Jean-Louis Lemoyne

The piece I decided to analyze is the famous sculpture, Laocoön and his two sons. I decided on this particular piece for a few reasons, one being the emotion we see on the subjects’ faces, and the other being the importance for future art. When I began this research I could not have possibly understood the relevance this piece had on the art that was yet to come.

Janson, H W, Penelope J. E. Davies, and H W. Janson. Janson's History of Art: The Western Tradition. Upper Saddle River, NJ: Prentice Hall, 2011. Print.

Museums add new context for artworks, since historical items were not made to be in modern museums. A Pair of Sensing Angels by Circle of Bernaert Orley are two ‘one by three foot’ oil painting on wood from 1535-1540 that depicts two angels. When looking at “A Pair of Censing Angels” we can infer the subject, the value the painting held, and how the meaning alters in its present setting. This visual analysis will describe the artwork, analyze the formal elements used, and how the formal elements of the work and display affects the viewer.

-In the 1700’s a new middle class emerged. Mass print became a thing as well. Every day people started to purchase art works to display in their homes. It was a way for them to express their status and national patriotism. The diversity in patrons had a great impact on the arts of the 15th – 18th centuries. With new patrons and the demand for art work, artists were able to capture more than just religious scenes. They were able to create landscapes and everyday life in their work. Artists were commissioned by the new middle class to create art work that they were able to hang in their houses. For instance, artist Joseph Wright of Derby’s painting “A Philosopher Giving a Lecture at the Orrey (1765).”

The vision was to have a colony on the Mississippi River that was a gateway to open and expand trade with the new world. On May 7, 1718, Jean-Baptiste Le Moyne de Bienville and the French Mississippi Company officially founded Nouvelle-Orleans. Bienville would later become governor of the Louisiana colony three different times between the years 1702 and 1743. The city was named after Duke Philippe d'Orléans, who was France's head of state at the time (Briney).

What would it be like to be a member of one of the world's greatest journeys? Though he was just a baby, this was what happened to Jean Baptiste Charbonneau. He was an unintentional addition to Lewis and Clark's expedition to the Pacific ("Sacagawea"). However, the stories of this child do not end with Lewis and Clark's return to St. Louis.

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

During the 17th century when Louis XIV was king, French Society was ruled by his program of order through hierarchy and his minister Colbert economic policies of mercantilism. The French painting seems

The museum I have visited during my time was The Haggin Museum located in Stockton, California. Although I had a very brief visit at the museum the layout of each room was very well thought out. The three main images that I have found found very interesting are the Noonday Meal by Daniel Ridgway Knight, Harlequine by Jean Beraud and Les Halles also by Jean Beraud. This paper will discuss the formal characteristic of each artwork and will also be compared to some of the artworks studied and discussed in class.

On September 4, 2016, I visited the Matisse in His Time exhibit at the Oklahoma City Museum of Art. This exhibit is home to a plethora of pieces by many different European artists from the 19th and 20th centuries. While it is focused on Matisse and his extensive works, containing more than 50 of his pieces, there are many portraits and sculptures by other influential artists from that time period including Renoir, Picasso, and Georges Braque. Three of the most appealing works that I encountered in this exhibit are Maurice de Vlaminck’s Portrait of Père Bouju, Pablo Picasso’s Reclining Woman on a Blue Divan, and Henri Matisse’s sculpture series Henriette I, Henriette II, and Henriette III.

This essay will compare and contrast the work of two sculptors who use the human form as a basis of their artwork. The first sculpture “Apollo and Daphne” by Gian Lorenzo Bernini was created in 1622 and portrays a Romanian story. Where as “Two Women” by Ron Mueck is a hyper realistic sculpture made by an Australian contemporary artist.

France was not always the universal centre of stylishness and sophistication. It was not until the regime of King Louis XIV that the world started to look to Paris for the latest trends in fashion. What was King Louis XIV’s secret behind such an elegant upgrade of his nation? Sure enough, the Sun King was a trendsetter himself, but his passion for fashion alone do not explain the outstanding economical success that allowed the reputation which France carries so confidently even due to this day. Behind the prosperity of France in the 17th century, there was Jean-Baptiste Colbert—the minister of finance at the time—who managed to fulfil the needs of Louis XIV as a King and as a biggest fashion admirer. Colbert truly understood marketing. He took advantage of the King’s love for fashion to establish an appetite for luxury that attracted people of all economic levels. It was only inevitable that the French showed an instant response; Colbert correctly predicted the influence the trendy king possessed on its people and the possible economic

After the divorce, Percier’s protege, Louis-Martin Berthault, redecorated Josephine’s bedroom in a sumptuous tent style. It’s possible that the tent theme stemmed from a desire to evoke the militaristic victories of Napoleon. Allusions to Napoleon’s militaristic accomplishments had been on show throughout the chateau. Textiles had been being used as coverings for walls for long before the Empire era style of interior design. At Malmaison, Percier and Fontaine raised textiles all the way up to the ceiling, draped them over doors, and even hung them loosely like curtains. Opulent tents and wall hangings were also associated with the ancient Roman Empire. Napoleon often identified stylistically and politically with Rome’s “golden age.” He modeled portraits of himself after the monarchs of the ancient regime, which he helped to overthrow. It may have been a similar self-conscious move on the part of Percier & Fontaine and Josephine to cover the interiors of the Malmaison with pricey and expensive fabrics.

This dominance was no accident but rather was planned by King Louis XIV and his finance minister Jean-Baptiste Colbert. Jean-Baptiste Colbert declared “fashion is to France what the gold mines of Peru are to Spain.” The King and Colbert deliberately used fashion as a propaganda move to promote France and Versailles among the French people and inspire awe from foreign governments. In addition to inspiration, fashion provided Louis XIV with a distraction to occupy the minds of those at court while he manipulated political matters. By creating an elaborate dress code and complex social rules and manners, the King maintained control over a large group of nobles and soldiers living at Versailles. All who resided at or visited Versailles were expected to adhere to these regulated mannerisms of court etiquette.

Chapters two to eight follow each other chronologically, and examine how the image of Louis XIV changed during his reign. Chapter two pays particular attention to the different media used by the king and his 'image-makers '. This chapter is a good introduction to the different styles and genres used to create royal images, for example by comparing classicism and baroque and explaining recurrent allegories, metaphors and commonplaces used in the representations of Louis XIV. Chapters two to four give us the necessary background to understand the study of the relation between art and power in the time of Louis XIV. Whilst in chapter three, Peter Burke concentrates on how royal representations respond to contemporary events, he then is primarily concerned in chapter four with the construction of the structures of glorification of the king. The reader is introduced to two key figures in