Who Arted: Weekly Art History for All Ages

Eugène Delacroix stands as one of the defining figures of 19th-century French art and the leading pioneer of the Romantic movement. Rejecting the rigid, line-driven academic standards of Neoclassicism championed by contemporaries like Jean-Auguste-Dominique Ingres, Delacroix embraced raw emotion, expressive brushwork, and radiant color inspired by Peter Paul Rubens. From his controversial Paris Salon debut with The Barque of Dante (1822) and his role as a model for Théodore Géricault’s The Raft of the Medusa, to his transformative 1832 journey across Morocco and Algeria and his dramatic lithographic illustrations for Johann Wolfgang von Goethe's Faust, Delacroix consistently pushed the boundaries of visual expression.

His most celebrated masterpiece, Liberty Leading the People (1830), commemorates the July Revolution that toppled King Charles X in favor of Louis-Philippe. Spanning over eight feet high and nearly eleven feet wide, the monumental canvas employs a classical pyramidal composition to organize a turbulent scene of urban revolt. At its center stands Marianne, the allegorical personification of Liberty, wearing a Phrygian cap and leading fighters across diverse social classes over a barricade of fallen bodies. Blending historical reality with powerful allegory, the painting remains an enduring global symbol of revolution, human freedom, and social justice housed in the permanent collection of the Musée du Louvre.

Liberty Leading the People is one of the 250 artworks required for AP Art History. To learn more about other works from the curriculum, check out my AP Art History Cram Session playlist on Spotify.

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Joseph Ducreux (1735–1802) was an innovative French portrait painter known for defying the rigid conventions of 18th-century academic art. After training under masters such as Jean-Baptiste Greuze, Ducreux gained acclaim for his pastel work, miniatures, and precise observational likenesses. His talent earned him royal commissions, including a diplomatic assignment to Vienna to paint a portrait of Marie Antoinette prior to her marriage to Louis XVI. Despite receiving royal patronage, Ducreux was never admitted into the prestigious Royal Academy of Painting and Sculpture, an outsider status that allowed him greater artistic freedom to explore human emotion and physiognomy outside the strict boundaries of traditional academic portraiture.

During the social and political upheaval of the French Revolution, Ducreux produced a series of unconventional, theatrical self-portraits that broke the fourth wall by capturing exaggerated expressions such as yawning, stretching, and laughing. His most famous work, Self-Portrait of the Artist in the Guise of a Mocker (1793), depicts the painter grinning and pointing directly at the viewer, directly challenging the stoic, idealized norms of late 18th-century art. Aided by fellow painter Jacques-Louis David during the Reign of Terror, Ducreux navigated turbulent political shifts and continued exhibiting his expressive work until his death in 1802. In modern popular culture, Ducreux’s mocking self-portrait found a viral second life as an internet meme, pairing his 18th-century smug pose with verbose, archaic translations of contemporary hip-hop and pop lyrics.

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Fernand Léger was a pioneering French modernist painter whose foundational training as an architectural draftsman profoundly shaped his structured, geometric approach to art. After absorbing the influence of Paul Cézanne and collaborating among avant-garde circles in Paris, Léger developed a distinct variation of Cubism characterized by cylindrical, tubular forms, a style contemporary critics dubbed "Tubism." His military service in World War I, where he survived a gas attack, deepened his fascination with the industrial beauty of modern machinery and inspired his goal to create art accessible to working-class audiences. This perspective catalyzed his "Mechanical Period" during the 1920s, a phase marked by vibrant, machine-like compositions and urban motifs that celebrated industrial progress.

Léger's 1921–1927 painting Composition in Blue, housed in the Art Institute of Chicago, exemplifies this mechanical aesthetic and demonstrates rigorous principles of design. Utilizing a limited monochromatic blue palette, hard-edged geometry, and carefully balanced line weights, the piece synthesizes three-dimensional volumetric shapes with flat planes. Beneath its paint layers, conservation analysis reveals a structured grid system that Léger used to systematically map the canvas. By translating machine components into universal abstract harmonies, Léger transformed industrial forms into a lasting modern aesthetic.

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Stuart Davis was an influential 20th-century American modernist painter who bridged European abstract movements like Cubism with distinctively American subjects and aesthetics. Born in 1892, Davis studied under Ashcan School leader Robert Henri in New York, where he initially focused on urban realism before finding inspiration in European avant-garde styles at the landmark 1913 Armory Show. Throughout the 1920s and 1930s, he incorporated commercial graphics, consumer packaging, and jazz rhythms into his visual compositions, pioneering an approach that prefigured Pop Art. Active in arts advocacy, Davis worked with the WPA Federal Art Project during the Great Depression and held teaching positions at institutions such as The New School and Yale.

One of Davis’s defining works is Swing Landscape (1938), a monumental canvas commissioned by the WPA Federal Art Project for the Williamsburg Houses public housing development in Brooklyn. Taking inspiration from the coastal town of Gloucester, Massachusetts, and the urban energy of New York City, the painting fragmentarily blends industrial, nautical, and architectural motifs into a vibrant arrangement of flattened shapes and bold colors. Named after the swing era of jazz, the composition translates musical syncopation into visual rhythm through sharp geometric shifts and contrasting colors. Although never installed at its intended housing complex site, Swing Landscape stands as a benchmark of American abstract public art and currently resides in the collection of the Indiana University Art Museum.

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Tamara de Lempicka remains the definitive icon of the Art Deco era, blending polished Cubist techniques with the glamorous, high-stakes atmosphere of the Roaring Twenties. From her harrowing escape during the Russian Revolution to her transformation into a Parisian socialite and eventually a Hollywood favorite, her life was a calculated masterpiece of self-invention. Her signature style, characterized by "soft Cubism" and metallic, architectural lighting, captured the spirit of the "New Woman"—independent, liberated, and sophisticated. Known for her relentless self-promotion and a portfolio of portraits that defined modern luxury, she became a favorite of the European aristocracy and the American film elite alike.

The legendary self-portrait Tamara in a Green Bugatti serves as a focal point for understanding both the artist and the Art Deco movement. This work embodies the era's obsession with speed, industry, and geometric precision, rejecting the organic curves of Art Nouveau in favor of sleek, machine-age aesthetics. Although she famously curated her public persona even swapping her modest yellow Renault for a high-performance Bugatti on canvas Lempicka’s influence on the world of fashion and fine art remains undeniable.

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