Describe the value range of the lithographic process.14

______________________________________________________________________________
______________________________________________________________________________
5. Where did Delacroix go to sketch lions and tigers?

______________________________________________________________________________
______________________________________________________________________________
6. What aspect of the skinned tiger did Delacroix strive to capture?

______________________________________________________________________________
______________________________________________________________________________
7. What did Hippolyte Taine assert was the basis for Delacroix’s fascination with animals?
______________________________________________________________________________
______________________________________________________________________________
8. Upon what did Delacroix base his representation of the tiger in Royal Tiger?
______________________________________________________________________________
______________________________________________________________________________
9. How did Delacroix create a sense of drama in the Royal Tiger?

______________________________________________________________________________
______________________________________________________________________________
10. Given your knowledge of the centrality of subjective experience to romantic artists, describe
Delacroix’s interest in depicting flesh-eating animals like lions and tigers.15
______________________________________________________________________________
______________________________________________________________________________
14
Be happy! It's amazing when the art curriculum helps with art basics. – Caya
15
If you’ve seen Werner Herzog’s film, Grizzly Man, you’ll recognize this aspect of romanticism there as well. – Mandy

Don’t make him Ingre-y. This exercise relates to the life and work of Théodore Chassériau. Match the letter
of the word on the left with its description on the right. Not every letter will be used.
a. 1821 _____ 1. born in the French colony of Saint Dominique, present

b. Ingres day Dominican Republic
c. 1835 _____ 2. family returned to Paris from Saint Dominique
d. 1830 _____ 3. at the age of eleven, entered the studio of Jean-Auguste-
e. North Africa Dominique Ingres
f. 1836 _____ 4. Ingres went to Rome to direct the French Academy
g. Saint Dominique
_____ 5. Awarded his first medal in the Salon
h. Asia
_____ 6. Completed the watercolor sketch Young Jewish Woman
i. 1846
of Algeria
j. Middle East
_____ 7. New style of art that followed romanticism and was
k. Realism
contrary to it in many ways
l. 1856
_____ 8. Died after a period of illness
m. Delacroix
n. 1819 _____ 9. These regions were known as the Orient in the
nineteenth century
_____ 10. Painter whose coloristic style and dramatic subjects
influenced Chassériau

Nineteenth-century snapshot. Until photography came along in 1839, travelers recorded their journeys with
a pencil or brush. Fill in the blanks in the sentences below relating to Chassériau’s Young Jewish Woman of
Algeria. Not all words will be used.
WORD BANK
clothing graphite on the floor face
out at the viewer foot watercolor animalistic
primitive exotic preparatory voyeuristic
1. Young Jewish Woman of Algeria is a small _________________________________ and

_________________________________ drawing.
2. The drawing was most likely a __________________________ work for a larger oil painting.
3. The area of the drawing treated with the most attention and detail is the woman’s
________________________________.
4. Chassériau made a special effort to capture a general impression of the woman’s

______________________________.
5. The woman’s dress and pose make her seem _______________________________ to a

nineteenth-century French audience.
6. The Resource Guide argues that French viewers would have perceived the woman being seated
____________________________________ as _______________________________ and
_______________________________.
7. Unlike many Orientalist works, this drawing is not _________________________________

because the woman’s gaze is directed ______________________________.16
16
You may have noticed the Resource Guide contradicting itself by at once declaring that “[s]he engages the viewer..” but it is
“as if we see her but we remain unseen.” In a voyeuristic scene, the person being looked at is not aware of the presence of the
viewer. See Ingres’ Turkish Bath (includes nudes) for a great example of a voyeuristic view:
http://en.wikipedia.org/wiki/File:IngresBainTurc.jpg – Mandy
IV. Approaches to
th
Portraiture (18 and
th
Early 19 Centuries)
This section covers pages 42-48 of the official curriculum guide. It
discusses trends in portraiture from the mid-eighteenth to the mid-
nineteenth centuries.

Say Brie! Some of the statements below are true. Others are false. If it’s false, make it true and explain why the
statement was wrong.
T F 1. The genre of portraiture arose in Renaissance Italy.
T F 2. The goal of a portrait is to capture the likeness of a person.
T F 3. For centuries, only wealthy or powerful people were able to afford a painted or
sculpted portrait.
T F 4. A portrait painting is the representation of one individual.
T F 5. Subjects and painters used clothing, jewelry, and objects to convey social status and
wealth.
T F 6. In French eighteenth and nineteenth century culture, commissioned portraits were

the privilege of society’s elite.
T F 7. Both formal and informal portraits were popular in French culture.
T F 8. The objects included with the sitter in a portrait were chosen carefully to represent
the social, intellectual, and religious aspects of the sitter’s personality.
T F 9. Lithography made portraiture accessible to a broader spectrum of society.
T F 10. The portraits featured in the curriculum were all influenced to some extent by the
romantic movement.

Genre-bending Roles. Fill in the blanks in the sentences below with words from the word bank. Each word
will be used once.
WORD BANK
status symbol genre painting portraiture faster
energy landscape unfinished still life
artist models figures face
1. Within the French Academy, the order of genres was historical, mythological and religious scenes,
____________________________, ___________________________, landscape, and still life.
2. Compared to multi-figure history paintings, portraiture typically required fewer

_______________________________.
3. In French society, a portrait of one’s self painted by a famous and popular artist was a
________________________________.
4. Artists were able to execute portraits ______________________________ than history paintings.
5. The setting, pose, and included objects in a portrait were determined by the sitter and the
_______________________________ in collaboration.
6. ______________________________ were sometimes employed to pose for part of a portrait in

place of the sitter.
7. The most important part of a typical portrait is the person’s ______________________________.
8. Compared to neoclassical portraits, portraits by romantic artists often appeared sketchy and
______________________________.
9. A portrait by a romantic painter is more likely to convey the ______________________________

and vitality of the sitter.
10. The genres of ______________________________ and ______________________________ are

often included within a portrait.
4.03 EITHER OR (p. 43)

Pass the Baton-i. Batoni made his living painting portraits of wealthy tourists. Complete the exercise below
about his life and work. Circle the choice that best completes the sentence.
1. Pompeo Girolamo Batoni was born in the town of Lucca in (THE VENETO, TUSCANY).
2. Batoni’s father was a (RELIGIOUS PAINTER, GOLDSMITH).
3. As a young boy, Batoni gained valuable artistic skills by (WORKING IN HIS FATHER’S SHOP,
DRAWING FROM LIFE).
4. Batoni’s first teacher in Rome was (GIOVANNI PAOLO PANINI, FRANCESCO FERNANDI).
5. Some of the earliest commissions that Batoni received in the (1740s, 1730s) were for
(ALTARPIECES, VEDUTE).
6. By 1741, Batoni was well established as a history painter, religious painter, and (PORTRAITIST,
LANDSCAPE PAINTER).
7. A measure of Batoni’s professional success was his induction into membership in the (FRENCH
ACADEMY IN ROME, ACCADEMIA DI SAN LUCA).
8. As a portrait painter, Batoni received commissions from elite patrons (ACROSS EUROPE, IN
ITALY).
9. Batoni’s impressive list of clients included members of the imperial courts of Russia and Austria,
the royal houses of Germany, Poland, England and (ROME, NAPLES), and the Vatican.
10. Batoni painted portraits of Popes (CLEMENT XIII AND PIUS VI, CLEMENT XIII AND PIUS
V).
11. As a stop on the Grand Tour, Batoni’s (HOUSE, STUDIO) in Rome served as an artistic,
musical, and intellectual Salon for the elite of Europe.
12. Grand Tour travelers, especially young male elites, had their portraits painted by Batoni as a record
of their (INTELLECTUAL AND PHYSICAL SUPERIORITY, EXPERIENCES IN ROME).
13. Foreign tourists, especially those from (BELGIUM, BRITAIN) stopped at Batoni’s on their Grand
Tour.
14. From (1750, 1740) to 1770, Batoni produced hundreds of portraits of individual men, women and
children, as well as groups of family and friends.
15. Batoni’s popularity was at its height in the 1770s, but by 1780 his (EYESIGHT, MENTAL
CAPACITY) began to decline.
4.04 EXCLUSIONS (pp. 43-44)

Get outta here, you. In the table below, each group of terms describing Batoni’s Portrait of a Young Man has
an outsider that doesn’t belong. In the right-hand column, re-write each phrase that does NOT describe the
painting to make it correct. An example has been provided.
Example: Characters on Lost

• Sayid
• Doug Desmond
• Kate
• Benjamin
SETTING
• luxuriously furnished interior
space
• ornately carved, marble-topped
table
• brown and white dog lies on the
floor
• landscape painting in the
background
SUBJECT
• young man, probably French
• wears red velvet jacket and
breeches
• posed casually
• admires a sculpture on the table
• gestures grandly to the display of
objects on the table
OBJECTS
• guidebooks to Rome
• sculpture of Venus
• model of the celestial sphere
• Homer’s Odyssey
• ancient Roman relief sculpture
discovered in 1735 during the
excavation of Hadrian’s villa
• pens and writing paper
INFORMATION
• depicts him as a fashionable young
traveler
• illustrates his wealth and social
status
• demonstrates his knowledge of
contemporary Italian art
• provides proof of his studiousness
4.05 DATING (pp. 44-45)

Portrait of a Lady. The table below lists important events in the life of Adélaïde Labille-Guiard. Fill in the
dates for each event. The first one has been done for you.
Date Event
1749 1. Adélaïde Labille was born in Paris.
2. Adélaïde Labille married Louis-Nicolas Guiard.
3. Labille-Guiard and her husband separated.
4. Labille-Guiard became an apprentice to François-André Vincent, the son of her former
teacher François-Elie Vincent.
5. Labille-Guiard established a studio in Paris, where she earned a living teaching
painting to female students.
6. Labille-Guiard achieved membership in the Royal Academy of the Arts.
7. Labille-Guiard divorced her husband.
8. Labille-Guiard agreed to destroy some of her pre-Revolutionary paintings.
9. Until her death in this year, Labille-Guiard continued to work with her student
Marie-Gabrielle Capet.
4.06 SHORT ANSWER (pp. 44-45)

Breaking the Glass Ceiling. Answer the following questions about Labille-Guiard and her interaction with
the French Academy.
1. What are the names of the two students pictured with Adélaïde Labille-Guiard in her Self-Portrait
with Two Pupils?
______________________________________________________________________________
______________________________________________________________________________
2. In what year did Labille-Guiard’s second husband win the Prix de Rome?
______________________________________________________________________________
______________________________________________________________________________
3. How many women were admitted to the Royal Academy in 1783?

______________________________________________________________________________
______________________________________________________________________________
4. What groups commissioned Labille-Guiard’s portraiture services?

______________________________________________________________________________
______________________________________________________________________________
5. How many women at a time were allowed to have membership in the Academy?
______________________________________________________________________________
______________________________________________________________________________
6. What frustrating issue did Labille-Guiard encounter with her colleagues regarding her talent?
______________________________________________________________________________
______________________________________________________________________________
7. What kind of paintings did Labille-Guiard’s student, Marie-Marguerite Carreaux de Rosemond,

produce?
______________________________________________________________________________
______________________________________________________________________________
4.07 FALSE (pp. 45-46)

The Three Graces. Each statement below is false. On the line provided, re-write each sentence to make it true.
1. Adélaïde Labille-Guiard depicted herself drawing from a model.

______________________________________________________________________________
2. Among the women pictured, Marie-Gabielle Capet is represented as being the most fashionable.
______________________________________________________________________________
3. Her clothes and the furnishings of the studio suggest that Labille-Guiard is of modest means.
______________________________________________________________________________
4. The two sculptures in the shadowy background are the Vestal Virgin and a portrait bust of
Augustine Pajou.
______________________________________________________________________________
5. Labille-Guiard included the sculptures in the picture to testify to her moral purity, role as a faithful,
loving daughter, and adherence to the tenets of romanticism.
______________________________________________________________________________
6. Art historian Laura Auricchio has suggested two possibilities for the subject depicted on the canvas
Labille-Guiard is working on in this painting.
______________________________________________________________________________
7. According to Auricchio, the canvas could be a portrait of Labille-Guiard’s father Claude-Edme
Labille, of one or both of her students, or, more metaphorically, of the viewer of the Self-Portrait
with Two Pupils.
______________________________________________________________________________
8. In 1785, the year this portrait was painted, Labille-Guiard had already received numerous high-
paying portrait commissions.
______________________________________________________________________________

Bustin’ it Out. Match the letter of the word on the left with its correct description on the right. Some letters
will be used more than once. Answers that require more than one letter are indicated.
a. Jean-Baptiste Pigalle _____ 1. Houdon’s anatomical drawing of a fleshless male figure
b. Morpheus that became a training aid at the French Academy
c. Denis Diderot _____ 2. two academic sculptors who were Houdon’s first
d. George Washington teachers
e. Jean-Jacques Rousseau _____ 3. year that Houdon won the Prix de Rome
f. 1761 _____ 4. American statesmen who secured a commission for
g. Thomas Jefferson Houdon to sculpt George Washington
h. I’Ecorche _____ 5. it took seven years (1770-77) to complete the final
i. Saint John the Baptist marble version of this sculpture
j. 1785 _____ 6. this work, completed in Rome between 1764 and
k. Benjamin Franklin 1768, was a study for a sculpture of Saint John the
l. 1765 Baptist
m. Michel Ange Slodtz _____ 7. six men listed here who were sculpted by Houdon
n. Voltaire _____ 8. year that Houdon traveled to the United States to
meet George Washington
4.09 EITHER OR (pp. 44-45)

High Volt-age. This exercise refers to Voltaire, one of the central intellectual figures of the French
Enlightenment. Circle the correct choice in the sentences below.
1. Voltaire was the pen name of the Enlightenment thinker (FRANÇOIS-MARIE AROUET, JEAN-
JACQUES ROUSSEAU).
2. Voltaire wrote essays, plays, poetry, political tracts and pamphlets, and over (500, 20,000) letters.
3. Voltaire’s ideas about the individual and citizenship influenced the cause of the (AMERICAN
REVOLUTION, PARIS COMMUNES).
4. Among the social structures that Voltaire criticized were the French government and
(ORGANIZED RELIGION, ROYAL ACADEMY OF ART).
5. As a result of his writing about the government, Voltaire was (EXILED, IMPRISONED).
6. Voltaire later made his home in the far east of France at an estate at (STRASBOURG, FERNEY).
7. Houdon received Voltaire to model for his portrait bust in Paris in (1789, 1778).

Bare Naked Voltaire.17 Fill in the blanks in the sentences below with words from the word bank. Each word
will be used once.
WORD BANK
eyes tête nue clothing
one month plaster bronze
Catherine II of
terra cotta Voltaire
Russia
portrait bust ancient Roman Denis Diderot
1. In addition to marble, the Bust of Voltaire was also executed in ____________________________,

_________________________________, and _________________________________.
2. After Voltaire modeled for the sculpture in March of 1778, it took Houdon about
_______________________________ to complete the plaster version of the sculpture.
3. Less than a month after the portrait bust was completed, _____________________________ died.
4. Voltaire’s renown resulted in crowds of people waiting to see Houdon’s

______________________________.
5. One of Voltaire’s correspondents, ____________________________, commissioned the featured

sculpture and exhibited it next to Houdon’s sculpture of _____________________________.
6. A portrait bust of a man depicting him without his wig was a __________________________.
7. Houdon depicted Voltaire not only un-wigged, but without his ___________________________.
8. Houdon’s manner of balancing idealism with a humanizing naturalism was similar to

______________________________ portrait sculptures of civic and military leaders.
9. Voltaire’s expressive intelligence is captured by Houdon’s treatment of his

______________________________ and mouth.
17
This sculpture is creepy already, and the Decathlon season has barely begun. – Caya
4.11 DATING (pp. 47-48)

DemiDec Dean does this a lot. The chart below lists important events related to the life of Jean-Auguste-
Dominique Ingres. Fill in the blanks with the correct dates to complete the chart.
Date Event
1. born in Montauban, France
2. began formal study at the Royal Academy in Toulouse
3. began training with the renowned history painter Jacques-Louis David
4. winner of the Prix de Rome with the entry Achilles Receiving the Ambassadors of
Agamemnon
5. Ingres’ Prix de Rome scholarship at the French Academy was delayed until this date
due to political instability in France
6. completed a portrait of Napoleon Bonaparte
7. span of years during which Ingres’ painted portraits

Ingres in Style. Some of the statements below are true. Others are false. If it’s false, make it true.
T F 1. Ingres developed a unique style based on his neoclassical training and study of
Renaissance painting.
T F 2. Ingres’ paintings use a linear style with near-invisible brushstrokes to depict elegant
subjects.
T F 3. Ingres most emulated the blend of idealism and naturalism seen in the works of the
Italian Renaissance painter Leonardo.
T F 4. Ingres specialized in painting portraits and rarely executed work in any other genre.
T F 5. Ingres was an atheist who painted religious paintings in order to satisfy his clients.
T F 6. As a student and administrator, Ingres spent time in Florence, Rome, and Naples.
T F 7. Ingres was an administrator of the French Academy in Paris.
T F 8. Ingres is better known in the history of art for his portraits than for his history
paintings.
T F 9. Ingres pretended to be ambivalent about the genre of portrait painting, but his
practice of exhibiting his portraits reveals that he was secretly proud of them.
T F 10. Ingres frequently painted female nudes in exotic Orientalist settings.18
T F 11. Ingres’ preparatory drawings for his portraits were extremely detailed and were often
fully realized artworks in themselves.
T F 12. Ingres’ student Théodore Chassériau rebelled against Ingres’ neoclassical style by
studying the work of Delacroix.

The Princesse and the P is for portrait. Answer these questions about Ingres’ Portrait of Princesse Broglie.
1. What is the full name of the Princesse in this portrait and how
was she related to the Broglies?
_________________________________________________
_________________________________________________
2. Who else in the Broglie family did Ingres paint?

_________________________________________________
_________________________________________________
3. When did Ingres begin planning the portrait and by what year
had he settled on the pose?
_________________________________________________
_________________________________________________
4. How did Ingres continue to refine the pose of the Princesse without requiring her to sit for more
modeling sessions?
_________________________________________________________________________________
18
What is the difference between “Oriental” and “Orientalist”? “Oriental” is an outmoded term to describe someone or
something from the East. “Orientalist” describes an attitude toward the East based on stereotypical assumptions and is used
to describe works of art or literature that embody those assumptions.
5. What is the term for the kind of portrait pose Ingres selected for the Princesse’s portrait?
_________________________________________________________________________________
_________________________________________________________________________________
6. What kind of ornaments does the Princesse wear in her hair?
_________________________________________________________________________________
_________________________________________________________________________________
7. What included detail demonstrates Princesse de Broglie’s Christian devotion?
_________________________________________________________________________________
_________________________________________________________________________________
8. Describe the kind of jewelry the Princesse wears.
_________________________________________________________________________________
_________________________________________________________________________________
9. What techniques did Ingres use to focus most of the viewer’s attention on the figure of the Princesse?
_________________________________________________________________________________
_________________________________________________________________________________
10. Where was the portrait exhibited in 1855?
_________________________________________________________________________________
_________________________________________________________________________________
11. What happened to the portrait after the Princesse’s death in 1860?
_________________________________________________________________________________
_________________________________________________________________________________
4.14 IDENTIFICATION (pp. 43, 45, 46, 48)

Secondary Roles. In addition to the selected works by each of the featured artists in Section IV: Portraiture,
further examples of each artist’s work were provided. Identify the artist and subject of each of the following
portraits.
1.
2.
3.
4.
4.15 COMPARISON (Section IV)

Mirror, Mirror, on the Wall. Each of the statements below pertains to one of the portraits included as a
featured selection in Section IV: Batoni’s Portrait of a Young Man, Labille-Guiard’s Self-Portrait with Two
Pupils, Houdon’s Bust of Voltaire, and Ingres’ Princesse de Broglie. Decide which painting is intended and
circle the letter corresponding to the correct choice.
1. The smooth and polished surface of this portrait is characteristic

B L H I
of the style of the artist.
B L H I 2. The artist painted this portrait while in Rome.
3. This portrait, of a now anonymous man, was one of hundreds
B L H I
executed by the artist.
4. The sculptor of this portrait was famous for his representations of
B L H I
Enlightenment intellectuals.
5. One purpose of this portrait is to demonstrate the subject’s
B L H I
knowledge of ancient Roman art.
6. This portrait depicts a woman of leisure, fashion, and good
B L H I
breeding.
7. This self-portrait may have been intended as an advertisement for
B L H I
the painter’s skills.
8. Behind the subject in this portrait, a window opens onto the
B L H I
Italian countryside.
9. The artist of this portrait combined idealism and naturalism in the
B L H I manner of Roman busts to convey the elevated stature of his
subject.
10. Two sculptures in the background of this portrait testify to the
B L H I
artist’s moral virtues.
V. IRT: The Impact of Classical

Art on French Architecture and
Monumental Sculpture
This section covers the Independent Research Topic, pages 5 - 8
of the USAD Research Guide. It discusses two important public
monuments of the eighteenth and nineteenth centuries.
Power Play. Fill in the blanks in the sentences below with a word or phrase found in the word bank. Not all
words will be used.
WORD BANK
Church of Ste. ancient Greek and
Panthéon malleable
Geneviève Roman architecture
symbols public realm French monarchy European
French Revolution Vendôme Column Napoleon Catholic Church
1. Public monuments often serve as _________________________ of the ideology of the ruling class.
2. _______________________________ influenced the design of public monuments both before and

after the _______________________________.
3. In the eighteenth century, the French monarchy erected many public monuments to promote Paris
as a ________________________________ capital.
4. Impressive public monuments required many resources to build and thus signified the power and
permanence of the _______________________________.
5. Constructing monuments was one method the French monarchy employed to curry favor with the
_______________________________.
6. The _________________________________ was transformed into the

_________________________________ in the late eighteenth century.
7. The _________________________ was built by Napoleon to commemorate his military victory.
8. Since monuments occupy the public realm, their meanings are ___________________________;
as regimes change, they are often altered to suit the needs of the ruling party.
5.02 DATING (pp. 5-6)

Radiation-free. The chart below lists the major events in the history of the building now known as the
Panthéon. Some items will not have specific dates to the year. If not, write in the date to the nearest
approximation: eg. 15th century
Date Event
1. Clovis I built the Church of the Holy Apostles on top of a hill in what is now the
Latin Quarter of Paris.
2. After the protector saint of Paris was buried there, the church was known as the
Church of Ste. Geneviève.
3. Louis XV decided to restore the church, which had by this time disintegrated into
ruins.
4. Louis XV chose Marquise de Marigny to be the Director General of the King’s

Buildings.
5. Marigny assigned his friend Jacques-Germain Soufflot to be the architect of the

restoration.
6. Soufflot passed away without having seen the church building to completion.
7. The dome of the church was completed, but not the program of interior decoration.
8. The Constituent Assembly declared that the church would be renovated from a sacred
building to a secular monument to fallen heroes of the French Revolution. They chose
Quatremère de Quincy to be the architect.
9. During the Bourbon Restoration, the French monarchy returned the church to its
function as a place of worship, after which it again became a secular monument.
10. During these years in the mid-nineteenth century the church was again a sacred
building.
5.03 ORDERING (p. 5)

Take the DeLorean. The physical form of the Panthéon changed greatly over time. This exercise asks you to
remember the order of significant alterations to the building. Chronologically order the events plotted out
below by drawing lines between them. The first event should be obvious.
Windows in the dome of the
church were blocked off and a
renovation to change the church
into a mausoleum was planned.
The dome of the church was
The Church of the Holy Apostles
completed, but the interior
was built on a hilltop in Paris by
sculptural decoration was in
Clovis I.
progress.
A new pediment was attached to
the façade of the building.
Louis XV decided to have the
church restored and a new abbey
added.

French Connection. Each of the following figures was significantly attached to the Panthéon, either in life or
in death. Match each to the statement on the right that describes his association with the building.
a. Jacques-Germain Soufflot _____ 1. She introduced her brother, who became the
b. Clovis I Director General of the King’s Buildings, to the
c. Madame de Pompadour architect Jacques-Germain Soufflot.
d. Voltaire _____ 2. A leader of the Third Estate during the French
e. Quatremère de Quincy Revolution; the first person buried in the Panthéon
f. Jean-Paul Marat _____ 3. He added a new pediment to the Church of Ste.
g. Abel-François Poisson, Geneviève in the early nineteenth century.
Marquis de Marigny _____ 4. Radical journalist buried in the Panthéon in 1794,
h. David d’Angers only to be disinterred the following year
i. Honoré Mirabeau _____ 5. French king who wanted to restore the Church of
j. Louis XV Ste. Geneviève
_____ 6. In 1750, he traveled to Italy to study classical art
and architecture with Jacques-Germain Soufflot.
_____ 7. Architect appointed during the French Republic to
convert the Church of Ste. Geneviève to the
Panthéon
_____ 8. Frankish king who converted to Catholicism in the
5th century
_____ 9. Enlightenment intellectual whose interment in the
Panthéon in 1791 was ceremonially celebrated
5.05 FALSE (p. 5)

Transformers! More than meets the eye. Each of the sentences below is false. Revise the sentences in the space
below to make them true.
1. The inscription on the Vendôme Column reads AUX GRANDS HOMMES LA PATRIE
RECONNAISSANTE, which means “In honor of great men from a grateful country.”
______________________________________________________________________________
2. The building known as the Panthéon was originally built as a mausoleum for dead Christian soldiers.
______________________________________________________________________________
3. The design executed by the architect Soufflot in the late eighteenth century had a Latin cross plan.
______________________________________________________________________________
4. Soufflot based his design on classical Greek and Roman examples, with a dome inspired by St.
Peter’s Basilica in Rome.
______________________________________________________________________________
5. The two rows of windows Soufflot had built into the dome were intended to provide adequate
ventilation to the church interior.
______________________________________________________________________________
6. Quatremère de Quincy was a painter and archeologist.
______________________________________________________________________________
7. Voltaire was unlucky enough to have his remains cast out from the Panthéon in 1794 after it was
discovered that during the French Revolution he secretly negotiated with the monarchy.
______________________________________________________________________________
8. The transformation of the church into a secular monument reflects the greater transition in French
society from a religious monarchy to an atheist empire.
_____________________________________________________________________________
5.06 EITHER OR (pp. 7-8)

Monument to Myself. Napoleon glorified himself as best he could in as many media as possible. Circle the
choice that best completes each sentence.
1. The Place Vendôme was previously the location of a statue of (LOUIS XIV, LOUIS XV) on
horseback.
2. The sculpture of the king was destroyed in (1789, 1792) during the violent rebellions of the French
Revolution.
3. In 1805 Napoleon defeated the combined forces of Russia and Austria at the battle of
(AUSTERLITZ, WATERLOO).
4. Napoleon had the (PLACE VENDÔME, VENDÔME COLUMN) built to celebrate his military
victory of 1805.
5. At the top of the column was a sculpture of Napoleon wearing the clothing of (AN ANCIENT
ROMAN, A MILITARY GENERAL).
6. The unveiling of the sculpture was celebrated with a grand public ceremony on Napoleon’s birthday
in (1810, 1808).
7. During the (ONE HUNDRED DAYS, BOURBON RESTORATION), the statue of Napoleon
was removed from the column.
8. Although the statue was replaced during the first half of the nineteenth century, it was taken down
again during the (PARIS COMMUNE, SECOND EMPIRE) in 1871.

Resting on his laurels. Fill in the blanks with the correct choice from the word bank. Some words will be used
more than once.
WORD BANK
Dominique Vivant
Jean-Baptiste Lepère laurel wreath Place Vendôme
Denon
Austrian and Russian
Column of Trajan Roman clothing Jacques Gondouin
armies
1. _________________________________ directed the building of the Vendôme Column.
2. _________________________________ was the artistic advisor and director of museums under

Napoleon.
3. The sculptors _______________________________ and _______________________________

collaborated on the design of the sculpture.
4. The column was erected in the _______________________________ in Paris.
5. The column was intended to be symbolic of Napoleon’s many victories, but specifically celebrated
his defeat of the ________________________________ at Austerlitz.
6. The statue of Napoleon wears a _______________________________ on his head and is dressed

in _______________________________.
7. The Vendôme Column is modeled after the _______________________________.

Count Dracula. Some of the following numbers are dates; some are not. Match each description on the right
with the number that accurately measures it.
a. 113 _____ 1. number of bronze plates on the Vendôme Column

b. 425 _____ 2. year Napoleon declared himself emperor
c. 1805 _____ 3. year the sculpture of Louis XIV at the Place Vendôme
d. 1804 destroyed
e. 130 _____ 4. height of the Vendôme Column in feet
f. 1792
_____ 5. year the Column of Trajan was erected
g. 1871
_____ 6. year of Napoleon’s victory at Austerlitz
_____ 7. year of the Paris Commune
5.09 SHORT ANSWER (pp. 7-8)

Order Up. The Vendôme Column is a giant column like those found in Greek and Roman architecture.
Provide brief answers to the following questions about the Vendôme Column.
1. What is the Vendôme Column made of?
______________________________________________________________________________
______________________________________________________________________________
2. To what ancient order does the Vendôme Column belong?

______________________________________________________________________________
______________________________________________________________________________
3. What is depicted on the 425 bronze plates attached to the column?

______________________________________________________________________________
______________________________________________________________________________
4. What kind of decoration is on the Column of Trajan?

______________________________________________________________________________
______________________________________________________________________________
5. What is depicted in the decoration on the Column of Trajan?

______________________________________________________________________________
______________________________________________________________________________
6. List at least three strategies that Napoleon and his administration employed in the building of the
Vendôme Column to assert Napoleon’s ascendance over both his military enemies and the
monarchy.
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

PVC- Free. Each of the statements below describes the Panthéon, the Vendôme Column, or both. Circle the
letter(s) corresponding to the correct choice.
Vendôme
Panthéon Theme
Column
P V 1. It is located in a very famous square in Paris.
2. Throughout its history, its purpose has alternated between sacred and
P V
secular.
P V 3. It was originally built as a place of worship.
4. In the early nineteenth century, David d’Angers added a pediment to
P V
it.
5. It has been appropriated by different political regimes to serve their
P V
own purposes.
P V 6. It has served as a mausoleum.
P V 7. It was built to glorify Napoleon.
P V 8. It is located in the Latin Quarter of Paris.
P V 9. Its design was influenced by Gothic and ancient Roman architecture.

VI. Comprehensive
Exercises
The following exercises cover all of the material in the official
curriculum guide.
6. 01 DATING (pp. 4-7, 20-21, 31)

Reigning Cats and Dogs. The following chart includes important events related to the history of French
politics and the changes in the Royal French Academy of Painting and Sculpture.
Date Event
1. beginning of the reign of King Louis XIV (p. 4)
2. The Royal Academy of Painting and Sculpture was founded. (p. 6)
3. Louis XIV’s advisor, Jean-Baptiste Colbert, founded the French Academy in Rome.
(p. 7)
4. Louis XIV moved the Royal Court to Versailles to consolidate his power. (p. 4)
5. With the death of Louis XIV, Louis XV took the throne. The period known as the
rococo is said to have begun when Louis XV moved the court back to Paris. (p. 5)
6. King Louis XV died and left the throne to his grandson Louis XVI and his wife, Marie
Antoinette. (p. 20)
7. French Revolution (p. 20)
8. The National Convention proclaimed the First Republic. (p. 20)
9. Reign of Terror (p. 20)
10. The Royal Academy of the Arts was dissolved. (p. 21)
11. A new arts academy was established by Jacques-Louis David and others. (p. 21)
12. A government referred to as the Directory maintained control. (p. 20)
13. Napoleon established the Consulate and made himself First Consul. (p. 21)
14. Napoleon declared himself the Emperor of France. (p. 21)
15. Napoleon was deposed and exiled. (p. 21)
16. Napoleon returned to power for one hundred days. (p. 21)
17. Bourbon Restoration (p. 31)
18. The deposition of King Charles X established the July Monarchy. (p. 31)
6.02 MATCHING
Great Thinkers, Inc. This exercise covers the noteworthy minds of the French eighteenth and early nineteenth
centuries. Match each philosopher or critic on the left with the correct title or description on the right. Some
letters will be used more than once.
a. Germaine de Staël _____ 1. Coined the term “romantic” to describe the anti-
b. Denis Diderot rational tendency emerging in European art and
c. Edmund Burke literature at the end of the beginning of the nineteenth
century
d. La Font de Saint-Yenne
_____ 2. Reflections on the Imitation of Greek Works in Painting
e. Johann Joachim
Winckelmann and Sculpture
f. Friedrich von Schlegel _____ 3. Reflections on Some Causes of the Current State of
Painting in France
_____ 4. Encyclopédie
_____ 5. A Philosophical Inquiry into the Origin of our Ideas of the
Sublime and the Beautiful
_____ 6. De l’Allemagne
_____ 7. Salons between 1759-71
6.03 CHARTING
Style Home Companion with DemiDec Keillor. The purpose of this exercise is to provide you with a quick
reference sheet comparing the styles of eighteenth and nineteenth century art discussed in the official curriculum
guide. Summarize the characteristics of each style by completing the chart below using the word bank.
WORD BANK
ca. 1750-early
1715-1800 Boucher Greuze
nineteenth century
ca. 1700-mid-eighteenth
Carle Vernet Watteau Delacroix
century
arose with the dramatic, often tragic co-existed with the

seen as emblematic of the
Restoration, but later stories from literature rococo and was
decadence of the ancien
outstripped political and contemporary associated by Diderot
régime
associations events with moral virtue
painterly, with visible, subdued palette, modest

smooth, polished, linear Géricault
textured brushwork brushwork
Panini everyday subjects, still Romagnési

Chassériau
life
flirtation, romance, idle pastel colors, coloristic associated with the ancient Greek and Roman
pleasure modeling Napoleonic era history
Chardin ca. 1800-1850 Horace Vernet David
ROCOCO NATURALISM NEOCLASSICISM ROMANTICISM
Dates
Political
Regime
Major Artists
Visual
Characteristics
Subjects
6.04 TRUE OR FALSE

We just love pizza. French intellectuals and academicians at the Academy were obsessed with ancient Rome.
This exercise deals with how the French understood classical Rome as a model for contemporary culture.
T F 1. The French Royal Academy of Painting and Sculpture was modeled on the Roman
Accademia di San Luca. (p. 6)
T F 2. French artists strove to imitate the artists of the Italian Renaissance. (p. 7)
T F 3. Italian Renaissance artists immersed themselves in the study of ancient Greek and
Roman painting. (p. 23)
T F 4. The most valuable part of a Prix de Rome winner’s training in Italy was the
opportunity to study medieval manuscripts. (p. 23)
T F 5. Mid-seventeenth century excavations at Pompeii and Herculaneum introduced the

scholars and artists of Europe to preserved examples of ancient painting. (p. 23)
T F 6. Popular stops in Italy for a young man on the Grand Tour included Pompeii,
Herculaneum, Rome, Florence, and Naples. (p. 23)
T F 7. Travelers touring in Rome typically followed a path that included the Pantheon, the
Colosseum, and Saint Peter’s Basilica. (p. 23)
T F 8. Two ancient sculptures that were highly influential on Renaissance artists were the
Farnese Hercules and Apollo and Daphne. (p. 25)
T F 9. In the eighteenth century, “modern Rome” referred to Rome in the seventeenth and
eighteenth centuries. (p. 25)
T F 10. In the early nineteenth century, the writer Madame de Staël urged artists to
question the adoption of classicism from Italy. (p. 33)
T F 11. The rise of romanticism in the early nineteenth century marked a turn away from
the artistic culture and values that had long been imported from Italy. (p. 33)
6.05 DEFINITIONS
Genre Jumping. In the column on the left, order the genres from highest to lowest. In the column on the right,
provide a definition of each genre.
a. landscape
b. portraiture
c. genre painting
d. history painting
e. still life
6.06 EITHER OR
Rococo v. Naturalism. This exercise covers the works included in Section I of the official curriculum guide.
1. Watteau invented the new genre of the fête galante with his painting (MEZZETIN, PILGRIMAGE
TO THE ISLAND OF CYTHERA).
2. Watteau’s work was controversial because it depicted (POPULAR FORMS OF
ENTERTAINMENT LIKE THE THEATER, FRIVOLOUS PARTIES AND OUTINGS OF
THE NOBILITY).
3. Chardin’s Soap Bubbles is an example of a humble genre scene intended to spur viewers to meditate
on the (PLEASURES OF YOUTH, TRANSIENCE OF LIFE).
4. Chardin’s painting style was influenced by seventeenth-century (DUTCH PAINTING, POPULAR
ENGRAVINGS).
5. Items such as the Vincennes Wine Cooler were made to be consumed by (ROYALTY AND
NOBILITY, FOREIGN TOURISTS).
6. The Vincennes Wine Cooler is made of (KAOLIN, PORCELAIN).
7. Greuze’s paintings were lauded by Diderot for their (NATURALISM, MORALISM).
8. Greuze’s (LINEAR STYLE, DRAMATIC SUBJECTS) and emphasis on paternal authority
identifies his work as a transition between the rococo and neoclassical periods.
9. Boucher was most popular for his gallant mythologies and bucolic scenes of rural life known as
(FANCIES, IDYLLS).
10. Boucher’s painting was attacked by critics who saw it as representing the (IGNORANCE OF THE
GOVERNMENT, PRIVILEGE OF THE ELITE).
6.07 COMPARISON
Men in Tights? Each of these paintings concentrates on a single subject whose gaze is averted away from that
of the viewer. Yet the effect of each is profoundly different. Visually analyze the paintings in the chart below.
Artist
Title and
Date
Subject
Style
Tone or
Mood
Interpretation
6.08 FILL IN THE BLANK

Roman Holiday. The following exercise deals with the French understanding and use of classical models. Fill
in the blanks with the correct choice from the word bank.
WORD BANK
philosophical model still life background landscape
contemporary
idealized naturalism decisive human action triumphal arch
travelers
foreground classical Napoleon ancient Romans
1. Panini’s 1747 painting of the interior of the Pantheon depicts _______________________

admiring the building. (p. 25)
2. Panini’s monumental paintings of Roman historical sites document the breadth of what was
considered _______________________ in the eighteenth century. (p. 26)
3. The ideals of neoclassicism as exemplified by David’s The Death of Socrates were intended to serve as
a _______________________ for contemporary Frenchmen. (p. 28)
4. In contrast to rococo art, the neoclassical paintings of David place the central focus on
_______________________. (p. 28)
5. In Carle Vernet’s reception piece for the French Academy, The Triumph of Aemilius Paulus, the
action of the human figures takes place in the _______________________. (p. 28)
6. Although Vernet’s The Triumph of Aemilius Paulus is executed in a linear style characteristic of
neoclassicism, the representation of the _______________________ points to the emergence of a
romantic sensibility. (p. 29)
7. Romagnési’s Minerva Protecting the Young King of Rome is modeled after ancient Roman sculpture in
its _______________________. (p. 30)
8. The primary purpose of Romagnési’s sculpture was to assert the parallel between
_______________________ and the ancient Roman Empire. (p. 30)
6.09 SORTING
Paint-by-Numbers. Compare the two paintings below by sorting the words from the word bank into two
columns.
WORD BANK
coloristic 1768 1787 David luxurious textures
moral and ethical
linear pleasure rococo
action
Shepherd’s Idyll fantasy ancien régime Boucher
diffuse lighting Enlightenment dramatic lighting stage-like setting
bucolic setting neoclassical history The Death of Socrates
6.10 TRUE OR FALSE

How romantic! Decide whether the statements below concerning the romantic painters featured in your
official curriculum guide are true or false. If false, correct the statement to make it true.
T F 1. Géricault’s Raft of the Medusa makes visual reference to baroque and Renaissance
art. (p. 35)
T F 2. Later in the nineteenth century, Géricault’s work was particularly influential on the
impressionists. (p. 35)
T F 3. Horace Vernet was renowned as a painter of horses, soldiers, and battle scenes. (p.
36)
T F 4. Compared to David’s work, Vernet’s history paintings were more inclusive,

dramatic, and broad in scope. (p. 36)
T F 5. In Stormy Coast Scene after a Shipwreck, Vernet uses coloristic modeling to depict
the broken ship. (p. 38)
T F 6. While the exact details of the shipwreck depicted in Stormy Coast Scene after a
Shipwreck are known, the theme and meaning of the painting remain mysterious. (p.
38)
T F 7. Delacroix was inspired by his older friend Géricault, who encouraged him in his
ambition to paint contemporary events. (p. 39)
T F 8. Delacroix created strong compositions based on dramatic diagonals and extreme,

sketchy colorism. (p. 39)
T F 9. In his early career, Chassériau gravitated away from the classicism of Ingres toward
the romantic Delacroix. (p. 40)
T F 10. Chassériau’s orientalist paintings were inspired by his trip to Egypt in 1846. (p. 40)
6.11 MATCHING
Comparison shopping. Each of the statements below describes either Romagnési’s Minerva Protecting the
Young King of Rome or Chassériau’s Young Jewish Woman of Algiers. Match each statement to the correct
artwork, using R for Romagnési’s work, and C for Chassériau’s.
_____ 1. It was meant as a preparatory study.

_____ 2. It models itself after the idealized naturalism of ancient Roman sculpture.
_____ 3. It depicts an encounter with a foreign culture.
_____ 4. Drapery is represented with well-defined, gracious folds.
_____ 5. It is stately and symbolic.
_____ 6. Its forms are linear.
_____ 7. Its subject is anonymous.
_____ 8. It is an intimate work depicting an individual.
_____ 9. Drapery is loosely suggested through color and form.
_____ 10. Its subject is mythological.
_____ 11. Its figure(s) interact(s) intensely with the viewer.
6.12 SHORT ANSWER

Not your JCPenney Portrait Studio. Provide brief answers to the following questions about the serious
business of portraiture in the eighteenth and nineteenth centuries.
1. What is the main goal of portraiture?

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
2. List three ways that a portrait artist can convey the wealth and status of his or her subject.
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
3. Why was portraiture considered a lesser genre than history painting?

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
4. What makes a romantic portrait different from a neoclassical portrait?

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
6.13 EITHER OR
Face Painting. This exercise reviews the portrait artists covered in Section IV of the official curriculum guide.
Circle the answer that best completes the sentence.
1. (PANINI, BATONI)’s portraits of Grand Tour travelers functioned as souvenirs of their visits to
Rome.
2. Batoni’s reputation as a portraitist was due to his ability to (CAPTURE A LIKENESS, DEFY
CONVENTION).
3. Portraiture and (LANDSCAPE, STILL LIFE) painting were considered appropriate genres for
amateur female painters.
4. Labille-Guiard (WAS INDEPENDENTLY WEALTHY, EARNED A LIVING TEACHING
PAINTING).
5. An ambitious portrait such as Labille-Guiard’s Self Portrait with Two Pupils was excellent
(ADVERTISING, PRACTICE) for a painter seeking work as a portraitist.
6. (INGRES’, HOUDON’S) most famous works are portrait busts of the philosophers of the
Enlightenment.
7. Houdon’s talent lay in capturing both the (NATURALISTIC, IDEALISTIC) human visage of his
subject and his transcendent historical stature.
8. Ingres’ neoclassical training is visible in his linear draftsmanship, idealized forms, and dedication to
(VISUAL DETAIL, CHIAROSCURO).
9. Ingres’ extreme stylizations of the human body were seen by some as (UNPROFESSIONAL,
UNSEEMLY DISTORTIONS).
6.14 FILL IN THE BLANK

Police Academy. Throughout the eighteenth century, the French Academy was the arbiter of the art world,
exercising control over who could be trained at the school, who could exhibit at the Salons, and who could
become a member of the Academy. Fill in the blanks in the following sentences about the Academy. Not all
words will be used.
WORD BANK
Pilgrimage to the Island
Chardin history painter Labille-Guiard
of Cythera
Raft of the Medusa Greuze agréé Angelica Kauffman
Scenes from the
A Shepherd’s Idyll David Prix de Rome
Massacre at Chios
1. When Watteau submitted _____________________________ to the Academy as his reception

piece in 1717, he invented the new genre of the fête galante.
2. _____________________________, though only admitted as a still life and genre painter, held
important positions in the administration of the Academy.
3. After he was denied entrance into the Academy as a _____________________________, Greuze
boycotted the Salon for thirty years.
4. After _____________________________ failed to win the _____________________________
for the fourth time, it is said he tried to commit suicide by starvation.
5. _____________________________ was one of four women admitted into the Academy in 1783.
6. Géricault’s monumental painting _____________________________ depicted the scandal of the
frigate Medusa, when the captain of the ship deserted a raft of his men.
7. Delacroix’s painting of the Greek War for Independence _____________________________
caused a controversy at the Salon of 1824 over its sketchy, unfinished style.
6.15 COMPARISON
A Princess and a horse walk into a bar... These works are paradigmatic examples of the romantic and
neoclassical styles. Fill out the chart below to complete a visual analysis of the differences between the two styles
as embodied in these paintings.
Artist
Title and Date
Style
Subject
Tone or Mood
Setting
Interpretation
APPENDIX: DATEBOOK
The chart below provides you with the names of important figures mentioned in the curriculum guide. Names
in bold indicate artists with selected works in the curriculum. Fill in the birth and death dates. A space has
been left for you to make notes to help you remember what each person did.
Name Birth Death Significance
Livy
Emperor Trajan
Clovis I
Raphael
Caravaggio
Peter Paul Rubens
Louis Le Vau
André Le Nôtre
Charles Le Brun
Jean-Baptiste Colbert
King Louis XIV

Hyacinthe Rigaud
François Cars
Francesco Fernandi
Jean-Antoine Watteau
François Lemoyne
La Font de Saint-Yenne
Giovanni Paolo Panini
Voltaire (François-Marie
Arouet)
Jean-Claude Duplessis
Jean-Baptiste-Siméon
Chardin
François Boucher
Michel Ange Slotdtz

Pompeo Girolamo Batoni
François-Elie Vincent
Louis XV
Jacques-Germaine Soufflot
Denis Diderot
Jean-Baptiste Pigalle
Joseph-Marie Vien
Johann Joachim
Winckelmann
Count de Stainville
Madame de Pompadour
(Jeanne-Antoinette Poisson)
Sir Joshua Reynolds
Jean-Baptiste Greuze
Marquis de Marigny
Edmund Burke
Augustine Pajou
Comte d’Angiviller
Josiah Wedgewood
Jean-Honoré Fragonard
Jacques Gonduin
Jean-Antoine Houdon
Angelica Kauffman
Thomas Jefferson
Jean-Paul Marat
François-André Vincent
Dominique Vivant Denon
Jacques-Louis David
Adélaïde Labille-Guiard
Honoré Mirabeau
Louis XVI
Quatremère de Quincy
Marie Antoinette
Louis XVIII
Charles X
Pierre Cartellier
Carle (Antoine Charles

Horace) Vernet
Marie-Gabrielle Capet
Marie-Margarite Carreaux
de Rosemond
Jean-Baptiste Lepère
Germaine de Staël
Antoine-Jean Gros
Friedrich von Schlegel
Louis-Philippe
Pierre-Narcisse Guérin
Jean-Auguste-Dominique
Ingres
Joseph-Antoine Romagnési
David d’Angers
Horace (Émile-Jean-
Horace) Vernet
Théodore Géricault
Eugenè Delacroix
Théodore Chassériau
Princesse de Broglie
About the Author

Mandy Hockensmith began her academic career years ago at Williams
College. Nestling in a cozy library on snowy afternoons in the purple
mountains of the Berkshires convinced her that the academic life was
worth pursuing. She spent the next eight or so years studying the
history of modern art. Making side-trips to Japan and Germany,
among other places, kept her distracted with all the other things to do
in the world.
After being drawn away from her dissertation research in Germany to
become a yoga teacher, she retired from academic life. She now lives in
the famed city of Winston-Salem, home to Reynolds Tobacco, Hanes
Brand underwear, and Krispy Kreme donuts. Winston is also the
home of Krankie’s, the coffee shop where she spends most of her time
and where the majority of this workbook was written while drinking
iced green tea and working New York Times’ crossword puzzles.
Her other jobs include baking pumpkin and banana bread at Camino Bakery, teaching yoga, making art
for the “electric moustache” gallery, and painting murals in Mexican restaurants. She hopes to continue
making art for as long as she’s here, and eventually to make it her day job.
About the Editor

Chris Yetman often hears his students refer to him using
terms like ‘creepy,’ ‘beardy,’ ‘old’ and ‘evil.’ Having taught
mathematics for 21 years, he understands the origin of their
sentiments. Despite his curmudgeonly exterior, he’s really a
warm but misunderstood man who decorates his belongings
with Pony Princess stickers and enjoys using his “FAIL!”
stamp on his students’ exams. When not teaching AP
Calculus and coaching the Academic Decathlon team at
Canyon del Oro High School, he enjoys cooking, hiking,
rock climbing, and crushing fragile egos under the iron boot
of rigorous academics. He lives in Tucson, AZ with his lovely
wife and two energenic sons. He welcomes feedback to csyetman@gmail.com, and you can find him on
facebook, where he creepily stalks hundreds of current and former students.
About the Beta Testers

Bladimir Aguirre might never know a greater joy than Academic Decathlon and beta
testing for DemiDec. He really wishes life was just one long Decathlon season and beta
testing journey, but has found it to be a versatile thing of intangible beauty. Bladimir hopes
to gain some reverence this year at the challenging LAUSD district competition.
Christina Biscoff learned of the miracle of AcaDec during her senior year at Sonoran
Science Academy, and quickly made it her goal to dominate the scholastics of Southern
Arizona. Though she failed at this goal, she got some gold medals and developed a love of
Evolutionary Biology, math, and public speaking. Unfortunately, no college offered
Decathlon as a major, so she had to settle for Biology and Math. Outside of obsessing over
how many birds Darwin could fit in his beard, she enjoys cartooning, singing songs from
"Dr. Horrible," and watching ridiculously bad movies.
Cathy Capalla is described with adjectives ranging from 'hyperactive' to 'easily amused'.
Despite her outgoing and free spirited nature, Cathy is serious when it's appropriate and
has the ability to take on challenges, head on, no matter how reluctant she may seem. This
will be her second year of Academic Decathlon as a sophomore at John H. Francis
Polytechnic High School. Some of her hobbies are playing the piano, reading material that
preps her for the upcoming AcaDeca season, talking to Decathlete friends online, and
playing video games.
Reeve Hunsaker will definitely be a senior in this coming 2009-2010 season of Academic
Decathlon. He will also definitely be attending Northwest Pennsylvania Collegiate
Academy. A little less definite, will be his status as a Varsity, as he may be a scholastic,
which he thinks would be a lot less fun. He definitely likes playing frisbee though, no
doubt about that.
Ajay Karpur is a sophomore at Mountain Pointe High School in hellishly-hot Arizona. He
spends most of his time indoors on the computer, avoiding the heat while playing
videogames and lurking on forums. When he’s not on the computer, he’s listening to
music, fervently waiting for the next season of The Office to begin, and hanging out with
friends. He enjoys long hikes, photography, and fruit smoothies. He hopes to pursue a
career in the field of bioengineering, and someday become a super-awesome cyborg with
brain implants and such.
Clarissa Kimmey is a sophomore at Moniteau HS. This summer she went to France and
Italy where she got to drive a golf cart through the gardens of Versailles. But the highlight
of the trip was the discovery of the incredible Italian espresso. She survived her first year of
Decathlon through the help of coffee and carrots, and study-breaks consisting of House.
(The pic was taken in front of the Versailles gardens)
Andrew Nguyen was a varsity tester on the famous Omaha Burke team. Despite spending
half of practice studying and the other half JIMP-ing, his team managed to take third at
Nationals. Andrew's hobbies include listening to his alarm go off, opening windows and
feeling a breeze roll in, finding out Bruce Willis is dead at the end of 6th Sense and eating
grapes. He wishes you the best of luck and would like to thank John Henderson for
inspiring him and his team.
Caya Simonsen is pictured here with a year’s worth of accumulated materials prior to her
team’s 2nd annual burning party. In those rare moments when her life is not engulfed by
the world of Academic Decathlon, Caya enjoys starring with the Kind of Amazing
Nebraskans Acting Troop, coming up with new nicknames for her kitty, picking
blueberries, pura vida, quilting, reading, s’mores, the ocean, and other oddities. If Omaha
Burke again takes Nebraska’s first place title, Caya will enjoy a free trip to her home state
for nationals.
Lok Wong will become a senior at Uvalde High School and hopes to be an early graduate
by end of the upcoming year. This will be his third and final year to be involved in
Academic Decathlon. Since his freshman year he has enjoyed many of the aspects and
qualities of both the AcaDec competition and DemiDec.
Vid Yogeswaran will be a senior at Collegiate Academy during the 09-10 school year,
where she's been competing since her junior year when she moved to Erie from New York
City. She was the first varsity in Pennsylvania to score over 8k in more than ten years. She
was the top varsity in division 3 at the 2009 nationals, and somehow got a medal in
Economics although she had scored a 480 only a few months earlier. After spending two
sleepless nights learning all of AP Bio two days before the test, she promised herself to
never procrastinate again.
Karanina Cruz did not submit her biography.

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ART WORKBOOK PAGE 1 OF 119 DEMIDEC © 2009

ART WORKBOOK PAGE 2 OF 119 DEMIDEC © 2009

Author’s Introduction .................................................................................... 3

1.01 MATCHING (pp. 4-6)

a. Charles Le Brun _____ 1. Louis XIV’s advisor

1.02 DATING (pp. 4-6)

1. original construction of the Château de Versailles as a hunting lodge

2. beginning of the reign of Louis XIV

4. death of Louis XIV

5. return of the court to Paris under Louis XV

1.03 DEFINITIONS (pp. 4-6)

“bourgeois bohemian:” describing an extravagantly priced necessity, indulged in

1.04 CAUSE AND EFFECT (pp. 4-6)

1. Heavy taxation initiated by _____ a. …anti-monarchy sentiment among intellectuals who

1.05 TRUE OR FALSE (pp. 6-7)

T F 3. Women in the Academy were disadvantaged because they were considered

T F 4. Admission to the Academy required the support of the applicant’s mentor.

T F 5. Scholarships were awarded to students who lacked funds.

T F 6. The title “academician” was given to professors of painting and sculpture.

T F 7. The officiers occupied privileged administrative positions within the Academy.

T F 9. Upon acceptance, applicants were referred to as permis (permitted).

T F 10. The Academy was organized democratically.

1.06 CONNECT THE DOTS (p. 6)

Description Genre Example

1. small, intimate Boucher’s Portrait of Madame

3. paintings of the still life Claude Lorrain’s View of La

1.07 FILL IN THE BLANK (p. 7)

1. In ____________________________________ painting, form is created by the blending of colors.

3. In the hierarchy of genres, _________________________________ was second.

6. By drawing from copies of ____________________________________________, students at the

7. The ___________________________________ style, emphasized at the Academy, creates form

8. ___________________________________ and drawings were ranked last in the hierarchy of

9. In addition to attending the Academy, students also trained

10. Among two-dimensional media, ___________________________________ ranked highest.

11. In the hierarchy of genres, ___________________________________ occupied the top spot.

1.08 SHORT ANSWER (p. 7)

3. What opportunity did the winner receive?

4. What status did the winner of the top prize attain?

6. Where was the school located?

7. Who founded the school and in what year was it established?

1.09 RANKING (pp. 7-9)

Example: Who does the best impersonation of a political candidate?

1. Who were the most important patrons of the eighteenth century?

2. Which kind of painting sold for the most money?

1.10 EITHER OR (pp. 8-9)

9. Diderot criticized the work of (FRANÇOIS BOUCHER, JEAN-BAPTISTE SIMEÓN

1.11 COMPARISON (pp. 8-11)

R N 3. It took inspiration from seventeenth-century Dutch and Flemish genre paintings.

R N 5. François Boucher and Jean-Honoré Fragonard inherited this style.

R N 8. It depicted the fantasy lives of the elite strata of French society.

1.12 FILL IN THE BOX (pp. 10-11)

1. In 1684, Watteau was born here.

2. Watteau’s first apprenticeship was with this painter.

4. From 1703 to 1704, he was Watteau’s teacher.

5. From 1708 to 1709, Watteau studied with this ornamental painter.

6. In 1709, Watteau won second place in this competition.

9. In 1717, Watteau submitted this painting as his morceau de réception.

1.13 TRUE OR FALSE (pp. 11-12)

T F 2. Mezzetin, a popular Comédie Italianne character, was typically a pompous doctor.

T F 3. Commedia dell’arte theater developed in seventeenth-century Italy.

T F 4. Comédie Italianne performances followed highly scripted plotlines.

T F 7. The mood of Watteau’s painting, Mezzetin, is satirical.

T F 8. By placing Mezzetin in front of a fantasy landscape, Watteau downplays the

4. The style of rococo artists was denigrated as and .