Jacopo Pontormo (1494-ca.1556).

Descent from the Cross? (Entombment?). 1525- 1528

• there's no cross
• looks kinda like an entombment but there's no tomb
• don't know subject matter - typical of mannerist art
• Christ and Virgin Mary
• brighter colors - arbitrary colors - make them up - not naturalistic at all
• center is empty - figures tend to gravitate to edges
• figures seemed to be piled up in space - not rational - no clue how it moves up
• glare on pic. with no explanation -  not lilke nature
• unnaturally stretch out figures
• not natural colors; not proportional; 2 men carrying Jesus on their tiptoes
• woman with head turned - no legs
• bad spacing - guy w/ green at top and green fabric at bottom; void of space in middle - Virgin Mary's emptiness
• don't know deposition or entombment bcs no background or other objects

Giorgio da Castelfranco , called Giorgione 

 La Tempesta (The Tempest). ca. 1510

• landscape is the subject
• no idea who the subject matter is; think he just made them up; first time this happened
• man looks like an urban figure
• storm in background - lightning
• figure nursing child - earth is nurturing
• the city dweller goes out into nature and kind of recreates himself

Tiziano Vecellio (1485-1576), called Titian (in English)

• painting that appealed to the senses
• could mean about elevated love bcs she's elevated - window looks out to sky
• conrtoversey between Michelangelo and Titian - who is the best painter? - people would say Mich. bcs his pics were well; draws better, designed, esp. naked bodies; he has a thorough understanding of anatomy - proportion and correct anatomy; disegno
• Venice people said Titian bcs his coloing was much better; colorito

Andrea Palladio. Venice, 1570

Heironymous Bosch. Flemish

Garden of Earthly Delights. ca. 1505–1510

• not an altarpiece but for a person
• inscription: "For he spoke and it was done, he commanded and.."
• Left: God, Adam, Eve seems to be floating up; just finishing creating them; Garden of Eden
• Center: Ground with hole filled with water; 4 rivers joining - in all 3 panels
• Right: Hell; consequence of behavior
• creation of mankind
• we don't know exactly what's going on; strange stuff and animals
• seems very sensual, touching e/o, fruits and flowers

Pieter Brueghel, the Elder. Flemish

• the blind leading the blind (futility of ignorance) - 3 blind people in corner
• big fish eat little fish
• man bites column - hippocracy
• ambitious idiot
• short - sighted fool
• to bell the cat
• over 100 proverbs illustrated - he shoots 1 arrow after another but hits nothing
• blue cloak - woman puts cloak on hubby; hiding infidelity

Pieter Brueghel, the Elder. Flemish

 Hunters in the Snow. 1565

• part of a series of pics - sometmies rep. months or seasons
• inn in background w/ sign falling off - St. Eustus rep. on it
• ppl skating on ponds
• house on fire
• seems very cold and true to life
• Carlos William poem about it

Matthias Grünewald. German

Isenheim Altarpiece. ca. 1510-1515. Closed

• polyptych
• Closed: made for the chapel in the hospitalof the Order of St. Anthony of Isenheim
• St. Sebastion - plague - left
• St. Anthony's Fire - fungus ergotism - right; grew on rye
• Lamentation of Christ on bottom (division of lamentation on legs like they're amputated - happened from disease)
• Crucifixion in center - Christ's body covered w sores as if he has ergotism) - St. John to his right w/ sacrificial lamb; Mary Mag. looking up at him; "He must increase, but I must decrease" quote by John about death

Isenheim Altarpiece. ca. 1510-1515. Open

• Left: Annunciation
• Center: Nativity and heavenly (carved relief guilded w/ gold)
• Right: Resurrected
• Open again?: center carved by Nikolaus Hagenauer; woodcarvings
• Across bottom?: 2 people holding animals - St. Anthony was patron of animals; St. Paul the hermit in desert living off a palm tree and God sent raven w/ bread everyday, then visited by St. Anthony
• Right: St. Anthony being attacked by demons, peice of paper w/ inscription "Where were you, good Jesus..." - spirit descending down to help him
• German artists - attention to detail, very expressive, share interest in nature w/ Italy

Albrecht Dürer

Adam and Eve (The Fall of Man). Engraving. 1504. German

• Eve holding limb and fig from tree in which they'll sin
• haven't eaten the fruit yet, but have decided to disobey God
• illustrates a particular subject matter
• bodies very similar to ancient sculptures; classical; no blemishes, proportioned except for Eve's shoulders
• branch w/ parrot and plague - from tree of knowledge
• "Durer was making this" - boasting that he's like Apelles
• 4 humors are there - all is right, but will soon be wrong

Albrecht Dürer

Domenico Theotokopoulos, called El Greco

The Burial of Count Orgaz. 1586. Spanish

•  medieval
• Orgaz was very religious and charitable
• St. Stephen and Augustine appeared to help bury Count Orgaz
• his soul is being accepted by Heaven/God
• loose application of the paint
• not a mannerist artist - you can understand it and it doesn't make you uncomfortable
• change in style between lower and upper portion - not as much detail at top
• supposed self portrait of him and his son; paper in son's pocket w/ El Greco's signature and date, refers to sons birthday
• top: anger and figure in angel's hand - pushing his soul thru opening to Heaven; death - born into eternal life
• conquistadors in background - some looking up - kinda helps connect the two portions; angel at top - her drapery help connect top and bottom
• bottom - venetian
• top - mannerist - long arm, some bright colors

Calling of St. Matthew. Contarelli Chapel, S. Luigi dei Francesi, Rome.

ca. 1597-1601

Early Baroque. Caravaggio.

• alla prima - working directly from nature w/o any preparation; no pre drawings
• tenebrism- form of light and dark - rep. of dramatic lighting; strong highlights, dark shadows; adds drama and mystery
• Jew that collects taxes for Romans - neither like him counting $ - Jesus walks by and says follow me and Matthew does
• chiaroscuro - light and shadow, especially gradation
• tenebrism - very strong contrast of light and shadow
• some ppl found this upsetting bcs they couldn't see and interpret faces/expressions
• transformation of Levi into Matthew
• they're in a bar
• Christ arm is similar to Creation of Adam; can tell its Christ bcs you can barely see a halo above his head
• severe diagonal highlights Christ and points to Matthew
• patron was a French Bishop named Matthew

Entombment. ca. 1603

Caravaggio

• opening of a tomb in back
• Mary, Nicodemus- grimy
• tenebrism, jutting diagonals - arm reaches out to viewer
• very diff from Mannerist - indefinite background
• altarpiece - looks like Christ will go down onto the altar and become bread and wine; transubstantiation
• artist didn't have any pupils, but he did have followers and they imitated it

Judith and Holofernes. ca. 1614-1620

Artemisia Gentileschi

• female artist - learned from her father - first woman accepted in art academy
• comes from a collection of books - not cononical - holy/divine
• one story - Judith - female parallel to David
• she cut off head and took it to Israel - she was a heroine
• Grusome rep. of story - knife not all the way through similar to Caravaggio? style - detailed rep. of nature; tenebrism, dramatic lighting, and indefnite background, sharp diagonals
• she was raped by her father's friend - take out her rage on man
• movement and emotion

Ceiling, Farnese Gallery, Farnese Palace, Rome. 1597-1601

Polyphemus, Galatea, Acis. by Annibale Carracci.

classicism early baroque

• theme: loves of the gods
• made drawing before painting unlike Caravaggio
• ceiling painting flourishes in 17th century
• 3 ways to ceiling paint: 1. quadratura: illusionistic architecture 2. quadro riportato: illusion of a wall/easel painting placed in a ceiling or 3. combination of the two
• polythemus (cyclops) jealous and angry; holding stone to throw at other 2
• polythemus' form has classical proportion no blemishes, etc.

Flight into Egypt (landscape). 1603-1604

Annibale Carracci. classicism early baroque

• landscape becomes very popular
• he paints an ideal view of landscape - there's calm, clarity, harmonized
• Mary, Joseph and Jesus
• people are less important than landscape
• colorito

St. Peter's Basilica, Facade. Early 17th Century

Carlo Maderno

• Maderno extended the nave and facade
• sense of movement - walls jut out
• Maderno also responsible for belltower bases
• they extended the nave to be sure the covered all of the holy ground of the old church - the dome no longer dominates

St. Peter's Basilica. Piazza and Colonnade. Mid 17th century.

Bernini

• Bernini made side elements converge bcs no belltower = really wide church
• room for people
• clarifies space in front of church and separates it from surroundings
• cover from rain/sun

David. 1623

Bernini

• carved armor that David took off; naked w/ cloth
• in the act of throwing the stone
• facial expression - studied his own face in mirror to find the appropriate expression
• looks at ancient sculptors and the painted polyphemus
• sense of movement, dynamic pose
• engages the viewer; Goliath's presence is implied - coexstensive space; space btw viewer and art is fused

Ectasy of St. Theresea of Avila, Cornaro Chapel, Sta. Maria della Vittoria, Rome. Mid 17th century

Bernini

• entire chapel is the art of work
• St. Theresa is having vision of an angel and the dove of the Holyh Spirit is descending upon her - describes in her autobiography; pierces her soul w/ a spear/arrow - says an angel in her vision waws on fire; drapery looks flamelike
• colorful marble
• St. Theresa is on a cloud floating above the altarpiece; up top clouds are painted but looks 3D
• coextensive - once you enter, you're standing in the work of art
• family in little boxes on sides - look like they're watching
• hidden window at top so light comes in and viewer can't tell
• St. Teresa explains to the people of the church her spiritual encounter in terms everyday people can understand - sex
• Her drapery is heavy and rep. of earth - angel is light and heavenly

San Carlo alle Quattro Fontane, Rome. Mid/Late 17th Century

Borromini

• sometimes called San Carlino bcs it's small
• dedicated to St. Charles Borremeo
• most ppl would build a wooden model
• his models were made of wax or clay - very maleable materials that can easily make shapes
• interior - walls painted white; wavy walls, complex ground plan; unusual walls meet regulat ceiling - complex interior; reduce size of shapes makes dome seem tall when its shallow - 3 shapes in it -> Holy Trinity
• even smaller than it appears on the outside
• during counter reformation
• four fountains outside, one on each corner

Water Carrier of Seville. Early 17th Century.

Diego Velazquez

• strong light; emphasis on details, like the pot, wrinkles on face - like Carravaggio
• naturalism
• objects closer to us have more detail than in back
• tenebrism; lots of details
• face in shadow, indefinite background
• genre painting - scene from everyday life
• fig in glass - gives it the taste of freshness

Surrender at Breda, Early 17th Century

Velazquez

• Dutch - Protestants; Spanish - Catholic
• caused war; seige of town of Bratah
• right: Spanish troops; Left: Dutch
• Spanish won; Dutch leader is lower, bowing, giving keys
• more Spaniards, more spears - strong army - opp. for Dutch
• commemorates this famous surrender; famous bcs it was very gentlemanly, polite, civil, humane
• Spanish leader not taking key, looking into eye, hand on shoulder
• optical naturalism: based on patterns of light and dark

King Philip IV of Spain, Early 17th Century

Velazquez

• detail in face
• from Habsburgs family - protruding jaw - result of incest
• patterns of light and dark - sleeve and coat; your brain fills it in and it looks very 3D
• very honest in portrayals of ppl - not more or less of who they are - doesn't glorify - made up for it by making his clothes look very regal  

The Maids of Honor, Mid 17th Century

Velazquez

• Princess Margarita w/ maids of honor and others
• self portrait - see him painting; important bcs he's standing very close to Princess (royal); mirror in back shows king and queen - standing close to them too
• social position of artist - makes a point to use his hand, using hands for work was low on social standing a begin Ren.; it got better - reflection of that in painting
• tribute to Rubens in paintings in room
• Margarita - optical natural - focus of painting; she's the most distinctly painted figure
• Velazquez was painting the king and queen portrait until margarita comes in and all attention goes to her; see image thru king and queen's point of view
• Red cross on Velazquez's chest - Cross of Santiage - could only belong in aristocrat group to wear, took him a long time to prove his aristocrat status - painted on later after he died

Raising of the Cross. Early 17th century

Sir Peter Paul Rubens

• triptych
• Arnand, Walpurga, 2 other on outside when closed
• often called eclectic - borrowed elements from past and present artists
• lighting and naturalism similar to Caravaggio
• similar interest to Michelangelo in anatomy
• colors remind of Venetians
• shows extreme emotions

Allegory of the Outbreak of War. Early 17th Century

Rubens

• traveled to places in Europe as painter but worked behind the scene to create peace
• Temple of Janus - in time of war - door open
• Europa - personification of Europe - orb/world w/ cross behind her - they're Catholic
• Venus - love and beauty; restraining Mars
• Mars - in front of Venus; war
• harmony - holds a lute; being trampled by mars
• mother and child - foundations of civilization trampled also
• architect- arts; being trampled
• fury alekto, pestilence, famine - didn't get

Charles I Dismounted. Early 17th Century.

Anthony Van Dyck

• elegance, way nature is treated
• informality
• Charles - off horse, satin coat and velvet trousers, no armor, he's clost to normal ppl taking care of his horse but his back is still to them
• relaxation - foreshadow 18th century

Still life with flowers goblet, dried fruit and pretzels. early 17th century

Clara Peeters

• painted her portrait in the goblet, reflection, witty

Women Regents of the Old Men's Home at Haarlem. late 17th century

Frans Hals

• group of women in charge
• optical naturalism - hand looks very real, light and dark colors
• primarily a portrait painter
• very subtly distinguished the personality of the women

Self Portrait. early 17th century

Judith Leyster

• one of first artist to become an acutal artist, she was in the guild
• hired aprentices
• showing herself at easil - not ashamed of profession
• typical subject matter (man w/ violin on canvas)
• hand in cneter - proud of being an artist and work with hands

Anatomy Lesson of Dr. Nicolas Tulp. early 17th century

Rembrandt

• group portrait
• each person paid Rem. to put them in this portrait
• Dr. Tulp official anatomist in amsterdam - giving a lecture - happened once a yr, rare - cadaver had to be a criminal - Aris Kindt
• Dr. Tulp lifting pieces of the anatomy of arm
• someone else actually disected it
• man holding paper with 7 names on it; man on left was prob. added later
• action w/in the picture that the figures are focused on; like a narrative

Night Watch. Early 17th century

Rembrandt

• capt. and lt. - in charge of a militia - formed to protect towns
• as peace arrives the militias become social organizations
• cpt. tells lt. to gather men together to march across a bridge
• little girl w/ children around her waist; in the light - kind of mascot for the militia; usually go in front or parade, etc.
• chicken - emblem of the shooting company/militia
• shows using weapons at 3 diff. stages

Hundred Gilder Print (etching). Mid 17th century

Rembrandt

• guilder - was $
• piece of work was sold for $100 which was a lot so it stuck
• he would bury the states of his prints - re-etch the plate; ppl want 1st and 2nd states - more $ for Rembrandt

Return of the Prodigal Son. late 17th century

Rembrandt

Palace at Versailles, late 17th century, architecture and interiors by Louis le Vau, Charles le Brun

• guilded plaster, huge mirrors, crystals
• lawn of war on one side, lawn of peace on other - visitors knew where they stood
• face huge garden
• king on display - as godlike - called himself godgiven and equated himself to Apollo
• center: stables better living than most citizens
• astonishing gardens
• souvelleince - Louis wanted to control everything; subjection
• hunting lodge turned to palace
• Versailles basically became the new capital
• triad of loads lead to Paris; their centered toward king
• plants carved like statues or embroidery
• enormous ponds and gardens - parties, mock battles even w/ ships
• barely any privacy
• aristocrats would watch and applaud king wake up and go to bed

Salon de Princesse, Hotel de Soubise, Paris, Early/mid 18th century, architecture by German Boffrand (paintings and decorations by Natoire)

•  a private aristocratic house
• no predominent gardens; more interior focused
• Prince de Soubise and trophy wife lived there
• looks simple, classical, dignified outside
• completely remodeled palace to accomodate his wife - she had a "princess floor", in center was an oval salon
• place to have parites/entertain guests
• round arches, no clear distinction where wall ends and ceiling begins
• no corners, no orders
• full of light, big windows and mirrors
• light in color; organic
• guilded plaster; luxurious place
• large mirrors - rare and expensive - meant to delight, not awe like Versailles
• was a space to show transformation of Princesse, like a stage
• psyche - large, sheet mirror
• mirrors - create confusion; kinda magical; also feminine - venus also depicted thru mirrors; also relate to painting in room; story of Cupid and psyche
• Marie Sophie is like Psyche in the story and its like her palace
• she rep. herself as smart bcs she knows her mythology and can live it out; she's beautiful and smart

Return from Cythera, early 18th century

Watteau

• used warm, rich tones; light figures, graceful, self conscious, postured, almost dancing
• cythera - island of love; beautiful ppl came to "frolick" on the island; lover's paradise
• they're leaving
• fete gallante - myth scene, but ppl are in contemporary clothes
• needed to be graceful to survive in the court world

The Swing, late 18th century.

Fragonard

• more playful, woman on swing in luxurious garden w/ her elderly guardian
• man in bushes peeking up her skirt, she's flirting, cupid saying shh, she kicks her leg up
• naughty secrets, sexy, desire
• fertility landscape
• abandonment of civilization and into fantasy, etc.

Balthasar Neumann, Church of the Vierzehnheiligen, near Staffelstein, Bavaria, Germany, mid/late 18th century

• Rococo connected to church
• cruciform plan, pilgrimage church
• uneducated peasants didn't know what to expect; surprised, hear rumors, walk forever to get there
• symmetrical facade w/ 2 towers, divided into 3, similar to Baroque, oval plan, curved facade
• intense lightness inside, dislodges ideas and expectations - structure hidden by ornaments; light colors; material looks
• appeals to passion
• meant to convince skeptical and delight the believing
• an endpoint for pilgrims

Grace at Table, mid 18th century

Chardin

• "The taste for the natural"
• began to paint peasants and middle class people
• simple clothes, simple colors, furnishings
• not dancing across the canvas
• genre painting of normal people, w/ no myth. or any other reference
• moral tale, emphasis on the quiet dignity
• owned and for Louis 15th; owned bcs it became a fashion; an escape - imagine life as simple
• clothes aren't torn or anything - can't push reality too far

Lord Burlington and William Kent

Chiswick House (London), early 18th century

• estate building, reaction against Rococo
• Progressive Aristocrats - houses look more simple, identified w/ ancient Roman traditions
• English villa/countryhouse
• harmony w/ nature
• based similar to Palladio, Villa Rotunda
• Rotunda - circle/dome in center
• only 1 porch, much simpler, based on bookplates

Cornelia Pointing to her Children as Her Treasures, late 18th century

Kaufmann

• in a building, dressed in simple, elegant clothes
• simplicity to the whole scene and colors
• hiroty painting - moral drawing - teach us something from history
• Cornelia was an aristocratic woman (in white, purity), visited by a guest showing off her jewels; Cornelia calls her children her jewels; kids grew up to be political reformers
• good mother breeding good kids and giving them to the state to do good for the people
• moral story, humble, good character
• her father was a successful painter and taught her. she was able to travela nd gain access to other artists. she was still limited in subject matter - no war/sex - yes domestic scenes. made it into some academy

Oath of the Horatii, late 18th century

David

• figures are set in a stage like space/box
• david worked for king, napolean, etc. (opportunists)
• wanted to make timeless statements - political etc.
• commissioned by king louis 16th
• meant to teach ppl proper attitude toward ppl and state
• story: shallow stage, 4 men 4 women, framed by 3 arches, checkered floor emphasizes the focal pt. (swords and hand); strong light, everything is clear; male strength and female emotion; younger men taking oath to their father to fight for family and nation, sisters are sad/emotional, soft;
• men - stiff, hard, strong
• sister is engaged to boys' enemy
• only one brother returns tells them fiance is dead, sister cries, brother kills her bcs she's putting love, personal feelings,and loss before family and state
• large painting in public places to teach lessons

Death of Marat, late 18th century

David

• Marat was a revolutionary hero who was murdered
• very recent event (painted 3 mo. later) almost journalistic
• he takes grusome murder into propaganda
• Marat was in bath tub (extreme skin disorder); he was a writer, has desk in bath and wrote revolutionary tracks; servant brought note that Charlotte O'Day was there to visit and she kills him w/ a butcher knife
• light coming from unknown source above
• half of painting is empty; minimal form
• note in hand also seems tombstone like
• heavenly, mysterious setting around him

University of Virginia's Library (Charlottesville, VA) early 19th century

Thomas Jefferson

• our quad is based on theirs
• based on ancient Roman stuff
• Library; then leaves middle open - arms welcoming - pantheon

The Nightmare, late 18th century

Henry Fuseli

• woman has been tossing and turning
• red, velvet satin curtian - lust, passion
• emerging from curtain is horse w/ white eyes
• weird figure above her
• she has pale flesh; she's been ravished - maybe sexually

Raft of the Medusa, early 19th century

Gericault

• story: a recent disaster at sea; almost journalistic; shipwreck off coast of Africa; French ship w/ aristocratic captain; captain and officers took lifeboats, food and water and escaped, leaving almost everyone (scandolas) French media covered for him; 149 ppl scrounged wood together, 15 ppl survived
• 15 living ppl and 5 corpses in front, living ppl in back rise up and flag w/ a shirt
• highlights the faces of annonomyous ppl
• injustice by corrupt state; dark sky and ocean
• strong diagonals
• very realistic, interviewed survivors, visited morgues, made wax models
• huge painting - cinematic, 16 x 23 ft - large impact

Abbey in the Oak Forest, early 19th century

Friedrich

• often see landscapes of torment, ravished - passion
• dark/stormy sky usually; broken trees; small people; ruins of buildings; ocean storms - Romanticism characteristics
• dark poetic mood, ruined church, little priest
• vast landscape

The Sleep of Reason Produces Monsters, late 18th century

Francisco de Goya

• etching - a metal plate covered in wax, bath plate in acidwhere you strip the wax and use ink to make imprints
• exhausted sleep after work/worry
• nightmares - cats, bats, owls, - emerging on him
• humans aren't rational or reasonable - let down guard when we're asleep - reason is like a mask - about freedom and the lack thereof

Saturn Devouring one of his children, early 19th century

Francisco de Goya

• turmoil in Spain, series of battles where pit bro vs. bro or bro vs. dad; Napoleon tried to seize power
• referred to as his black paintings; not meant to be seen by anyone but him
• he painted for the king so he knew everything the king had said in meetings and etc.
• saturn ate all his kids so they couldn't overtake him but Zeus escaped and overtook him
• story of battle btw generations
• you see Goya's distress
• big eyes, bloody strump, brightness in center, frenzied eyes

Executions of the Third of May, 1808, early 19th century

Francisco de Goya

• Goya was a public figure/artist
• commisioned by the king
• meant to be seen by ppl and educate them about what just happened and that the French caused their pain
• French soldiers on right, Spain on left
• bright rich color emerging from shadows
• blood saturates the scene
• can't see french faces, merge w/ their weapons, become inhumane monsters
• idividual portraits of the spainards, can see fright/emotion
• very intimate, bright, clean white shirt
• man's arms in crucifixion form, hoping for redemption
• viewer is meant to empathize for the underdog

Liberty Leading the People, early 19th century

Delacroix

• image of the underdog; recent event
• July 1830 - uprising against French monarchy
• built baracades from their furniture
• charging toward French police and military; over furniture and dead commrades
• Paris was rebuilt so things like this couldn't happen anymore - weblike streets - long, straight blvds.; also helps w/ transportation, etc.
• Notre Dame Cathedral in back
• French flag - red, white and blue - also shown in other places
• guns held aloft
• smoke, heat, open mouths
• center - Liberty - not a real person - like a classical goddess - allegory
• brushiness of painting, rushed out, bright red scattered - flag, passion, blood

Death of Sardanapalus, early 19th century

Delacroix

• based loosely on Lord Byron's poem
• he destroys all of his stuff before he commits suicide so his enemy can't do it
• lots of red but no blood - foreshadowing of blood and death
• death and sex combined - women treated as beautiful objects even though they're being destroyed
• dark side is only dark because we don't know it

The Letter, late 17th century

Vermeer

• Dutch artist - innkeeper
• genre painting
• looking in through doorway, girl is recieving her letter - know it's a love letter bcs lute is ymbolic of love
• painting in back w/ ship - unregulated love or lover is far away
• camera obscura - image is reflected on mirror so you can trace

Et in Arcadia Ego, Mid 17th century

Poussin

• look back at classical anitiquity
• guy pointing w/ spear
• momento mori - reminder to people to remember death - focal point is tomb w/ text
• woman kinda looks like she's leaning on man - symbolic of death
• not a genre scene - uses personification and imaginary place

Burial of Phocion. mid 17th century

Poussin

• historical narrative (specific ppl)
• didn't look at nature
• architecture - blocky and linear
• landscape daytime
• oil painting

Landscape with Goatherd and Goats. Mid 17th century

Lorrain

• vague ppl, kinda genre
• went and observed nature
• no architecture - give romantic/beautiful mood
• more depth
• daytime
• oil painting

Creation of Adam. Sistine Chapel Ceiling. fresco. Vatican, Rome. early 16th century

Michelangelo

• God is creating him; Adam is laying kind of limp, looks like God's finger is going to zap him; looks like Virgin Mary and baby Jesus; God's touchgin Christ like preachers touch communion bread (body of Christ)
• foretells Adam was going to sin and Christs was coming
• convex and concave bodies

Fall of Mankind and Expulsion from Eden. Sistine Chapel ceiling. fresco. Vatican, Rome. early 16th century

Michelangelo

• snake also turns into a woman
• Eve looks more guilty
• Arc of movement, continuous narration

The School of Athens (Philosophy), Fresco. Stanza della Segnatura, Vatican, Rome. early 16th century

Raphael

• where Pope signed off on documents
• 1 pt. perspective
• roman architecture and greek philosophers
• aristotle wearing blue and brown (earth), pionting to ground
• plato pointing to sky
• rapheal paints himself in the painting and michelangelo in the front, he used mich. style of painting to paint mich.; writing - poety, block - sculpture

Virgin and Child with St. Anne. early 16th century

Da Vinci

Madonna and child with saints. ealry 16th century

Giorgione

Assumption of the Virgin. early 16th century

Titian

Madonna of the Long Neck. early 16th century

Parmigianino

View of Haarlem from the dunes at overveen, late 17th century

Ruisdael

• linen stretching and bleaching industry
• windmills and church
• specific landscape
• 75% is sky

Banquetting House at Whitehall, London, England, early 17th century.

Jones

New St. Paul's Cathedral, London, late 17th century

Wren