Bacchus and Ariadne 

Gallery, Farnese Palace, Rome

1597-1601. Carracci

scene on Ariadne earning immortality, drunken celebration, like Bacchanal, like ancient relief authentic ancient poetry, "Galatea"-erotic mythological art, "Ignude"-body and pose of Bacchus, rhythm of poetry, riotous

Allegory of Divine Providence

Barberini Palace, Rome

1633-9. Pietro da Cortona

painted arch frame. single event and subordinate events. glowing woman-divinity of god/divine providence, allegory of time, immortality, divine wisdom. women (faith, hope + charity, christian virtues) carrying palm branches and things, coat of arms of Barberini being assembled, allegory of crowning of pope-crowning of coat of arms. illusionistic ceiling, correggio

Apotheosis of St. Ignatius Loyola

Sant'Ignazio, Rome

1691-4. Fra Andrea Pozzo

painted layers of architecture up to the heavens, illusionistic. Christ lifting Loyola up to heaven. painted arch on bottom, sacrificial fire and angels. Each four corners are allegory of 4 continents, America spearing ignorance-falling into our space

Bacchus

1595. Caravaggio

god of wine, new way, usually reference to ancient sculpture, just young man off the street, bring Bacchus into present time. naturalistic fruit and leafs, wine and glass. not idealized, nature-flesh, low glance

Martyrdom of St. Peter

1600. Caravaggio

crucified upside down, old man and brutish men, face and dark background, intense expression, old age but heroic devotion

Conversion of St. Paul

1600. Caravaggio

Paul knocked off horse – sees light and blinded, baptized and can see. reaching blindly, very foreshortened, head in foreground, close to viewer, blindness and insight

Pluto and Persephone

1621-2. Bernini

goddess being carried down to underworld-winter, spring and summer allowed to return to visit. 2 figures in a single block, pose, hair with wind, shows amazing skill, anatomy gracefulness animated – physically accurate

Ecstasy of Santa Teresa

Cornaro Chapel, Santa Maria della Vittoria, Rome

1645-52. Bernini

golden rays – w/ gold leaf, spotlight effect. Tesesa had spiritual visions of lessons of divine love while angel stabs heart. body on cloud, drapery animated over body, body dematerialized under drapery. sweet angel, smile gracefully lifting up drapery

Four Rivers Fountain

Piazza Navona, Rome

1648-51. Bernini

public gathering place w/ ancient Egyptian obelisk, romans taken from conquered Egypt, triumphant. Made base fountain – mountain sculpture, representation of each continent, Nile, Danube, Ganges, and Plate, all continents together – empire of catholic church. dramatic positions, difficult

Baldachin

St. Peter's

1624-33. Bernini

in St. Peter’s, over tomb of St. Peter. giant canopy of bronze, twisting columns, under great dome. angels on corners, garlands to hold volute, angels brought the top to finish sculpture, enliven through sculpture

St. Peter's Square

1656. Bernini

Make noble square appropriate for the front of church square. oval colonnade – come up to church directly, designed for pilgrims – religious travel to St. Peters, grand approach, colonnades embrace, alive

Elevation of the Cross

1610. Rubens

Strain of raising of cross-muscles, jesus pale and passive body – spiritual expression, dramatic action of raising, energy and details. understands nude, inspiration from ancient sculpture – Laocoon, treatment of anatomy, heroic sacrifice, acceptance of fate

Prometheus

1611. Rubens

giant who stole fire from gods and gave to humans. heroic suffering, punished by eagle eating liver daily. powerlessness, foreshortened – intensity, nude and specialty of eagle collab from other artist

Worship of Venus

1638. Rubens

power of nature and cult of venus – reproduction and love, sacrificial fire, cupids and babies, dancing nymphs and satyrs – joyous abandon. richness, surpass venetian painting, titian – more motion w/ energy – quiet and sedate. old shear layers, new thick paint. abundence of sensuous experience, color, paint, and texture and contrast. fruits fertility of venus, draped over statue. nymphs physicality, sensuous world, true feminine beauty and fertility, lusty. contrast skin and drapery

Portrait of the Artist's Wife

1638. Rubens

contrast of white fleshy skin to dark fur. supple, plump sensuous body

Rape of the Sabines

1636-7. Poussin

Ancient roman story, romans short on women, abducted them while sabines away at war, aggression and violence justified for roman development. ancient relief come to life, shallow foreground, action, episodes that would have taken place, ancient relief as painted, emphasize on sculpture, 2D painting of 3D sculpture, ideally in the mind 

Arcadian Shepherds

1650. Poussin

“I too am in Archadia” shepherds go to a land of harmonious nature, pleasure of that life is bounded by mortality, sensuality – ancient sculpture woman come to life

Dance to the Music of Time

1640. Poussin

Ancient myth used to describe philosophy, father time w/ lyer, baby w/ hour glass, bubble – man is a bubble, transitory mortality. spring, summer, fall and winter, time sequence. Chariot of Apollo/sun, Aurora leading, holding gold ring of universe, order of universe – passage of a day, how we experience time, nature of universal order

Clubfooted Boy

1642. Ribera

crippled boy for sympathetic aristocrat, spain wanted naturalistic style, no idealized, physical reality, beggar, cane carried like cross of Christ, deformity w/ different psychological effect

St. Serapion

1628. Zurbaran

White robes innocence, dark background, illusion of physical robes, spiritual force of reality

Worship of Bacchus

1628. Velazquez

Inspired by Caravaggio, bacchus in classical robe w/ common dressed people, with ordinary man as bacchus, peasants offered wine after working, texture – old faces and younger bacchus

The Spinners

1657. Velazquez

Spinning thread, female labor of lower class, wheel shown in motion – highlights of spokes, not idealized but naturally graceful, background another room of richer women, w/ Athena and Arachne-weaver, weaving competition – athen wins and turns arachne into spider, show mortal woman everyday = classical myth, humble craft as art, 3 women – 3 fates from poetry

Portrait of Juan de Pareja

1650. Velazquez

Sent his servant w/ the portrait to patrons as advertisement, psychological potentness, glows and white color sets off dark skin and eyes and hair

Portrait of Pope Innocent X

1650. Velazquez

Surpassed titian, texture captures with ease, non-idealized, too true a likeness, demonstration of skill

Ladies-in-Waiting

1656. Velazquez

seen Velazquez at work and princess of King Philip w/ women in waiting, servants, fabrics and feathered hair, mirror in back show King and Queen of Spain posing for painting, image seen from the eyes of king and queen

Portrait of King Louis XIV

1701. Rigaud

centralized French authority, centered power around himself, dressed, absolute power, authority

Palace of Versailles

1668-85 Louis Le Vau & Jacques Hardouin-Mansart

Residence of Louis and his court, keep control over court, power of French Monarchy, large buildings – overpowering, ancient architecture used, pediments and columns, power–classical style

Hall of Mirrors, Palace of Versailles

1678. Jacques Hardouin-Mansart & Charles LeBrun

party hall, entertainment, marble, gold stucco, painted mirrors for guests to see themselves

Gardens, Palace of Versailles

1665. Andre LeNotre

Penitent Magdalene

1635. Georges de la Tour

Nativity (Adoration of the Shepherds)

1689. Charles LeBrun

Alexander and the Family of Darius

1660-1. Charles LeBrun

Darius conquered, wives, family, slaves to Alex, could’ve tortured or sold, but set them free, encourage Louis w/ heroic story, tent frame, few in front illuminated, read clear emotions, crying, fear, begging, reactions – overview of emotions, dramatic human nature

Louis XIV Visiting the Gobelins Factory

1680. Anonymous

Louis visiting tapestry workshop room, carrying furniture, Gobelin factory, industrial production

Laughing Cavalier

1624. Frans Hals

Jewish Cemetery

1655. Jakob van Ruisdael

Make paintings more than just a location, give it a narrative-poetic power, cemetery near church, not real, cemeteries not near creeks, used elements to add emotions, death mortality, broken dead tree, stream changed course – nature have its way over man’s will, like church w/ plants growing through it, melancholy storm, rainbow-hope

Wheatfields

1670. Ruisdael

nothing really, dramatic, too ordinary, something this simple is worth painting, empty sky, picture of nothing, striking, power of nature

Woman Holding Scales

1663. Jan Vermeer

everyday life, well off, box of jewelry, painting behind is the last judgment souls being weighed, metaphor for last judgment, symbolic possibilities

Breakfast Piece

1670. Willem Claesz Heda

physical beauty of expensive items, celebrates prosperity, lemon peal illusion, making them touchable – material, pocket watch-luxury object

Artist in his Studio

1665. Jan Vermeer

Blinding of Samson

1636. Rembrandt

istoria, Delilah seduced Samson, revealed power lies in his hair, she cut it and he was captured, face in foreground, cutting eyes, violent, non ideal, dark guard against light back, “Prometheus” strong brutish pose, not elegant, “crucifix of St. Peter” light drama

Bathsheba

1654. Rembrandt

Jewish woman – Uriah’s wife seen bathing and taken by king when sent to war to die, female nude, Italian renaissance art, dark background, fleshiness, not idealized, weight of body, leads the viewer to face and expression

Shooting Company of Captain Cocq

1642. Rembrandt

Christ Preaching and Healing

1649. Rembrandt

etching, wax scratched from copper plate, acid engraves, blurry, apostles and other people/sick come to listen, less detail on left and darker on right, demo of printmaking, line drawings and more finished side, unidealized – surrounded by humble people, seeing crippled and sick in real life in art – link to real life

Self-Portrait

1657. Rembrandt

Woman in a Doorway

1656. Rembrandt

not classical beauty, weight of flesh – earthy, physicality, sensuous – earthy female beauty, richness, tragic, personal approach, deeper psychological meaning, contrast of dark and light, shadows creep in face, in eyes, limitations of sensuous – fleeting, mortality, things that nourish you (lust) will consume you, celebration of female beauty

Sainte Genevieve (Pantheon)

1755. J.-G. Soufflot

Monticello

1792. Thomas Jefferson

Italian name, Palladio-style, Jefferson studied Italian architecture, designed own villa

Pilgrimage to Cythera

1717. Antoine Watteau

Mythical island, sacred to Venus, lovers pilgrimage to island, poetic ideal, letting oneself be ruled by love, statue of venus, people arranged around it, boat, contemporary people – not ancient, fuse mythical past of poetry w/ common day, erotic subject, Rubien – sensual earthy force, Watteau – more defined and elegant, refined picnic, delicacy, little cupids, ancient influence, shimmering fabrics, “the concert” – intimacy of emotions, men dressed in contemporary w/ ancient mythical figures

Progress of Love

1772. J.-H. Fragonard

Love story of 4 panels in aristocratic villa, lovers read over love letters wrote to each other, sophisticated enjoyment, roses and flowers, nature at its fullest, exquisitely dressed, love giving a new vision of the world

Still Life

1765. J.-B. Chardin

Oath of the Horatii

1784. Jacques Louis David