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Definition
Matthias GRUNEWALD (c.1480-1528)
Isenheim Alterpiece, c.1510-15. Oil on panel
Closed position: Crucifixion
Lamentation
St. Sebastian; St. Anthony
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Matthias GRUNEWALD (c.1480-1528)
Isenheim Alterpiece, c.1510-15. Oil on panel
First opening: Annunciation
Virgin and Child with Angels
Resurrection
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Matthias GRUNEWALD (c.1480-1528)
Isenheim Alterpiece, c.1510-15. Oil on panel
Second opening: Temptations of St. Anthony
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Albrecht DURER (1471-1528)
The Four Horsemen of the Apocalypse, 1498, woodcut
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Albrecht DURER (1471-1528)
The Fall of Man (Adam and Eve), 1504, engraving
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Albrecht DURER (1471-1528)
Self-Portrait, 1500, oil on panel
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Albrecht DURER (1471-1528)
Hare, 1502. Watercolor
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Albrecht DURER (1471-1528)
Melancholia I, 1514, engraving
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Albrecht DURER (1471-1528)
Four Apostles, 1526. Oil on panel
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Hans HOLBEIN the Younger (c. 1497-1543)
Erasmus of Rotterdam, 1523. Oil on panel
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Definition
Hans HOLBEIN the Younger (c. 1497-1543)
Henry VIII, 1540, oil on panel
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Definition
Pieter AERTSEN (ca. 1507-1575)
The Meat Stall, 1551. Oil on panel
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Definition
Pieter BRUEGEL the Elder (c. 1525-1569)
Peasant Wedding, 1568. Oil on panel
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Definition
Pieter BRUEGEL the Elder (c. 1525-1569)
Hunters in the Snow, 1568. Oil on panel
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Definition
Pieter BRUEGEL the Elder (c. 1525-1569)
The Blind Leading the Blind, c. 1568, oil on panel
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Term
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Definition
EL GRECO (ca. 1547-1614)
The Burial of Count Orgaz, 1586. Oil on canvas
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Term
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Definition
| Burin from the French burin meaning "cold chisel"[2] has two specialised meanings for types of tools in English, one meaning a steel cutting tool which is the essential tool of engraving, and the other, in archaeology, meaning a special type of lithic flake with a chisel-like edge which was probably also used for engraving, or for carving wood or bone. |
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| In printmaking, an edition is a number of prints struck from one plate, usually at the same time. |
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| Woodcut—formally known as xylography—is a relief printing artistic technique in printmaking in which an image is carved into the surface of a block of wood, with the printing parts remaining level with the surface while the non-printing parts are removed, typically with gouges. The areas to show 'white' are cut away with a knife or chisel, leaving the characters or image to show in 'black' at the original surface level. The block is cut along the grain of the wood (unlike wood engraving where the block is cut in the end-grain). In Europe beechwood was most commonly used[citation needed]; in Japan, a special type of cherry wood was used[citation needed]. |
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| A relief print is an image created by a printmaking process where protruding surface faces of the matrix (printing plate or block) are inked; recessed areas are ink free. Printing the image is therefore a relatively simple matter of inking the face of the matrix and bringing it in firm contact with the paper. A printing-press may not be needed as the back of the paper can be rubbed or pressed by hand with a simple tool such as a brayer or roller. |
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| Engraving is the practice of incising a design on to a hard, usually flat surface, by cutting grooves into it. The result may be a decorated object in itself, as when silver, gold, steel, or glass are engraved, or may provide an intaglio printing plate, ofcopper or another metal, for printing images on paper as prints or illustrations; these images are also called engravings. |
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| Intaglio (pronounced /ɪnˈtæli.oʊ/ in-TAL-ee-oh) is a family of printmaking techniques in which the image is incised into a surface, known as the matrix or plate. Normally, copper or zinc plates are used as a surface, and the incisions are created by etching, engraving, drypoint, aquatint or mezzotint. |
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BERNINI Gianlorenzo, 1556-1629
Piazza of San Peter’s, c. 1660.
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BERNINI Gianlorenzo, 1556-1629
Baldacchino (canopy), 1624-33; gilded bronze
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BERNINI
David, 1623, marble
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BERNINI
The Ecstasy of St. Teresa (Cornaro Chapel of Santa Maria della Vittoria, Rome),1645-52, marble.
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CARAVAGGIO Michelangelo Merisi, 1571-1610
Conversion of St. Paul, 1601, oil on canvas
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CARAVAGGIO Michelangelo Merisi, 1571-1610
Calling of St. Matthew, 1600, oil on canvas
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Definition
GENTILESCHI Artemisa, 1593-1652/3
Judith and Her Maidservant with the Head of Holofernes, c. 1625, oil on canvas.
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GENTILESCHI Artemisa, 1593-1652/3
Self-Portrait as the Allegory of Painting, c. 1638-1639, oil on canvas
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CARRACCI Annibale, 1560-1609
Loves of the Gods, ceiling of the Grand Gallery of the Farnese Palace, Rome, frescoes, 1597-1601
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Da CORTONA Pietro
Allegory of Divine Providence, ceiling of the great hall of the Barberini Palace; frescoes, 1633-9
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GAULLI Giovanni Battista
Triumph of the Name of Jesus, Church of Il Gesu, fresco and stucco, 1676-79
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Diego VELASQUEZ, 1599-1660
Water Carrier of Seville, 1619
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Diego VELASQUEZ, 1599-1660
Surrender of Breda, c. 1635
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Diego VELASQUEZ, 1599-1660
Las Meninas, 1656
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Peter Paul RUBENS, 1577-1640
Raising of the Cross, 1610, Antwerp Cathedral
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Peter Paul RUBENS, 1577-1640
The Garden of Love, c. 1638
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Jan DE HEEM, 1606-1684
Still Life with Parrots, 1640’s
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Frans HALS, 1580-1666
The Jolly Toper, 1628-1630
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REMBRANDT van Rijn, 1606-69
The Blinding of Samson, 1636
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The Militia Company of Captain Frans Banning Cocq (The “Night Watch”), 1642
REMBRANDT van Rijn, 1606-69
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Definition
REMBRANDT van Rijn, 1606-69
Return of the Prodigal Son, c. 1669
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REMBRANDT van Rijn, 1606-69
Self-Portrait, 1658
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Judith LEYSTER, 1609-90
Self-Portrait, c.1633
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Definition
Jacob VAN RUISDAEL, 1628-82
The Jewish Cemetery, 1655-1670
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Jan STEEN, 1626-1679
The Feast of St. Nicolas, c. 1665-1668
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Definition
Jan VERMEER, 1632-75
The Love Letter, 1666
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Definition
Jan VERMEER, 1632-75
Woman Holding a Balance, c. 1664
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Nicolas POUSSIN, 1593/94-1665
Landscape with St. John on Patmos, 1640
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Term
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| an artistic style prevalent from the late 16th century to the early 18th century in Europe.[1] It is most often defined as "the dominant style of art in Europe between the Mannerist and Rococo eras, a style characterized by dynamic movement, overt emotion and self-confident rhetoric" |
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| from the Italian tenebroso ("murky"), (also called dramatic illumination) is a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark, and darkness becomes a dominating feature of the image. |
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| a historiographical term used to describe a form of monarchical power that is unrestrained by all other institutions, such as churches, legislatures, or social elites. |
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| an optical device that projects an image of its surroundings on a screen. It is used in drawing and for entertainment, and was one of the inventions that led to photography. |
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| pictorial representations in any of various media that represent scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes |
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| a translation of the German term malerisch, a word popularized by Swiss art historian Heinrich Wölfflin (1864–1945) in order to help focus, enrich and standardize the terms being used by art historians of his time to characterize works of art. It is the opposite of linear, plastic or formal linear design. |
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| a type of symbolic work of art especially associated with Northern European still life painting in Flanders and the Netherlands in the 16th and 17th centuries, though also common in other places and periods. The word is Latin, meaning "emptiness" and loosely translated corresponds to the meaninglessness of earthly life and the transient nature of vanity. Ecclesiastes 1:2 from the Bible is often quoted in conjunction with this term. |
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Peter Paul RUBENS, 1577-1640
Arrival of Marie de Medici at Marseille, 1622-25
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Definition
Frans HALS, 1580-1666
Banquet of the Officers of the St. George Civic Guard, 1616
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Definition
REMBRANDT van Rijn, 1606-69
The Hundred Guilder Print, 1639. Etching
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Nicolas POUSSIN, 1593/94-1665
The Abduction of the Sabine Women, 1633-1634
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Jacob VAN RUISDAEL, 1628-82
Bleaching Grounds Near Haarlem, 1670
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Hyacinthe RIGAUD, 1659-1743
Louis XIV, 1701
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Rachel RUYSCH, 1664-1750
Flower Still Life, 1700
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