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The Wilton Diptych. ca. 1400. Panel, 20 7/9 × 14 5/8″ (53 × 37 cm). National Gallery of Art, London

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multiple patterns within gold foil, cool blue colors complimenting warm orange between the diptychs.

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Masaccio, The Tribute Money. ca. 1425. Fresco, 8′1″ × 19′7″ (1.87 × 1.57 m). Brancacci Chapel, Florence

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Linear perspective; atmospheric perspective

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realistic detail of the human form, contrapposto. Stylistic hair patterns.

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Quinten Massys, Money Changer and His Wife, 1514

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odd perspective, seems linear, but slightly skewed. Lots of detail on the small images on the foreground, like the pages in the book and reflection. The heads of the figures look a bit larger compared to the rest of their bodies.

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Jacopo da Pontormo, Descent from the Cross, 1525-28

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interesting use of saturated color that hasn't been seen much in the past works of its time; Very dramatic posing or facial expression in each figure.

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Hasegawa Tohaku, Pine Forest, late 16th century

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atmospheric perspective is shown within these textured subjects of trees. Even in their most simplistic form with so much empty space, you can still feel the naturalistic presence of the trees.

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Gerrit van Honthorst, The Supper Party, 1620

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the room in the image is lit by warm candlelight, perfectly showing the facial expressions and positions of each figure, both young and old. One with their back turned from the viewer, not only to add balance to the valued composition, but also to have the viewer feel included in the festivities.

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Artemisia Gentileschi, Judith and Her Maidservant with the Head of Holofernes. ca. 1625.

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very warm toned colors, even in the darkest shades. Could be to depict an intense scene that has taken place.

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

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bright, shiny, flashy imagery. Shimmering crystal chandeliers, gold statues, endless mirrors, and windows. Everything but the floor is decorated some way or another.

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painterly used of color, not just in warm, but also cool tones. Areas that aren't of major focus are either dark in contrast to the main focal point or desaturated.

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

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Warm saturated shades of read with a hint of green near the center to compose the viewers' eyes to the main focus of the scene.

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Thomas Gainsborough, Mrs. Richard Brinsley Sheridan, 1787

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painterly brush strokes to provide a dreamy like effect to the image. The only smoothly rendered parks of the image are the woman's face and her arm.

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Francisco Goya, The Family of Charles IV, 1800 

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The figures have no expressions on their faces, shining over a shadowed corner of a painting in the background. The small child in the foreground is in the most saturated red, creating a large focus for the viewer.

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More painterly, dream-like imagery, a body of water among the landscape, and some subjects cut off from the main focus themselves. Flickers of white paint around the image.

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Eugene Delacroix, Liberty Leading the People, 1830 

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There's so much happening in this piece, very chaotic, yet also an interesting dynamic composition. The people and subjects create a triangle frame pointing to the woman in the center, shining bright.

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Katsushika Hokusai, The Great Wave off Kanagawa, from Thirty-six Views of Mount Fuji, ca. 1826-33

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very fluid motion of the water, a well composed looked of the sea foam speckles, as well as the line work and shape of the seafoam connected to water.

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Adolphe-William Bouguereau, Nymphs and a Satyr. 1873.

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multiple light figures surrounding one cast in darker tones. A triangular shape surrounding the subjects of the piece.

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Auguste Renoir, Luncheon of the Boating Party. 1881. Oil on canvas, 51¼ × 68⅛″ (130.2 × 175.6 cm). Acquired 1923. The Philips Collection, Washington, D.C.

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Very light and pastel color schemes, very small accents of darker values.

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Vincent van Gogh, Starry Night, 1889. Oil on canvas, 29 × 36″ (73.7 × 92.1 cm). Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest (47

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gestured lines throughout the piece, as if the entire landscape is moving.

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Henri Matisse, Femme au chapeau (Woman with a Hat). 1905. Oil on canvas, 3134 × 23½″ (80.6 × 59.7 cm). San Francisco Museum of Modern Art. Bequest of Elise 

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intense saturated colors of warm and cool tones. Very rough and organic textures, almost sketch-like.

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Umberto Boccioni, Unique Forms of Continuity in Space, 1913

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geometric shapes, the material of the sculpture shows great contrast in values.

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Pablo Picasso, Violin. 1915. Construction of painted metal, 37½ × 2558 × 7½″ (94.5 × 65 × 19 cm). Musée Picasso, Paris

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extremely geometric shapes, not much organic shaping. Very cool and neutrally warm tones. Some aspects of pattern.

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

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The image has variations of shape for each divided square, even some variation of thickness in the lines.

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Kaufmann House (Fallingwater), Bear Run, Pennsylvania, 1936

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Beautiful naturalistic landscape, geometric shaped foundation, intersecting.

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Mark Rothko. No. 61 (Rust and Blue) (also known as Brown, Blue, Brown on Blue). 1953.

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Rectangular shapes, the top one in red, the rest of the image in different shades of blue.

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It's a whole lot of nothing, yet also speaks volumes. A geometric shape connected to an organic shape.

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Sigmar Polke, Alice in Wonderland. 1971. Mixed media on fabric strips, 10′6″ × 8′634″ (3.2 × 1.6 m). Private collection, Cologne

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organic white lines that almost appear hand-drawn, inbetween the white patterns on a darker toned background.

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29.26Christo and Jeanne-Claude, Running Fence, Sonoma and Marin counties, California. 1972–76. Fabric, 18′ × 24½ miles (5.5 m × 39.4 km)

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vertical lines from the posts connected to the round shapes of the wind hitting the fabric, creating curved lines in the cloth.

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Charles Moore, Piazza d'Italia, New Orleans, 1976-80

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bright shining colors composed to an architecture, which you don't see very often.

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Jaune Quick-To-See Smith, State Names, Flathead Nation 2000 

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colors falling and bleeding into one another, overlapping shapes, all on a black background. Some saturation, but mostly uncomfortable neutralized colors.