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Notes on video lecture:
Tiepolo´s Cleopatra: Agency in Paint
Choose from these words to fill the blanks below:
Alexandria, viewer, bodice, Africans, helmet, back, musicians, dogs, points, greyhound, opulence, lap, body, pearl, vice, coins, facial, subjugated, Lucan, satins, blond, darker, control, Banquet, dissolving, daughters, Anthony, extravagant, 140
Tiepolo's                of Cleopatra, 1744
set in the Palace of the Pharaohs in Alexandria around        BC
it's about a competition that Cleopatra made with her husband Marc               
a bet about who was the most                        and therefore the most powerful regent in Rome of the day
Cleopatra wagered that she could spend the equivalent of 80,000 pounds of gold on one feast
after everyone had finished the meal, to further emphasize the                she emphasized over the resources of empire, Cleopatra took off one of the pearls she was wearing, and dissolved it in the wine in her glass
the story of the                      of the pearl appears in Pliny the Elder
in his Natural History
an example of the          of luxury
the perspective point of the painting draws attention to Cleopatra's finger holding the           
each of the protagonists are accompanied by gender-specific         
Cleopatra has her        dog
Anthony has his                   
Cleopatra focuses intently upon dissolving the pearl
Tiepolo demonstrates with the painting how Cleopatra                      Rome to her will and to her beauty and agency
allows the image of Cleopatra to seduce the             
a beautiful woman with            hair and blue eyes
her actual skin color was probably             
Tiepolo probably used that of his model
perhaps his wife or one of his                   
she does not resemble Cleopatra's image on ancient           
Cleopatra's costume
her frock made of golden silk is covered with pearls
flows elegantly over her         
a ruffle frames her neckline
the brooch in the center of her              shows a classical female figure
she is covered with pearls from head to foot
the many attendants emphasize her power
dresses in an array of silks and             
the two                  add a multicultural dimension to the composition
emphasizes the sense of power of Cleopatra by minimizing the impact of her husband Marc Antony
she addresses us with her face turned toward us
Antony is seen only at an angle with him facing in to the side, his          to the viewer
powerful body dressed in military attire
brass             
we don't see the full range of his              features
we are not able to gauge his reaction to Cleopatra's acts of extravagance through which she asserts her agency
surrounding palaces of the pharaohs
this famous palace in                      is widely discussed in ancient literature
appears in the writings of           
a crowd of                    which watch the banquet from above comment on the scene below
in the upper left-hand corner, a man              at Cleopatra
the                  of the setting, richly attired servants, the magnificent architecture, and the attention of onlookers all conspire to bring Cleopatra's power to the fore

Vocabulary:

bodice, n. [BAW-diss] an article of clothing for women covering the body from the neck to the waist  "The brooch in the center of her bodice shows a classical female figure."

Spelling Corrections:

extravagentextravagant
desolvingdissolving
magnificantemagnificent
opulanceopulence

Ideas and Concepts:

Fact checking details of 18th century paintings, via this morning's Sexing the Canvas:

"Art and Gender course:"Can a pearl really dissolve in vinegar? The story goes that Cleopatra bet Mark Antony that she could outdo his efforts at extravagance by serving a single meal that cost 10,000,000 sesterces ($30 million). Antony couldn't imagine how one meal could cost so much, so he accepted the challenge.

Cleopatra's meal was extravagant but certainly fell far below the price tag she had mentioned, and so Mark Antony felt that he won the bet. Then Cleopatra ordered a class of vinegar, took off one of two enormous pearls she was wearing as earrings, dropped it in the vinegar, and after it was dissolved, swallowed it down.

Many classical scholars even of the 20th century, claimed that vinegar definitely does not dissolve pearls. Unfortunately, what this demonstrates is that many classical scholars aren't very good at chemistry, because they are wrong. Pearls will dissolve in vinegar, and there had been evidence and explanations of this fact as far back as the 19th century. Today we have numerous and credible recorded experiments which show that pearls can both be heavily damaged and can dissolve quite completely over a period of days in both household vinegar and bleach.

What is extremely unlikely, however, is that Cleopatra dropped her pearl in the vinegar and watched it dissolve in a few minutes like an alka-seltzer in water. There are ways to speed up the chemical reaction such as heating the vinegar or first grinding up the pearl into powder from, but Pliny, the primary source for this story, mentioned neither of these.

What is more likely, if this story has any truth to it at all, is that Cleopatra either left the pearl in the vinegar for a days and then drank it, or she simply swallowed the pearl along with the vinegar, which, given the value of the pearl, would have technically meant that she won the bet."
Tiepolo´s Cleopatra: Agency in Paint
The Political and Sexual Agency of Cleopatra
Gainesborough and 18th Century Effeminism
Soldiers, Chivalry, and Men of Feeling
Gainsborough's Portrait of Karl Friedrich Abel
The Ligoniers: The Tensions of Gender in Paint
Effeminacy and the Culture of Sensibility
Gainsborough's Cottage Door: Charity and Sensibility
Seduction in Boucher's pastoral paintings
Boucher's Madame de Pompadour: Controlling the Gaze
Rococo Eroticism in 18th Century Popular Culture
John Lavery in Morocco: Orientalism and the Academy
Hazel Lavery and the Politics of Display
Hilda Rix Nicholas in Morocco
The Dream by Henri Rousseau
Henri Rousseau's The Sleeping Gypsy
Restaging the Nude: Matisse's Dance
Cezanne’s Bather: Masculinity and Movement
Max Dupain (1911-1992): Australian Men on the Beach
Frida Kahlo's Fulang-Chang and I
Frida Kahlo: Self Portrait with Cropped Hair