Tempest 

Giorgione 

1500-25 

Venitian High Renaissance 

Equilateral triangle composition, capture poetry of nature, moody, emphasis on landscape, painterly style, possibly illustrates Christian virtues.

Pastoral Symphony 

Giorgione 

1500-25 

Venitian High Renaissance

Celestial vs. terrestrial love; disguised symbolism with water-baptism, purity; woman on ground-suggests fertility, shepard is possibly Christ-like

Bacchanal 

Titian (most famous painter of VHR)

1500-25 

Venitian High Renaissance 

Mythological subject matter; right angle triangle composition, dramatic light and shade; texture emphasized, focused on surfaces

Pesaro Madonna 

Titian 

1525-50 

Venitian High Renaissance 

Right angle triangular composition; primary colors, expressive gestures and eye contact to lead through painting; sheen of fabrics, attention to surfaces.

Man with a Blue Sleeve 

Titian 

1500-25 

Venitian High Renaissance 

Physiagonomic portrait:not environmental; separated viewer from subect with ledge, focus on details. 

Venus of Urbino 

Titian 

1525-50 

Venitian High Renaissance 

First nude in a bedroom (popular in Venice)*; marriage painting or stimulating love making; attention drawn to her groin; symbolism with dog/color.

Rape of Europa 

Titian 

1550-75 

Venitian High Renaissance 

Looser, more painterly style; right triangular composition; mythological subject matter; modeling done in color; pemiento-little mistake:redoing of tail.

Villa Rotunda 

Polladio 

1550-75 

Venitian High Renaissance 

Going back to the roots of classical Greek architecture-when it was domestic; pleasure palace; similar to Greek pantheon; bilaterally symmetrical, proportional rooms, 3 tier motif; architecture like body:core is the biggest.

Descent from the Cross 

Rosso Fiorentino 

1500-25 

Mannerism

Unusal, high key tonality color palette; unrealistic stance/composition; abrubt change from foreground to background, purposefully doesn't make sense.

Deposition 

Pontormo 

1525-50 

Mannerism 

Center is nolonger focus; figures arranged unrealistically; modified colors, using light to change colors, inconsistant light source; linear style.

Tomb of Giuliano-Medici Chapel 

Michelangelo 

1519-34* 

Mannerism 

Represents the active life, mannerism: more exaggerated anatomy; shows man's dominion over time, two figures represent night and day.

Vestibule of Laurentine Library 

Michelangelo 

1550-75 

Mannerism 

Dramatic scale for room, designed to not work well, ellicit psychological response; recessed columns on second floor, irregular windows, mismatching caps create ironies in the work.

The Last Judgement 

Michelangelo 

1525-50 

Mannerism 

Sistine Chapel's west wall; exaggerated idealized anatomy; no clarity or simplicity of gestures; off balance Christ represents the instability of Italian culture; self portrait in martyred saint's skin.

Eleanora of Toledo and her Son 

Bronzino 

1525-50 

Mannerism 

Linear style portrait, stiff pose, idealized face/body, averting of the eyes for courtesy, ideal beauty rather than realism.

Allegory of Venus 

Bronzino 

1525-50 

Mannerism

Idealized figures with exaggerated anatomy; elongated figure types; things aren't what they seem: love appears to be sweet but has a stinger; scandalous subject matter.

Rape of the Sabine Women 

Giovanni da Bologna 

1575-1600 

Mannerism

Multiple views-must walk around; serpentine line travels up through figures; first free standing compound sculpture**

Madonna with the Long Neck 

Parmigianino 

1525-50 

Mannerism 

Elongated figure types; unstable positions- Baby Jesus is about to fall off her lap; unusal composition: figures crammed in corner and abrubt change to background; flat columns, old baby, sexualized virgin.

Palazzo del Te Courtyard 

Giulio Romano

1525-50 

Mannerism 

Blind windows, pediments with no columns, entableture slides down in places, arch and pier: redundant, keystone not dropped all the way: cracked pediment.

Palazzo del Te: Room of the Giants 

Giulio Romano 

1525-50 

Mannerism 

Made to feel like the room is falling in on you; dramatic presentation; continuation of theme from courtyard.

Jupiter and Io 

Correggio 

1525-50 

Mannerism 

Idealized, elongated figure type; overly sensuous which made it manneristic.

Self Portrait 

Sofninisba Anguissola 

1550-75 

Mannerism 

Demonstrating her skill and advertising herself as an artist; closer to a High Renaissance style; demonstrates she can work on many scales; one of first woman artists of "modernist era"**

Burial of Count Orgaz 

El Greco 

1575-1600 

Mannerism

Biforcated space. stable equilateral triangle on top; primary colors; dramatic chiascuro; energetic curving lines; elongated figure types.

Isenheim altarpiece 

Grunewald 

1500-25 

Northern High Renaissance 

Emphasis on the emotion of the crucifixion; line, color, and figure type all point to the agony; meant to encourage those with skin diseases, flips open to show Christ being resurrected.

Adam and Eve 

Durer 

1500-25 

Northern High Renaissance 

Engraving; blend of Netherlandish style with Italian High Renaissance; unidealized face, idealized bodies; disguised symbolism in animals; cat/mouse-peacefulness

Self Portrait 

Durer 

1500

Northern High Renaissance 

Idealized features; full scale frontal portrait-imposing figure, assertive; even illumination

Four Apostles 

Durer 

1523-26* 

Matthew, Mark, Luke, and John; disguised symbolism-the four humors: melancholy, sanguine, legmatic, cholerate; high renaissance bodies with Norther renaissance faces

Henry VIII 

Holbein 

1525-50 

Northern High Renaissance 

Meant to impress with full frontal pose; imposing composition-occupies almost whole frame; glove as a status symbol; linear style.

The Ambassadors 

Holbein 

1525-50 

Northern High Renaissance 

Memento maury-remind us that we will all die; linear style; the discord of the world.

Return of the Hunters 

Bruegel 

1550-75 

Northern High Renaissance 

INTRODUCTION OF GENRE PAINTING; series of four seasons; emphasis on shape, form; atmospheric perspective.

Peasant Wedding 

Bruegel 

1550-75 

Genre painting; ordinary people in subjects of painting for wealthy people- remind themselves of their roots, remember where they came from, where they don't want to go back to.

Calling of St. Matthew 

Caravaggio 

1575-1600 

Caravaggio Style Italian Baroque

Earth tone color palette, spiritualizing light, ordinary people, individualistic faces, penebrism-dramatic light/shade

Conversion of St. Paul 

Caravaggio 

1600-1625 

Caravaggio Style Italian Baroque 

Earthtone colors, ordinary figures, penebrism, foreshortening-engaging the viewer, use of diagonal for drama, emotional appeal to viewer, making religion relatable.

Judith and her Maidservant with the Head of Holofernes 

Artemisia Gentileschi 

1625 

Caravaggio style Italian Baroque 

Penebrism, foreshortening, realistic figure types/faces, limited color palette.

Self Portrait as an Allegory of Painting 

Artemisia Gentileschi 

1625-50 

Portraiture

Demonstrating her skill as an artist, portraying herself as the embodiment of painting.

Loves of the Gods 

Annibale Carracci 

1597-1601* 

Classticizing Baroque 

More variation in anatomy than Michelangelo, similar colors as High Renaissance, parallel to picture frame, more exaggerated expressions and poses, higher degree of illusionism, more dramatic lighting, fresco.

Landscape with Flight into Egypt 

Annibale Carracci 

1600-1625 

Landscape-Italian Classticizing 

Land divided up into wedges of foreground, middle ground, background with correlating colors; idealized palette; focus on form; atmospheric perspective in background, inclusion of people to justify painting.

Aurora 

Reni 

1600-25 

Classticizing Baroque 

Figures parallel to picture frame, brighter colors than High Renaissance, no change in perspective to account for ceiling, overlapping planes, idealized figures, mythological subject matter. 

Aurora

Guercino and Tassi 

1600-25 

Classticizing Baroque

Worm's eye perspective, highly illusionistic: show the bottoms of the figures as if walking across sky; high energy, foreshortening, dramatic lighting.

Triumph of the Name of Jesus- Il Gesu, Rome 

Gaulli 

1675-1700 

Dynamic Baroque

Highly illusionistic, if you can't trust your senses, trust your faith; spiritualizing light; "fool the eye" realism, made to look like a hole in the ceiling.

Allegory of Divine Providence 

Pietro da Cortona 

1625-50 

Dynamic Baroque 

Illusionistic 'hole in ceiling', family emblem-bees, crossed keys- sign of Pope, no static lines, lots of diagonals coming from corners.

St. Peter's facade 

Carlo Maderno 

1600-25 

Classicizing Baroque 

Monumental size makes it baroque, designed to impress, columns influenced by classical Greek, movement, color, attention getting.

St. Peter's Colonnade 

Bernini 

1650-75 

Dynamic Baroque

Massive scale, arms encircle plaza, bigger, better, more dramatic; 

San Carlo alle Quattro Fontane 

Borromini 

1650-75 

Dynamic Baroque 

Concave/convex movement; layout made like lungs, meant to breathe, move; organic design.

David

 Bernini 

1600-25 

Dynamic Baroque 

Energy, movement, transitory facial expression and pose; multiview sculpture; make you feel like he is moving.

Ecstacy of St. Theresa 

Bernini 

1645-52* 

Multiple mediums; movement in the architecture; illusion of floating on a cloud; intense color palette, lots of texture and detail; nowhere for the eyes to rest.

Water Carrier of Seville 

Velasquez 

1600-25 

Caravaggio style Baroque 

Earthtone palette, everyday subject matter, emphasis on texture, disguised symbolism:water-baptism; three ages of men.

Maids of Honor (Las Maninas) 

Velasquez 

1650-75 

Portraiture, Groups/Self Portrait 

Painterly style; demonstrate artist's social status; environmental portrait.

St. Serapion 

Zurbaran 

1625-50 

Carravaggio style Baroque

Still, quiet paintings; fills up whole frame-important; sense of heaviness.

Raising of the Cross

 Rubens 

1600-25 

Dynamic Baroque 

Use of diagonal line to create drama, triptych, idealized physicality, emphasis on textural realism-Northern European influence.

Marie de Medici Landing in Marseilles 

Rubens 

1600-25 

Dynamic Baroque 

Political subject matter, line divides real, static people from active mythological people, use of reflected color, textural realism, color palette links whole composition.

Garden of Love 

Rubens 

1625-50 

Dynamic Baroque 

Highly energized diagonal line, engery in th ecupids, billowing fabrics, allegorical, fountain was disguised symbolism-fertility. 

Still Life with Fruit and Flowers 

Rubens 

1600-25 

Still Life 

New subject matter*, usually reserved for women, demonstrate wealth and abundance, flies and crickets demonstrate transubstantiation-spirituality.

Still Life with Parrot

De Heem 

late 1640's* 

Still Life 

Appeal to all the senses, show abundance/ability to trade-foreign goods, varying colors and textures.

Jolly Toper 

Hals 

1625-50 

Portraiture: Dynamic Baroque 

Painterly dtyle, transitory movement and facial expression,.

Banquet of the Officers of the St. George Civic Guard 

Hals 

1600-25 

Group Portraiture

Protestant country-more plain, less religious subject matter; make sure everyone can recognize themselves, diagonal motif throughout to tie all together, leaders put on close side of table.

Self Portrait 

Leyster 

1625-50 

Portraiture 

Transitory movement, example of painting for speculation*, dynamism of expression/gesture.

The Proposition 

Leyster 

1625-50 

Caravaggio style baroque?

Dramatic lighting, moral lesson-teaching good v. bad, designed for domestic interiors.

Blinding of Sampson 

Rembrandt 

1625-50 

Caravaggio style baroque 

Earthtone palatte, dramatic light, diagonal energixing line, not idealized. Rembrandtesque chariscuro* figures emerge from a dark background, religious moral, emphasis on texture-Dutch tradition.

Night Watch 

Rembrandt 

1625-50 

Caravaggio style/Group portraiture 

Tenebrism, wave-like pattern composition, detailed painterly style, foreshortened arm.

Christ Healing the Sick

Rembrandt 

1625-50 

Print Etching 

Softer, more free lines than etching; main figure centered, tallest, eminating light, dramatic use of light and dark, Rembrantesque.

Bathsheba 

Rembrandt 

1650-1675 

Caravaggio style? 

Not idealized figure-dimples and fat; how was this perceived? was it biblical or pornographic?

Self Portrait 

Rembrandt 

1650-75

Caravaggio style? 

Rembrandtesque modeling/lighting; shows a successful time in his career: frontal full portrait, bright color, taking up most of space; painterly style.

Pelkus Gate near Utrecht 

Van Goyen 

1625-50 

Dutch Naturalistic Landscape 

Emphasizes atmospheric effect, detailed textures, focus on the surfaces of objects, 2/3 sky, what you see is based on the weather.

Bleaching Grounds Near Haarlem 

Ruisdael 

1650-75 

Dutch Naturalistic Landscape 

Low horizon line shows effect of sunlight on land, emphasis on the textures/different surfaces.

Jewish Cemetary 

Ruisdael 

1650-75 

Dutch Naturalistic Landscape 

Interest in cloud/light, ruins, dead tree, sarcophaguses-images of death, rainbow-sign of hope.

Still Life 

Heda 

1625-50 

Still Life, Baroque

Textural variation to show skill, foreshortened plate, allegory of the senses, memento maury.

Still Life 

Ruysch 

1700 

Still Life 

Shows cycles of life which relates to other cycles of life: life-death, snail and moth: movement from earth to sky.

Feast of St. Nicholas 

Steen 

1650-75 

Genre Painting 

Genre painting was big in Dutch culture, comical, everyday scence, teaches a lesson: good children get a sock full.

Woman Holding a Balance 

Vermeer 

1650-75 

Genre Scene 

Interest in textures, scene of every day life, geometric, simple, contemplative. Possibly talking about the last judgement: scale and poster behind her.

Officer and Laughing Girl

Vermeer 

1650-75 

Genre Painting 

Demonstrate textures, soft lighting, map in background.

Joseph the Carpenter 

La Tour 

1625-50 

Caravaggio Style Baroque 

French, earth tones, dramatic lighting, everyday figures, simplified shapes of figures, effect of light on hand, making the Christian message more personal: Christ as a child. 

Abduction of the Sabine Women 

Poussin 

1625-50 

Classicizing Baroque 

French, architecture creates a stable composition, figures parallel to picture frame, facial expressions for each emotion.

Death of Germanicus 

Poussin 

1625-50 

Classicizing Baroque

Moral: Dying For one's country, secular subject matter, figures organized parallel to picture frame, r/y/b but more saturated, more exaggerated muscles, demonstrate history painting can be just as moralizing as religious work. 

St. John on Patmos 

Poussin 

1625-50 

Italian Classicizing Landscape 

Focus on form and structure, formulated color palette-green,gold,brown, justified with a biblical figure, separated into foreground, middle ground and background. 

Pastoral Landscape 

Claude Lorrain 

1625-50 

Mix of Dutch Naturalistic and Italian Classicizing 

Figures justify the painting, broken up into three planes, focus on form, atmospheric effect.

Versailles Garden Front 

Le Vau and Mansart 

1669-85* 

Classicizing Baroque 

Symmetrical, imposing, unity through repetition, 3 part division, classical vocabulary: columns, entabletures, arches. In/out movement.

Hall of Mirrors, Versailles 

Mansart, Le Brun, Le Vau 

Begun 1678* 

Classicizing Baroque 

Huge overwhelming effect, meant to reflect outdoors, unity through repetition of shapes, geometrically broken up.

Salon of War, Versailles 

Mansart, Le Brun, Le Vau 

Begun 1678* 

Classicizing Baroque 

Multimedium, stabilized with geometric shapes and horizontal/vertical lines, keep eye always moving.

room from Hotel de Varengeville, Paris 

Pineau 

1725-50 

Roccoco 

Pastel colors, bouncy mirrors to reflect light, use of curves in architecture and furniture, very active, decorative touches in architecture.

Pilgrimage to Cythera 

Watteau 

1700-25 

Rococo 

Small piece, pastel, high key tonality, "c" curve used, amorous subject matter, interest in texture, small delicate people-tiny hands and feet.

Portrait of Madame de Pompadour 

Boucher 

1750-75 

Rococo 

For upper class, lots of detail, emphasis on texture, light, delicate female, tiny hands and feet, leisure activity.

The Swing 

Fragonard 

1750-75 

Rococo 

Small delicate figures, C curves, pastels, speckly light and shade, atristocratic passtimes, amorous overtones.

Back from the Market 

Chardin 

1725-50 

Rosseau's ideals about being close to the earth, interest in textural variation, working class, idealized body type.

Brioche 

Chardin 

1750-75 

More homey and reachable than other still lives, textural variation.

Satyr and Bacchante 

Clodion 

1775-1800 

Rococo

People are connected to nature, sexual overtones, figure type: small hands, feet, curves.