Jan Vermeer

Allegory of the Art of Painting

1670-1675

Oil on Canvas

Peter Paul Rubens

Elevation of the Cross

1610

Oil on Wood

Triptych alter piece

Peter Paul Rubens

Arrival of Marie De'Medici at Marseilles

1622-1625

Oil on Canvas

Sponsered by Marie de'Medici

Peter Paul Rubens

Consequences of War

1638-1639

Oil on Canvas

Anthony Van Dyck

Charles I Dismonounted

1635

Van Dyck specilized in court portraits

Clara Peeters

Still Life with Flowers, Goblet, Dried Fruit, and Pretzels

1611

Flemmish artist who was a pioneer in still life paintings

Hendrick Ter Brugghen

Calling of Saint Matthew

1621

Frans Hals

Archers of Saint Hadrian

1633

Oil on Canvas

Frans Hals

The Women Regents of the Old Men's Home at Haarlem

1664

Oil on Canvas

Judith Leyster

Self-Portrait

1630

Oil on canvas

Rembrandt Van Rijn

Anatomy Lesson of Dr. Tulp

1632

Oil on Canvas

Rembrant Van Rijn

The company of Captain Frans Banning cocq

1642

Oil on Canvas

Noted for dramatic use of light

Rembrant Can Rijn

Return of the Prodigal Son

1665

Oil on Canvas

Rembrant Van Rijn

Self Portrait

1659-1660

Rembrant van Rijn

Christ with the Sick around Him Receving the Children

1649

Etching

Aelbert Cuyp

Distant View of Dordrecht, with a Milkmaid and Four Cows, and other Figures

late 1640's

Oil on Canvas

Jacob Van Ruisdael

View of Haarlem from the Dunes at Overveen

1670

Oil on Canvas

Jan Vermeer

The Letter

1666

Oil on Canvas

Jan Steen

Feast of Saint Nicholas

1660-1665

Oil on Canvas

Pieter Claesz

Vanitas Still Life

1630's

Oil on Panel

Still life shows pride that dutch had in their possesion, but watch and skull remind viewer of their own mortality

Willem Kalf

Still life with a late ming Ginger Jar

1669

Oil on Canvas

Rachel Ruysch

Flowers Still Life

after 1700

Oil on Canvas

Nicolas Poussin

Et In Arcadia Ego

1655

Oil on Canvas

Nicolas Poussin

Burial of Phocion

1648

Oil on Canvas

Claude Lorrain

Landscape with Cattle and Peasants

1629

Oil on Canvas

Use of atmospheric and linear perspective transforms rustic Roman countryside into an idealized classical landscape

Louis Le Nain

Family of Country People

1640

Oil on Canvas

Jacques Calot

Hanging Tree

1629-1633

Etching

From the Misereis of War series, Calot was one of the first to to show a realistic pictorial record of military conflict

Georges de la tour

Adoration of the Shepherds

1645-1650

Oil on Canvas

Only identificatoin as a religous piece is title

Hyacinthe Rigaud

Louis XIV

1701

Oil on Canvas

Claude Perrault, Louis Le Vau, and Charles Le Brun

East Facade of the Louvre

1667-1670

Brilliant combination of both classical french and italian elements

Aerial View of the palaces and gardens of Versailles (Looking West)

begun 1669

Jules Hardouin-Mansart and Charles Le Brun

Galerie des Glaces (Hall of Mirors)

Versailles France

1680

Francois Girardon and Thomas Regnaudin

Apollo Attended by the Nymphs

Grotto of Thetis

Versailles

1666-1672

Marble Life sized

Jules Hardouin-Mansart

Royal Chapel palace of Versailles

1698-1710

Jules Hardouin-Mansart

Church of the Invalides (Eglise du Dome)

Paris

1676-1670

Similar to Baroque but without dramatic play of curved surfaces

Inigo Jones

Banqueting House at Whitehall

London

1619-1622

Jones adopted classical cues from the renaissance

Sir Christopher Wren

Saint Paul's Catherdral

London

1675-1710

Henry Fuseli

The Nightmare 

1781

Oil on Canvas 

William Blake

Newton 

1795

William Blake

Ancient Days

1794

Goya

The sleep of Reason Proudces Monsters

1798

Ething

Goya

Thrid of May 1808

1814

Goya

Saturn Devouring one of his children

1820

Fresco mounted on to canvass

Theodore Gericault

Raft of the Medusa

1818

Eugene Delcaroix

Liberty Leading the People

1830

Caspar David Friedrich

Abbey in the Oak Forest

1810

JMW Turner

Rain,Steam, and Speed

1844

Thomas Cole

The Oxbow

18396

Frederick Church

Niagara

1857

Hyacinthe Rigaud

Louis XIV

1701

Jules Hardouin- Mansart and Charles Le Brun

Hall of Mirros

Versailles

1680

Francois Giradon and Thomas Regnaudin 

Apollo Attended by the Nymphs

1666

Jules Hardouin Mansart 

Royal Chapel 

1700

Germain Boffrand

Salon de la Princess

1737

Antonie Watteau

Return from Cythera

1717

Peter Paul Rubens

Garden of Love

1630

Francois Boucher

Cupid a Captive

1754

Jean-Honore Fraggonard

The Swing

1766

Gerrit Von Honthorst 

Supper Party

1620

Hendrik ter Brugghen

Calling of Satin Matthew 

1621

Henrik Goltzius

Farnese Hercules

1596

Henrik Goltzius

Without Ceres and Bacchus Venus would Freeze

1600

Clara Peeters

Still life with flowes goblet dried fruit and prezels

1611

Jan Breguhel the Elder and Peter Paul Rubens

Allegory of Sight

1617

Peter Paul Rubens

Arrival of MArie de'Medici at Marseilles

1620

part of a 24 painting allegorical cycle

Peter Paul Rubens

Consequences of War 

1638

Georges de la Tour

Adoratoin of the Shepherds

1645

Theme

Thought 

Structure

Style

Nicolas Poussin

Landscape with Saint John on Patmos

1640

Nicolas Poussin

Et in Arcadia Ego

1655

Claude Lorrain

Landscape with Cattle and Peasants

1629

Jacques Callot

Hanging Tree 

from Miseries of War Series

1630

Grand Tour becomes key requirment

Winckelmann's History of Ancient Art first modern art history text

William Hogarth

Breakfast Scene 

from Marriage a la Mode

1745

Robert Adam

Etruscan Room

1761

Part of the Pompian Style

• Emphasis on learning from the classics in Italy
• The Prix De Rome is highest honor extended
• Yearly salons; juried exhibits of the best academic works

Élisabeth-Louise Vigée-Lebrun, 

Marie Antoinette and Her Children, 

1787.

Jacques-Louis David, 

The Death of Marat, 

1793.

Jacques-Louis David, 

Napoleon Crossing the 

Saint-Bernard Pass,

1800–1801

Jacques-Louis David,

Coronation of Napoleon,

1805–1808. 

Jean-Auguste-Dominique Ingres, 

Napoleon on His Imperial Throne, 

1806

Horatio Greenough,

George Washington, 

1840

Antonio Canova,

Cupid and Psyche,

1787–1793

Antonio Canova,

Pauline (Bonaparte) Borghese as Venus,

1808

JEAN-AUGUSTE-DOMINIQUE INGRES,

Grande Odalisque,

1814

Consciously do away with academic “rules” for art-making

• Concerned with observation of subject matter as fact

• Photography presents a new “objective” image of reality

• More interested in immediate perceptual experience than 

spirituality

• Concern with recording life in one’s own era—that is, history 

in the making, not as it has past

Gustave Courbet,

The Stone Breakers,

1849. 

Gustave Courbet,

Burial at Ornans

, 1849. 

Honoré Daumier,

Rue Transnonain

, 1834

Honoré Daumier,

Third-Class Carriage,

ca. 1862

Edgar Degas,

L’Absinthe,

1876

Édouard Manet,

Le Déjeuner sur l’Herbe (Luncheon on the Grass),

1863

Édouard Manet,

Olympia,

1863

Édouard Manet,

The Execution of Maximilian,

1868-69

Louis-Jacques-Mandé Daguerre,

Still Life in Studio,

1837

JULIA MARGARET 

CAMERON,

Ophelia, Study no. 2,

1867. 

DANTE GABRIEL ROSSETTI,

Beata Beatrix,

ca. 1863

Eadweard Muybridge,

Horse Galloping,

1878.

Collotype print

Edgar Degas

At the Races

, 1880

THOMAS EAKINS, 

The Gross Clinic

, 1875.

Vincent Van Gogh

Drawbridge at Arles

1888

• Adapts new theories in color and 

optics to his technique

• Distinct style known as 

“pointillism,” or “divisionism” 

using individual dots of color 

that are blended by the 

perceiver

• Subject matter is similar to the 

impressionists, focusing on 

Parisian middle class

• Georges Seurat main artist of this style

Georges Seurat

Model in Profile

, 1889

Georges Seurat,

A Sunday on La Grande Jatte

, 1884–1886

• Like Seurat, takes an 

analytical approach 

and applies color 

theory to his method

• Sought to develop a 

structural basis for 

painting (rather than 

mere “impressions”), 

with emphasis on line, 

plane, and color

Paul Cézanne

Portrait of the Artist

, n.d.

Paul Cézanne,

Mont Sainte-Victoire,

1902–1904.

Paul Cézanne,

Basket of Apples,

ca. 1895

• Interested in the emotional 

effects of color

• Developed a distinct impasto 

style of painting

• Troubled figure, who only 

achieved fame and acceptance 

after his death

Vincent Van Gogh

Self-Portrait with Bandage, .

1889

Van Gogh

The Yellow House

1888

Van Gogh

Bedroom at Arles

1889

Van Gogh

Starry Night 

1889

• Known for distinct flat planes 

of saturated color, a synthetist, 

synthesizing form and feelings.

• Interested in primitivism—

discovering humans at their 

most “natural,” first in Brittany 

and then in Tahiti

• Prioritized creativity and 

imagination over direct 

observation 

Gauguin

Self Portrait

1893-1834

Paul Gauguin,

Vision after the Sermon or Jacob Wrestling with the Angel,

1888.

: Edgar Degas.

, Ballet Rehearsal, 

1874

Paul Gauguin,

Where Do We Come From? What Are We? Where Are We Going?

1897

Joseph Wright of Derby,

An Experiment on a Bird in the Air-Pump,.

1768

Sir Joshua Reynolds 

Lord Heathfield,

1787 

Benjamin West,

Death of General Wolfe,

1771

Jean-Siméon Chardin

Saying Grace,

1740. 

Jacques-Louis David,

Oath of the Horatii,

1784.

Jean-Antoine Houdon, 

George Washington,

1788-1792

BertheMorisot, 

Summer’s Day,

1879

• Interest in painting fleeting moments of modern life as they happen

• Concern with “instantaneity,”(capturing a moment) an extension 

of Realist concern with “contemporaneity” (representing the 

times)

• Loose painting technique creates an aesthetic of impermanence

• Particular emphasis on urban, bourgeois and domestic subjects

• Interest in nature of human sensation and perception

Claude Monet,

Impression: Sunrise,

1872

Claude Monet,

Rouen Cathedral (early morning, noon, in fog),

1892-94

CLAUDE MONET,

Saint-Lazare Train Station,

1877

Édouard Manet,

Bar at the Folies-Bergère,

1882

Pierre-Auguste Renoir,

Le Moulin de la Galette,

1876.

Gustave Caillebotte,

Paris: A Rainy Day,

1877

Camille Pissarro,

La Place du Théâtre Français,

1898. 

Mary Cassatt,

The Bath,

ca. 1892

JAMES ABBOTT MCNEILL WHISTLER, 

Nocturne in Black and Gold (The Falling Rocket), 

ca. 1875.

Edvard Munch,

The Vampire,

1893

• Artists who interpret their role as that of “prophets” or “seers”

• Depicted highly subjective and personal subject matter, including 

dream states and hallucinatory imagery

• Coincides with Freud’s development of a theory of the 

unconscious mind

Henri Rousseau,

Sleeping Gypsy,

1897

EDVARD MUNCH,

The Scream,

1893.

Tempura and pastels on cardboard

• Avant-garde practices at the turn of the 20

th

century increasingly 

emphasize the development of a distinct and personal expressive 

style. 

• Among the most influential are the “fauves” (wild beasts), who 

emphasize the pure emotional impact of color

• In Germany art movements Die Brücke (the Bridge) and Blaue

Reiter (Blue Rider) use expressionism as a means of confronting 

the often destructive conditions of modernism

• Emphasis on saturated color as an the means to expression rather 

than representation

• Influenced by the work of Van Gogh and Gauguin

• Most famous member: Henri Matisse

HENRI MATISSE,

Le Bonheur de Vivre (The Joy of Life),

1905–1906

Henri Matisse,

Red Room (Harmony in Red),

1908–1909

André Derain,

The Dance,

1906.

• Founded in 1905 by four 

architecture students 

• Largely self-taught as painters

• Rejected traditional arts 

education, instead celebrating 

youth, directness and 

authenticity of vision as 

creating a “bridge” to the 

future

• Sought to revive traditional 

German arts of woodcuts and 

engraving

Erich Heckel

, White Horses,

1912

Ernst Ludwig Kirchner,

Street Dresden,

1908

Emil Nolde

Masks

1911

• Aim to express inner experience through art

• Have in common a sense of “spiritual mission” rather than any 

distinct style

• Brought to an end by World War I

Franz Marc,

Large Blue Horses,

1911

• A “theosophist” (esoteric philosophy that seeks to discover the 

spiritual within the natural) 

• Develops a theory of “analytic spirituality,” publishing 

Concerning the Spiritual in Art  in 1911, developed out of findings 

such as Chevreul’s “law of simultaneous contrast”

• Interested in synaesthesia (multi-modal sense perception) and 

sees analogies between visual art and music

Vassily Kandinsky,

Improvisation 28 (second version),

1912.

Paul Klee

Composition,

1911