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Carlo Maderno, Santa Susanna, 1597 -symmetrical - viewer involvement: movement, emotional appeal -Baroque influence |
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Francesco Borromini, Quattro Fontane, 1643 interior -dramatic -movement -emotional appeal - naturalism -Baroque influence |
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Michelangelo, Last Judgment, 1534 -sistine chapel -decorum, doctrinal accuracy (MARY and Christ's throne) -mannerism (figura serpentina, ideal) |
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Veronese, Feast in the house of Levi (last supper), 1571 -counter reformation -questions decorum,calrity by artistic license -Luca cap V changes subject from a last supper |
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Carracci, Assumption of the Virgin, 1601 -away from hyper idealism of mannerism -baroque -diagonal, tenebrism, viewer involvement, naturalism |
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Caravaggio, crucifixion of St. Peter, 1600 -drama -tenebrism -diagonal movement -naturalism, saints are ordinary -baroque |
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Bernini, David, 1623 -Baroque in sculpture -compare to Michelangelo's David -diagonal and dynamic movement -naturalism, expression |
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Bernini, Apollo and Daphne, 1622 -classic mythology -movement: diagonals, left to right -drama, emotion -narrative |
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Bernini, San Andrea, 1658 altar -viewer involvement: diagonals -realism, naturalism, illusion |
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Bernini, ecstasy of st. Theresa, 1547 baroque -illusionism, movement -counter reformation -diagonals -tenebrism -dramatic naturalism |
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bernini, piazza san Pietro, 1656 -pope Alexander vii -movement and viewer involvement |
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Bernini, baldacchino, 1624 -for pope urban viii -st. Peters burial place -solomonic column: drama, movement, naturalism, emotion iconography: christs importance, papacy |
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bernini, st. peters throne, 1657 -relic -diagonals -iconography: angels w papal keys and tiara, St. Peter was first pope |
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Rubens, Assumption of the Virgins, 1626 baroque -tenebrism -disagonals, movement, excitement,drama -emotion -naturalism |
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Rubens, exchange of 2 princesses from France and Spain, 1622 -represents real story, allegory -propoganda for King Henry IV and Regent Queen Marie -emotion, drama -tenebrism -diagonals -red color catches eye |
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Rubens, The landing of Marie de medici, 1621 -glorifies marie -symbolism: Fame, France, Neptune (travel) -visual dynamism -diagonals |
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Velazquez, Las Meninas, 1656 -influenced by carivaggio -king phillip IV -viewer involvement -displays court life -scientific perspective (tells us it is an allegory) |
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Velazquez, The Spinners, 1657 -spinning thread is not a liberal art, purely mechanic -background shoes Arachne competition with Minerva -velazquez worthy of competing w/ gods |
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Rembrandt, Rape of Ganymede, 1635 -italian and baroque style mixed -movement, drama, tenebrism -beauty, naturalism, not idealized |
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Rembrandt, Self Portrait, 1661 -darker colors -acknowledges own style -acknowledges Italian tradition -more focus on light, less on detail |
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Rembrandt, anatomy lesson of dr. tulp, 1632 -group portrait, patriotism -psychology of attention of figures -pictorial narrative -diagonals |
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Rembrandt, Night Watch, 1627 -group portrait -action -clear center figure -narrative compare to Banquet of Officers |
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Fran Hals, Banquet of Officers, 1627 -military and social -baroque: tenebrism, diagonals, a lot of action compare to Night Watch |
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Rembrandt, sampling officers of Amsterdam drapers guild,1663 -nobody is center of attention -figures more important than viewer (elevated view point) -illusionistic connection to outside world (viewer involvement) -narrative |
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Peter Bruegel the Elder, Peasant Dance, 1568 Genre painting -clearly drunk -social class is good -satisfaction |
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Jan Steen, Lovesick Girl, 1660 genre painting -viewer involvment (superior position to doctor) -pleasure of love, being superior -symbolism: open legs, hot coals, cupid, Venus, open door, letter in hand, expression |
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Jan Steen, woman playing a harpsichord, 1671 Genre painting -harpsichord --> virginal: sexual and romantic connection between figures -purity of home connect to Dutch state |
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Pieter de hooch, maid with a child in court, 1658 genre painting -purity -good morality and judgement -represents how Dutch state is unified -ideals of cleanliness, home life, women, morality |
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Jan Vermeer, woman seated at a virginal, 1670 genre painting -wealth -pleasure in servitude |
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Jan Vemeer, woman holding a balance, 1662 genre painting -dilemma of woman at home and out of home -last judgement -morality of the state |
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Rembrandt, three crosses, 1653 print -religious -baroque: tenebrism, diagonals, motion |
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Andrea del pozzo, altar of st. Ignatius, 1695 late baroque, rococo -diagonals -distracting details, less drama -movement |
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Fragonard, Rape of Europa, 1770 rococo -moment before action, no drama -pastel, dreamlike colors -not emotional, sensual, sexual, pleasure over drama compare to Titian's rape of europa |
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Antoine Watteau, Embarkation for Cythera, 1717 Genre painting , imagination -Fete galante: small painting, represent elegant people, blurring of contemporary and historical -hyper naturalism, beyond reality |
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Francois Boucher, The Four Seasons: Autumn. 1755 Genre painting -symbolisim: sexuality: grapes, rosebud,hat rococo -tenebrism of subject/background -trangular composition+stability -pastel, dreamlike, playful,sensual |
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Fragonard,The Swing,1766 rococo playful, leisure time, dream like, escaping reality, sensual -tenebrism -visual business -blurr of reality and fantasy |
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Jacques-louis David, Oath go Horataii, 1784 neoclassical Grand Manner paining: big ideas of history that are universalized -clear organization -primary colors -simple -dont have to know sorry to figure out narrative |
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David, The Lictors returning to Brutus the bodies of his sons, 1789 neoclassical grand manner -decorum -restrained expression |
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David, oath of the tennis court,1791 neoclassical grand manner-ish: - not historical, current. - not clear. - what is the universal message? |
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David, death of marat, 1793 Neoclassical grand manner-ish (current event) -decorum, little blood or murder -simple, universalizes marat |
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David, Napoleon crossing the St. Bernard, 1801 -intellect controlling emotion (calm on rearing horse) -current event but alludes to classical (grand manner-ish) -simple |
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Thomas Jefferson, Rotunda at UVA, 1822 period eye in architecture imitating venice |
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Jean Antoine Gros, Napoleon on the battle of Eylau, 1808 romanticism -universalizes Napoleon but not moment -emotional response -color & space |
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Francesco de Goya, Third of May, 1808 romanticism -negative -tenebrism -confusing, emphasizes emotional response -narrow constitutive blanks |
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Theodore Gericault, Raft of Medusa, 1819 -romanticism -current events, emotional -painters as social commentators |
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Eugene Delacroix, Masacre at scion, 1824 |
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Francesco de Goya, sleep of reason produces monsters, 1799 romanticism -moving away from the reasonable, objective -using language of emotion -making fun of Spanish intellectual backwardness |
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Francesco de Goya, saturn devouring his children, 1820 romantic although presents s neoclassical topic -lighting emphasizes disturbing emption -not objective -intellectual, rational -radical rethinking of what art should say |
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Titian, concert, 1510 landscape pastoral painting, 'past' -allows yourself to go through time -classical women show up through philosophical conversation between the men |
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Claude lorrain, landscape with echo and narcissus, 1644 landscape pastoral (subject is classical) -clear, calm, beautiful -raised viewpoint, viewer involvement -dusk or dawn blurs reality -framing landscape |
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ablert Cuyp, on the banks of a river, 1655 landscape Georgic, shows factual life and tradition -lower view point -dramatic sky = God says Dutch lifestyle is ideal |
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Thomas Gainsborough, Mr. and Mrs. Andrews, 1750 landscape Georgic AND pastoral -modern clothes, rural life,responsibility (Georgic) - pastorally structured, ideal landscape, framing -dramatic sky is power of God, England is ideal land |
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Turner, Snowstorm, 1810 sublime landscape, beyond human control -physical threat of sky snow clouds, power of god, smallness of man |
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Albert Bierstadt, Among the Sierra Nevada Mountains, 1868 combined sublime and pastoral landscape -rocks, snow, sun, nature and god -calm peaceful, ideal |
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