Intro to Western Art FINAL EXAM

Roccoco Period

18th century Era of King Louis XV (1710-1774) Often looked over because this is the century of music and philosophy The artwork produced during this period is consisted feminine and reflective of the aristocracy.

Proto-romanticism

Include feeling in nature; when nature carries emotion in a painting

Chiaroscuro

Italian for "light and dark." A painting method of modeling form through the use of light and shade; The treatment of light and shade in a work of art, especially to give an illusion of depth.

Sfumato technique

Italian for smoke; used to describe subtle and smooth transitions from light to dark with small brush strokes. Depicted in the Portrait of Ginevra de Benci.

Rilievo schiacciato

Italian term for flattened relief; refers to a kind of sculpture initiated by Donatello in which distance and perspective are achieved by optical suggestion rather than sculptural projection.

The Jolly Toper

L: Netherlands A: Frans Hals M: Oil on canvas P: Baroque (Dutch) S: Depicts a jolly, male drinker offering us a drink and greeting us as we enter the room. We are close to the individual and this work is less a portrait and more a dramatic moment. Painting contains spontaneity and is an instantaneous moment. The swiftness of his brush strokes reflect how "quickly" this moment is taking place. Shows off Hals' skills as an artist in his creation of a lively character. Engages the viewer.

Characteristics of Romanticism

National pride, realistic renditions of one's country, landscape, foregrounding the common man and historically significant scenes (especially contemporary ones). Romantic art focused on emotions, feelings, and moods of all kinds including spirituality, imagination, mystery, and fervor. The subject matter varied widely including landscapes, religion, revolution, and peaceful beauty. The brushwork for romantic art became looser and less precise

Atmospheric perspective

Painting technique in which color is washed out over distance; depictions transit from sharp and crisp to burry and washed out, creating a sense of depth. Used by Masaccio in "Tribute Money" fresco.

Sublime and picturesque landscape

Picturesque is an inviting, more idealized scene Sublime is a threatening landscape that is not inviting for the viewer/no way of the viewer entering the space.

Characteristics of Baroque period

Powerful, dramatic naturalism that helped convey the theme or message of a work. Introduction of the landscape as subject. Also touched on social inequalities, religious subjects and other sources of indulgence such as love, food and beverages. Typically genre scenes with heightened drama. Introduction of techniques such as impasto, tenebrism, and proto-romanticism. Heavy use of chiaroscuro (originally seen in da Vinci portraits). In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.

Woodcut

Relief technique in which an artist carves a block of wood, leaving ridges and carving between them. Ridges are inked so the paper picks up the image. What is printed is the reverse. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print.

Characteristics of High Renaissance

Rise of the artist and authorship. More prominent artist signatures. Imaginative and original works inspired by religious events. Burden of interpretation is shifted to the viewer. Primarily oil paintings, frescos, and sculpture. Sculptures have an emphasis on individual character and personality and are inspired by Romans. Contrapposto and use of gesture are present. Paintings are religious in tone but the artist takes artistic license in their representations of religious figures.

Characteristics of Early Renaissance

Social history overtakes the work itself; understanding of and reliance upon antiquity; idealized replications of nature; balance and clarity in compositions; emotional power

Tenebrism

a style using strong contrasts of light and dark to heighten the impact of a painting; the use of strong chiaroscuro and artificially illuminated areas to create a dramatic contrast of light and dark in a painting.

Impasto technique

layering of paintings and glazes to achieve textured and atmospheric effects. Used by Rembrandt.

Intaglio printing

means "to cut into." A relief technique in which an artist carves into a copperplate with a burden into the metal. The grooves will be inked and reflect positively what was carved. The ink forming the design is printed only from recessed areas of the plate

The Birth of Venus

L: Italy A: Botticelli M: Tempura on canvas P: Italian Renaissance S: Depicting Aphrodite/Venus (the goddess of love) and her "birth" signifies the hope of the coming spring. She is in contrapposto, suggesting movement and representing the body linearly. Botticelli has little interest in depth or weight. Wants to create an ethereal, magical figure. Aphrodite is dressed only on her hair. Unmodeled use of light and dark. Aside from the Kore figures of archaic Greece and Praxitiles' female nude, female figures up to this point were much less prevalent in art. Life-sized. The figure on the left is about to cloth Vennus in Spring. This is imaginative and Botticelli is creating something new.

Man in the Blue Sleeve

L: Venice A: Titian M: Oil on canvas P: High Renaissance S: Sleeve is nearly the subject of the painting. Elaborate textures in the soft sleeve demonstrate artist's technique. Titian's signature is inscribed in the block of stone. This is an active, engaged portrait; appears as though the man just turned his head to look at the viewer and his elbow is suspended; there is a sense of imminent movement and action. Modulation of gray in the background creates a halo effect. Similar to Mona Lisa and Jan van Eyck's "Portrait of a Man (Self Portrait)."

Tribute Money

L: Brancacci Chapel, Florence A: Masaccio M: Fresco P: Italian Renaissance S: Depicting the life of St. Peter, a rare subject matter. Three scenes are shown. 1) Time when Christ and his disciples were confronted by a Roman tax collector demanding taxes owed to Caesar. 2) Peter finds a coin from the mouth of a fish and 3) Peter pays the tax collector. At its core, this fresco is depicts a confrontation between the spiritual and material world. Coincides with Florence instituting its first income tax. This fresco is social commentary on this change. Language of gesture carries the drama and creates continuity between the three scenes. The fresco is not in narrative order. Masaccio did the three scenes on a unified landscape in order of emphasis. The confrontation between disciples and tax collector is the most important. The composition (with orthogonals and horizontal lines) draw our eyes to Christ. Masaccio uses atmospheric perspective (color is washed out over distance) to create a sense of depth.

David

L: Florence, Medici Palace Courtyard A: Donatello M: Bronze, sculpture in the round P: Italian Renaissance (southern) S: Depiction of David, the shepherd boy who fought with Goliath the giant. Without context, not easily identifiable as a religious subject, creating a disjunction between form and content. The body is highly feminized and apparent paganism. First free-standing bronze nude in over 1000 years. Made for a private family audience (Medici family). Introspective, almost smiling to himself, and standing atop the severed head of Goliath. Sensuous in its tactility -- sculpture is meant to be touched and interacted with. His hat has a laurel crown on top indicative of victory. First work that crossed social boundaries and ranges of acceptability by depicting David as nude.

The Tempest

L: Venice, Italy A: Giorgione M: Oil on canvas P: High Renaissance S: Subject of the composition is the landscape with lightening as the most dramatic aspect of the painting. The flash is visible on the surrounding buildings. Two individuals are depicted on the edge of a knoll, separated by a ravine. This painting marks the introduction of landscape and pastoral compositions. Pastoral means "a perfect world, a world of Arcadia." Develops in the visual arts prior to music and literature. Could also be painting that lacks a subject. Tonal, rich coloristic effect connotes atmosphere and temperature This painting is enigmatic and the viewer doesn't have a clear idea of the message; it is what you make it.

Judith and Her Maidservant with the Head of Holofernes

L: Italy A: Artemisia Gentileschi M: Oil on canvas P: Baroque (Italian) S: Depicts the story of Judith, a Jewish widow, and her maidservant who traveled to the tent of Assyrian general Holofernes, got him drunk, and severed his head with his own sword. This act saved the Jewish people from an attack led by Holofornes. Shows the maidservant stuffing his head into a sack as Judith gazes out toward an unknown subject and gestures with her left hand. Air of mystery and suspicion since Judith deceived her enemy and killed him. Their faces are lit by candlelight, another use of tenebristic effect by Gentileschi. Rich, tonal colors give weight to the figures. We're participating, very claustrophobic, we're about to be caught with them. We're very close to the head.

Peasant Wedding

L: Amsterdam, Netherlands A: Pieter Bruegel the Elder M: Oil on panel P: High Renaissance in the North (16th C) S: Bruegel depicts a gathering of rustic people in a barn that has been decorated for a wedding. Wedding guests are gathered at a large table in the center of the barn. The bride is positioned in front of a green curtain (easily identifiable) though the groom isn't easy to spot. Lots of activity and implicit movement -- individuals are talking, porridge is being served, drinks are being poured, bagpipe players are preparing to play. Brughel is in the painting. Has a sense of organized chaos. Foreground on the left is blocked, large figures organized from the right diagonally to the doorway. Figures have weight and solidity that suggests reality. Warm, rich, tonal colors help add weight. Painting highlights the common man in way that they haven't typically been centered.

The Return of the Hunters

L: Amsterdam, Netherlands? A: Pieter Bruegel the Elder M: Oil on panel P: High Renaissance in the North (16th C) S: Depicts human and canine members of a hunting party returning to their village during the winter months. Shows a snow-covered landscape with frozen lakes which have become a place of recreation (people are ice skating). Human activity is fully integrated into the natural landscape. The rise of landscape themes. Human figures seem secondary; landscape is the primary focus. Looking at the landscape like a portrait. Constructing pieces of landscape to construct perspective deeper into space, like a puzzle. Showed an inn on the hill, the village below, alpine mountains afar. Monochromatic colors convey the cold, brisk temperature.

The Blind Leading the Blind

L: Amsterdam, The Netherlands A: Pieter Bruegel the Elder M: Oil on panel P: High Renaissance in the North (16th C) S: Visual interpretation of verbal wisdom. References the gospel of Matthew which says "And if the blind lead the blind, both shall fall into the ditch." Depicts poor, blind beggars who march across a village landscape into a ditch. Downward diagonal into a ditch. A church is in the foreground, but this meaning is not clear. Genre scenes of peasant life. He gives them largeness and dignity by using structure and form to further enhance the subject matter. Steadily descending, diagonal, getting more unstable creating a domino effect. Everyone's ineffectual, viewer, church; no one can help the blind here

The Night Watch (The Company of Captain Frans Banning Cocq)

L: Amsterdam, The Netherlands A: Rembrandt van Rijn M: Oil on canvas P: Baroque (Dutch) S: Depicts militia marching out of their guild hall and gathering amongst each other. It is a group photo of a shooting company, which was a common activity for men at the time. Rembrandt turns a group portrait into an action piece by arranging characters to create depth and sequence of action. Group is being drummed into formation. Scene is full of noise and sound. Rembrandt added additional people to create more drama. Opposing diagonals. Careful deposition of red and yellow colors throughout the painting. Little boy and girl w/ chicken, claw used to address the Klovenier, reminds us they are a shooting company.

The Blinding of Samson

L: Amsterdam, The Netherlands A: Rembrandt van Rijn M: Oil on canvas P: Baroque (Dutch) S: Dramatic scene from the book of Judges depicting Samson getting his hair cut off by his lover Delilah and being overtaken, resulting in his blinding as a result. Perspective is close to the spectator; the viewer is complicit in his blinding. The scene is violent and action-filled. Light outside of the tent, seen reflecting on Delilah's face, is unreachable. Connotes the idea that Samson will be plunged into perpetual darkness. Composition reinforces the content. At the center of the composition is Samson's foot, but the "real" center is in the bottom; Descending diagonals redirect the viewer to Samson's restraint. Horror on Delilah's face -- she realizes what she's done. Painted with reproductive character and reality. The light, realistic depiction of armor, etc. Can compare with Giotto's Death of Christ or Bruegel's The Blind Leading the Blind.

The Jewish Cemetery

L: Amsterdam, The Netherlands//Holland A: Jacob van Ruisdael M: Oil on canvas P: Baroque (Dutch) S: Depicts a cemetery centered on a threatening landscape. Landscape was likely imaginary. A ruined ecclesiastical church sits in the center with dilapadated graves within an unkempt cemetery below. A rushing river is seen in the center coming toward the viewer. Two small people are visible in the background, one is kneeling at a tomb. Faint Hebrew on a tombstone suggests that this is a Jewish cemetery. The condition of the cemetery and the building behind it suggest that all religions depicted are marginalized and neglected, despite Holland being a religiously tolerant society. Landscape was a prominent subject in Holland at the time. In this painting, landscape carries all emotions, a style known as photo-romanticism.

The Calling of St. Matthew

L: Contarelli Chapel, San Luigi dei Francesi, Rome A: Caravaggio M: Oil on canvas P: Baroque (Italian) S: One of three monumental canvases painted to honor St. Matthew. Depicts the moment that Matthew is chosen by Christ. Matthew is seen sitting in a sparse room surrounded by armed men. Two figures approach from the right wearing simple cloth and bare feet which contrast with Matthew's well-dressed figure. The figure identifiable as Christ has a slight golden halo above his head, and makes a similar gesture to God in Michelangelo's "The Creation of Adam." Displays a new, radical form of naturalism to convey spiritual content. Matthew is depicted within a genre scene, a shocking rendition for someone considered sacred within the Christian faith. Caravaggio depicts "lay Christianity" or religious scenes within an everyday, contemporary context. Jesus' arrival is demonstrated through a beam of light disrupting the darkness of the walls. Caravaggio uses this tenebristic effect to show a contrast between light and dark, emphasizing the divine presence of Christ. Christ's outstretched hand and face are illuminated, allowing us to see the precise moment of Matthew's calling.

The Ecstasy of St. Teresa

L: Cornaro Chapel, Santa Maria della Vittoria, Rome A: Gianlorenzo Bernini M: Marble, sculpture in the round P: Baroque (Italian) S: Demonstrates Bernini's passion for theater and opera. Depicts St. Teresa within a mystical vision wherein she is pierced in the heart with a flaming, golden arrow by an angel. Both figures are on a floating cloud levitating toward Heaven. Golden rays above suggest the divine nature of this vision. Using light as metaphor for God's presence. Marble relief spectators, the Cornaro family, are housed within theater boxes on either side of the vision. Written in an erotic way, Bernini made it like this. Feel the flutter of the angel arriving. Drapery shows the eroticism. More drapery than needed, represents her abundant love for God.

The Garden of Love

L: Flanders A: Peter Paul Reubens M: Oil on canvas P: Baroque (Flemish) S: Painting for Reubens, of Reubens. Depicts the artist introducing his new wife to the garden of love. Her six sisters are also present, along with cupids and others making love. Showing various stages and depictions of love (conjugal bliss, new love, making love, etc.) The painting is overflowing with color, life, and love; coloristic verve. Also shows couples, cupids, and a lifelike statue of Venus in a garden in front of a building. Venus is squeezing her breasts and water trickles down (like a fountain). Setting is Reuben's house. Is a sweeping composition. Can compare with Titian's "Bacchanal of the Andrians." Reubens copied Titian and his use of color.

Mona Lisa

L: Florence A: Leonardo Da Vinci M: Oil on panel P: High Renaissance S: Depicts Mona Lisa, a middle-class woman from Florence. Departs from contemporary portraiture because Mona Lisa engages the viewer with her body language. She is leaning on a rail toward the viewer and gazing directly at us. The cultural understanding of eye contact at the time is that it is bold. Her hair is uncoiled and she wears understated, dark clothing. Da Vinci emphasizes her head and (aristocratic placement of) hands, giving Mona a sense of personality and character. She is depicted outside in a primordial landscape despite many women remaining indoors at the time. Subtle transitions between light and dark using sfumato technique. The painting's notoriety is because Mona Lisa seems "alive." The painting suffers from overexposure and quickly transitioned into a cultural object. Is copied and became a lighting rod for appropriation. Another instance of the artist as subject; this painting is known as a "Da Vinci" rather than as a portrait of Mona Lisa.

Portrait of Ginevra de Benci

L: Florence A: Leonardo da Vinci M: Oil on canvas P: High Renaissance S: Depicts Ginevra de Benci, a poet and writer admired for her intellect, set against a limited wooden landscape. The title is a play on her name; ginevro means juniper in Italian. Juniper trees frame her almost like a halo. Da Vinci is interested in naturalism, using gold to depict light on her hair and a high brow as a sign of intellect. Ginevra is not quite making eye contact. Da Vinci adopts portraiture from the North along with oil, as it is an ideal medium for naturalistic depictions. Uses sfumato technique to transition from light to dark. Perspective of the painting is ideal for standing back to take in the painting.

Holy Trinity

L: Florence A: Masaccio M: Fresco P: Italian Renaissance S: The concept of the holy trinity is given visual concreteness through perspective. Depicts St. John and Mary behind the cross, God the Father behind the cross, and the Holy Spirit as a dove between Jesus and God. Patrons are on the exterior of the transept chapel depicted. Mary engages the viewer through eye contact and gesture. Inscription above the tomb reads "I was once what you are. You will soon be what I am."

David (1501-1504)

L: Florence A: Michelangelo M: Sculpture, in the round P: High Renaissance S: Subject of David is popular in Florence as the city considers itself a David surrounded by Goliaths (Venice, Rome, Milan). Is inspired by Donatello's David but not immediately recognizable. The build and stature don't indicate a young shepherd boy. The barely visible slingshot gives an indication of his identity as David. Sense of coiled purpose and movement. Sense of Goliath's presence because of penetrating look and furrowed brow. Is. a boy, yet a man. Exaggeration of head and hands (biblical description as Manu fortis) with a large head conveying David's intelligence and strength of mind. Carved out pupils creates the image of a glint in the eye. Contemporaneously known as "The Giant." Was accepted out of astonishment and because Michelangelo wasn't out to accurately depict the Bible. For a time, replaced the Donatello's St. George as the protector of France.

Saint George

L: Florence, Italy A: Donatello M: Marble sculpture in the round P: Italian Renaissance S: Saint George is the patron saint in Florence who possesses protective powers to drive off evil. A youthful warrior saint, St. George strikes a similar appearance to St. Theodore on the Chartres Cathedral. Standing at ease in slight contrapposto, which suggests he is in motion, especially given the advancement of his right foot. Suggests that St. George is always vigilant in his protection of the people. Roman influence in a Christian context. His shield is an attribute of the figure. Tension and attention in his face and brow allows us to see the inner psychology of this character. Below St. George is a relief sculpture --> Donatello invented rilievo schiacciato (squashed relief), which allows us to see more space than what's actually there. Imitates painting by creating a 3D perspective on a relatively flat surface.

The Haywain (Landscape: Noon)

L: London, England A: John Constable M: Oil on canvas P: Romanticism (English) S: Large Landscape, evokes emotion. Catalogue of English countryside. Cart in stream, watering horses or crossing. 2 boys, brick and stucco house. Slow moving painting -- harmony with nature. The sky, as well as the land, presents various emotions. From dark to light. Shows a variety of individuals conducting different activities (harvesters, dog, the boat, crossing/fording the water). Constable conducted numerous weather studies, especially of clouds. Was aware of how quick weather changed. Landscape is predominant focus. Feel like you're there, can feel the atmosphere. Can hear the stream and cows. Using painting to investigate nature. Carefully painted clouds. Counterpart to William Wordsworth. Almost feel like you can enter the picture.

The Slave Ship

L: London, England A: William Turner M: Oil on canvas P: Romanticism (English) S: Depicts a slave ship floundering in the water during a storm. Cargo -- in this case, slaves -- are being thrown overboard in attempt to save the ship by lightening the load. Slavery is a topical subject matter given Britian's recent banning of the slave trade in 1853. Painting is both about nature's dominance over humankind and the horrific human trafficking transpiring. Sublime landscape -- exaggerated use of color emphasizes the powerful nature of the storm. Sky is fiery red and "angry." The dark sea with sharks swallows the slaves thrown overboard. Turner is a proto-impressionist given his focus on landscape and loose style of painting, as well as contrasting colors. Proto-impressionism -- prominent brushstroke and textured surface. Turner is turning to nature in the era of industrial revolution. Titles matter. Turner is raising art to the level of literature. Original title is: The Slave Ship or Slavers Throwing Overboard the Dead and Dying -- Typhoon Coming On. Prolonged title echoes the epic literary tradition well-established in Europe.

The Death of General Wolfe

L: London, England A: Benjamin West M: Oil on canvas P: Romanticism (Enlightenment/Neo-Classicism) S: Credited with popularizing contemporary historical painting. Depicts the death of General Wolfe, a war hero who died during the French and Indian War. Placed the event within the context of the 1759 Battle of Quebec Wolfe's death was dramatized, and framed him as a Christ-like martyr. Sky turns dark as Wolfe dies; flag is sinking diagonal that goes w/ Wolfe's body. Gestures as if Christ is dying and maybe he'll live. Scene open to us. Most important generals surround Wolfe. Victory announced as Wolfe dies. Was lauded because of its realism; the costumes, setting, and Indian warrior created a sense of authenticity (despite historical inaccuracies). Made viewers feel as if they were witnessing the real-time death of General Wolfe. Can compare with Giotto's "Lamentation/The Death of Christ."

Hannibal Crossing the Alps

L: London, England A: William Turner M: Oil on canvas P: Romanticism (English) S: Depicts Carthaginian general Hannibal leading his troops across the French Alps in 218 BCE. Human beings are minuscule compared to the force of nature. Uses both color and composition to emphasize the dominant force of nature. Vortex is the smallest force in nature, and men have no control over it. This is a sublime landscape. The landscape is threatening and uninviting to the viewer. Viewer is immersed in the coming storm. Proto-impressionism -- prominent brushstroke and textured surface.

Las Meninas

L: Madrid, Spain A: Diego Velazquez M: Oil on canvas P: Baroque (Spain) S: Depicts members of the Spanish royal court, including the infanta, the meninas (infanta's royal attendants), court dwarf, court bearer of keys, infante (younger brother), dog, royal tutors, and the King and Queen reflected in a mirror. The painting is such that the action within the room is interrupted and the subjects are looking toward us as if we are the King and Queen entering the room. The canvas Velazquez is painting on has been included -- maybe the King and Queen are sitting for a royal portrait? While the painting is titled "Las Meninas," there are 9 subjects in the painting and the subject is unclear. Possibly the infanta? Is the Spanish equivalent to Mona Lisa in terms of cultural importance. This work doesn't fit into a clear artistic category (portrait, etc.). Artist is identifiable and includes himself in the painting, painting the portrait we're viewing; artist as both craftsman and thinker. At this time, Velazquez has become a member of the royal court. The large size of the painting absorbs us within. Perspective-wise, serves as an extension of space. Painting is slightly blurred on the edge as if peripheral vision is focusing on the infanta. Gesture of deference from las meninas and the court dwarf.

The Third of May

L: Madrid, Spain A: Francicso Goya M: Oil on canvas P: Romanticism (Spain) S: Painted in response to the French occupation of Spain in 1808. Depicts the mass execution of Spanish rebels that took place on May 3, 1808 following the installation of Joseph Bonaparte on the Spanish throne. Goya is foregrounding anonymous Spaniards involved in a powerful historical event (rather than the leaders involved). His painting uncovers the process of slaughter. One particular rebel is shown with his hands raised, dressed in yellow and white (the colors of the papacy) with the pose of Christ and an injury in his right hand (stigmata). Executioners are faceless - conveying a theme of brutality and anonymity of death during war. Rebels have a variety of reactions to their impending death. Absence of divine intervention in these deaths -- the church in the background is shown cloaked in darkness. Goya rejects neoclassicism by using loose brushwork, intense colors, and unorganized composition.

The Sleep of Reason Produces Monsters from Los Caprichos

L: Madrid, Spain A: Francisco Goya M: Etching, aquatint, drypoint, and burrin print (Intaglio?) P: Romanticism (Spanish) S: Depicts an artist asleep on the geometric block of reason while an ominous array of owls and bats rise behind him. The owls and bats are symbols of folly and ignorance. As they become darker, owls become bats. The night/darkness takes over. Contrast between light and dark, rational/irrational. Goya wrote that he intended to banish harmful beliefs commonly held and "perpetuate the solid testimony of truth." Aka continue the ideas of knowledge and reason coming out of the Enlightenment. Could also interpret the bats and owls as products of the artist's mind, expressing his own emotional state of despair and horror.

The Last Supper

L: Monastery Santa Maria delle grazie, Milan, Italy A: Leonardo da Vinci M: Fresco P: High Renaissance S: Depicts Jesus and his disciples eating prior to Jesus' crucifixion. Specifically, both Jesus and Judas' hands reaching for bread ("He who dips with me will betray me"). Judas' left hand (sinister/gauche) is slyly reaching toward the bag of silver. Judas has lowest head, is gazing at Christ, and is not interacting with anyone. Peter (innocent) between Judas (evil) and John, shows a range of innocence and humanity. 4 groups of 3 disciples demonstrating a range of emotions from shock to confusion. Christ is isolated, as none of them want to be implicated. Groups are tightly knit together; each group connected by gesture. Everyone is individualized; Leonardo made each one a character. But, he doesn't label or clearly identify Judas. Implies that we are all capable of being Judas. Each is having a crisis of faith trying to ascertain who will betray Christ. Use of one-point perspective and Da Vinci composes the fresco based on the room. Orthogonals direct the viewer's eyes toward Christ. The fresco creates an extension of space in the refectory.

The Oxbow

L: Mount Holyoke, Massachusetts, America A: Thomas Cole M: Oil on canvas P: Romanticism (America) S: Depicts the Connecticut River and focuses on the part of it that is unindustrialized. Southern view of the oxbow. A storm is approaching on the left. Land is dramatized by dark skies, thick brush, and twisted and broken trees. Hebrew lettering for "shaddai" meaning "The Almighty" is seen on a hillside in the background. Cole believed that Americans had a special relationship to Providence (God) and were defiling that relationship by developing and denuding nature. Romanticizes the landscape and combines both the sublime and the picturesque. Becomes more settled and lighter as you move further west -- in line with American Exceptionalism and ideas about Manifest Destiny. Landscapes as the "antiquity of America."

Self Portrait (Durer)

L: Munich, Germany A: Albrecht Durer M: Oil on Canvas P: High Renaissance in the North (16th C) S: Depicts Durer as a self-confident artist in competition with artists from the South. Depicts himself as an intellectual, not just an artist. Multiple signatures and inscriptions in Latin demonstrate how highly he values his intelligence. Accentuates his hands and head to suggest artistic genius. Christ-like head and pose, directly engaging the viewer. Godlike because he creates something from nothing/a creator. His image constitutes the majority of the compositon. Fur coat he's wearing suggests his wealth generated as a result of his successful artistic endeavors. Conventions of medieval art in its formality, frontal perspective, and flatness.

Melencholia I

L: Munich, Germany A: Albrecht Durer M: Intaglio printing/printmaking P: High Renaissance in the North (16th C) S: Depicts melancholy, one of the four humors. Melancholy is depicted surrounded by tools and instruments of creativity, waiting for inspiration. Often associated with artists and creators. Reflects that melancholy sets in when creativity doesn't strike.

Self-Portrait as the Allegory of Painting (La Pittura)

L: Naples, Italy A: Artemisia Gentileschi M: Oil on canvas P: Baroque (Italian) S: Gentileschi depicts herself as the allegorical female figure of Painting, La Pittura. She is seen as a beautiful woman with disheveled black hair, wearing a gold chain and holding a brush in one hand and a palette in the other. Unique and daring subject as only a female painter could depict herself as this figure. Painting herself at work on the painting we're viewing//The unfinished painting is this painting. Unusual position to show herself, we're almost looking over her shoulder.

Woman Holding a Balance/The Woman who Weighed Gold

L: Netherlands A: Jan Vermeer M: Oil on canvas P: Baroque (Dutch) S: Depicts a woman weighing gold. The wealthy woman seems motionless. Religious painting of the Last Judgment is seen in the background. Parallels the material world with the spiritual world in with weighing and judgment will take place in both (weighing gold just as our souls will be weighed); analogy between ordinary genre and the greater weighing which is to come. Catholic subject reflects Vermeer's personal faith. Painting highlights the effect that light and color have on each other. Soft, caressing light creates a quiet atmosphere. Vermeer used camera obscure (with frosted glass) to create his composition with a soft, translucent light effect. Central areas come into sharpest focus, with periphery less clear (especially the cloth).

Self-Portrait (Judith Lyester)

L: Netherlands A: Judith Leyster M: Oil on canvas P: Baroque (Dutch) S: Demonstrates Leyster's artistic ability and self-confident; she can paint both Hals and herself. Shows her skills as both a portrait and genre painter. The painting shown on the easel is a popular work of hers. Many of her paintings were originally absorbed as Hals' because she didn't sign some of her works. Portrayed herself as a successful craftsmen, especially through her clothing and expensive lace. Her diverse and wide-ranging talent is seen through the numerous paintbrushes and palette she's holding. Her depiction (showing herself painting) was a way of indicating her status as an artist and her unique position in society. Can compare with Artemisia Gentileschi's "Self Portrait as the Allegory of Painting (La Pittura)"

Self-Portrait (Rembrandt)

L: Netherlands A: Rembrandt van Rijn M: Oil on canvas P: Baroque (Dutch) S: Rembrandt is shown in his typical well-dressed fashion. Is large in size and commands the space. His direct gaze is confrontational in terms of physicality, but is emotionally reserved. Is seen draped in furs and expensive fabrics, demonstrating his success as an artist and his affinity for collecting clothes and props for artistic projects. Conveys a regal sense of authority. Uses chiaroscuro and impasto technique to convey texture of fabric and seriousness of mood. Makes his self-portrait stand out from other works.

The Death of Marat

L: Paris, France A: Jacques-Louis David M: Oil on canvas P: Romanticism (Enlightenment/Neoclassicism) S: Portrait of assassinated revolutionary Marat, a deputy in the National Convention and the editor of a populist newspaper. Was so despised that a counterrevolutionary from Caen stabbed him while he was writing in the bathtub. Seen dying in the tub while holding a quill in one hand and a petition in the other. Quiet moment, body not yet discovered. Background going from light to dark as he falls into death. Realism in the scene used to heighten the drama. Blood-stained knife, petition, and quill are close to the viewer. Detail, sharp lighting are apparent. The slumped arm pose was notably used in antiquity for depictions of the lamentation/death of Christ. Appropriated religious iconography for secular glorification of a revolutionary. "To Marat (A Marat)" is written in the bottom right, just above David's signature. David is painting contemporary history, practically journalism. Can compare with Michelangelo's Pieta.

Oath of the Horatii

L: Paris, France (painted in Rome) A: Jacques-Louis David M: Oil on canvas P: Romanticism- Enlightenment/Neoclassicism S: Depicts 7th century BCE story in which three Horatii brothers, representing Rome, took an oath administered by their father to fight to the death. This oath giving comprises the center of the composition. The mourning women on the right are the sister and wives of the Horatii brothers. One of them is married to a Curiatti brother, representing Alba, the disputing side of this border dispute in Rome. The sister is later slaughtered by her only surviving brother because of her betrayal of Rome. David contrasts the order and rigidity of the brothers with the disorder and curvilinear form of the sister and wives. The three arms outstretched has religious overtones. Introduces the idea of the artist as architect; the scene is set against Doric order columns. Figures are in historic Roman dress. Drapery of women's dresses reflects phidean drapery. The composition has diagrammable simplicity.

Equestrian Monument of Gattamelata

L: Piazza del Santo, Florence A: Donatello M: Bronze, sculpture in the round P: Italian Renaissance S: Depicts a professional soldier depicted on horseback holding a baton (to indicate his office) and leading his troops. Created after Gattamelata's death and turned into a Roman Republican sculpture. Can compare with Marcus Aurelius statue. This was the first equestrian monument made in a millennium. These works indicate Donatello's versatility: can work in bronze and marble as well as small and large scale. On the base says "OPUS DONATELLI FLO," which is Donatello's signature in Latin. Wanted to emphasize that a Florentine artist made it/claiming status and authorship.

David (1623)

L: Rome, Italy A: Gianlorenzo Bernini M: Marble, sculpture in the round P: Baroque (Italian) S: Depicts David, the shepherd boy, intently focused on his adversary, Goliath, about to wield his slingshot and engage in this battle. Has a furrowed brow, intent gaze and determination, and contorted body, implying a sense of imminent motion. This motion implies that he is half of a pair, rather than a self-contained figure (like Donatello's David). Space is charged with energy as we are seeing the moment of action rather than the aftermath (as in Donatello's rendition) or the contemplation of the act (as in Michelangelo's rendition). Very convincing David, using Disclobus, pagan to inspire Christian. Position and pose is realistic. Specificity in the strain and expression of David; captures anger, pain, fear. Tousled hair, furrowed brow, taught mouth. Articulation of musculature. Compelling a narrative story. Standing in front of a real David implicates viewer as Goliath. Real action and emotion.

The Water Carrier of Seville

L: Seville, Spain A: Diego Velazquez M: Oil on canvas P: Baroque (Spanish) S: Three men in the composition. Shows an old water carrier who occupies the lowest position within the richest city of Spain (at the time). The man carries heavy jugs of water from door-to-door selling it. The water carrier is too old to work Another middle-aged man stands in the foreground. The water carrier occupies most of the frame, offering a sample of water to the young, aristocratic patron who will purchase it. Notable because Velazquez is depicting a genre scene that hasn't been depicted before -- class conflicts. The differences in clothing, skin tone and hands illustrates these dynamics. Social tension is present with the young boy w/ money and old man w/o money. Clearly an economic exchange with minimal eye contact, talking or touching.

The Creation of Adam

L: Sistine Chapel, Vatican City A: Michelangelo M: Fresco P: High Renaissance S: Depicts Adam and God. God is surrounded by other creations in head mind (Eve, Christ, etc.) and Adam is the first creation/first investing of life. Is a canonical image of Genesis. Adam is entirely passive and God is entirely active and creative in this depiction. Adam has not yet been given will or individuality, and this scene is suspended in time and space. Transfer of power to Adam by touch. Adam is situated similarly to the Parthenon marbles --> creation of a glamorous race of Godlike figures.

Temptation and Expulsion

L: Sistine Chapel, Vatican City A: Michelangelo M: Fresco P: High Renaissance S: Two scenes within one narrative. A tree divides the scene within the unified space. Depicts Adam -- of his own volition -- plucking a fruit from the Tree of Knowledge of Good and Evil and Eve being offered fruit by the serpent. Deviates from the narrative in which Eve is blamed for the sin, suggesting that we are all fallible. Tree is plentiful on the garden side and barren on the other side. On the other side, Adam and Eve are seen being cast out of the Garden of Eden. Michelangelo concentrates on Eve's expression of loss. She transforms from a youthful beautiful woman to one who is aged as a result of the penalties of her sin. The dead tree Is proleptic, signaling what's to come. Michelangelo implicates the viewer by placing us outside of the garden.

Pieta

L: St. Peter's Basilica, Vatican City A: Michelangelo M: Sculpture, in the round P: High Renaissance S: Depicts Mary mourning the loss of Christ while holding him in her lap. Dramatization of the aftermath of Christ's crucifixion. Manipulation of proportions to create a tight-knit composition. Body of Christ folds within Mary's body. Preserves Christ's beauty as the Son of God who will soon be resurrected. Mary's sorrow is definite but underrated, allowing the viewer to experience grief and sorrow. Rich drapery contrasts with the polished, illuminous skin of Christ. Suggesting the light that is to come. Mary's outward gesture offers the body of Christ to the viewer.

The School of Athens (Wall of Philosophy)

L: Stanza della Sagnatora, Vatican Palace, Rome A: Raphael M: Fresco P: High Renaissance S: Depicting two separate groups of philosophers -- traditional and Aristotle. Plato and Aristotle are clearly visible underneath the central arch, while others are not identifiable. Gestural contrast; Plato is seen pointing to heaven while Aristotle has his hand outstretched, representing more natural, earthly philosophy. Both philosophers are surrounded by circles and the fresco itself is a circle within a square; Visualization of geometry as underlying principle of philosophy. Anachronistic rendering; Raphael depicts philosophers and artists from different time periods. Multipurpose room; brings together all the knowledge of the world. Era of recovery of ancient text; anonymous individual rushes in with message/new philosophies?

Sistine Chapel (1508-12)

L: Vatican City A: Michelangelo M: Frescos P: High Renaissance S: Over 300 figures across 7,000 sq. feet. This was Michelangelo's first time painting fresco. Was reluctant to take on the project, but couldn't say no to the Pope. The images work in multiple directions and are a cornucopia of Gods creation; Genesis is the central theme.

Bacchanal of the Andrians

L: Venice, Italy A: Titian M: Oil on canvas P: High Renaissance S: Depicting people who gathered to celebrate Bacchus, the god of wine. A wine chalice is at the center of the image because Bacchus is the god of wine. He is also a vindictive god. There is a wine river in the foreground. Celebrating on the island of Andros for the annual feast. It is an indulgent image with warm and inviting qualities. Giorgione's work is attempting to bring pagan art to the fore. Can see the music and can almost hear the conversation and smell the wine; Titian is inviting us to participate. This is the festival, we don't see Bacchus; we see the effect of him, the good things. Can feel the temperature of a perfect day. Painting of the beauty of the outdoors. Use of drapery in a revealing form of the body. Only two female figures in traditional Venetian dress. These females are only paying attention to each other and could be imagining the other figures in the painting. Depicts a young child peeing into wine, an act considered divine in antiquity. Bridging the past and present.

Neoclassicism

Moralistic art with an emphasis on antiquity; an 18th century style that emphasizes classical themes, sometimes with strong moral overtones. In general, paintings are executed with sharp clarity by way of tight handling of paint and clear defined line and light. Rejection of aristocratic art.

Little Dutch Masters

conglomerate of Dutch artists who painted for the art market and were in constant competition with one another. Specialized their art based on what was popular or bestselling. The theme of their art was vanity (vanitas) and they intended to convey the message that vanity was transient. Still lives of flowers, food, and other perishable items of indulgence and decadence were common subjects for their works. Flowers are extraordinarily important to Holland, as this is one of their main exports to this day.