# data[].attributes.attachment_caption
Giotto, The Lamentation, Arena (Scrovegni) Chapel, Padua, 1305-06

# data[].attributes.body
Halos around many figures, cupids, diagonal flow, all pointing and leading to Christ.

# data[].attributes.attachment_caption
Claus Sluter, The Well of Moses, Chartreuse de Champmol, France. 1395–1406. Stone, height of figures approx. 6′ (1.8 m)

# data[].attributes.body
Four way view, apostalic figures

# data[].attributes.attachment_caption
Donatello, Mary Magdalen. ca. 1430–50. Polychrome and gold on wood, height 6′1″ (1.85 m). Museo dell’Opera del Duomo, Florence

# data[].attributes.body
Fingers touching, look of longing

# data[].attributes.attachment_caption
Leonardo da Vinci, Portrait of Ginevra de’ Benci, ca. 1474–78 Oil on panel, 161316 × 14916″ (42.7 × 37 cm). National Gallery of Art, Washington, D.C. Ailsa 

# data[].attributes.body
Very detailed, solemn expression

# data[].attributes.attachment_caption
Sesshu Toyo, splashed-ink (haboku) landscape, 1495

# data[].attributes.body
Minimalistic, hard lines, this art doesn't take form or reveal itself till once you've focused on it. The artist is a master at what he does.

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

# data[].attributes.body
Linear perspective, pastel colors, primary color focus, All lines lead to Christ. Heavy Hellenistic style.

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

# data[].attributes.body
Humble, pondering subjects. Rounded archways, domed ceiling. Color focus on red, blue, and tan. Worship of Mary and Christ.

# data[].attributes.attachment_caption
El Greco, The Burial of Count Orgaz. 1586. Oil on canvas, 16′ × 11′10″ (4.9 × 3.6 m). Santo Tomé, Toledo, Spain

# data[].attributes.body
very religious, horizontal and vertical representations

# data[].attributes.attachment_caption
Agnolo Bronzino, Portrait of Eleanora of Toledo and Her Son Giovanni de’ Medici. ca. 1550. Oil on panel, 45¼ × 3734″ (115 × 96 cm). Galleria degli Uffizi, Flore

# data[].attributes.body
Primary colors, very inclusive of child, halo around her head

# data[].attributes.attachment_caption
Peter Paul Rubens, Elevation of the Cross, 1610

# data[].attributes.body
Foreshortening, cutoff figures, linear with painterly brushstrokes. This painting glorifies the Catholic Church.

# data[].attributes.attachment_caption
Jose de Ribera, The Martyrdom of St. Batrtholomew, c. 1639

# data[].attributes.body
Naturalistic, hyper religiosity, prodestants were most active during this time.

# data[].attributes.attachment_caption
Nicolas Poussin, The Burial of Phocion, 1648

# data[].attributes.body
Atmospheric Perspective, orange/tan color overlay. Small details, realistic painting, everyday occurances/tasks taking place. Normal life.

# data[].attributes.attachment_caption
Gianlorenzo Bernini, Head of St. Jerome. ca. 1661. Terra cotta, height 131316″ (35.1 cm). Harvard Art Museums/Fogg Museum, Alpheus Hyatt Purchasing and Friends 

# data[].attributes.body
Very expressive, new movement into a helenistic type of pose

# data[].attributes.attachment_caption
Judith Leyster, The Proposition. 1631. Oil on panel, 1216 × 9½″ (30.9 × 24.2 cm). The Royal Cabinet of Paintings, Mauritshuis, The Hague

# data[].attributes.body
Not too vivid, floating feeling to the table, good shadows

# data[].attributes.attachment_caption
Hasegawa Tohaku, Pine Forrest, late 16th century

# data[].attributes.body
Ink on paper, simple, the more you look the more you see. Majestic, very meditative piece. A symmetrical, rule of 3rds. Evaporating time, impermanence, fleeting away.

# data[].attributes.attachment_caption
Suzuki Harunobu, Evening Bell at the Clock, 1766

# data[].attributes.body
Urbanization, floating world, Isometric perspective.

# data[].attributes.attachment_caption
Jean-Honoré Fragonard, The Swing. 1767. Oil on canvas, 3258 × 26″ (82.9 × 66.0 cm). Wallace Collection, London

# data[].attributes.body
Painterly, lights and shadows are vivid

# data[].attributes.attachment_caption
Marie-Louise-Élisabeth Vigée-Lebrun, Self-Portrait with Daughter. 1789. Oil on panel, 4723 × 35½″ (121 × 90 cm). Musée du Louvre, Paris

# data[].attributes.body
Primary colors, soft tones, clasping each other to portray a message

# data[].attributes.attachment_caption
William Blake, Elohim Creating Adam. 1795. Monotype with pen and watercolor, 17 × 21⅛″ (43.1 × 53.6 cm). Tate Gallery, London

# data[].attributes.body
Rustic, bland, angelic figure with snake and dead man

# data[].attributes.attachment_caption
Casper David Friedrich, Abbey in the Oak Forest, 1810

# data[].attributes.body
A rejection of neoclassicism. Nature focused landscape, sublime. Gothic style.

# data[].attributes.attachment_caption
John Nash, Royal Pavilion, Brighton, 1815-23

# data[].attributes.body
Vaguely Indian, middle eastern with minerettes, ridge lines. The prince here was treated like a Sultan. Belly dancers and Asian dancers were imported. Long and linear plan.

# data[].attributes.attachment_caption
Theodore Gericault, Raft of the Medusa,  1818-19

# data[].attributes.body
Emotional romanticism, escapism, reach for heavens. Very controversial, this piece also caused a scandal.

# data[].attributes.body
Dramatic dreamy look, flecks of white paint were flung onto canvas to give it it's luminous look (luminosity).

# data[].attributes.attachment_caption
Gustave Courbet, The Stone Breakers. 1849. Oil on canvas, 5′3″ × 8′6″ (1.6 × 2.59 m). Gallerie Neue Meister, Dresden (believed to have been destroyed in World W

# data[].attributes.body
Very real common work, two toned with pastel greens and reds

# data[].attributes.attachment_caption
Claude Monet, On the Bank of the Seine, Bennecourt. 1868. Oil on canvas, 32⅛ × 39⅝″ (81.6 × 100.7 cm). The Art Institute of Chicago. Mr. and Mrs. Potter Palmer 

# data[].attributes.body
Very spotty, very artistic, not perfect picture, quiet moment captured.

# data[].attributes.attachment_caption
Takahashi Yuichi, Oiran (Grand Courtesan) 1872

# data[].attributes.body
This art is from the west, the garment is abstract on the bottom. Oil technique.

# data[].attributes.attachment_caption
Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte. 1884–86. Oil on canvas, 6′10″ × 101¼″ (2.08 × 3.08 m). The Art Institute of Chicago. Helen 

# data[].attributes.body
Very defined, 2D, new painting style

# data[].attributes.attachment_caption
C.C.A. Christensen, Handcart Pioneers' First View of Salt Lake Valley, 1890

# data[].attributes.body
Painted from personal experience. Many Latter-day Saint artists follow the influence of art.

# data[].attributes.attachment_caption
Erich Heckel. A Crystal Day. 1913. Oil on canvas, 47¼ × 3734″ (120 × 96 cm). Pinakothek der Moderne, Munich. Loan from Collection of Max Kruss, Berlin

# data[].attributes.body
Confusing, chaos, nudity, struggle?, not 3D at all

# data[].attributes.attachment_caption
Georges Braque, The Portuguese. 1911. Oil on canvas, 4578 × 32⅛″ (116 × 81.6 cm). Kunstmuseum, Basel. Gift of Raoul LaRoche, 1952

# data[].attributes.body
Very expressive of the soul, monotoned, chaos

# data[].attributes.attachment_caption
Max Ernst, 1 Copper Plate 1 Zinc Plate 1 Rubber Cloth 2 Calipers 1 Drainpipe Telescope 1 Piping Man. 1920. Gouache, ink, and pencil on printer paper, 12 × 9″ (3

# data[].attributes.body
Humorous creativity, attempt at 3D weather wanted or not, Primary colors

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

# data[].attributes.body
De Stile means "the style". A hunt to find out what art really is. Artists' desire is to keep his art pure. Black horizontal lines are symbolic of death and vertical represents life.

# data[].attributes.attachment_caption
Louise Nevelson, Sky Cathedral—Moon Garden Plus One. 1957–60. Painted wood, black, 9′1″ × 10′2″ × 1′7″ (2.78 × 3.1 × 0.5 m). Collection of Milly and Arne Glimch

# data[].attributes.body
Very bland, business yet still life, chaos, deeper meaning into life

# data[].attributes.body
New statement as to what is art, mix between statue and framed art on wall, big expression, makes soul wonder

# data[].attributes.attachment_caption
Louis H. Sullivan. Schlesinger and Meyer Store, then Carson-Pirie-Scott store (now the Sullivan Center). Chicago. 1899–1904

# data[].attributes.body
Large, very repetitive and representational, very different from roman and older buildings.

# data[].attributes.attachment_caption
Nampeyo (Hopi-Tewa). polychrome jar, 1930s

# data[].attributes.body
Geometric design, sharp crisp lines, worship purposes.

# data[].attributes.attachment_caption
Salvador Dali, The Persistence of memory, 1931

# data[].attributes.body
Recognizable objects doing things they don't normally do, no atmospheric perspective. We don't know what the center figure is. A dead tree growing from a box?

# data[].attributes.attachment_caption
Roy Lichtenstein, Drowning Girl. 1963. Oil and synthetic polymer paint on canvas, 5′758″ × 5′634″ (1.72 × 1.69 m). Museum of Modern Art, New York. Philip Johnso

# data[].attributes.body
Very expressive, displaying of inside emotions and thoughts even.

# data[].attributes.body
Shinto, Kami, it's as tho the artist is trying to display that wood and other forms have life.

# data[].attributes.attachment_caption
Jaune Quick-To-See Smith, State Names, 2000

# data[].attributes.body
Dramatic, some states have names, others do not. Is there a cry from America that is being displayed, are there reasons for the different colors.

# data[].attributes.body
Bright colors, smiling joyful faces, blindly stepping into unknown, realistic clothing. Wisps of wind behind, is the mother leaving a trail of knowledge for others as well, not just for her daughter. Statement of importance for example and relationships.