Woman with Baby
Mary Cassatt, American, 1844-1926
Pastel on gray paper
The child’s embrace and the woman’s affectionate expression suggest the tender relationship between mother and daughter, though the figures were, in fact, unrelated. The woman was among Cassatt’s favorite models, her cook Reine LeFebvre. The pastels are subtly blended to represent the varying textures of flesh and hair, and the striking orange, blue, and green colors of the voluminous kimono are echoed in the background.
The Women of Amphissa
Sir Lawrence Alma-Tadema, British, Born Netherlands, 1836-1912
Oil on Canvas
Followers of Bacchus, the god of wine, awaken in the marketplace of Amphissa, Greece, where they have wandered from their home in Phocis during a night of ritual dancing. Amphissa and Phocis are at war, but the women of Amphissa graciously offer the bacchantes nourishment and protection. The painting illustrates an event recorded by the Greek historian Plutarch, which Alma-Tadema staged as a lesson in charity for his Victorian audience.
Rockets and Blue Lights (Close at Hand) to Warn Steamboats of Shoal Water
Joseph Mallord William Turner, British, 1775-1851
Oil on Canvas
Rockets and Blue Lights, or to give the work its full title, Rockets and Blue Lights (Close at Hand) to Warn Steamboats of Shoal Water is a painting by Joseph Mallord William Turner. It is fairly typical Turner seascape, all swirling colours, smoke and seaspray, painted by an artist who is often regarded as the greatest British painter that ever lived. Dated to the year 1840 the painting passed through a number of hands until it was purchased in 1932 by an American couple Mr and Mrs Clark, and is now in the ownership of the Clark Art Institute of Williamstown, Massachusetts.
The knitting lesson
Jean-François Millet, French, 1814-1875
Oil on panel
In this domestic scene, a mother or older sister has paused in her mending to help a young girl with her knitting. Millet highlights the intimacy of rural family life as well as the importance of handing down traditional knowledge and skills. The tiled floor and leaded glass window are probably based on features of Millet’s home in the village of Barbizon, southeast of Paris, but they also echo details that appear in seventeenth-century Dutch paintings.
Bacchus and Ariadne
Jules Dalou, French, 1838-1902
Bacchus, the god of wine, found the princess Ariadne asleep on a beach, where she had been abandoned by the hero Theseus, and fell instantly in love with her. In Dalou’s sculpture, the god is shown waking Ariadne with a tender kiss. A faun mischievously tries to squeeze between them and steal attention by offering grapes. The theme derives from a classical myth, and the elements of the narrative reveal themselves as we walk around the sculpture.
Winslow Homer, American, 1836-1910
Oil on canvas
In 1883, Homer witnessed an event near Atlantic City, New Jersey, that allegedly inspired this dramatic painting. Rescuers try to haul ashore two women, weighed down by their waterlogged bathing dresses, in danger of being pulled beneath the waves by an undertow. The figures appear as three-dimensional and solid as the ancient Greek marble statues on which they were modeled. Yet despite their muscularity and apparent strength, their struggle suggests human frailty in the face of the sea’s awesome power.
The Burghers of Calais
Auguste Rodin, French, 1840-1917
(currently on loan)
The Burghers of Calais, commemorating an episode during the Hundred Years’ War between England and France, is probably the best and certainly the most successful of Rodin’s public monuments. Rodin closely followed the account of the French chronicler Jean Froissart (1333 or 1337–after 1400) stating that six of the principal citizens of Calais were ordered to come out of their besieged city with head and feet bare, ropes around their necks, and the keys of the town and the caste in their hands. They were brought before the English king Edward III (1312–1377), who ordered their beheading. Rodin has portrayed them at the moment of departure from their city led by Eustache de Saint-Pierre. Their oversized feet are bare, many have ropes around their necks, and all are in various states of despair, expecting imminent death and unaware that their lives will ultimately be saved by the intercession of the English queen Philippa.
Read more here: http://www.metmuseum.org/toah/works-of-art/1989.407
How does working with a group help an aggressive situation?
How might it make things worse? Do you think the Burghers of Calais are heroic figures? What are some features that define a hero?
Might this be an example of when giving into another’s aggression is justified? Why or why not?
Henri de Toulouse-Lautrec, French, 1864-1901
Oil on laminate cardboard, mounted on panel
Jane Avril, one of Toulouse-Lautrec’s favorite models, was a famous cabaret performer in Paris. This portrait, however, suggests very little about the energetic dancing style that earned her the nickname La Melenite (dynamite). She appears in street clothes, wearing a plum-colored cape and an extravagant hat, peering sideways through narrowed eyes. Only the unnatural colors of her hair, skin, and lips, set against the green and indigo background, suggest the heavy makeup and harsh lighting in which she appeared on stage.
Read more here: http://www.clarkart.edu/Collection/149
Do you think this portrait is flattering? Why would the artist portray Jane Avril in this way?
Jane Avril was a famous performer in Paris. Why might such a celebrity appear hostile to the public?
Are there certain responsibilities that come with being a celebrity in terms of how to treat people?
Comte Henri-Amédée-Mercure de Turenne-d’Aynac
Jacques-Louis David, French, 1748-1825
Oil on Canvas
The Comte de Turenne is portrayed wearing a uniform and medals, which record his distinguished service in the French army. David added another military symbol, a sword, after most of the painting was complete; its hilt has since become slightly translucent. Both the sitter and the artist were closely associated with Napoleon, who had been defeated in Waterloo in 1815, a year before this portrait was painted. By 1816, both the count and David were living in exile in Brussels.
Read more here: http://www.clarkart.edu/Collection/2428
Why would this man want his portrait painted in uniform?
What role does authority play in aggression? Is aggression more permissible if it is coming from a superior?
How would you want your portrait painted? What sort of expression would you want drawn, and why?
The Amorous Proposal
Francois Lemoyne, French, 1688-1737
Oil on Canvas
A young woman, cooling herself with a damp handkerchief, is surprised by an older man wearing heavy, fur-lined clothes. He seems to be asking her a question, sometimes interpreted as a proposal, but the painting’s precise subject remains unclear. Lemoyne set up distinct contrasts of texture, color, and light, which could be appreciated from a distance. The elongated shape and slight forward tilt of the figures suggest that the painting was intended to be viewed from below, perhaps originally installed over a door in a domestic interior.
Read more here: http://www.clarkart.edu/Collection/3782
What might the man be proposing in this painting?
How does ambiguity play a role in human interactions? Is the element of surprise an act of aggression in itself?
Would this be an acceptable interaction in today’s society?