Filippo Brunelleschi, Bargello Museum, Florence, Italy

BOLD use of texture and space. The clearing of area around Isaac draws the eye to the center of the piece. The use of gold is eye catching, possibly meant to illustrate the significance of the event.

Claus Sluter

Use of sweeping cloths, presumably expensive and lavish robes identify the majesty and compulsion that the piece shows. Stern and all-knowing look on moses's face commands attention to him. Size of the piece is a big statement for the time, commissioned by someone of great importance who could afford transportation

Leonardo Da Vinci

Era of art was commonly referred to as the High Renaissance, where breakthroughs of art were made. This painting displays realism, and a certain movement away from regality. The subject is an ordinary girl, and her placement in the outdoors represents a sort of freeness.

Artist Unknown

This work of art utilizes vibrant colors in order to draw the viewers eye to the subject of the painting...the unicorn which symbolizes purity.

Rosso Florentino

Less golden proportions, more of a stylistic and vibrant expression from the artist.

Gian Lorenzo Bernini

More gruesome, exposure of the undraped figure

Johannes Vermeer

Dramatic, peek into the private affairs of another, dark theme as to suggest mystery

Dominikus Zimmerman

Incredibly ornamental, more subject to whimsy and fantasy.

Angelica Kauffman

No ornamentation on walls, draws eyes directly to the faces and clothes that the figures are wearing. Simple poses and communications.

Francisco Goya

The faces and body types of the individuals make them seem ordinary/un-elegant. Painted in low light as to suggest a lack of grandeur and a certain shadiness of character

Edgar Degas

Sensible, Light illuminates ordinary faces, simplified background

John Roebling

Nearly gothic in style, large in both size and statement, seeming to boast of accomplishment and superiority.

Victoire

Loose brushwork, leaning much more towards abstract rather than realism

Bruno Taut

Greatly increased use of glass in order to allow much light to filter through, diamond shape and taper reach into the heavens

Pablo Picasso

Very geometrical, hard edges and loose interpretation of the human figure

Max Ernst

Combining of different materials in oder to form human-esc forms. Otherworldly and bizarre, eyes seem to be communicating some form of message

Arshile Gorky

surrealism, no easily discernable meaning or setting, far movement from naturalism and realism

Dan Flavin

More conceptual than actual meaning, meant to make people draw their own conclusions.

Walter Gropius

The skeleton-like build of this structure makes the entire form feel open and clear.

Roy Lichenstein

Abstract, high art, representational rather than clear in meaning

Cliff Whiting (Te Whanau-A-Apanui), 1984

Animalistic, expressionistic, vibrant, represents a legend from ancestry. Meant to emulate common oceanic themes of tribal, religious, and historical significance

Hasegawa Tohaku

Part of the Momoyama period of Japanese art. Purpose was to inspire peaceful feelings into viewers. Painters such as Tohaku focused on leaving white space, as to encourage imagination. Pine trees in japanese culture are associated with longevity and peace, which was part of the emphasis of this piece.

J. Kirk Richards, 2003

Simplified shapes and color schemes. Uses impasto as a way to make the figures appear more 3 dimensional despite the 2D reality of the canvas. Created to emphasize the importance of the event to the degree that it is recognizable in any form.

Giorgione c. 1508

This piece was created during the Venetian Renaissance. It utilizes sfumato and painterly brush strokes, which were characteristic of this period. Greater sensualization of the undraped figure of women. This trend can be seen, as the women are unclothed while the men are still fully dressed.

Nampeyo, c. 1930s

This piece represents the migration of the Hopi people, who were the ancestors of the artist. This artwork features geometric shapes and limited colors which make it more easy to see the wave and wing patterns occurring repeatedly.

Francisco de Zubaran, c. 1626

Details a saint being slain for his faith. Meant to be incredibly viewer-involving, utilizing tenebrism, dramatic position, and a cut-off figure to connect more to the viewers of this piece. Similarly, the helpless position of the saint makes him seem more harmless, and curries sympathy for this predicament.

Peter Paul Rubens, c. 1610

Utilizes very emphasized musculature/ golden proportions. Chiaroscuro and dramaticized positions.

Charles le Brun, et al. 1669

Extremely ornate and grand, meant to parade the wealth and importance of the king. Features many windows and a great presence of gold embossing/finery.

Charles Barry and A.W.N. Pugin, 1836

Revives elements of gothic architecture with pointed spires and severe triangular shapes. Meant to echo past

Truman O. Angell

Incorporates elements of past movements of architecture. This can be seen in the columns running up the temple, and the almost castle-like pattern lining each of the high side walls.

Caspar David Friedrich, 1810

Dark color scheme, moody. Tree branches resemble clawing hands. Portrays an archway leading to a burned out church foundation. Represents the bleak feelings relating to the industrial revolution

Joseph W. M. Turner

Very dramaticized, vibrant colors, short/ choppy brushstrokes. Meant to convey deep feeling.

Judy Chicago, 1979

This piece features many different party plate settings, the most notable being Emily Dickinson. This place setting is extremely feminine and elaborate, challenging society's assumptions about women, and the place of woman artists

Robert Smithson, 1970

This type of art is designed to raise awareness relating to the planet and its conservation. This artwork is formed out of trash, conveying a message about pollution/ littering and the impact that it can have on sea life and the world in general.

William Hogarth

This piece portrays a husband and wife in the aftermath of a party the previous night. Paintings and the people imply that infidelity occurred, reflecting the carefree and sensual nature of rococo.

Joseph Kosuth, 1965

This piece is incredibly conceptual, as the art movement implies. The artist includes a description, a picture, and an actual chair as a way to prompt viewers to see each and consider which one is the actual chair. Does the chair actually exist? It is designed to make one ponder the deeper meanings, and the connections that they could have to life.

Umberto Boccioni, 1913

This piece is meant to represent fluidity in and of itself. It uses elaborate coiling shapes and a solid color of metal in order to communicate this message

Kasimir Malevich, 1915

This piece focuses on the suprematist's desire to find the zero point, or the place where art became something that was no longer art. This piece pushes those boundaries, as many would assume that the geometrical shapes in no way represent an airplane in any way. However, one could counter that with the common supposition that art is what the artist claims it to be.

Salvador Dali, 1931

Artists such as Dali during this period of time delved into subconscious and free thought processes. This is represented in this piece, as the objects featured in the painting defy the reality of what such objects look like (dripping clock).

Piet Mondrian, 1930

The purpose of this piece was to demonstrate the simple utopian ideals that de-stijl artists prized. It is a harmony of contrasts and communicates themes of simplicity.