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Natural materials, installations/sculptures

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Alternative matierals—textiles, gender-related subject matter

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Frank Gehry, Guggenheim, Bilbao, Spain, 1997

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Variety of shapes/materials, fragmentation of forms

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I. M. Pei, Mesa Laboratory, Boulder, Colorado, 1961-66

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Open-concept space, nature

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Piet Mondrian, Composition in Red, Blue, and Yellow, 1930

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Precise geometric forms, primary colors

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Salvador Dali, The Persistence of Memory, 1931

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Grattage, dream-like scenes, symbolic

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Kasimir Malevich, Suprematist Composition: Airplane Flying, 1915

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Geometric shapes, limited range of colors

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Vladimir Tatlin, Project for Monument to the Third International, 1919-20

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Geometric/technoid forms, harmonious order

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Umberto Boccioni, Unique Forms of Continuity in Space, 1913

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Dynamism, movement

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Truman O. Angell, et al., Salt Lake City Temple, completed 1893

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Formal symmtetrical design, decorative elements, spires

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Joseph M. W. Turner, The Slave Ship, 1840

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Vivid colors, expressive, loose brushstrokes

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Caspar David Friedrich, Abbey in the Oak Forest, 1810

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Sublimity—intense and stirring, landscapes

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Eugene Delacroix, Liberty Leading the People, 1830

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Loose, flowing brushstrokes, individualism

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Angelica Kauffman, Cornelia Presenting Her Children as Her Treasures, c. 1785

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Clarity of form, sober colors, classical subject matter

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Balthasar Neumann, Church of Vierzehnheiligen, near Staffelstein, 1743-72

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Vibrant pastel colors, intricate forms, asymmetry

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Thomas Gainsborough, Mrs. Richard Brinsley Sheridan, 1787

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Asymmetrical lines, floral motifs, muted colors

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Charles le Brun, et al., Palace of Versailles, France, 1669-85

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Cupids, trophies, maximalism, ornate

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Peter Paul Rubens, Arrival of Marie de’ Medici at Marseilles, 1621-25

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Nudity—plump & rosy, caravaggisti

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Francisco de Zubaràn , Saint Serapion, 1628

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Tenebrism, chiaroscuro

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Deep rich colors, effects of light, color to create form not line

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Recognizable imagery, bright colors

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Louis Sullivan, Carson, Pirie, Scott Building, Chicago, Illinois, 1904

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Structural innovation, no ornaments

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Hard edges, repeating geometric shapes

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Not a clear focal point, non-objective subject

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Jean Arp, Collage Arranged According to the Laws of Chance, 1916-17

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Collages, spontaneity

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Pablo Picasso, Les Demoiselles d’Avignon, 1907 

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Multiple perspectives, geometric shapes, monochromatic color palette

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Vasily Kandinsky, The Blue Mountain, 1908-09

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Jarring colors, jagged, distorted lines, rough rapid brushwork

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Vivid colors, emphasize geometric forms, distorted forms

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Small and thin visible brush strokes, movement, depiction of light

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Edouard Manet, Le Dejeuner sur l’herbe (Luncheon on the Grass), 1863 

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Ordinary landscapes, real people

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Francisco Goya, The Family of Charles IV, 1800

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Indivdualism, naturalism

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Jacques-Louis David, The Deathof Marat. 1793. 

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Dtrong horizontal and verticals, clarity of form, sober colors, shallow space

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Jean-Honoré Fragonard, The Swing. 1767. 

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Delicate brushwork, sensual, natural motifs, pastel colors

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Jacob van Ruisdael, Bleaching Grounds Near Haarlem. ca. 1670. 

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Grandeur, vanitas, tenebrism

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Annibale Carracci,Loves of the Gods.1597 1601. 

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Ornate, deep contrast—light & dark

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Parmigianino, The Madonna with the Long Neck. ca. 1535.

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Distortion of the human figure, flattening pictoral space, serpentine shapes

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Albrecht Dürer, The Four Apostles. 1523.

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Realism, linear perspective, symbolism

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Linear perspective, sfumato, humanism, naturalistic

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Linear perspective, wooden panels, realism

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Contrapposto, atmospheric perspective, religious subject matter