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| Limbourg Brothers, January, 1413-1416, Early Northern Renaissance |
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| Van der Weyden, Deposition, 1435, Early Northern Renaissance |
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| Van Eyck, Giovanni Arnolfini and His Bride, 1434, Early Northern Renaissance |
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| Grunewald, Isenheim Altarpiece, 1510-1515, Late Northern Renaissance |
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| Durer, Four Apostles, 1526, Late Northern Renaissance |
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| Holbein the Younger, The French Ambassadors, 1533, Late Northern Renaissance |
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| Brugel the Elder, Hunters in the Snow, 1565, Late Northern Renaissance |
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| Bernini, Ecstasy of Saint Teresa, 1645-52, Italian Baroque |
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| Caravaggio, Calling of Saint Matthew, 1597-1601, Italian Baroque |
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| Velasquez, Las Meninas, 1656, Spanish Baroque |
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| Rubens, Elevation of the Cross, 1610, Flemish Baroque |
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| Van Dyck, Charles I Dismounted, 1635, Flemish Baroque |
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| Hals, The Archers of St. Hadrian, 1633, Dutch Baroque |
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| Rembrandt, Return of the Prodigal Son, 1665, Dutch Baroque |
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| Vermeer, The Letter, 1666, Dutch Baroque |
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| Claesz, Vanitas Still Life, 1630s, Dutch Baroque |
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| Poussin, Et in Arcadia Ego, 1655, French Baroque |
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| In a feudal system, a peasant or worker known as a vassal received a piece of land in return for serving a lord or king, especially during times of war. Vassals were expected to perform various duties in exchange for their own fiefs, or areas of land. The term feudal system wasn't used until 1776, and it came from the Latin word feudum, or "feudal estate." |
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a manuscript in which the text is supplemented by the addition of decoration, such as decorated initials, borders (marginalia) and miniature illustrations.
During the early Renaissance, the art of manuscript illumination flourished in Italy, alongside that of painting, with the formation of regional schools and centers of production. |
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A private prayer book containing the devotions for the seven canonical hours of the Roman Catholic Church, liturgies for local saints, and sometimes, a calendar. These Books were often highly ornamented for persons of high rank.
A Christian devotional book popular in the Middle Ages. It is the most common type of surviving medieval illuminated manuscript. Like every manuscript, each manuscript book of hours is unique in one way or another, but most contain a similar collection of texts, prayers and psalms, often with appropriate decorations, for Christian devotion. Illumination or decoration is minimal in many examples, often restricted to decorated capital letters at the start of psalms and other prayers, but books made for wealthy patrons may be extremely lavish, with full-page miniatures. |
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The Reformation was a religious movement that occurred in Western Europe during the 16th century that resulted in a divide in Christianity between Roman Catholics and Protestants. This movement “created a North-South split in Europe, where generally Northern countries became Protestant, while Southern countries remained Catholic.”
Protestant theology centered on the individual relationship between the worshipper and the divine. The movement’s focus on the individual’s personal relationship with God was reflected in the number of common people and day-to-day scenes that were depicted in art. Protestantism taught that since God created man in his own image, humanity is perfection. Art that did seek to portray religious figures or scenes followed Protestant theology by seeking to portray people and stories that emphasized salvation through divine grace and not through personal deeds or by intervention of church bureaucracy. In terms of subject matter, iconic images of Christ and scenes from the Passion became less frequent, as did portrayals of the saints and clergy. Narrative scenes from the Bible, and, later, moralistic depictions of modern life were preferred. Some scenes showed sinners accepted by Christ, in accordance with the Protestant view that salvation comes only through the grace of God.
The Protestant Reformation induced a wave of iconoclasm, or the destruction of religious imagery.All forms of Protestantism showed a degree of hostility to religious images, as idolatry, especially sculpture and large paintings. Book illustrations and prints were more acceptable, because they were smaller and more private. |
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| A style of painting depicting scenes from ordinary life, esp. domestic situations. Genre painting is associated particularly with 17th-century Dutch and Flemish artists. |
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| an image that appears normal only when viewed from some particular perspective or when viewed through some transforming optical device such as a mirror. An example of the former that everyone is familiar with are the markings on roadways which are actually distorted in one direction so that they look normal from the driver's point of view. |
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| the period of Catholic revival beginning with the Council of Trent (1545–1563) and ending at the close of the Thirty Years' War (1648), which is sometimes considered a response to the Protestant Reformation. |
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| also called dramatic illumination, is a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark and darkness becomes a dominating feature of the image. Caravaggio, a Baroque artist, is generally credited with the invention of the style, although this technique was used much earlier by various artists, such as Albrecht Dürer. |
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| the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. The term originated in the 19th century, and was used to describe the work of Gustave Courbet and a group of painters who rejected idealization, focusing instead on everyday life. |
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A darkened chamber in which the real image of an object is received through a small opening or lens and focused in natural color onto a facing surface rather than recorded on a film or plate.
The camera obscura is an ancestor of the photographic camera. The Latin name of this device means "dark chamber," and the earliest versions, dating to antiquity, consisted of small darkened rooms with light admitted through a single tiny hole. The result was that an inverted image of the outside scene was cast on the opposite wall, which was usually whitened. For centuries the technique was used for viewing eclipses of the Sun without endangering the eyes and, by the 16th century, as an aid to drawing; the subject was posed outside and the image reflected on a piece of drawing paper for the artist to trace. Portable versions were built, followed by smaller and even pocket models; the interior of the box was painted black and the image reflected by an angled mirror so that it could be viewed right side up. The introduction of a light-sensitive plate by J.N. Niepce created photography. |
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| Rembrandt, Christ With The Sick Around Him, 1649, Dutch Baroque |
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| Rigaud, Louis XIV, 1701, French Baroque |
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| Watteau, Return From Cythera, 1717, Rococo |
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| Greuze, The Village Bride, 1761, French Naturalism |
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