Six Degrees - AP Art History

SIX DEGREES OF

Separation

Learn how Houdon's portrait of George Washington connects to Leonardo da Vinci's Mona Lisa.

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George Washington

The use of marble, presence of the standing column, and classical treatment of human figure hearken back to elements of classical art. As a young nation, America did not have an artistic tradition of its own when this sculpture was created. Houdon draws influence from French Neoclassical art. Houdon deviates from this style by leaving Washington in contemporary dress (at his request). This is Washington's way of making a statement about equality; he was dressed like a regular American.Neoclassicism also represents a resurgence of classical philosophies like democracy. The visual components of this sculpture marry the classical ideals that America embraces at this time.

Augustus Primaporta

George Washington. Jean-Antoine Houdon. 1788-1792 C.E. Marble.

Like Houdon's sculpture of George Washington, Augustus Primpaporta as appropriates classical Greek references to emphasize the power of a leader. Roman art borrows the idealized naturalism of Greek sculpture to create an image of a leader with a close connection to divine power. The images of gods on his breastplate armor and Cupid tugging on his robes is meant to show that this figure has a close connection to the gods. This reinforces his position of power.

Great Pyramids and Great Sphinx

Augustus Primaporta. Imperial Rome. Early 1st Century B.C.E. Marble.

The Great Pyramids and Great Sphinx at Giza were constructed to serve as monumental tombs. The pyramids were adorned with paintings that depicted the life and accomplishments of the deceased pharoah. It was also full of necessities the "ka" (spirit) would need in the afterlife. Augustus Primaporta was created with visual elements to emphasize a connection to the divine and the pyramids were monumental statements of the pharoahs' eternal power. Their sheer size alone are meant to emphasize their power relationship to the gods.

Great Pyramids and Great Sphinx. Giza, Egypt. Old Kingdom, Four Dynasty. c. 2550-2490 B.C.E. Cut limestone.

Tomb of the Triclinium

The Etruscans believed that the afterlife was a place no different than life on earth. Like the pyramids of Egypt, creators of these tombs were interested in leaving everything the deceased needed to transition into the afterlife. Tombs were fitted with objects from their homes. This could include tools, furniture, food, etc. The mural to the right shows Etruscans feating on food and wine. Tomb murals reflected pleasant pasttimes and celebratory moments.

Tomb of the Triclinium. Tarquinia, Italy. Etruscan. c. 480–470 B.C.E. Tufa and fresco.

Last Supper

This mural shares two characteristics with Tomb of the Triclinium. The first is in materials. Both are created with a wet plaster fresco technique. This enabled the artists to create colorful imagery, but due to the fast dry-time of plaster the artists were forced to work quickly. The second similarity is in subject matter. Although Christ will be crucified the following day (according to the Christian narrative) he is sharing a feast with his disciples. The Tomb of the Triclinium also shows a feast in progress.

Last Supper. Leonardo da Vinci. c. 1494-1498. Oil and tempera.

Mona Lisa

The Mona Lisa is Leonardo da Vinci's opus. It combines many innovations of the Renaissance: chiaroscuro, sfumato, naturalism, anatomical studies, atmospheric and linear perspective. Leonardo also utilized linear perspective in The Last Supper. By applying mathematical principles, Renaissance artists were able to create a realistic sense of space. Figures exist in a very natural way with their environments. The figures in the Last Supper enage each other in a very natural manner. Mona Lisa engages the viewer in a relaxed, natural pose.

Mona Lisa. Leonardo da Vinci. 1503. Oil on canvas.