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something of tawdry design, appearance, or content created to appeal to popular or undiscriminating taste. |
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| a legendary Sumerian king, the hero of Sumerian and Babylonian epics. |
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| 1. | having the characteristics of both the Irish and English; Anglo-Irish. |
| 2. | pertaining to or designating the style of art, esp. of manuscript illumination, developed principally during the 7th and 8th centuries a.d. in the monastic scriptoria founded by Irish missionaries, characterized chiefly by the use of zoomorphic forms elaborated in interlaced patterns and often set within a symmetrically balanced framework of geometric shapes; Anglo-Irish. |
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| Roman first style painting |
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| mimicked more expensive materials with fresco |
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use of color, looser brushstroke, erotic and secular subjects
TITIAN--Venus of Urbino (1538) GIORGIONE--The Tempest (1505) |
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increased differentiation in subject, attention to detail, perfection of the new medium of oil painting GRUNEWELD--Isenheim Altarpiece (1509/10-15) DURER--Self-Portrait (1500) HANS HOLBEIN THE YOUNGER--The French Ambassadors (1533) |
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elongated, cramped compositions, exaggeration of human form, expressive nature, ambiguity, spatial discontinuities MICHELANGELO--The Last Judgement (1534-41)--he bridges the movements PARMIGIANINO--Madonna with the Long Neck (1535) EL GRECO--The Burial of Count orgaz (1586) |
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highly decorative, rhythmic, dramatic lighting (tenebroso), theatrical, two types (aesthetically exuberant and self-consciously classical), covered a large geographical area CARAVAGGIO--Conversion of St. Paul (1600-01) CARRACCI--Ceiling of Palazzo Farnese (1597) BERNINI--Ecstacy of St. Teresa (1645-52) BORROMINI--San Carlo alle Quattro Fontane (1665-1667) VELAZQUEZ--The Maids of Honor (1656) RUBENS--Triptych of the Raising of the Coss (1609-1610) POUSSIN--The Rape of the Sabine Woman (1637) VERMEER--Woman holding a Balance (1650) |
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frivolous, decorative, light, interest in high society CHARDIN--Back From teh Market (1739) FRAGONARD--The Swing (1767) NEUMANN--Residenz, Wurzburg (1719-44) HOGARTH--The Rake's Progress (1735) |
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return to classical style and subjects, focus on history painting, moralistic, "academic" style (smooth, finished surface with non visible brushstrokes, suppression of the individual hand of the artist) DAVID--Oath of Horatii (1784-1785) INGRES--Grande Odalisque (1814) SOUFFLOT--The Pantheon (1757-1792) CANOVA--Pauline Borghese as Venus (1735) |
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