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| Shen Zhou. Poet on a Mountaintop. Ming dynasty, c. 1500 |
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| Harmonious calm to theatrical emotionalism |
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| Tintoretto. The Miracle of the Slave. 1548 |
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St. Peter's. Nave and facade by Carlo Maderno, 1607-15,
colonnade by Gianlorenzo Bernini, 1657 |
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Gianlorenzo Bernini. The Ecstasy of St. Theresa. 1645-52.
life-size |
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Caravaggio. The Calling of St. Matthew. c, 1599-1602
11 ft. 1 in. x 11ft. 5 in. |
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Teotihuacán, Mexico, as seen from the Pyramid of the Moon, looking south down the Avenue of the Dead, the Pyramid of the Sun at the left. c. 350–650 CE.
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Coatlicue. Aztec, fifteenth century.
height 8 ft. 3 in.
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Mask of an iyoba (queen mother), probably Idia. Court of Benin, Nigeria. c. 1550.
height 9 3/8 in. |
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The Rococo (from the French word rocaille, meaning rocks and shells) evolved from the Baroque and is exemplified in the paintings of Fragonard and such architectural masterpieces as the the Louvre (1667–70).
(1667–70).
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Peter Paul Rubens. The Disembarkation of Marie de Medici at the Port of Marseilles on November 3, 1600.
13 x 10 ft.
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| Contrast the decorative, curvilinear characteristics of the Rococo with the politically correct art of Neoclassicism. The Neoclassic style in painting is well Illustrated with David’s Death of Marat, The Death of Socrates, and The Oath of the Horatii. |
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Jacques Louis David. The Death of Marat. 1793.
65 x 50 1/2 in.
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| Consider the classical objectivity associated with Neoclassicism in contrast to the emotional qualities of Romanticism. Consider also the brushwork of Ingres’ smooth and rational Neoclassic tendency, versus the painterly and expressionistic qualities of Delacroix. Delacroix and Ingres also painted portraits of the musician Paganini, another excellent comparison of Neoclassic and Romantic style of painting. |
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| Thomas Jefferson. Monticello. 1770-84; 1796-1806 |
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Jean-Auguste-Dominique Ingres. Grande Odalisque. 1814.
35 1/4 x 63 3/4 in. |
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Francisco Goya.
Saturn Devouring One of His Sons.
1820–22.
57 7/8 x 32 5/8 i |
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| Théodore Géricault’s The Raft of the Medusa was based on a true story. In the summer of 1816, one hundred and fifty French castaways, abandoned at the sea off the Senegal coast, on a wooden raft without food and barely water, started to kill each other. They ate the flesh of the dead to stay alive but only fifteen survived. |
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Théodore Géricault. The Raft of the Medusa. 1819.
16 ft. 1 1/4 in. x 23 ft. 6 in. |
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Photography was invented and that it had an impact on the Realist art of the 19th century.
Consider the aims of Realism which stress the artists’ belief that art should express human experience and observation. Show
Gustave Courbet’s Burial at Ornans or his The Water Spout illustrate his Realist dictum “Show me an angel and I’ll paint one.”
Realism’s goals are illustrated with paintings by other artists such as Rosa Bonheur and Thomas Eakins. |
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| Gustave Courbet. L'Averse (the water spout). 1870. |
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