# data[].attributes.attachment_caption
Andrea Mantegna, Camera Picta (Camera degli Sposi) frescoes, 1474 Dead Christ, c. 1501

# data[].attributes.body
This is a very interesting fresco. I think it's ironic that it's called "Camera Picta" because it reminds me of fish-eye or 360 lenses. There's an illusion of depth and realism, which was common in this movement. We see that emphasized by the angels or cherubs climbing and descending the wall. The people looking down also contribute to a sense of depth.

# data[].attributes.body
The beard immediately caught my eye because it's long and parted. It reminds me of Moses because he parted the Red Sea and he's holding what appears to be the tablet of the commandments. It also looks like a scroll is draped over his left shoulder. What really stands out to me is his stern gaze. It feels like a real-life scene was taken and immortalized in stone. (Class notes : function - well in a monastery, commissioned by Philip, Duke of Burgundy to remit his sins through the sale of indulgences. Monumental figures of 6 Old Testament prophets. A crucifixion scene is missing, symbolizing an Old Testament scene supporting a New Testament. Fulfilment of prophecy. Horns for Moses because of a typo) Realistic, individual expressions, proportions, scales and features and drapery. It was painted at one point. Aristotelian reality

# data[].attributes.attachment_caption
Leonardo da Vinci, The Last Supper, c. 1495-98

# data[].attributes.body
I think this scene does a great job of capturing the Biblical scene of the Last Supper where Jesus revealed who would betray them. You can see that they move away from Jesus in a state of shock or surprise of the news they heard. You can see that there are people pointing to others or themselves, implying that they are concerned it is them. (Class notes: Fresco, experimental. It started to crumble, dry fresco. Linear perspective with Christ at vanishing point, perfect proportionate with believable drapery. Blues and reds, variety of poses. Pyramid, triangular composition. Curved figures on ends. Perfection mathematically and theologically. It’s located in a monastery and dining hall)

# data[].attributes.attachment_caption
Giovanni Bellini, San Zaccaria Altarpiece, 1505

# data[].attributes.body
There's a strong illusion of depth, almost like you're looking through a doorway into another room. I imagine that the blue is symbolic of royalty as it drapes over the woman sitting on the throne. There's subtle notes of reflective symmetry as there's a woman on both sides standing behind a man holding a book.
(Class notes: Done with oil paint, saturated colors. Contrapposto, landscapes on the sides, quiet sense of communion. Variety of saints and church fathers who lived in different time periods - sacra conversazione. Dome is Byzantine influence.)

# data[].attributes.attachment_caption
Quinten Massys, Money Changer and His Wife, 1514

# data[].attributes.body
It's intriguing how the husband and wife are wearing contrasting colors of black and white. I'm curious of what that may symbolize. Her posture and gaze show that she was busy with something but turned to see what her husband was doing. The wife stands out due to the light colors she's wearing. One way someone could interpret this is to be careful focusing on the vanities of the world. Both of them are distracted by the money, but more specifically the wife who is reading a holy book. The details in this painting are incredible, like the mirror that reflects the window and the artist.

# data[].attributes.attachment_caption
Giulio Romano, Palazzo de Te, Mantua, 1527-34

# data[].attributes.body
It is flat, simple, and repetitive. The three rounded arches in the middle draw the eye of the viewer. There are columns and windows, though I'm curious why the ones on the right are open while the others appear to be filled in.
(Class notes: flat arch windows, compressed, emphasized projection of keystone, scale, movement, experimentation)

# data[].attributes.body
Native American art is beautiful in its connection to nature through symbolism. The wing-like patterns and red waves are supposed to represent a migration pattern. Another aspect of Native American art is the storytelling aspect behind it. This jar is supposed to recall the Tewa tribe finding refuge with the Hopi.

# data[].attributes.body
This is an amazing sculpture. The expression brings together the entire piece. His lip is tucked in, conveying exertion of strength. He's turned in such a way that shows action, like he's winding up to cast a life-saving throw. There's realistic proportions and details. It is a dramatic scene that many Baroque artist's loved to portray. This isn't David before or after, this is during the struggle. Realism, dramatic scenes, that is what would impact viewers emotionally.

# data[].attributes.attachment_caption
Francisco de Zubaràn , Saint Serapion, 1628

# data[].attributes.body
I'm curious to learn the history of this piece. Formally, this makes good use of negative space and light and dark values to set a somber mood and draw attention to the figure. He bears an exhausted expression, and his hands droop almost helplessly. There's some rule of thirds happening with him putting all of his weight on his right arm.
(Class notes: Expressing the suffering of saints was key in the Counter-Reformation. Through tenebrism and baroque style, Catholic artists were able to create compelling pieces that would essentially "convert others by looking" and bring back members lost during the Protestant Reformation.)

# data[].attributes.attachment_caption
Anthony van Dyck, Charles I Dismounted, c. 1635

# data[].attributes.body
The strongest part of this piece is the lighting. By making everything darker, it draws attention to Charles I and creates a sense of depth in the forest. Use of feathery brushstrokes and trees while giving slightly more emphasis to the landscape.

# data[].attributes.attachment_caption
Gerrit van Honthorst, The Supper Party, 1620

# data[].attributes.body
I love the ambience of this scene. It feels like good friends gathered around, enjoying each other's company. The lighting and shadow is incredible, highlighting the figures in the back and shading those towards the front. I think the expressions are also another strength of this piece. There is a space at the table to welcome the viewer, making them feel as if they're joining them at the table. There's a range of all ages, so they don't use only idealized and heroic subjects.

# data[].attributes.attachment_caption
Georges de la Tour, Adoration of the Shepherds, 1645-50

# data[].attributes.body
The artist  utilizes negative space to create forms. The use of red helps the female figure stand out while the white light draws attention to the child. Although the proportions are more realistic, their faces are slightly elongated and squashed. Tenebrism would use light and mostly dark backgrounds to bring emphasis to a focal point, which in this case would be Jesus.

# data[].attributes.attachment_caption
Antoine Watteau, Return from Cythera, 1717-19'

# data[].attributes.body
The figures are proportionate to the size of the environment. It makes it more abstract and it lacks a focal point almost. While my eyes are drawn to the woman on the right, you can tell that it's not just about her. There's movement that the figures follow through the inclusion of hills. Despite being abstract, the elements tend to not blend together. You can see the depth of the scene from the background to the foreground,

# data[].attributes.attachment_caption
William Hogarth, from Marriage à la Mode series (c. 1745) The Breakfast Scene

# data[].attributes.body
While the figures are still somewhat proportionate to the environment, they are slightly larger compared to French Rococo. The poses are less traditional and more realistic. They seemed relaxed with their feet out, almost like they're still waking up. The figure on the left is calling out off of the page, hinting that there's more to the scene that we don't see.

# data[].attributes.attachment_caption
Angelica Kauffman, Cornelia Presenting Her Children as Her Treasures, c. 1785

# data[].attributes.body
Red and white seem to be common colors. The composition is a bit triangular with the child stooping low and the woman sitting down.  Proportions are natural and realistic and there's perspective.
(In class notes: painterly, more horizontal, bolder saturated colors, everyone is valued, classical characteristics like columns, serious and moral message)

# data[].attributes.attachment_caption
Jacques-Louis David, Death of Marat, 1793

# data[].attributes.body
There is a lot of empty space, so the painting appears more compact. This scene depicts the assassination of Jean-Paul Marat, who appeared to be writing an important letter or document given that his hands are clutching a quill and paper. You have to look closely for the wound as it's so subtle it appears more like he may be sleeping.

# data[].attributes.attachment_caption
Francisco Goya, Saturn Devouring His Children, 1819-23

# data[].attributes.body
During this era, they didn't shy away from depicting morbid scenes. I'm familiar with the story of Saturn and how he ate his children due to fear of them overthrowing him one day. You can see the child is bloodied and missing a head. What gets to me is Saturn's expression. He looks scared, almost like he knows what he is doing is barbaric and wrong. On the other hand, it could convey his psychotic and frenzied state of mind, absent of any ounce of remorse.

# data[].attributes.attachment_caption
Eugene Delacroix, Liberty Leading the People, 1830

# data[].attributes.body
The woman at the peak of the triangular composition must be a personification of freedom, encouraging the people to keep fighting as they're surrounded by deceased citizens and officials. The people raise their arms in a sense to keep pushing forward. The smoky background brings the focal point to "Liberty."

# data[].attributes.attachment_caption
Casper David Friedrich, Monk on the Ocean, 1809-10

# data[].attributes.body
This is very simple and lacks detailed subjects. The figure is significantly smaller than the environment. It lacks saturation and is rather dull. However, it is escapist in that it focuses more on the landscape instead of figures, suggesting a reconnection back to nature.

# data[].attributes.attachment_caption
Joseph M. W. Turner, The Slave Ship, 1840

# data[].attributes.body
While it is still slightly more abstract, we see a shift in the color palette as they introduce warmer colors. You see faint figures of birds, fish, and what look like hands but maybe they're fins.
(Update: this is meant to be a narrative of slave ships. Those are hands in the ocean of sick and dead slaves being swallowed up by the sea. For such a dreamlike painting, it displays a rather gruesome scene.)

# data[].attributes.attachment_caption
Truman O. Angell, Salt Lake City Utah Temple, completed 1893

# data[].attributes.body
It's cool to see that our own architecture has been influenced by historical styles. You can see it resembles the Gothic Revivalist style in that it has tall towers, ranging around 200 ft. It is symmetric, has long arches, and battlements, making it feel fortress-like. It's rich with iconographic symbols that allude to heaven and creates a place for visitors to escape from reality and take a step into enlightenment.

# data[].attributes.attachment_caption
Jean Francois Millet, The Gleaners, 1857

# data[].attributes.body
They have active poses, depicting that they are working in the fields. I like the use of primary colors, it helps them stand out individually. Realism was all about bring the focus back to the common man. They aren't glorified or perfected depictions. Its raw, real, and in the moment. It's laborious, exhausting, and shows the reality of laborers.

# data[].attributes.attachment_caption
Auguste Renoir, Le Moulin de la Galette, 1876

# data[].attributes.body
It is a busier scene with plenty of people. The people in the foreground are more detailed than those in the back, but they still have more simplified features.

# data[].attributes.body
It looks like 2-point perspective. It's still abstract and lacks naturalistic features. The strokes create a rustic feel.
(class notes: He emphasizes emotion with his impressionist brushstrokes. Colors are not as harmonious, they're more jarring. He uses the impressionist brushstroke to create diffusion around the lights. There's that black outlined that is associated with the post-impressionist movement. No typical perspective, bartender missing legs. Intuitive perspective with impending movement. Ugliest painting he did to reflect living conditions and his emotional state at time. Arbitrary color to convey mood)

# data[].attributes.attachment_caption
Henri Matisse, Harmony in Red (Red Room), 1908-09

# data[].attributes.body
Red is the dominating color, and the black helps create contrast and form. It's abstract, lacking realistic depictions.
(Class notes: Even though other artists depicted more fin de siecle malaise or depressing scenes, Matisse focused more on joyful scenes. There's that black outlining and use of arbitrary color. Because the wall and table are the same color, there's an illusion of space. It's very flat with no shading or modeling. There also an sense of unsurety with the scene on the wall possibly being either a window or painting. There aren't enough details given to really understand what it is 100%.)

# data[].attributes.attachment_caption
Still Life with Chair Caning, Pablo  Picasso, 1911-12

# data[].attributes.body
There were three movements to Cubism. The piece here depicts Synthetic Cubism. A prevalent characteristic of synthetic cubism was use of collages. Here, Picasso used an actual rope around the canvas and a fabric pattern. While still abstract, Picasso is starting to bring items back together. The forms are more identifiable, not entirely realistic but coming together more. There are still the classic geometric shapes and lines.

# data[].attributes.attachment_caption
Umberto Boccioni, Unique Forms of Continuity in Space, 1913

# data[].attributes.body
Taking inspiration from Cubism, this sculpture takes on the simple geometric forms of cones, cylinders, and spheres. It's not natural at all, rather it's more machine like because of the lack of form. What's unique about this sculpture and movement is that the shapes seem to take on motion.

# data[].attributes.attachment_caption
Vladimir Tatlin, Project for Monument to the Third International, 1919-20

# data[].attributes.body
Something that stemmed from Cubism and Futurism was using art for political agendas. This monument was meant to explain and promote Communism and compete with the Eiffel Tower as a world-renowned monument. Due to lack of funds and materials, it was never carried out. There were geometric forms within the tower that were set in motion. The were meant to move according to time and host different branches of government.

# data[].attributes.attachment_caption
Kasimir Malevich, Suprematist Composition: Airplane Flying, 1915

# data[].attributes.body
Malevich started this sort of one man art movement. He wanted to bring religion and spirituality back into art and make this icon for the modern man. The white background creates a sense of detachment and the shapes are free floating, possibly alluding to the title and how airplanes fly.

# data[].attributes.body
I can't wait to learn about this one. It is very simple and mysterious in purpose, at least to me.
(Class notes: The idea behind this one was intriguing to me. Duchamp submitted this anonymously, and it is nothing more than a urinal on a pedestal. He wanted to push this idea of free thinking and art boundaries. Basically, it is art because Duchamp says it is, an interesting concept to me because there really is nothing unique going on here. It's simply art because Duchamp says it is.)

# data[].attributes.attachment_caption
Max Ernst, Two Children are Threatened by a Nightingale, 1924

# data[].attributes.body
With Surrealism, they wanted to bring back some order when exploring the subconscious. They looked more to dreams and interpretation of dreams. With this painting, it hones back to Cubism, using found objects to create a collage. It's very dreamlike, but eerie at the same time. Why are children running away from a Nightingale? What are the figures on the ground and on the roof?

# data[].attributes.attachment_caption
Piet Mondrian, Composition in Red, Blue, and Yellow, 1930

# data[].attributes.body
With all these movements, there's been a sense of painting without reference or not making it objective. Even though there's no reference to this painting, it's still symbolic with the horizontal and vertical lines symbolizing death and life. The colors represent all colors. It's universal. It's asymmetrical, but also balanced. Very geometric, ordely, and harmonious through opposites.

# data[].attributes.body
It lacks form, is sporadic and abstract.
(Class notes: Pollock used paint sticks to gesture and splatter paint on the canvas. This is meant to be self-referential in that he was illustrating his physical movements. This is meant to be a record of himself. Because of the large size of this painting, it gives of a sense of expanse when one looks at it. It also doesn't reference anything in the natural world, it only references the artist and his expression.)

# data[].attributes.body
I struggle with minimalism and abstract art. To me, it's just a geometric brown cube.
(Class notes: Update - it's easier to understand now ;) This cube is pure minimalist form. Tony mixed paint and sculpture together to show that there is no difference between painting and sculpture and that they can come together. The name could refer to either dice or death, it's up to the viewer. That is what Minimalism was all about, involving the viewer and the space or context of the piece.)

# data[].attributes.attachment_caption
Ludwig Mies van der Rohe, Seagram Building, 1954-8

# data[].attributes.body
It is very sleek and repetitive, given the enormous amount of windows. It feels like they wanted to stretch the limits of architecture by making it more open.
(Class notes: Although international in concept, there's hints of organic style due to the material used to build the building -- bronze. Typically, bronzed was used in sculpture and didn't really belong in architecture. It's non-decorative and unique. You can see through into it, making it feel efficient.)

# data[].attributes.attachment_caption
Roy Lichtenstein, Oh, Jeff…I Love You Too…But…, 1964

# data[].attributes.body
There are stronger lines and more cartoonish than natural or realistic.
(Class notes: Every single dot was painted individually to make it look like a comic book. It's extra-referential, but it is a copy from a comic book.)

# data[].attributes.body
Judy research 39 different women initially, but went on to include the names of even more women. The triangle is representative of femininity. Each placemat is individualized to who it represents. It's extra-referential.

# data[].attributes.body
It's tall, long, leaning, and in an urban area. It's abstract and initially received a negative response. It is just a blank steel wall, but reflects the egotistical and defiant nature of Serra.

# data[].attributes.attachment_caption
Joseph Kosuth, One and Three Chairs, 1965

# data[].attributes.body
There is a ready made chair on the wall, and then you have the actual chair. It's transforming a 2D image into a 3D work. Conceptualism plays with the idea of authenticity and reality. It prompts a viewer to ask which is more true, the photograph or the actual chair itself.

# data[].attributes.attachment_caption
The Mediator: Hebrews 9:15, Walter Rane, 2006

# data[].attributes.body
In class, we talked about how this could potentially be a representation of the Garden of Gethsemane in an eternal sense. The flowy brushstrokes and motion make it feel cosmic. It is inspired by a scripture, Hebrews 9:15, where it talks about the blood of Christ being a purging force against sin. We can see that represented by the red tones. The white makes me think of how our sins though scarlet will be white as snow through the Atonement of Christ. There's even some green to hint that this is taking place at the Garden, but it highlights more of the feelings Christ may have been experiencing. Truly, a beautiful piece.