Nicola Pisano, Annunciation, Nativity, and Adoration of the Shepherds, relief panel, Pisa baptistery pulpit, 1259-60

late medival Italy

inspired by classical sculptures. Madonna resembles lid figures on roman sarcophagi

Annunciation, Nativity, and Adoration of the Shepherds, relief panel, pulpit, Sant’Andrea, Pistoia, Italy, 1297-1301. Marble 

late medival Italy

figures displayed loosely and dramatically

display a nervous agitation, as if moved by a spiritual agitation 

Nave, Florence Cathedral, Florence, Italy, begun 1296

Late Medival Italy  

compare to Amiens Catherdral-bulkier, simpler , more open, less windows on back wall 

Decoration through different marbles in geometric pattern

Bonaventura Berlinghieri, Saint Francis Altarpiece, 1235. Tempera on wood

Late Medival Italy

• Byzintine Style
• earlyest known dipiction of Saint Francis 
• Six scenes from his life surrounding him 
• Hanging feet
• Flat gold backround( gold leaf)
• All have halos, marking them as saint
• Long robes w/ folds but not much more detail
• Simplified and lacking detail, flattened out, cartoonish The scene is rendered in a way so that you know exactly what is going on without any details getting in the way
• shows his powers/healing

Cimabue, Madonna Enthroned with Angels and Prophets, c. 1280-90. Tempera & gold leaf on wood

Late Medival Italy

still has reliance on byzintine models 

o Three sections

§  Main figures in the center panel and surrounded by the supporting figures in the other two panels

o   No depth, flat.

§  Hierarchy of scale with the main figure, but no perspective with the smaller images

§  Gold flat image

o   Mary is sitting in the thrown, and actually seems to have some weight  as apossed to Saint Francis

the folds are not just decoration anymore as with saint francis, they enhance three demensiallity 

Giotto di Bondone, Madonna Enthronedc. 1310. Tempera and gold leaf on wood

Late Medival Italy 

Female figure instead of a heavenly figure( breasts, knees)

can see chirsts full figure 

moving forward with overalp, even more side profile of figures;

eyes looking up to mary to cue viewer where to look

Throne more physically occupying space 
Sense of a grounding floor made from Italian marble tiles (sense of occupying space) 

Giotto di Bondone, Lamentation, Arena Chapel (Cappella Scrovegni), Padua, Italy, c. 1305. Fresco

late Medival Italy

Scrovegni:

•  Family fortune amassed father, Reginaldo, a moneylender 

•Built to expiate the father’s sin of usury (lending money at 

interest, specifically an exorbitant rate or one that exceeds 

legal limits)

Lamentation...

Mary and Christ front and center/ all focus in on the

   The angels are in various posse

  sYou see the  backs of some people

§ emphasises forground and shows a movement away from byzantine style

individual responses and emotions on faces( mimicked on the angels)

starting to be a 3d scene 

shallow space blocked by a thick rock creating a horizontal edge and bringing your eye directly to the focal point 

use of light gradation was the first step toward use of light and dark to produce modeling ( seen in later renissance works)

Ambrogio Lorenzetti, Peaceful City and Peaceful Country, details from Effects of Good Government in the City and in the Country,Sala della Pace, Palazzo Pubblico, Siena, Italy, 1338-39. Fresco

Late medival italy

depicted rural and urban effects of good government 

shows perspective

Donatello, Saint Mark, Or San Michele, Florence, Italy, c. 1411-13. Marble 

perportions set so that it is in perspective to be looked at from below 

naturalism

Donatello, David, c. 1440-60. Bronze

Quattrocentro Italy 

* First Freestanding Sculpture since Fall of Roman, Greece
* 5 Feet High- Life Sized, Part of Fountain
* Was in Medicci's Courtyard
* 360 View- statue
* Enclosed Form, Sculpurtal Language
* 13 Year Old Boy
* Smooth Surfaces against Broken Surfaces
* Statue depicts the aftermath of David kill Golith

Masaccio, Tribute Money, Brancacci chapel, Santa Maria del Carmine, Florence, c. 1424-27. Fresco 

jesus and followers dipicted as neo-classical archotypes 

Giotto’s influence is evident in the weight and solidarity of the figures and the vividness of their expressions

Masacco utilized  linear and atmospheric perspective

Greater use of directional light allowing him to create even more convincing life-like paintings

After his death Florentine artists build on his use of perspective, light and shadow 

Masaccio, Holy Trinity, Santa Maria Novella, Florence, c. 1424-27. Fresco

Quatrrocentro Italy  

Private family tomb
Money to pay for private chapels that hold private tombs
Commissioned to create wall for tomb 
Fool eye all with painting- flat fresco wall made to look with tomb underneath it and a barrel vault that extends back into space
4 patrons dressed in traditional Florentine garments 
Major destination of artist from the Early Renaissance and on 
Meant to believe we are looking at a marble altar and coffin; columns and pylasters; Roman barrel vault 
Vision of the crucifixion and Holy Trinity 
Complete exercise in linear perspective
"I was once that which you are and that which I am you will also be" carved over head of the skelton (human beings is a very temporary moment) 
Meant to believe skeleton projects out to us; barrel vault receding back into a room that isn't there 
Taking advantage of where we exist in real time and space

Filippo Brunelleschi, Santo Spirito (interior; plan), Florence, designed 1434-36, begun 1446

Quattrocentro Italy 

Latin cross: basilica (basilican plan)
Elements, nave, transept, crossing (140 feet across), clerestory, bay 
Secondary hallway at 90 degrees (point where those meet- crossing) 
Horizontal lines that lead us from front entrance of the church to the crossing 
Space can accommodate 30,000 people but not the 100,000 people in Florence at the time 
Repetitive circles
These cathedrals aren't built quickly
Stood unfinished for about 120 years 
Goal was for all of Florence to worship under the same roof
Wanted it to feel more integrated 
Done in Italian way rather than Northern Gothic way 
Vaulted stone roof- wooden scaffolding

 Leon Battista Alberti, west façade, Santa Maria Novella, Florence,

1456-70

Quattrocentro Italy 

Also commissioned by

Rucellai family

•  Church built in 13th_century 

•  Incorporates three

doorways and six tombs frompre-exising buildings

perfectly semetrical 

Perugino, Christ Delivering the Keys of the Kingdom to Saint Peter, Sistine Chapel, Vatican, Rome, 1481-83. Fresco

Quattrocentro Italy

Private chapel for the worship of popes and cardinals in Rome
Where popes are elected 
Symbolic narrative of Peter being the rock of the church and the first elected pope 
Clear blending of contemporary Italians along with biblical figures 
Linear perspective 
Orthogonals- tiling in the flooring 
All lines converge to one horizon line 
Atmospheric perspective 

aerial perspective (e.g. the fading hills to the immediate left of the temple)
Sense of a wide landscape rather than a shallow stage-like background 
Fooled to not think that this is merely a flat surface with pigment on it

 a prime example of early Renaissance perspectival techniques which have created a three-dimensional space on a two-dimensional picture plane. 

Claus Sluter, Well of Moses, Chartreuse de Champmol, Dijon, France, 1395-1406. Limestone, painted and gilded by Jean Malouel

Late Medieval/Early Renaissance in Northern Europe

shows moses and 5 other prophets sorrounding a base that once supported a crucifixion group

called it the well of ever lasting life

the "blood" of christ would sybloically flow over the greiving angels, redeming anyone who drank water from the wel

intense observation of natural appreance and diffrent textures( classic 15th century) 

Robert Campin (Master of Flémalle), Mérode Altarpiece (open), c. 1425-28. Oil on wood

late medival/ early renissance in northern Europe

three different panels(triptych)

left-  we see the patrons or donors who commissioned this painting( merchant class starting to be able to afford painings)

center- Annunciation the Angel Gabriel announces  to Mary that she is about to conceive the Christ child. The Holy Spiri

right- Nearly every item that we see in the Merode Altarpiececis really a religious symbol

christ child bearing cross- crusifixion+ incarnation

lily+copper kettel- virgin purity

extinguished candle- god become human

scroll+book- old testiment, new testemnet, christ and marys roles in furfulling prophacy 

Jan van Eyck, Giovanni Arnolfini and His Wife, 1434. Oil on wood

late medival/early renaissance

Symbolic elements

•  Clogs- holy ground

•  Dog'

•  Bedpost finial carved as St. Margaret (patron saint of childbirth) 

•  Whisk broom- domestic care

•  Oranges- fertility

•  Scenes of Passion surround mirror 

•  Lit candle in chandelier- all seeing eye of god

distringuished textures

Jan van Eyck, Man in a Red Turban, 1433. Oil on wood

Late medival/early renissance in northern Europe  

written in greek letters- as I can 

sharp and detailed analysis of the physical lines.

Michael Wolgemut and shop, Radeburga page from the Nuremberg Chronicle, 1493. Woodcut 

late medival/early renissance in Northern Europe 

Martin Schongauer, Saint Anthony Tormented by Demons, c. 1480-90. engraving

late medival/early renissance in Northern Europe 

lines of varying thickness and density into a metal plate to create to create awesome variations of tonal values and textures 

Leonardo da Vinci, Madonna of the Rocks, begun 1483. Oil on wood (transferred to canvas)

cinquecentro Italy (16th century)

-          There is no longer a hierarchy  of size, the figures are the right size and three dimensional

-          The landscape has elements drawn from the real world( rocks, flowers) yet as a whole is a fantasy from Leonardos mind

-          Hazy, smoky fantasy soft like way to the background and the figures

o   sfumato- ( latin for smoke, characteristic of his work)

-           The figures are forming a pyramid shape so that we are pulled into a three dimensional

-          The use of their hands

o   Communication between the figures

o   Marys hand acts as a halo

o   The pointed finger brings your eye threw the piece

Raphael, Madonna in the Meadow, 1505-06 Oil on wood

 Cinqentrocino italy (16th century)

emulating leonardos pyramid shape

doesnt have true sfumato 

Raphael, Philosophy (School of Athens), Stanza della Segnatura, Vatican, Rome, 1509-11. Fresco

16th century italy

-          Part of four murals in the library of the Vatican palace( philosophy, theology, law,  and poetry)

-          Draws on classic architecture, with large arches and statues.

-          Practitioners and key people to the development of philosophy are put in the painting

o   Athena and appollo are put in stone

o   Plato and Aristotle are put right in the center and represent to the two vains of thinking

§  Plato- on left and pointing up

·         Account of formation of the universe: attempt to explain its order and beauty

§   Aristotle- right pointing out

-          Addresses questions of how  men should best live , examining the characteristics humans need to best live

        -   The two figures form an organizational element

o   Followers of each are on their sides

o   Heraclitus- on the left bottom leaning on the box

o   Raphael is included as well 

Raphael, Baldassare Castiglione, c. 1514. Oil on canvas

16th century italy

-          Was a good embodiment of the renaissance  man

o   Impeccable character

o   Noble birth

o   Military achievement

o   Classical education

o   Knowledge of the arts

-          Highly detailed showing of the textures of the fabric he is wearing

-          Perching eyes

o   Only place where there is a lot of color 

Michelangelo, David, 1501-04. Marble

16th century italy

-          Michealangelo in generally Is known for  Terribiata- Emotional intensity, physical power, dramatic excitement

-          Bodies contain the emotions

compare to donatellos david....

-          Michelangelo has a lot of emphasis on the anatomy of David looks more manly

-          Danatellos- looks younger and more feminine

-          Michelangelos- The perspective is off the head is large, the hands are huge

-          Michelangelos- about to fight galieth

o   Donatellos- after the fight(standing on head, relaxed) 

Michelangelo, ceiling of the Sistine Chapel, Vatican City, Rome, 1508-12. Fresco

16th century italy

-          Scenes from Genesis

-          Prophets who foretold Christ

-          Christ’s ancestors

-          Nude athletes( perfect beauty)

-          Panels that Show creations, sin, flood, ect – Jonah in the whale starts the scenes

-          Creation of Adam- just before god touches him and gives him life

o   Have heavy muscles, and sculpture quality

o   Adam seems very relaxed

o   God seems aggressive  and about to give life

-          Last  judgment

o   Christ’s large and in the center,

o   Good on the left

o   Damned on the right

-          Self portrait of himself as just skin

•  Sculpturesque form (disegno) 

•  Careful design preparation based on 

preliminary drawings 

•  Intellectual themes ! human epic, 

masculine virtues, the ideal, high-minded/

heroic conceptions of religion 

Giulio Romano, courtyard of the Palazzo del Tè, Mantua, Italy, 1525-35

mannerism

o   Conscientious disruptions

·    Broken architrave( the top is not constant)

·   Slipping triglyphs( above the architraves)

·   Projecting keystones

·   Massive columns/ narrow architrave

o   Visual/ physical game

§  To show of the knowledge/ learning 

Giovanni Bellini, Madonna and Child with Saints (San Zaccaria Altarpiece), 1505. Oil on wood transferred to canvas

16th century italy 

Venice vs. Florence & Rome: 

•  Venice ! 

•  Color (colorito) 

•  Focus on color and process of paint 

application 

•  Themes involving poetry of the senses, 

delight in nature’s beauty, pleasures of 

humanity 

•  Central Italy ! 

•  Sculpturesque form (disegno) 

•  Careful design preparation based on 

preliminary drawings 

•  Intellectual themes ! human epic, 

masculine virtues, the ideal, high-minded/

heroic conceptions of religion

Titian, Venus of Urbino, 1536-38. Oil on canvas

16th century italy

-          For the duke of Orbino

-          Cut into foreground/ background

o   The reds balance the painting

o   The puppy helps to balance the weight of foreground/ background

o   Underlying geometric shapes

-          Uses the texture of the canvas to create the soft transitions from the  outline of the figure to the center

o   Pushed the boundaries of what was known to be possible with oil paints

-          Giorgione has the figure sleeping

o   Titian has her looking right back at the figure 

Tintoretto, Last Supper, 1594. oil on canvas

mannarism

-          Venice Italy

-          Overall dark room but with burts of light

o   Christ’s halo

o   Smaller ones on the apostles

o   Lamp that illuminated the two women

§  Similar to the muses

COMPARE: Leonardo da Vinci, Last Supper, c. 1495-98. Oil and tempera on plaster (22-4)

-          Tintoretto put the table into a diagonal to show perspective in a different way

-          The decoration/ setting in de vinci has the grid that puts Christ in the dead center

o   Tintoretto looks much more common  in its setting and there are other people on the composition

-          Tintorettos looks louder/ more chaotic

§  Leonardo’s looks orderly and has a quite aspect  

Jacopo da Pontormo, Entombment of Christ, Capponi Chapel, Santa Felicità, Florence, Italy, 1525-28. Oil on wood

mannerism

o   No way to know exactly where in the narrative the scene is

o   A floating quality, very bright and don’t seem to be holding the weight of a dead body

o   The bodies are off they have long backs/ spines

o   No super clear center besides the void of hands 

Matthias Grünewald, Isenheim Altarpiece, c. 1510-15. Oil on wood

16th century europe

o   For a hospital church

o   The central scene of the crucifixion

·         Christ is a little off center

·         Also off center in the bottom( the entombment

o   The placements of Christ was intentional

·         When opened he would be separated from his arm in the crucifixion and legs in the entombment( solidarity with patients)

·         Very gruesome

·         Also solidarity with patients 

Abrecht Dürer, Self-Portrait, 1500. Oil on wood

16th century europe

o   Painter, draftsman, writer, printer

·         Elevated printmaking to the level of independent art form, increasing its tonal and dramatic range

o   Engaged with artistic practices and theoretical interests of Italy

o   Engaging the viewer, staring straight at us

o   Takes on a Jesus like look

o   Incredible detail

§  Hair, fur, hands

o   Hand is shown in the center as a node to his “genius” ( crafts with his hands) 

Albrecht Dürer, Fall of Man (Adam and Eve), 1504. Engraving

16th century northern europe

o   Takes place in a forest in northern Europe

o   Can see the muscles of the two figures

o   Adam is based on Apollo belvedere stature 

Hans Holbein the Younger, The French Ambassadors, 1533. Oil and tempera on wood

16th century northern europe 

o   Goes to England from Switzerland in 1526-28 and 1532-43

o   Patronized by Tudor court and king henry VIII

o   Brought knowledge of renaissance painting and interests to England

o   Shows two ambassadors

o   Many instruments

§  Musical, globes, books, ect

·         To show that they are worldly and educated

o   Weird flattened scull on the bottom

§  If you stand at a certain angel, or use a curved mirror you can see the actual scull

§  The scull is a reminder of your mortality

·         Regardless of what things/ knowledge  you have you are not immune to death 

Pieter Aertsen, Butcher’s Stall, 1551. Oil on wood

16th century northern europe

o   in butchers there is a person a donkey and children in the background          

§  a showing of religion is the background but is overtaken by contemporary life

o   becomes more of a still life

the genre/ everyday life painting is coming into fashion 

   El Greco, Burgial of Count Orgaz, 1586. Oil on canvas

16th century northern europe

o   Born in Crete moved to venice, Rome, and spain and eventually settled in Toledo

o   Count orgaz

o   Was a benefactor of church of Sanro Tome, for which the painting was commissioned

o   Two distinct realms

§  Earthly

·         Tighter, realistic

§  Heavenly

·         Looser paint, more  dissolved, stretched figures

Carlo Maderno, east façade of Saint Peter’s, Vatican City, Rome, Italy, 1606-12 

baroque italy+spain

o   Classical artitctual figures

§  Symmetrical

§  Foe Roman temple front

§  Corinthian style columns

o   Baroque changes

§  Cluster of columns in the center

§  Accumulation of figures at the top

§  The dome is more vertical and no longer a perfect circular form 

Bernini, baldacchino, Saint Peter’s, Vatican City, Rome, 1624-33

baroque italy and spain

o   bees

o   Cathedra petri- thrown of saint peter

§  Chair claimed to have been used by peter, enshrined

o   The baldachinno creates a frame for the chair

§  The columns are shaped as they were in the ancient temple of Solomon

o   Over 100 feet tall 

Bernini, David, 1623. Marble

Baroque spain+italy

o   In action, ready to fight, unleashing  of the pent up anticipation 

Caravaggio, Entombment, c. 1603. Oil on canvas

baroque in spain and italy

o   He is known for the simplicity of his characters and the people who populate them

§  Look off the street, look plain

o   Christ’s feet are dirty

o  Contrast between light and dark

o   Looks like the figures are under a spotlight

o   Tenebrism- violent contrasts of light and dark

o   Transubstantiation- transformation of the Eucharistic bread and wine into the body and       blood of Christ

o   The idea goes off the page( by putting the tomb at the bottom directly above a real alter)

had many followers  

1.      Annibale Carracci, Flight into Egypt, 1603-04. Oil on canvas (24-15)o  

baraque italy and spain 

Creates scenes that are reminiscent of earlier renaissance as compared to caravaggio and other painters at that time 

Diego Velázquez, Las Meninas (The Maids of Honor), 1656. Oil on canvas

baroque italy and spain

main figure is the young girl in the front 

  Valazquez is in the painting

§  Painting an unknown work

mirror in back with king and queen reflextion

intamite portrait 

Peter Paul Rubens, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood

baroque in northern europe  

o Three part alter piece

o   Composition has the strong diagonal line of Christ, the line to the left, and the opposing diagonal to the left

o   Strong emphasis on the anatomy and strength of men

o   Using shadow to Highlight the musculature of the men

o   Activation of the muscles, by putting the figures in positions of action

o   Baroque elements....

Contortions of figures

   Drama/ theatricality

o     The base of the cross is implied to sit inside the church itself, pushing the Christ out into the    church 

Peter Paul Rubens, Consequences of War, 1638-39. Oil on canvas

baroque in northern Europe 

o   Produced for ferdinando II de medici, duke of Tuscany

o   His brush strokes have become looser

o   Each figure is a symbol for what happens during war

o   God of war in the military outfit.....

o   Trampling the women holding a musical instrument

o   Stomping a book

o   Venus- god of love...

o   Trying to stop the god of war

Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen, c. 1670. Oil on canvas

baraque in northern Europe

o   The sky is the main focus

o   Clouds

o   Opening up in the field

o   Reference to the textile industry

o   City of harlem on the horizon line

o   The church is most visible 

Frans Hals, Archers of Saint Hadrian, c. 1633. Oil on canvas

baraque in northern Europe 

o   the group portrait came about to help the backlash that was coming from the middle class about ostentation complicated the traditional approach

o   vary relaxed and seem informal

o   more figure condensed on the left side

o   right opens up into a backround

o   important in group portraits

o   try to not make any figure stand out to much

o   make sure everyone is visible

o   amount paid by each individual is less by how much they are shown 

Rembrandt van Rijn, Self-Portrait, c. 1659-60. Oil on canvas 

 baroque in northern Europe

o   Rembrandt....

o   trained as a history painter but become known as portraitist

o   created religious and allegorical images

o   printmaker, excelling in etching, in addition to painter

o   loose brush strokes

o   did not try to make himself look like more the he is

o   painted himself in his painting outfit with his brush

o   the circles

o   mark of talent to draw a free hand circle 

Rembrandt van Rijn, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas

baroque in northern Europe

o   Originally lighter

o   focal point on the figures in gold, and light

o   around the man in black, the leader

o   girl in gold symbolic

o   the type of the artillery is the areqebus and the claw of the chicken is an emblem

o   she holds a chicken claw

o   and a gold cup that is also the emblem 

Rembrandt van Rijn, Christ with the Sick around Him, Receiving the Children (Hundred-Guilder Print), c. 1649. Etching

baroque in northern Europe

hundred quilder print

 o   known for his master of etching

o   a kind engraving in which the design in incised in a layer of wax or varnish on a metal plate. The parts left exposed are then etched by acid

o   sunburst around Christ

o   dark vs light of the figures that are in light from Christ or not

o    

Nicolas Poussin, Et in Arcadia Ego, c. 1655. Oil on canvas

Baroque in northern Europe

figures based on roman sculpture

tomb in center saying I too am in arcadia( death in also in arcadia)

Hyacinthe Rigaud, Louis XIV, 1701. Oil on canvas

baroque in northern Europe

rule by divine right- believe in kings absolute power as god's will

sun king

art and architure in service of state and louis agenda of absolute power

literaly looking down on us

pompus 

 Sir Christopher Wren, west façade of Saint Paul’s Cathedral, London, England, 1675-1710 (25-38)

baroque in northern Europe 

1.      François de Cuvilliés, the Amelienburg, Munich, Germany, early 18^th century (26-3)

Rococo

o   Single level building not very fancy on the outside

o   The intererier is fancy

o   Use of shells and softening of edges between wall and the ceiling

o   Light, danty, thin

o   No great narrative 

mirrors make the small room look larger

Antoine Watteau, L’Indifférent, c. 1716. Oil on canvas

rococo

o   Carefree, childlike, weightless

o   Softness in the face, and the pose

o   Loose and blended brush strokes in the backround

o   Tighter brush strokes in the clothing

o   ballet stance

Jean-Honoré Fragonard, The Swing, 1766. Oil on canvas

rococo

o   Invented narrative

o   Lush green overgrown setting

o   Misty moist

o   Nice cupid statues

o   She doesn’t know that the front guy is there

o   He can see up her skirt

o   Illicit sexual nature

o   The statue saying shhhh

1.      Joseph Wright of Derby, A Philosopher Giving a Lecture at the Orrery, c. 1763-65. Oil on canvas 

the enlightenment 

o   Orrey...

 Mechanical model of solar system demonstrating how planets revolve around sun

o   Figures......

o   Philosopher

o   Note taker

o   Women

o   Two men

o   Children

o   Not just the scholars that are involved in this new science

o   No visible brush strokes

o   Realistic

o   High contrast light

Jean-Baptiste-Simeon Chardin, Saying Grace, 1740. Oil on canvas

the enlightenment

o   Return to “ignorance, innocence, and happiness” of nature

o   Elevation of feelings above reason

o   Elevation of peasant life- perceived as possessing simple, honest and unblemished emotions

o   Earthen tones, natural, untouched feel

o   Bareness of the surroundings

o   sweetness 

Jacques-Louis David, Oath of the Horatii, 1784. Oil on canvas

neoclassicism

o   Distant relative of boucher

o   Rejected rococo style as artificial

o   Favored classical tradition and “perfect form”  of greek art

o   Winner of prix de rome in 1774

o   Horatti family

  the City  is at war with neighboring city so an Agreement made to send 3 greatest warriors to fight battle for rest of citizens

woman wheeping over there departure 

o   Division of three

o   The arches, women, men,

o   The arches roughly frame each group

o     the men are hard, aggressive, strong, angular, stable, arms out,

the women are weak, drapped,  soft in every sense, shrieked down and into themselves

the rational vs emotional 

Jacques-Louis David, Death of Marat, 1793. Oil on canvas

neoclassicism 

o   Jan paul marat...

o   Writer, friend of david

o   Murdered by charlotte Corday, member of rial political group

o   Had skin disease that had him in a bath

not entirely graphic, not a lot of distress on face

turns him into a political martyr when comparing to Michelangelo's  Pieta,

Thomas Jefferson, Rotunda and Lawn, University of Virginia, Charlottesville, Virginia, 1819-26

neoclassicism

modeled closley to the pantheon

Horatio Greenough, George Washington, 1840. Marble

neoclassicism

o   Crafted in the tradition of ancient statuary...... 

comare to drawing of statue of zues at olympia 

o  Bare chested

o   Athletic build

o   One hand told  sky

o   One offering toward us

o   Mixes idea of portrait and athletic build