"Conversion of Saul" - Caravaggio 1600

• use of chiaroscuro is more intense
• actual space is dominated by the horse - even tho Saul is the focus
• not perfect proportions - less important than Renaissance

"Entombment of Christ"

Caravaggio (1600)

• light hits different surfaces differently
• again the organization is central, but the focus is not the middle
• dark background pulls us into space

"Judith Beheading Holofernes"

Caravaggio (1600)

• earlier style so less marked
• very stylized blood
• chiaroscuro is still Caravaggio
• realistic but feels staged

"Judith Beheading Holofernes"

Artemisia Gentileschi (1610)

• exaggerated female musculature (male is not muscled)
• Artemisia was raped in her father's studio - def affected her outlook
• more naturalistic than Caravaggio

"David"

Gianlorenzo Bernini, 1620

• the base is more complex than in Renaissance
• depicting a snap shot moment of action - not the same approach to psychology as Michelangelo
• made with veined marble, but Bernini makes striations work naturalistically
• the clenched mouth: Bernini was famous for his expressive mouths and eyes
• more negative space, feels more open
• Bernini also famous for approach to texture

"Apollo and Daphne"

Gianlorenzo Bernini, 1620

• theme of metamorphosis is a favorite of Bernini and Baroque in general
• again the expressive mouths and eyes
• textured hair, leaves, bark (very real impression)
• ultimate paragone: poetry and sculpture --> sculpture exceeds power of poetry

"Pluto and Persephone"

Gianlorenzo Bernini, 1620

• disturbing subject matter again
• organization of figures motivates 360 viewing experience
• hair, pliable skin, tear on Persephone's face, eyes - incredible attention to textural detail
• movement, open forms are also typical of Bernini

"The Ecstasy of St Teresa"

Gianlorenzo Bernini, 1645

• Bernini did all of it, shows his array of abilities: architecture, fresco, sculpture, bronze-casting, wood work
• exemplifies the High Baroque (esp. with gilding)
• Bernini includes commissioner's family in onlooking sculptures that flank main event and direct our gaze to Teresa
• eroticized figure of Teresa
• drapery is very over the top
• why is Bernini asking us to read this erotically?

"Portrait of Costanza Buonarelli"

Gianlorenzo Bernini, 1635

• parted lips make her seem like she's talking
• hair is informal
• folds of neck suggest movement
• attention to eyes and mouth
• use of chiaroscuro under eyes

"Baldacchino and High Altar"

Gianlorenzo Bernini, 1630

• made mostly of bronze
• spiraling columns reference early Christian architecture
• symbol of globe on top
• illusion of cloth
• naturalism of angels descending on top who seem to carry the baldacchino

"Piazza of St. Peter's"

Gianlorenzo Bernini, 1660

• Bernini opens up Michelangelo's previous cruciform plan and elongates it
• extends the colonnade in order to make it seem spacious but still enclosed
• compares the colonnade to the arms of the Mother Church embracing the people

"Alpine Landscape"

Pieter Bruegel, 1560

• juxtaposition of stylized and naturalistic elements creates a more emotional scene instead of a photographic one
• diagonals dominate the movement
• achievement of atmospheric perspective through methods of shading (hatching/cross-hatching/stippling/etc.)

"Fall of Icarus"

Pieter Bruegel, 1560

• laboring peasants are the backdrop for Icarus' folly, has a strange effect
• setting sun doesn't make sense with the scene - maybe it's supposed to mean that it wasn't the sun that killed Icarus but his own folly
• creative approach to narrative 
• atmospheric perspective with very high horizon line: calls our attention to foreground where action occurs

"Garden of Earthly Delights"

Hieronymus Bosch, 1500

• Bosch seen as greatest influence on Bruegel
• creation in left panel, middle shows debauchery before the flood, and right panel depicts Hell
• high level of symbolism
• fantastical architecture that uses organic forms

"Big Fish Eat the Little Fish"

Pieter Bruegel, 1560

• fantastical creatures and forms - influence of Bosch
• maintains naturalism but has the Bosch fantasy
• didactic connotation of inscription
• infinite regress of the pattern, but begins with human cutting into biggest fish with a knife that has symbol of cross-on-globe on it
• the work requires interpretation - changing role of artist
• style of a work meant to be an engraving: clear outlines/shading

"Justice"

Pieter Bruegel, 1560

• again didactic connotation of inscription (added by publisher)
• figure of Justice is blindfolded and wields a sword (justice is blind)
• juxtaposition of various forms of torture and table of lawyers, etc. separated by soldiers --> shows progression from written to practiced law
• infinite regress again of torture patterns

"Netherlandish Proverbs"

Pieter Bruegel, 1560

"Parable of the Blind Leading the Blind"

Pieter Bruegel, 1570

"Christ Carrying the Cross" 

Pieter Bruegel, 1560

"The Triumph of Death"

Pieter Bruegel, 1560

"The Massacre of the Innocents"

Pieter Bruegel, 1570

"Self-Portrait"

Rembrandt van Rijn, 1630

"The Artist in his Studio"

Rembrandt van Rijn, 1630

"The Prodigal Son in the Inn"

Rembrandt van Rijn, 1635

"Self-Portrait"

Rembrandt van Rijn, 1640

"Self-Portrait as Zeuxis"

Rembrandt van Rijn, 1660

"The Anatomy Lesson of Dr. Tulp"

Rembrandt van Rijn, 1630

"The Night Watch"

Rembrandt van Rijn, 1640

"Supper at Emmaus"

Rembrandt van Rijn, 1630

"Susanna Surprised by the Elders"

Rembrandt van Rijn, 1650

"Bathsheba Holding King David's Letter"

Rembrandt van Rijn, 1650

"A Woman Bathing"

Rembrandt van Rijn, 1650

"Autumn, or the Vintage"

Francisco Goya, 1790

"Yard with Lunatics"

Francisco Goya, 1790

"The Family of Charles IV"

Francisco Goya, 1800

"The Nude Maja"

Francisco Goya, 1800

"The Clothed Maja"

Francisco Goya, 1800

"Caprichos #43, The Sleep of Reason Produces Monsters"

Francisco Goya, 1800

"Los Caprichos: And so was his grandfather"

Francisco Goya, 1800

"Los Caprichos: Of What Ill Will He Die?"

Francisco Goya, 1800

"The Second of May 1808"

Francisco Goya, 1815

"The Third of May 1808"

Francisco Goya, 1815

"Disasters of War: And There is Nothing to be Done"

Francisco Goya, 1815

"Disasters of War: Nor This"

Francisco Goya, 1815

"Disasters of War: This is Worse"

Francisco Goya, 1815

"Saturn Devouring His Children"

Francisco Goya, 1820

"Monet Painting in his Garden at Argenteuil"

Pierre-Auguste Renoir, 1870

"Women in a Garden"

Claude Monet, 1870

"La Grenouillère"

Claude Monet, 1870

"Impression, Sunrise"

Claude Monet, 1870

"Boulevard des Capucines"

Claude Monet, 1870

"Seine Bridge at Argenteuil"

Claude Monet, 1870

"Grainstacks"

Claude Monet, 1890

"Rouen Cathedral"

Claude Monet, 1890

"Waterlilies with Bridge"

Claude Monet, 1900

"Waterlilies"

Claude Monet, 1920

"Science and Charity"

Pablo Picasso, 1900

"Le Moulin de la Galette"

Pablo Picasso, 1900

"The Blind Guitarist"

Pablo Picasso, 1900

• BLUE PERIOD

"Gertrude Stein"

Pablo Picasso, 1910

• ROSE PERIOD

"Demoiselles d'Avignon"

Pablo Picasso, 1910

"Portrait of Ambroise Vollard"

Pablo Picasso, 1910

"Still Life with Chair Caning"

Pablo Picasso, 1910

• influence of Dada
• Picasso starts doing these collages early and they become hugely popular

"Bottle, Glass, and Violin"

Pablo Picasso, 1910

"Fountain"

Marcel Duchamp, 1917

"Guernica"

Pablo Picasso, 1940

"Going West"

Jackson Pollock, 1940

• shows influence of Thomas Hart Benton

"The Moon Woman"

Jackson Pollock, 1940

"Shimmering Substance"

Jackson Pollock, 1950

"Reflection of the Big Dipper"

Jackson Pollock, 1950

"Full Fathom Five"

Jackson Pollock, 1950

"One: Number 31, 1950"

Jackson Pollock, 1950

"Autumn Rhythm"

Jackson Pollock, 1950

"32 Campbell's Soup Cans"

Andy Warhol, 1960

• exhibition at Ferus Gallery in LA was hugely successful

"Large Campbell's Tomato Soup Can"

Andy Warhol, 1960

"Marilyn Diptych"

Andy Warhol, 1960

• left half done when she was alive; right part added after her death

"Triple Elvis"

Andy Warhol, 1960

"Self Portrait"

Andy Warhol, 1970

• speaks to his internal conflicts and self-hatred by splitting canvas in two

"Jackie (The Week that was I)"

Andy Warhol, 1960

"Lavender Disaster"

Andy Warhol, 1960

"Dance Diagram"

Andy Warhol, 1960

• criticism of Pollock's drip technique

"Brillo Box"

Andy Warhol, 1960

"Flag"

Jasper Johns, 1950