106.

Y no hai remedio (And There's Nothing To Be Done)

Form: style: romanticism (challenging power and oppression), etching, drypoint

Content: part of series of 82 called Disasters of War, what human beings capable of,
government misuse of power on helpless victims, man is blindfolded with head down tied to
wooden pole (christ-like), recently deceased corpse with extreme detail of his grotesque face
(behind body on pole is a dead body on pole)

Function: pictures the atrocities of war, visual indictment and protest against French
occupation of Spain

Context: publish 1863, made 1810-1823 CE, artist: Francisco Goya (trained by Rococo)

107. La Grande Odalisque

Form: romanticism (exoticism), classical figure, proportions are messed up, oil on
canvas
Content: physically unreal body, peacock fan, turban, enormous pearls, hookah
eroticism based on exotic content)
Function: what a French male's fantasy would look like
Context: artist: Jean-Auguste-Dominque Ingres (court painter for Napoleon, 1814 CE

108. Liberty Leading the People

Form: romanticism, seems as though it is overpowered by chaos but filled with subtle
order, oil on canvas
Content: people of both the working class and middle class join in the fight against the
government, lady carrying the French flag meant to serve as an allegory, in this case a
moral or political idea of Liberty (looking back to make sure people are following,
represents an idea), background: Notre Dame
Function: allow us to believe anyone can be a revolutionary
Context: artist: Eugen Delacroix, 1830 CE

109. The Oxbow

Form: romanticism, Manifest Destiny, not based of a real place, oil on canvas
Content: reverence for nature, filled with life, based on real life area, divides the
painting into two unequal sections, one shows sublime view of land untouched by man
(wild, untamed), other side shows land humankind has taken over (overtaken by
agriculture), self portrait of himself wandering
Function: landscape painting, shows respect for nature
Context: Northampton, Massachusetts, artist: Thomas Cole (leader of Hudson River
School), 1836 CE (19th century)
110. Still Life in Studio
Form: classical art. daguerreotypes record precise detail. photography
Function: elevate photography to art
Content: reversed image, long exposure and can't record movement, upstairs
underneath the skylight due to no flash, fills his photos with plaster casts (angels)
Context: artist: Louis Jacques Maude Daguerre , 1837 CE (earliest dated photography)

111. Slave Ship

Form:
-romanticism (sublime)
-combines a beautiful and horrible scene together
-rich colors
-loose brushwork
-oil on canvas
Content:
-beautiful seascape looking at first but if u look close you see slaves drowning and being
eaten alive
-disease breaks out on ship and overthrows all the dead and sick overboard so they can
get insurance (money is motivator for what they did)
Function:
-political and social activist piece
Context:
-artist: Joseph Mallord William Turner
-1840 CE
-inspired by a book

112. Palace of Westminster

Form:
-Hammer Beam Construction in the Westiminster Hall
-Romanticism
-classical building with a Gothic exterior, Gothic revival
-limestone, masonry, glass
Content:
-central lobby
-westiminster hall (oldest section)
Function:
-where the House of Lords and Commons meet
-rebuilt because a fire burned down old palace that was originally there
Context:
-London, England
-architect: Charles Barry
-designer: Augustus Pugin
-1840-70 CE

113. Stone Breakers

Form:Realism (anti-heroism, oil on canvas/chunky, rough brushwork, against
neoclassical style that dominated French art, dark palette
Content: young and old man, faceless men doing painful work that will neber get them
out of poverty, this owrk is punishment for chain gangs, rock=faces
Function: "painting of nothing", cycle of poverty, works: economically and physically
trapped, accurate display of abuse and deprivation that was common in French rural life
Context: 1849 (destroyed during bombing of Dresden in 1942), artist: Gustave Courbet
(prolific artist)