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| The Traditional blanket designation for European art from 1600 to 1750. The stylistic term Baroque, which describes art that features dramatic theatricality and elaborate ornamentation in contrast to the simplicity and orderly rationality of Renaissance art, is most apprpriately applied to Italian art of this period. The term derives from barroco= Portuguese "irregularly shaped pearl" |
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| A style, primarily of interior design, that appeared in France around 1700. Rococo interiors featured lavish decoraiton, including small sculptures, ornamental mirrors, easel paintings, tapestries, reliefs, wall paintings, and elegant furniture. The term Rococo derived from the French word rocaille ("pebble") and referred to the small stones and shells used to decorate grotto interiors |
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| A style of art and architecture that emerged in the late 18th century as part of a general revival of interest in classical cultures. Neoclassical artists adopted themes and styles from ancient Greece and Rome |
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| A Western cultural phenomenon, beginning around 1750 and ending about 1850, that gave precedence to feeling and imagination over reason and thought. More narrowly, the art movement that flourished from about 1800 to 1840 |
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| The Western philosophy based on empirical evidence that dominated the 18th century. the Enlightenment was a new way of thinking critically about the world and about humankind, independently of religion, myth, or tradition |
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| Fleminist artist who possessed images that were relatively small in size. |
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| An emotion of the Italian Baroque art exemplified in Bernini's refusal to limit his status to firmly defined spatial settings. (Ecstasy of Saint Teresa.) |
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| "Vanity" a term describing paintings (particularly 17th century Dutch still lifes) that include references to death |
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| a photograph made by an early method on a plate of chemically treated metal; developed by Louis J. M. Daguerre |
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| Painting in the "shadowy manner", using violent contrast of light and dark, as in the work of Caravaggio. |
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| French, "amorous festival". A type of Rococo painting depicting the outdoor amusements of French upper-class society. |
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| a ceiling design in which painted scenes are arranged in panels that resemble framed pictures transferred to the surface of a shallow, curved vault |
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title: Loves of the Gods
artist: Carracci
Carracci arranged the mythological scenes in a quadro riportato format-a fresco resembling easel paintings on a wall. |
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title: Judith Slaying Holofernes, Judith & Maidservant with the Head of Holofernes
artist: Gentileschi
Gentileschi- one of the most renown woman painter in Europe during the first half of the 17th century and was the first woman ever admitted to membership in Florence's accademia del Disegno.
*Narratives involving heroic women were a favorite theme of Gentileschi. In this image, the controlled highlights on the aciton in the foreground recall Caravaggio's paintings and heighten the drama. |
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title: Elevation of the Cross
artist: Rubens
In this triptych, Rubens explored foreshortened anatomy and violent action. The composition seethes with a power that comes from heroic exertion. the tension is emotional as well as physical. |
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title: Arrival of Marie de Medici at Marseilles
artist: Rubens
Marie de Medici asked Rubens to paint 21 large canvases glorifying her career. In this historical-allegorical picture of robust figures in an opulent setting, the sea and sky rejoice at the queen's arrival in France. |
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title: Ecstasy of Saint Theresa
artist: Bernini
the passionate drama of Bernini's depiction of Saint Teresa correlated with the ideas of Ignatius Loyola, who argued that the re-creation of spiritual experience would do much to increase devotion and piety. |
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title: David
artist: Bernini
Bernini's sculptures are expensive and theatrical, and the element of time plays an important role in them. His emotion-packed David seems to be moving through both time and space. |
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title: Piazza St. Pietro (St. Peter's Square), Rome
artist: Bernini
The dramatic gesture of embrace that Bernini's colonnade makes as worshipers enter Saint Peter;s piazza symbolizes the welcome the Roman Catholic Church extended its members during the Counter-Reformation. |
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title: Baldacchino
artist: Bernini
Bernini's baldacchino serves both functional and symbolic purposes. It marks Saint Peter's tomb and the high altar of the church, and it visually bridges human scale to the lofty vaults and dome above |
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title: Las Meninas
artist: Velasquez
Velasquez intended this huge and visually complex work, with its cunning contrasts of true spaces, mirrored spaces, and picture spaces, to elevate both himself and the profession of painting. |
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title: Los Borrachos
artist: Velasquez
basically, he's known for rendering the figures with clarity and dignity, and his careful and convincing depiction of certain objects (emphasis on detail) |
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title: St. Serapion
artist: Zurbaran
the light shining on serapion calls attention to his tragic death and increase the painting's dramatic impact. The spanish monk's course features label him as common, evoking empathy from a wide audience.
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title: Conversion of St. Paul
artist: Caravaggio
Caravaggio used perspective, chiaroscuro, and dramatic lighting to bring viewers into this painting's space and action, almost as if they were participants in Saint Paul's conversion to Christianity. |
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title: Entombment
artist: Caravaggio
Caravaggio gave visual form to the doctrine of transubstantiation. The jutting painted stone slab makes it seem as if Christ's body will be laid on the actual altar of the chapel. |
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title:Self-Portait
artist: Rembrandt
In this late self-portrait, Rembrandt's interest in revealing human soul is evident in the attention given to his expressive face. The controlled use of light and the nonspecific setting contribute to this focus. |
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title: Night Watch
artist: Rembrandt
Rembrandt's dramatic use of light contributes to the animation of this militia group portrait in which the artist showed the company rushing about as they organize themselves for a parade |
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title: Young Woman with a Water Jug
artist: Vermeer
master of pictorial light and used it with immense virtuosity. He could render space so convincingly through his depiction of light that in his works, the picture surface functions as an invisible glass pane through which the viewer looks into the constructed illusion |
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title: Et in Arcadia Ego
artist: Poussin
Poussin was the leading proponent of classicism in 17th century Rome. His works incorporate the rational order and stability of Raphael's compositions as well as figures inspired by ancient statuary |
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title: Self Portrait
artist: Vigee-Lebrun
Vigee-Lebrun was one of the few women admitted to France's Royal Academy of Painting and Sculpture. In this self-portrait, she depicted herself confidently painting the likensss of Queen Marie Antoniette. |
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title: Portrait of Paul Revere
artist: Copley
In contrast to Grand Manner portraiture, Copley's Paul Revere emphasizes his subjects down-to-earth character, differentiating this American work from its European counterparts |
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title: Mrs. Richard Brinsley Sheradon
artist: Gainsborough
In this life size portrait, Gainsborough sought to match the natural beauty of Mrs. Sheridan with that of the landscape The rustic setting, soft-hued light, and feathery brushwork recall Rococo painting. |
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title: Marriage a la Mode (breakfast Scene)
artist:Hogarth
won fame for his paintings and prints satirizing 18th century English life with comic zest. this is one of a series of six paintings in which he chronicled the mental immoralities of the moneyed class |
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title: Saying Grace
artist:Chardin
Chardin embraced naturalism and celebrated the simple and goodness of ordinary people, especially mothers and children, who lived in a world far from the frivilous Rococo salons of Paris |
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title: The Swing
artist: Fragonard
In this painting epitomizing Rococo style, pastel colors and soft light complement a sensuous scene in which a young lady flirtatiously kicks off her shoe at a statue of Cupid while her lover watches. |
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title: L'indifferent
artist: Watteau
This small Rococo painting of a languid, gliding dancer exhibits lightness and delicacy in both color and tone. It contrasts sharply with Rigaud's majestic portrait of the pompous Louis XIV |
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title: Cupid in Captive
artist: Boucher
In this Rococo, canvas, Boucher, painter for Madame de Pompadour, portrayed a rose pyramid of infant and female flesh and fluttering draperies set off against a cool, leafy background |
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title: Palace of Versailles
artist: Le Brun
Louis XIV ordered his architects to convert a royal hunting lodge at Versailles into a gigantic palace and park with a satellite city whose three radial avenues intersect in the king's bedroom |
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title: Oath of the Horatii
artist: David
David was the Neoclassical painter-ideologist of the French Revolution. This huge canvas celebrating ancient Roman patriotism and sacrifice features statuesque figures and classical architecture. |
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title: Death of Marat
artist: David
David depicted the revolutionary Marat as a tragic martyr, stabbed to death in his bath. Although the painting displays severe Neoclassical spareness, its convincing realism conveys pain and outrage. |
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| A late 19th century art movement that sought to capture a fleeting moment, thereby conveying the illusiveness and impermanence of images and conditions. |
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| the term used to describe the stylistically heterogeneous work of the group of later 19th century painters in France, including van Gogh, Gauguin, Seurat, and Cezanne, who more systematically examined the properties and expressive qualities of line, pattern, form, and color than the Impressionists did. |
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| technological/innovative movement and inspired new styles of art |
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| (Salon of the Rejected)-established to show all the works not accepted for exhibition in the regular Salon. |
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| Societe Anonyme des Artises |
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a society of independent artists who were unhappy with the Salon's conservative nature |
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title: Rue Transnonain
artist: Daumier
Daumier used the recent invention of lithography to reach a wide audience for his social criticism and political protest. This print records the horrific 1834 massacre in a workers' housing block |
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title: Guernica
artist: Picasso
Picasso used Cubist techniques, especially the fragmentation of objects and dislocation of anatomical features, to expressive effect in this condemnation of the Nazi bombing of the Basque capital |
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title: Demoiselles d'Avignon
artist: Picasso
African and ancient lberian sculpture and the late paintings of Cezanne influenced this pivotal work, with which Picasso opened the door to a radically new method of representing forms in space. |
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title: Robie House
artist: Lloyd-Wright
The Robie House is an example of Wright's "architecture of democracy" in which free individuals move within a "free" space-a nonsymmetrical design interacting spatially with its natural surroundings. |
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title: Mont Sainte-Victoire
artist: Cezanne
in his landscapes, cezanne replaced the transitory visual effects of changing atmospheric conditions, a focus for the Impressionists, with careful analysis of the lines, planes, and colors of nature. |
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title: Le Moulin de la Galette
artist: Renoir
Renoir's painting of this popular Parisian dance hall is dappled by sunlight and shade, artfully blurred into the figures to produce the effect of floating and fleeting light that the Impressionists cultivated. |
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title: Raft of the Medusa
artist: Gericault
In this gigantic history painting, Gericault rejected Neoclassical compositional principles and, in the Romantic spirit, presented a jumble of writhing bodies in every attitude of suffering, despair, and death. |
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title: Dejeuner sur L'herbe
artist:Manet
Manet was widely criticized for both his shocking subject matter and his manner of painting. Moving away from illusionism, he used colors to flatten form and to draw attention to the painting surface. |
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title: olympia
artist: Manet
Manet scandalized the public with this painting of a nude prostitute and her black maid carrying a bouquet from a client. Critics also faulted him for using rough brush strokes and abruptly shifting tonality |
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title: The Gross Clinic
artist: Eakins
The too-brutal realism of Eakin's unsparing depiction of a medical college operating amphitheater caused rejection of this painting from the Philadelphia exhibition celebrating America's centennial |
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title: Liberty Leading the People
artist: Delacroix
Balancing contemporaneous historical fact with poetic allegory, Delacroix captured the passion and energy of the 1830 revolution in this painting of Liberty leading the Parisian uprising against Charles X |
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title: Nymphs and a Satyr
artist: Bourguereau
More renowned than Manet in his own day, Bourguereau was an artist in the French academic tradition who specialized in depicting subjects from classical mythology with polished naturalism
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title: 3rd of May, 1808
artist: Goya
Goya encouraged empathy for the massacred Spanish peasants by portraying horrified expressions and anguish on their faces, endowing them with a humanity lacking in the French firing squad |
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title: Red Room (Harmony in Red)
artist: Matisse
Matisse believed painters should choose compositions and colors that express feelings. Here, the table and wall seem to merge because they are the same color and have identical patterning. |
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title: Ballet Rehearsal (Adagio)
artist: Degas
The arbitrarily cut-off figures, the patterns of light splotches, and the blurry images in this work reveal Degas's interest in reproducing fleeting moments, as well as his fascination with photography |
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title: Grande Odalisque
artist: Ingres
The reclining female nude was a Greco-Roman subject, but Ingres converted his Neoclassical figure into a odalisque in a Turkish harem, consistent with the new Romantic taste for the exotic |
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title: Burghers of Calais
artist: Rodin
Rodin's bronze group commemorates an episode during the Hundred Years' War, when six Calais citizens offered their lives to save their city. Each highly textured figure is a convincing character study. |
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title: Sunday on La Grande Jatte (Afternoon in the Park)
artist: Seurat
Seurat's color system--pointillism--involved dividing colors into their component parts and applying those colors to the canvas in tiny dots. The forms become comprehensible only from a distance. |
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title: the Fighting Temeraire
artist: Turner
produced work that also responded to encroaching industrialization. |
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title: The Slave Ship
artist: Turner
The essence of Turner's innovative style is the emotive power of color. He released color from any defining outlines to express both the forces of nature and the painter's emotional response to them |
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title: The Haywain
artist: Constable
The Haywain is a nostalgic view of the disappearing English countryside during the Industrial Revolution. Constable had a special gift for capturing the texture that climate and weather give to landscape |
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title: Ancient of Days
artist: blake
Although art historians classify Blake as a romantic artist, he incorporated classical references in his works. Here, ideal classical anatomy merges with the inner dark dreams of Romanticism. |
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