Descent From the Cross, 1521

The Four Horsemen of the Apocalypse 1498

Judith and her Maidservant with the Head of Holofernes, ca 1625

The Swing, 1767

Cornelia Presenting Her Children as Her Treasures (Mother of the Gracchi), ca 1785

The Sleep of Reason produces Monsters, ca 1799

The Orchestra of the Paris Opera, 1868-69

Sunrise 1872

The Awakening Conscience, 1853-54

Femme Au Chapeau, 1905

The Portuguese 1911

Peter Schlemihl: Tribulations of Love 1915

Cut With A Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of Germany 1919

The False Mirror, 1928

Autumn Rhythm: No 30

Drowning Girl 1963

The Nominal Three (To William Ockham), 1963

Spiral Jetty, 1970

The Exile 1980

Foreshortening: Distortion of objects not parallel to the picture place to show depth

Sfumato: Smoky: subtle gradations of light to dark

1. Leonardo da Vinci. The Virgin of the Rocks. ca. 1485 Milan

- Oil on Panel

- Commissioned by a lay brotherhood

- Depicts the Virgin Mary with an angel gesturing to the Christ child and John the Baptist

- Foreshortening on the hand

- Pyramidal composition

- Dreamlike and mysterious background

- Use of Sfumato

2. Leonardo da Vinci. The Last Supper. ca. 1495–98 Milan

- Made for a refectory

- Tried to mix oil and tempera on dry plaster

- Use of gestures in order to create symbolism

- All lines point to Christ, whose body forms the pyramidal structure

- Damaged when it was painted, and therefore will remain as such

3. Leonardo da Vinci, Mona Lisa, ca. 1503–05 Florence

- Kept the painting and took it with him whenever he moved

- Painted for Lisa Gherardini, but never recieved the painting

- Oil on Panel

- Breaks the fifteenth Century tradition of depicting young women in profile. He depicts them in three quarter view against landscape backgrounds

- Pyramidal composition

- Mysterious background

4. Donato Bramante. Tempietto, Rome. 1502–11

- A martyrium (Chapel built in order to honor a martyr)

- Built for St. Peter, where tradition states he was crucified.

- Perfectly balanced: completely symmetrical, perfect proportions, pyramidal composition

- Classical influence

- Trying to one up the Romans in Architecture

5. Michelangelo. Pietà. ca. 1498 Rome

- Pieta = Pity

- Marble

- At 24, Michelangelo made a promise to the cardinal that commissioned the sculpture

- Naturalistic

- Pyramidal composition

- Calm and peaceful rather than the anguished portrayals of the past

- This is the work that made Michelangelo famous

6. Michelangelo. David. 1501–04 Florence

- Commissioned for the Florence Cathedral

- Contrapposto

- Naturalism

- Potential for action

- "When did David become the Giant?"

- Marble

- More than life-size

- When finished, the committee decided to put it in front of the government seat as a symbol of the republic

- Was originally a discarded piece of marble by a different sculptor.

7. Michelangelo. Ceiling fresco of Sistine Chapel, Vatican, Rome 1508-12

- Fresco

- All figures portrayed in a sort of restless posture

- hoped to surpass the ancient sculptures

8. Raphael. La Belle Jardiniere. 1507 Florence

- Oil on panel

- Calm and graceful

- Pyramidal composition

- Use of Chiaroscuro

9. Raphael. School of Athens, Stanza della Segnatura, Vatican, 1508-11

- Fresco

- Reflect the most learned humanism of the day

- Plato in the center, with Aristotle to his left. The right of Plato is Socrates. Standing before the steps is Pythagoras, and on the opposite side is Euclid. Behind him may be Zoroaster and Ptolemy, and the man wearing the black hat is a self portrait of Raphael. Later he added Michelangelo as Heraclitus.

10. Giorgione. The Tempest. ca. 1505 Venice

- There is no explanation behind the meaning of this painting

- The pictorial equivalent to poetry

- Oil on canvas

11. Titian, Man with a Blue Sleeve. ca. 1520 Venice

- Oil on canvas

- uses chiaroscuro to create a sense of atmospheric space

- An attempt to record the personality as well as the appearance

12. Titian, Madonna with Members of the Pesaro family. 1526 Venice

- Oil on canvas

- commissioned to be an altarpiece for the Santa Maria Gloriosa dei Frari

- Pyramidal composition

- Naturalistic

- Every figure seems to be in movement

(Brunelleschi, Loser)

Bronze

Part of a competition to create doors for the baptistry (He lost)

Shows Isaac in distress

Figure comes out of the fleurette frame

Medieval inspiration

(Ghiberti, Winner)

Bronze

Shows Isaac as a more willing participant in the sacrifice

Almost a sculpture in the round

classical inspiration

Filippo Brunelleschi. Dome of Florence cathedral, 1420–36 Santa Maria del Fiore

Another competition to create the dome of the cathedral

Brunelleschi won

Invented tools for construction

Double shell structure

Used ribs

Materials that locked into place

Chains to support inside the dome

Cantilevered scaffolding

People of Florence saw it as a rivaling of ancient Rome

Donatello. St. Mark. ca. 1411–13 (for Or San Michele, Florence)

Symbolized with the Lion in the predella

St. Mark standing on a pillow, signifying the linen workers guild

Use of contrapposto

Donatello. David. ca. 1420s–60s Florence

Bronze statue of the biblical David

First free-standing, life-size nude statue made since the Roman empire

Statue in the round

contrapposto

Depicts the already victorious David

It is possible that David became a sort of mascot for florence.

Lorenzo Ghiberti. The Story of Jacob and Esau, panel of the Gates of Paradise, Baptistery of San Giovanni, Florence. ca. 1435

Gilt Bronze

Use of depth and perspective

The story of Esau trading his heritage for a mess of pottage

Schiacciato (shallow relief sculpture)

Masaccio. The Holy Trinity with the Virgin, St. John, and Two Donors. ca. 1425

Life-size Buon Fresco

Uses Linear Perspective - lines found within the barrel Vaulting

Christian Themes - Portraying Jesus Christ and God the Father, as well as Mary and John and the two donors that commissioned the painting. Subtle hints to the Plan of Salvation. Heavy Catholic inspirations

Classical Elements - Barrel vaulting and columns

One of the first examples of linear perspective

Masaccio. The Tribute Money. ca. 1425 Florence

Life-sized Fresco

Linear perspective with the use of Orthogonal lines in the building, which center right on Christ

A Sense of depth created with; Atmospheric perspective, Overlapping figures, Consistent lighting, linear perspective, character perspective

Example of Continuous narrative - The story of the fish with the coin

The figures are standing in contrapposto

Masaccio created a piece where the feet are actually on the ground, not the byzantine 'floating' feet

Domenico Veneziano. Madonna and Child with Saints. ca. 1445

Tempera and Silver Foil

Takes inspiration from the international gothic styles

Lances form orthogonal lines to create linear perspective

Famous battle in Florence

Paolo Uccello. Battle of San Romano. ca. 1438 Florence

Tempera and silver foil on wood

Bodies and weapons form orthogonal lines in order to create perspective, which isn't shown too well due to the background that extends beyond a known horizon line

Fra Angelico. Annunciation. ca. 1440–45 Florence

Fresco

Made for the dormitory entryway in an convent

Set in a space similar to that of the convent

Simple in terms of annunciation paintings

Perspective is used, although, the figures are far too large to sit comfortably in the space

Sandro Botticelli. Primavera. ca. 1482  

Tempera on Panel

Life-sized

commissioned by the Medici family

Use of Contrapposto

Doesn't use Linear perspective and has gothic inspiration (floating feet)

One of the first works that doesn't include a Christian theme

Mythological themes: Roman goddess of spring, Primavera and Venus

Almost like a tapestry

Domenico Ghirlandaio. An Old Man and a Young Boy. ca. 1480 Florence

One of the first 3/4 view portraits

Gesture suggests familial relationship with each other

Andrea Mantegna, Camera Picta. 1465-74 Mantua

Fresco

Di sotto in su (As seen from below)

Extremely illusionistic

Giovanni Bellini St. Francis in the Desert. ca. 1480 Venice

Tempera and oil on poplar panel

Story of St. Francis seeing the resurrected Christ with the prints of the nails

Very subtle when compared to other paintings of this story.

Subtle hints of symbolism: Sandals left behind.

One of the first oil paintings within the early renaissance

Giovanni Bellini. Madonna and Saints. 1505 Venice

Oil on Panel

Made for a convent

figures seem deep in thought and isolated

Pietro Perugino. The Delivery of the Keys. 1482 Florence

Fresco

Continuous narrative

symmetrical linear perspective

technical virtuosity

unbalanced compositions

complexity
elegance
erudite subject matter

expressiveness
distortions of proportions
artifice/exaggeration

1. Michelangelo. St. Peter’s, Rome, seen from the west. 1546–64;

Designed the dome for the new St. Peter's

Graceful, light and airy feeling

A lot of domes found in America were created after Michelangelo's

2. Giulio Romano, interior courtyard façade of Palazzo del Te, Mantua, Italy 1525-35

3. Michelangelo and Bartolommeo Ammanati. Vestibule of the Laurentian Library, Florence. Begun 1523; stairway designed 1558–59

4. Rosso Fiorentino. The Descent from the Cross. 1521 Florence

5. Jacopo da Pontormo. Pietà/ Or Descent from the Cross. ca. 1526–28 Florence

6. Michelangelo. The Last Judgment . 1534–41 Rome

Fresco in the Sistine Chapel

Meant to instill a little bit of fear

Stay true to the catholic faith, or this will happen to you

No longer elegant and graceful, more dramatic and fear inducing

No longer anatomically correct

7. Parmigianino. The Madonna with the Long Neck . ca. 1535 Parma

8. Titian. Rape of Europa. 1559–62 Venice

Leaves brushstrokes

Loose brushstrokes

Oil

9. Paolo Veronese. The Feast in the House of Levi . 1573 Venice

Oil on canvas

Includes dwarves, animals, Germans, drunks, considered disrespectful and too chaotic for a last supper painting, so he changed it to the current name

Breaks the High Renaissance rules of peace and calm

10. Jacopo Tintoretto. The Last Supper . 1594 Venice

The vanishing points don't line up

The angels don't look tangible

The halos are not halos.

There is not a natural light source

There is no sense of balance or structure

Meant to give the illusion of continued space: Made for the space of the chancel of San Giorgio Maggiore in Venice

Every day setting

The artist’s main concern is to make visible the miracle of the Eucharist—the Transubstantiation of earthly into divine food—in both real and symbolic terms

Oil on Canvas

11. Bronzino, Portrait of a Young Man, c. 1530 Florence

12. Giovanni Bologna. The Rape of the Sabine Woman. Completed 1583 Florence

13. Sofonisba Anguissola, Self-Portrait, 1556 Cremona

Oil on parchment

Inscription on the medallion literally says she painted this with her own hands

First Female artist

Her father was a humanist and believed that his daughters deserved an excellent humanist education

In her works. it seems she is trying to prove something

1. Matthias Grünewald, Isenheim Altarpiece, ca. 1509/10–15

Not only opens on on the altarpiece, but in the predella as well

Creates a sense of hope for those within the hospital where this chapel sat

When the panels were opened, the arm and legs of the Saviour seemed to be removed.

The inside of the altarpiece shows a completely different version of Christ, a healed and heroic version.

When the message is about suffering, he chooses a medieval style. When the message is about triumph and hope, he chooses a renaissance style

2. Albrecht Dürer, The Four Horsemen of the Apocalypse, 1498

Woodblock print

About the four hoursmen

another apocalyptic themed piece

3. Albrecht Dürer. Self-Portrait. 1500

Oil on panel

Full frontal pose which was normally reserved for royalty and for deity

Everyone had the second coming on the brain

4. Albrecht Dürer, The Four Apostles, 1523–26 Nurmberg

Simplistic design

Shows the apostles as just normal religious men

Paul and John are pushed toward the front of the composition

Peter and Mark are pushed to the back, which was odd in a Catholic perspective

Scripture verses from the apostles inscribed along the bottom all about the apostasy

5. Hans Holbein the Younger, The Ambassadors, 1533 England

Shows hidden religious iconography

Crucifix along the side of the wall

The floor is akin to that of Westminster Abbey

The skull, which is painted in a anamorphic perspective, sits on the floor

Incredibly detailed

6. Hans Holbein the Younger. Henry VIII. 1540 England

Shows the power of the king while showing him true to life

Body fills the canvas

7. Pieter Aertsen. The Meat Stall. 1551 Antwerp

Genre Scene: A scene from everyday life

Shows a market, but its meaning is about Christianity

Hidden symbols of Christianity

Fish form a cross

The fleeing to Egypt

8. Pieter Bruegel the Elder, The Return of the Hunters, 1565 Antwerp

Went to Italy to study

Atmospheric perspective

linear perspective

9.Pieter Bruegel the Elder, Peasant Wedding, ca. 1568 Antwerp

Characteristics in Baroque Art

Drama

Energy and movement

Dynamic balance (diagonals, curves, countercurves, etc.)

High contrast

Emotion

Element of time

Viewer involvement

Naturalism of the high renaissance

1. Caravaggio. The Calling of St. Matthew, 1599–1600 Rome

Oil on canvas

The use of tenebrism (the intense contrast of light and dark in painting, another type of chiaroschuro)

Caravaggio wants us to decide who we think St. Matthew is in the painting

Use of subtle symbolism

The use of contemporary styles within the painting provide meaning for both the Catholic people and the Protestants

Christ is seen as having the hand of Adam from the Creation of Adam

His first commission

2. Caravaggio, The Conversion of St. Paul, Cerasi Chapel, Rome

Oil on Panel

Depicts the conversion of Saul to Paul

Creates the illusionistic feeling of immersiveness. "I could be here"

Light that seems to have no logical origin

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

The scary moment of "Can we get away with it?

Uses tenebrism with the candle

Much richer colors

4. Artemisia Gentileschi. Self-Portrait as the Allegory of Painting (La Pittura). ca. 1638–39 Italy

Painted herself as the allegorical depiction of painting

5. Carlo Maderno. Façade of St. Peter’s, Rome. 1607-12

Columns have a sense of rhythm and musicality

Classical and renaissance influence

Colossal order, adds a sense of drama

6. Gianlorenzo Bernini, Colonnade for St. Peter’s Basilica, designed 1657

Called them the welcoming arms of the church

7. Gianlorenzo Bernini. Baldacchino. 1624–33. At crossing. St. Peter’s, Rome

Eight stories tall canopy made completely out of bronze

Supposed burial place of St. Peter

Very energetic design

Meant to replicate the baldacchino of the old st. peter's

8. Francesco Borromini. Façade of San Carlo alle Quattro Fontane, Rome, ca. 1665–67

Redesigned facade of a small corner church

curves and counter curves create waves along the building

More sculptural than architectural

9. Gianlorenzo Bernini. David. 1623 Italy

Trapped in a moment of time

Very dynamic

Naturalism

Veristic

10. Gianlorenzo Bernini. The Ecstasy of St. Teresa, 1645–52 Rome

A combination of all art forms

Painting, sculpture, architecture, fresco

11. Francisco de Zurbarán. St. Serapion. 1628 Spain

reminiscent of Christ

12. Juan Sánchez Cotán. Quince, Cabbage, Melon, and Cucumber. c 1602 Spain

All foods found in the painting were grown in the americas,

A show of wealth and power to other places

13. Diego Velázquez. Juan de Pareja. 1650 Spain

Painting of a slave

Practice for a commission of the pope

Loose brushstrokes

14. Diego Velázquez. The Maids of Honor (Las Meninas). 1656 Spain

Loose strokes

A scene in time

Painting of the princess of Spain and the ladies in waiting

A salon

Jean-Antoine Watteau. A Pilgrimage to Cythera. 1717

Didn't fit any of the categories that the school had

Poussinists vs Reubenists = emphasis on line vs emphasis on color

Watteau is a reubenist

Jean-Antoine Watteau. Gersaint’s Signboard. 1721

Hung outside an art gallery

Elegance and grace

François Boucher. Portrait of Madame de Pompadour. 1756

Intelligence

grace

pompish

Jean-Honoré Fragonard. The Swing . 1767

frivolous

hiding a secret

Rosalba Carriera. Charles Sackville, ca. 1730

Canaletto, Entrance to the Grand Canal, Venice, c. 1730

Use of a Camera obscura

Created lots of paintings

sold to tourists who visited venice

Jean-Siméon Chardin. Soap Bubbles. ca. 1733

Made by middle class for middle class

Multiple iterations made

Not obviously rococo, but still holds rococo traits

Thomas Gainsborough, Mr. and Mrs. Andrews, c. 1750

more about the landscape than about the figures

William Hogarth. The Rake’s Progress. ca. 1734

Paintings that were turned into prints

made for the lower class about the upper class

A print series about the frivolity and the wastefulness of aristocratic living

Supernatural
Violence/horrific themes
Nationalism (personal past vs. classical)
Longing for the past
Intense emotion, passion
Imagination

Francisco Goya, The Family of Charles IV, 1800
Francisco Goya, The Third of May, 1808, 1814

Art in Britain
John Henry Fuseli. Thor Battering the Midgard Serpent. 1790
William Blake. Elohim Creating Adam, 1795
John Constable. The Haywain (Landscape: Noon), 1821
JMWTurner, Snowstorm: Hannibal and His Army Crossing the Alps, 1812
JMW Turner, The Slave Ship, 1840
Caspar David Friedrich, Monk by the Sea, c. 1810
Caspar David Friedrich. Abbey in an Oak Forest, 1809–10

America
Thomas Cole. The Oxbow , 1836

France
Jean-Auguste-Dominique Ingres. Portrait of Napoleon on His Imperial Throne. 1806
Antoine-Jean Gros, Napoleon in the Pesthouse at Jaffa, 1804
Géricault, The Raft of the Medusa, 1818–19
Eugène Delacroix, Scenes from the Massacre at Chios, 1824
Eugène Delacroix, Liberty Leading the People, 1830
Eugène Delacroix, Death of Sardanapalus, 1827

flat shapes
sharp contours
compressed space
cropping
angles
assymetry

Ca. 1790-95

James Abbot McNeill Whistler. Nocturne in Black and Gold: ca. 1875
John Singer Sargent, Madame X

Ernst Ludwig Kirchner. Street, Dresden. 1908
Ernst Ludwig Kirchner, Street, Berlin, 1913

Der Blaue Reiter (The blue rider)

Vasily Kandinsky, Improvisation 28 (second version), 1912
Vasily Kandinsky. Sketch I for “Composition VII.” 1913
Paul Klee. The Niesen. 1915
Paul Klee, Twittering Machine, 1922

Pablo Picasso. Les Demoiselles d’Avignon (The Young Ladies of Avignon). 1907
Georges Braque, The Portuguese, 1911

Synthetic Cubism
Pablo Picasso. Guitar, Sheet Music, and Wine Glass. 1912

Marcel Duchamp. Nude Descending a Staircase, No. 2. 1912
Marcel Duchamp. Bicycle Wheel, 1913
Marc Chagall. I and the Village. 1911
Giorgio de Chirico. Mystery and Melancholy of a Street. 1914

Russian Suprematism

Kazimir Malevich, White on White, 1918

Harlem Renaissance

Jacob Lawrence, Migration of the Negro series, 1940-41

Modernism in America

Georgia O’Keeffe, Yellow Calla, 1926
Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936

Art in Mexico
Frida Kahlo, The Two Fridas, 1939

Social Realism in America
Edward Hopper, Night Hawks, 1942

Protest Art
Pablo Picasso. Guernica. 1937