College aantekeningen
Anglais Histoire de l'Art 6
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Lecture notes of 4 pages for the course Anglais histoire de l'art at Paris IV - Université Paris Sorbonne
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Voorbeeld van de inhoud
Anglais cours 618.11.2014
Correction du devoir sur table
Majuscules systématiques sur les noms de pays en Anglais.
Questions texte :
1. He was an advendurous and rebellious boy. As a dreamy person, he
started/initiated a trend of creative and artistic productions that bore witness
(témoignait de) his early interest for art. He was interested in/ attracted to/
fascinated by the West.
2. The phrase western frontier can be defined according to two senses : a
geographical sense (the separation between colonized states in the East and
unknown territories west of the Rocky Moutains), and a symbolical or mythical
sens (the idea, developed by Turner, according to which it was the symbol of a
people on the move, spreading its political and economic power to a whole
country, and diffusing its civilization).
3. Nancy Cooper, Russell’s wife, acted as his business manager, and she personally
support him, giving him constant encouragement. She kept his business going
thanks to the organization/setting up of exhibitions and meetings with art
collectors across the country.
4. In his art Russell tried to depict his vision of the world and life. The works he
produced are described as unequalled/unrivalled/unparalleled. He strove (tried)
to catch ephemeral/momentary scenes and turn then into memorable ones.
5. Russell is characterized as an artist who showed the dangers and difficulties of
everyday life in the West. His art is said to be unique. In the case of Remington, he
rather focused on individuals in a large environnement, but he is also described
as one of a kind (=unique).
6. The Cowboy Artist (l. 31)
7. To model = to mold (l. 1) ; Happily = gladly (l. 17) ; Next to = adjacent (l. 24)
8. He rarely left his adopted states (l. 13)
Questions cours :
1. Peale made three kinds of paintings = portraits of pre- and post-revolutionary
figures who had a profound influence as generals (Washington) and/or
presidents (Jefferson). He aslo reproduced battle scenes, and, at a later stage, he
painted scientific works like The Exhumation of the Mastodon. The first two
categories encompass (=include) the notions of the Enlightenment (liberty and
, humanism especially) and the will to construct a sense of belonging to this
newly-built republic.
Cours – The Aesthetic Movement
G.F. WATTS (1817-1904)
That British painter was mostly self taught. He learnt his painting technique thanks
to the copy of classical paintings, especially the Italian masters like Raphael.
The Irish Famine (1848-1850)
During the 1840s and 1850S he sticked to history painting, and he chose
contemporary events loike the Irish Famine to act as a social revealer to the British
People. He use of colours in that painting resembles that of Renaissance painters in Italy,
but the most striking aspect is the depiction of a very harsh reality, as the potato crisis
led thousand of families in Ireland to dis from starvation.
After that, Watts started thinking about a new definition of art in Britain,
following the Pre-Raphaelites who, in the 1840s, had decided to break away from
classical painting. The connection with literature was important, since the poet
Swinburne came up with the idea of art for art’s sake (l’art pour l’art). Already, in 1853,
Watts was talking about a national sense of art, and the two ideas met to give birth to
the Aesthetic Movement.
, Physical Energy
Love and Death (1885-1887)
Chaos (1897)
Watts decided to play with symbolism in his laterpaintings = he used
aestheticism as a way to incarnate abstract notions such as energy or chaos. What is
noticeable about his later works is the interpretative liberty given to the spectator = his
works are infused with sense of mystery that enables anyone to understand them the
way they like.
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