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| a large, irregularly-shaped pearl |
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| use of gradations in light and dark to create depth and modeling; and exaggerated form of chiaroscuro |
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| (painting); anything on the table |
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| (painting); reminder that earthly pleasures don't last |
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| (painting); scenes or events from every day life |
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| "pebble"; art small, petite, dainty, feminine; nature theme, love, mythological figures, pastel colours |
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| "The Sun King"; made his era the Age of Absolutism; the absolute judge of taste at the French court, patron of the arts |
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| leading Dutch artist during 17th century; most sought-after portrait painter; could build up figure with impasto techinique, making images extremely clear |
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Flemish painter at Louis XIV's court;
"fleshing out"; nudes' flesh folds and drapes across their bodies; moralistic undertones |
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| painter whose typical work is compositional geometry of horizontals and verticals; mythological or Christian subject matter rather than genre scenes; restraint and decorum |
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| Caravaggio; The Calling of Saint Matthew; ca. 1599-1600 |
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| Caravaggio; Conversion of Saint Paul; ca. 1601 |
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| Artemisia Gentileschi; one of Caravaggio's followers; one of first female artists to receive international reputation; paints herself as Judith in 5 different versions of biblical story of Judith and Holofernes |
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| Gentileschi; Judith and Maidservant with Head of Holofernes; ca. 1625 |
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| Bernini; Ecstasy of Saint Teresa; 1645-52 |
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| Grand Facade at Versailles; 1669-85 |
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| Johannes Goedaert; Flowers in a Wan-li Vase with Blue-Tit; ca. 1660 |
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| Jacob van Ruisdael; View of Haarlem from the Dunes at Overveen; ca. 1670 |
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| Jan Vermeer; Woman with a Pearl Necklace; ca. 1664 |
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| Rembrandt, The Anatomy Lesson of Dr. Tulp; 1632 |
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| Rembrandt, Portrait of Nicolaes Ruts; 1631 |
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| Rembrandt, Christ Preaching; 1639 |
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| Peter Paul Rubens, The Kermis ca. 1635 |
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| Rubens, The Arrival and Reception of Marie de’ Medici ca. 1621-25 |
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| Nicholas Poussin; Shepherds of Arcadia; 1638-1639 |
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