NYU ART HISTORY 2nd Half Artworks

Walter Gropius, Shop Block, Bauhaus 1925-26

Form should follow function; industrial buildings that resembled factories; modern building materials.

Louis Van and Jules Hardouin-Mansart, Garden front of the center back of the Palace of Versailles 1669-85 (pg 750)

French Baroque Architecture. Scale of building behind structure. Like interiors, formal gardens meant to provide a suitable setting for the king's public appearances. "Outdoor rooms".

Edvard Munch, The Scream 1893 (pg 921)

German Expressionism. Made multiple versions. Made in multi media; existential crisis. Not traditional self-portrait, but internal state of Munch = rep externally in the sky. "Piercing nature" "Sound-wave in the sky"

Sir Charles Barry and A.W.N. Pugin, Houses of Parliament, London. Begun 1836

Gothic painted arches. JMW Turner painted burning of Medical building before this one. Gothic revival + historicism.

Jules Hardouin-Mansart, Louis Le Vau, and Charles Le Brun. Galerie des Glaces (Hall of Mirrors), Palace of Versailles begun 1678 (pg 750)

"more is more" approach to decoration

Diego Velázquez, Juan de Paerja, 1650 (pg 693)

1/2 length portrait of his assistant (slave) in 3/4 view. Influence of Titian 1520 man with blue sleeve. First non-white portrait of grown man.

Gustave Eiffel, Eiffel Tower, Paris 1887-89 (pg 900)

81 Stories; hydraulic elevators = new tech; ugly at the time, lacks ornament of architecture at the time; despised until became an icon. Impressionism - industrial rev.

Gerrit Rietveld. Interior of Schroder House, with Red-Blue chair, 1924 (pg 1006-7)

AND know the outside. Black, white, grey + 3 primary colors. Precise, geometric, un-animated.

Gianlorenzo Bernini, Forecourt Colonnade, St. Peter's designed 1657 (pg 676)

Aerial view of St. Peter's, Rome. Entrance that defines St. Peter's square.

Victor Horta, Interior stairwell of the Tassel House, Brussels, 1892-93 (pg 928)

Art Nouveau. Ironwork stairwell, malleable wrought-iron columns and railings were shaped into vines that evolve into whiplash tendrils onto walls, ceiling, and mosaic floor. Sunlight filters through the glass ceiling, heightening the organic quality of the space.

Guarino Guarini, Facade of Palazzo Carignano, begun 1679 (pg 683)

Baroque elastic facade similar to Borromini's Fontane Facade, but on a grand scale. Made almost entirely out of brick - clay is sourced in this region of Italy.

Lord Burlington and William Kent Chiswick House, 1725 (pg 797)

Based on Andrea Palladio's Villa Rotonda. Exterior staircase. Simplicity and logic. Building = a cube. Walls are plain and smooth, allowing for distinct reading of their geometric shape and form of the windows. Believed architecture to be an autonomous art dealing in morality and aesthetics, NOT function. Neo-Classicism 18th Century (Classical-revival)

Auguste Rodin, "The Thinker," 1879-87 (pg 926)

Bronze; surface of the work = painterly + gestural --> have a sense of Rodin's hand in making this work

Henri de Toulouse-Lautrec, La Goulue 1891 (pg 912)

Colored lithograph poster. Henri was a dwarf but aristocrat - marginal member of society. Stripped-down vocab; vision = paper thin. Elicit collective spirit and rhythm of dancing through the repititon of silhouetted feet + rhythm of repetition of word s"Moulin Rouge"Lithography: most autographic + exact + clarity (no translation; rather = as drawn from hand of draftsman); preferred medium for posters; grease rejects water. Influenced by Japanese woodblock prints.

Carlo Maderno, Facade of St. Peter's Rome, 1607-12 (pg 676)

Colossal order, engaged columns + pilasters; Similar to Michelangelo's St. Peter's Rome 1546-64; "Breathing organism."

Gianlorenzo Bernini, "Baldacchino," 1624-33 (pg 677)

Crossing, St. Peter's Rome. Itallian Baroque. Fusion of sculpture and architecture; holy spirit (dove). Decorative bees.

Antoni Gaudí, Casa Mila, Barcelona, 1905-10

Curving facade = sand dunes. Layout = irregular and organic.

Charles Garnier, The Opéra Paris, 1861-74 (pg 867)

Emblem of the opulence and extravagance of the Second Empire, reflects pretentious taste of bourgeois audience that patronized teh academic or Classical tradition. Opéra marks extension of 19th century revival styles to teh Baroque - Gothic + Classical Revivals. Haussi Monnezation; Renovation of Paris. Auditorium = small compared to grande foyer; opera was about being seen (not necessarily seeing the production). Architecture of 19th c (impressionism - Gothic Revival/Baroque Revival).

Rembrandt van Rijn, The Hundred Guilder Print, 1664 (pg 721)

Etching and drypoint. Dutch Baroque. Depiction of entire 19th chapter of Gospel of St. Matthew. ____'s importance as a graphic artist is second only to Durer's although we get no more than a hint of his virtuosity from this example. Crosshatching.

Francisco Goya, The Sleep of Reason Produces Monsters, ca. 1799 (pg 823)

Etching, aquatint, drypoint, and burin. Romanticism. Sleeping on geometric block of reason; behind him rises omnious dissary of owls and bats - symbols of folly and ignorance. Owls and bats, rather than being real, are released from inner recess of Goya's mind, so that this nightmarish scene becomes an expression of the artist's own emotional state of despair or horror at terrible turn of events transforming the Western world. Part of a series.

Francesco Borromini, San Carlo alle Quattro Fontane (Facade), Rome, c. 1665-67

Facade alternates between concave and convex; elastic effect.

Henri Matisse, Woman with a Hat, 1905 (pg 947)

Fauvism. Radical orgy of pure colors. Free/childlike freedom; intensity of vision; juxtapose colors to express feelings rather than employ mimetic devices.

Gianlorenzo Bernini, The Ecstasy of St. Teresa," c.1645-52 (pg 686)

In Situ in Rome. Pierced by golden arrow; painful + sweet (sexual)."The pain was so great that i screamed aloud; but at the same time I felt such infinite sweetness that I wished the pain to last forever." - similar to Batsheva. Viewers watching the scene on the left and right of the sculpture. Multimedia work; fusion of art + architecture. Golden rays of light (metal) falling from above + window above (combines fake and real life).

Étienne-Louis Boullée, Project for a Tomb to Isaac Newton 1784 (pg 810)

Ink and wash drawing. So impractical, could not be built. 500 ft hollow sphere. Developed taste for the sublime.

Dominikus Zimmermann, interior of Die Wies, Upper Bavaria, 1757 (pg 779)

Interior: large areas of wall(s) left blank. Should know floor plan for this!

Guarino Guarini, Plan of Palazzo Carlgnano, begun 1679 (pg 682)

Italian Baroque Architecture. Barromini's successor. Made almost entirely of brick; dome for chapel alternates between windows and niches like Borrominian motifs. Willing to break architextual rules to achive originality.

Gianlorenza Bernini, "David," 1623 (pg 685)

Marble, older than previous David's, action pose with sling shot, i.e. moment IN action (Donatello = after and Michelangelo = before); Objects at David's feet = armor that he chose not to wear; harp attribute for David (he played).

Antonio Canova, Cupid and Psyche, 1787-93 (pg 817)

Marble. Neo-Classicism. In the Louvre, Paris. Venus didn't want Cupid to be with Psyche (Cupid fell in love with human Psyche, gives her a kiss that awakens her from the eternal sleep into which she has been cast by the jealous Venus). Tenderness and passion - neoclassicism emotional intensity.

Alexander Calder, Lobster Fish Tail, 1939 (pg 1001)

Mobile; painted steel wire and sheet aluminum; + representation of movement in sculpture --> mobile can move on its own

Gustave Courbet, The Stone Breakers 1849 (pg 862)

Most important realist painter. Oil on canvas. Wanted to represent lower classes. Figure on the right is too old to be doing such hard labor.

Claude-Nicolas Ledoux, house of the river authority, ideal city of Chaux. ca. 1785 (pg 809)

Neoclassicism 18th c. Concrete + concentric circles of buildings in Chaux gradually dissolve into surrounding countryside - become immersed in nature. Visionary architecture + Architecture parlante.

Jacques-Louis David, The Death of Marat 1793 (pg 815)

Neoclassicism. David lived last years in exile in Belgium. Marat was a revolutionary editor of populist newspaper; skin condition, so often worked in a bathtub (how he is pictured). Background represents unique brush work. Political propaganda piece.

Marie-Louise-Elisabeth Vigée-Lebrun, Self-Portrait with Daughter 1789 (pg 816)

Oil in panel. Neoclassical Portraiture. Labeled Rococo painter, but mimiced drapings of ancient Greek times, hence toga... Antique headband and Roman-style coiffure. Instead of lavish Rococo interior, she and her daughter pose against an austere, although warm, wall. Nochlin: Marie was a painter because her father was + Marie married a painter/art dealer. Self taught because denied access to formal education.

Clara Peeters, Still Life With Fruit and Flowers, c. 1612 (pg 710)

Oil on COPPER. FEMALE PAINTER. 25 x 35 inches (small because heavy medium). Manmade + natural objects; curve of grapes matches arch of flowers (symmetry and implied motion in still life)

Berthe Morisot, Summer's Day, 1879 (pg 878)

Oil on canvas . Impressionism. Women have agency as subject and object of painting. Upper-class women in leisure activities. Bold brushwork magically defined figures and objects while creating an abstract tapestry of paint across the surface of the canvas, a deft balancing act that even Manet had to admire. Could not go to salons, but her and sisters studied independently.

Gustav Klimt, The Kiss, 1907-08 (pg 922)

Oil on canvas, 3D modeled bodies + 2D/flat decorative attire; influenced by medieval mosaics. Symbolism. Inspired by shimmer of Byzantine mosaics; richly patterned gold-leafed robes + decorative details. Suggests beauty and spiritual pull of passion + fleeting nautre and painful consequences. Break down hierarchy that placed painting and sculpture at the pinnacle and the decorative arts in the artisanal lower ranks.

Caravaggio, "The Calling of St. Matthew," c. 1599-1600 (pg 665)

Oil on canvas, Contarelli Chapel, Rome. New and Radical Naturalism; Never before have we seen a sacred subject depicted so entirely in terms of contemporary lowlife. Without the painting's religious context, the men seated at the table might seem like figures in a genre scene; Tax collectors, historically accurate clothing division between figures however. Matthew given the erect hand of god, Christ given the limp hand of Adam. Jesus has very slight halo + pointing to Matthew saying "follow me." Light as symbol.

Caravaggio, "The Musicians," c. 1595 (pg 667)

Oil on canvas, Italian Baroque. Genre scenes from every day life; male prostitutes. Caravaggio was highly argumentative/carried a sword/killed friend by accident; conservatives regarded him + his work as lacking decorum.

Jean-Antoine Watteau, A Pilgrimage to Cythera, 1717 (pg 763)

Oil on canvas; allegory about love; specialist of aristocrats relaxing in landscapes (fete Galante); frothy drapery (Rococo)

Caravaggio, "The Conversion of St. Paul" c. 1601 (pg 666)

Oil on canvas, Rome. Italian Baroque. Foreshortening employed. Close to picture plane (figures almost appears too big for the space).. Inclusion of mundane/dirty... No longer idealizing. Heighten drama suggests divine light (of God) against nearly black background. Uses light rather than line/color to focus viewer.

Vasily Kandinsky, Sketch I for "Composition VII" 1913 (pg 959)

Oil on canvas, classically trained musician; "all religions = the same and therefore mystically connected; abstraction; reduced to flat color and encased in a dark line, the deeply saturated color and line resembling the spiritual stained glass of churches. Apocalyptic and chaotic buth these dynamic qualities are meant to capture the universal spiritual forces as teh artist himself felt them; kind of feels like a (cosmic) landscape - horizontal spread.

Paul Cézanne, Still Life with Apples in a Bowl, 1879-83

Oil on canvas. Apples have a palpable geometry. NOT monochromatic/very dissimilar than Dutch baroque - glistening and reflective objects; Cézanne = polychromatic, blue and orange complimentary colors juxtaposed. More interested with simplifying forms to reveal underlaying geometry - no emphasis on reflection; objects are placed, but tablecloth is misplaced; tilted up = non-realistic space.

Piet Mondain, Composition with Red, Blue, and Yellow, 1930

Oil on canvas. Asymmetrical with perfect harmony. Each line and rectangle in this square canvas is assigned its own identity. Every line exists in its own right, not as a means fo defining the color rectangles.

Édouard Manet, Le Déjeuner sur l'Herbe (The Luncheon on the Grass), 1863 (pg 868)

Oil on canvas. Considered realist painter at this time. Intentionally NON-naturalistic.

Édouard Manet, "Olympia," 1863 (pg 869)

Oil on canvas. Defiant stare - not erotic look. Meant to be shocking to 19th c audience. Unlike Titian's Venus, Manet's Olympia is more real than idealized - she is angular, awkward, and harsh rather than voluptuously curvilinear. Engages viewer in a way rarely seen in genre painting, reflecting Manet's interest in the new Parisian social mobility, the interaction of classes, and the importance of money and commodities in contemporary life.

Peter Paul Rubens, Marie de Medici Queen of France, Landing in Marseilles (November 3, 1600) 1622-25 (pg 705)

Oil on canvas. Divine light of Kings. Mythological figures below: water nymphs + Neptune. Exciting action parallels the Rape of Europa by Titian. "Rubenistic" robust and full-body/ample women figures depicted.

Jan Davidsz. de Heem, Still Life with Exotic Birds, late 1640 (pg 712)

Oil on canvas. Dutch Baroque Painting. Flamboyant still life = pronk still life (showy/ostentatious). Whole world in one picture (lots of goods = imported). Magnificent details of color and texture of each object. Varying heights build up to climax with exotic birds. Charolette hates drapery this artist includes in his works (curtain = pulled back to let audience see whats behind it)

Jacob van Ruisdael, The Jewish Cemetery, 1655-70 (pg 727)

Oil on canvas. Dutch Baroque Painting. Made to look ancient even though 17th c scene. Landscape after a storm; rainbow and sky clearing. Recurrent theme of death (tombs, fallen trees, etc.). Allegorical approach to landscaping.

Henri Matisse, The Red Studio, 1911 (pg 949)

Oil on canvas. Expressionism (Fauvism). Eliminates elements of depth; own studio = white, but chose red for intensity; empty middle space invites viewer in visually; populated room with his own artworks; Rust-colored red = highly evocative - enticing, lush, sensuous, soothing, and comforting, telling us with extraordinary efficiency and immediacy that this studio is warm, cheerful, and relaxing.

Edouard Manet, A Bar at the Folies-Bergére, 1881-82 (pg 877)

Oil on canvas. Feet of trapeze artist in top left corner; mirror reflects club... viewer seems to take place of client seen in the mirror talking to the bartender. Captures moment of eye contact.

Jacob van Ruisdael, View of Haarlem with Bleaching Grounds, c. 1670 (pg 726)

Oil on canvas. Flat plane, windmills, laying out linens to be bleached by sun.

Claude Monet, Impression, Sunrise, 1872 (pg 873)

Oil on canvas. Foggy; abstracted version of landscape. Gave impressionist movement its name. Bold, visible brushwork = JMW Turners loose, virtuosic brushwork. Non-mimetic, i.e. non-illusionistic representation.

Georges de la Tour, Joseph the Carpenter, c. 1642 (pg 740)

Oil on canvas. French Baroque. Tenebrism. Single candle illuminates dark space. Caravaggio's naturalism present. Subjects pushed up to picture plane.

Johannes Vermeer, Officer and Laughing Girl, c. 1657

Oil on canvas. Frick Collection. Genre scenes set in domestic landscapes. Courtship. Pub. Hat indoors implies the man just sat down at the table. White scarf on girl suggest innocence/pure.

Frans Snyders, Still Life of Dead Game, Fruits, and Vegetables in a Market, 1614 (pg 711)

Oil on canvas. Game Piece. Dead animals; game became available to middle class at this time. Cat lurking under table with glowing eyes. Lots of action and movement for a still life game scene. "MORE IS MORE" Baroque Theme.

Mary Cassatt, The Child's Bath, 1891-92 (pg 879)

Oil on canvas. Impressionism from a woman's perspective. Realism reflects social concerns developing wihtin women's movement of her time. American, but traveled around Europe. Inspired by Japanese prints. Position reflects increased importance sociologists placed on the care of children in general in late 1800s. Picture is about health and also about intense emotional and physical involvement. Realism: fashionable bourgeois décor and dress, bright colors, and the sense of spontaneity in the brushwork and the skewed compassion with its high viewpoint.

Auguste Renoir, Luncheon of the Boating Party, 1881 (pg 875)

Oil on canvas. Impressionist. Set in restaurant on an island. Sailboats, rowboat, and a commercial barge in the background.

Henri Matisse, Le Bonheur de Vivre (The Joy of Life) 1905-06 (pg 948)

Oil on canvas. Intensity of color; nonrealistic; reclining nudes; figures dissolve into one another and trees into sky and hills, so that it is nearly impossible to tell which sits in front of which.

Francesco Borromini, San Carlo alle Quattro Fontane (Plan), 1638-41

The plan looks "stretched." Coffered dome. Italian Baroque Architecture.

Artemisia Gentileschi, Judith and Her Maidservant with The Head of Holofernes, c. 1635 (pg 668)

Oil on canvas. Italian Baroque. Fully mature, independent, dramatic, and large work, no less powerful for its restraint. Jewish widow Judith saved her people by traveling with her maid to the tent of the Assyrian general Holofernes (who was about to lead an attack on the jews), got him drunk and then cut off his head with his own sword. Parallels David and Goliath - conquered by virtue and innocence. Object of their attention remains hidden from view; heightening the air of suspense and intrigue.

Rembrandt van Rijn, Bathsheba with King Davids Letter, 1654 (pg 723)

Oil on canvas. King propositions Bathsheba and impregnates her + kills off her husband. Thick impasse of Rembrandt's brushwork.

Diego Velázquez, "Surrender at Brenda," 1634-35 (pg 692)

Oil on canvas. Losers = Dutch on the left and Winners = Spanish on the right. Dutch shaking hand is physically lower than Spanish shaking his hand. Smoke on Dutch side - left destruction on their side. Spanish are beautifully attired, erect lances/spears, (intimidating)

Nicolas Poussin, The Abduction of the Sabine Women, c. 1633-34 (pg 742)

Oil on canvas. MET. Armor not molded to torso... looks nude painted yellow, but very representative of ancient roman clothing; dramatic intense movement + diagonals.

Francisco Goya, The Third of May, 1808. 1814 (pg 825)

Oil on canvas. Martar like image of next in line executed. Christ --> crucification pose. White shirt + mustard pants stand out in surrounding darkness. Lantern illuminates the scene as main lighting source.

Pablo Picasso, Les Demoiselles d'Avignon 1907 (pg 950)

Oil on canvas. MoMA. View into hore-house in the red district. Picasso = terrified of syphilis despite being hyper-sexual; feared being with a prostitute; Picasso accused Matisse's work for being too appeasing/comfortable; employs passage: red curtain = coincident with picture plane. Wooden African sculpture/mask reference with two women on the right. NOT cubist; rather, = proto-cubist.

Georges Braque, "The Portuguese," 1911 (pg 952)

Oil on canvas. Neutral earth tones; "BAL" stenciled letters; insist on 2D surface; broken brushstrokes + flickering light; break world down into analytic forms. Hermetic/Analytic Cubism (emerged in 1910). Orderly geometric pattern of diagonal lines and curves similar to Cézanne's passage. Guitar player - lines and shadows suggest arms, shoulders, and frontal or 3/4 pose of a figure that tapers toward teh head. Subtle visual clues. Only reality = pictorial world of line and paint.

Rembrandt van Rijn, The Blinding of Samson, 1636 (pg 719)

Oil on canvas. Old Testament scene. Exciting image with drama and progressively looser brushwork. Dutch Baroque. Theatrical light pouring into dark tent heightens drama.

Peter Paul Rubens The Garden of Love c. 1638 (pg 706)

Oil on canvas. Opulent shimmering clothes. Putti herding people to mingle/socialize. Pale skin = rich (didn't have to work or be outside). Flemish Baroque.

Eugéne Delacroix, Death of Sardanapalus, 1827 (pg 845)

Oil on canvas. Orientalism and exciting violence. In Louvre, Paris.

Paul Cézanne, Mont Sainte-Victorie, ca. 1885-87 (pg 906)

Oil on canvas. Post Impressionism. Goal was NOT to be realistic because photography exists; no distinct closed planes; instead opened them up. PASSAGE.

Vincent van Gogh, Night Café, 1888 (pg 914)

Oil on canvas. Post-Impressionism. Gas lamps - modern experience; floor tilted up un-natrualistically.

Johannes Vermeer, Woman Holding a Balance, c. 1664 (pg 733)

Oil on canvas. Pregnant in own home with window on left. Weighing pearls and jewels on a balance; symbolism could be weighing choices (Last Judgment painting behind her).

Jacques-Louis David, The Oath of the Horatii 1784 (pg 814)

Oil on canvas. Quintessential neo-classicism painting. Simplified doric columns with 3 roman openings. Necessary sacrifice of putting one's state before family. Loyalty, tragedy, violence. Clarity in composition: each grouping of people has their own arch above them.

Gustave Courbet, Burial at Ornans 1849-50 (pg 862)

Oil on canvas. REALISM 19TH c. vs. El Greco Burial at Count Orgaz 1586... Greco = soul rises vertically vs. Courbet = lacks verticality... no transcendence... nothing to look forward to after death... "Show me an angel and I'll paint one"... only painted what he saw. Courbet = realist painter.

Jean-Francois Millet, The Sower, ca. 1850 (pg 863)

Oil on canvas. Realism. Dignify the peasantry. Tattered clothing and are consigned to a life of grueling work on the land. Shadowy and enormous (monumental in size), the sower dominates the picture frame. Type, not individual. Type = noble farmworker, who is poorly paid for his labor. Dark chiaroscuro reminiscent of Rembrandt. Blends in with soil from which appears to of emerged.

Honoré Daumier, The Third-Class Carriage, ca. 1863-65 (pg 864)

Oil on canvas. Realism. Famous caricaturist. Passionate about social causes. Weary fam in foreground is focus of the picture. On view at the MET. Squared for transfer - can see the grid. Interior of the train. Simple, poor family contrasted against bourgeois hats behind them.

Rosa Bonheur, Plowing in the Nivernais: The Dressing of Vines, 1849 (pg 865)

Oil on canvas. Realist painter. Studied with her father, a drawing instructor and socialist, who advocated full equality for women. Animal painter and worked on a large scale, displaying technical finesse of the finest academicians. Influenced by the scientific empiricism of natural history, she presented specific often in minute detail.

Jean-Honoré Fragonard, The Swing, 1767 (pg 769)

Oil on canvas. Rococo pastel palette ad soft frothy foliage/lush greenery. Female liberation.

Théodore Géricault, The Raft of the Medusa, 1818-1819

Oil on canvas. Romanticism (political). Charged $ to see it as if it were a cinematic event. Sensationalism to the telling of this story - cannibalism. Protest picture protesting how regime handled this event. Asymmetrical composition overflowing with details.

Georges Seurat, A Sunday on the Island of La Grande Jatte, 1884-86 (pg 909)

Oil on canvas; Post-Impressionism, specifically Neo-Impressionism = Combination of pointalism and divisionism --> divides color into its distinct parts - scientific appraoch to color.

Jean-Auguste-Dominique Ingres, Portrait of Napoleon on His Imperial Throne, 1806 (pg 837)

Oil on canvas. Romanticism, but Neoclassicism roots evident in this work. Opulence in gold, gems, marble, tapestries, and rare objects. Elaborate gilt throne looks as if from imperial Rome. Ingres's deification of Napoleon - imperial, divine, exotic. Tight brushwork - linear painting style. Asserting imperial authority.

Eugéne Delacroix, Women of Algiers, 1834 (pg 846)

Oil on canvas. Romanticism. Color theory + power of color. Exotic clothing, tiles, and interior design; sensual den; smoke from hookah; hues are as sensual as his subject.

Jean-Auguste-Dominique Ingres, "Grande Odalisque" 1814 (pg 838)

Oil on canvas. Romanticism. Exotic Orientalism (Western fascination with culture of the Muslim world of North Africa and the Near East). Female nude that is NOT a Greek goddess. Linear painting style. Asserting imperial authority. Ingres treates Romantic subject in an essentially Neoclassical manner, including idealization. Elongation of spine = unrealistic - sweeping curves add to graceful compoisition.

Caspar David Friedrich, Abbey in an Oak Forest, 1809-10 (pg 832)

Oil on canvas. Romanticism. Gothic ruin and barren oak trees. Motifs recognizable as national emblems. Picture made at a moment of national crisis.

Joseph Mallord William Turner, The Slave Ship (Slavers throwing overboard the Dead and Dying - Typhoon Coming On.) 1840 (pg 831)

Oil on canvas. Sick and dying human cargo being thrown into the sea during a typhoon. Outstretched hands pleading for help; leg about to disappear into the deep water, bloodstained water, frenzied predatory fish; distance between the ship and the drowning bodies. Immorality of slavers, power of nature, struggle of daily life, role of fate.

Hendrick Terbruggen, Singing Lute Player, 1624 (pg 714)

Oil on canvas. Similar to Caravaggio's musicians. Open mouth.

Francisco de Zurbarán, St. Serapion, 1628 (pg 695)

Oil on canvas. Spanish Baroque. Contrast of light/dark; intense lighting effects. Close picture plane - hand appears to come out of the frame. Trempe Loéil pinning of piece of paper.

Diego Velázquez, "The Water Carrier of Serville", 1619 (pg 691)

Oil on canvas. Spanish Baroque. Powerful grasp of individual character and dignity gives this everyday scene the solemn spirit of a ritual. Scene is related to giving drink to the thirsty (one of seven acts of Mercy).

Judith Leyster, Self-Portrait, c. 1633 (pg 716)

Oil on canvas. Speaking likeness portrait (talking to viewer). Frans Hals student - until recently, her work was attributed to him.

Paul Gauguin, The Vision after the Sermon (Jacob Wrestling with the Angel) 1888 (pg 915)

Oil on canvas. Spiritual enlightenment in the primitive. Similar to Hiroshige Plum Tree - deliberate reference to Japanese prints.

Rembrandt van Rijn, The Night Watch, 1642 (pg 720)

Oil on canvas. Spots of light to make eye move around the scene. Diagonals activate the scene. "Greatest group portrait of all time" - Velazquez.

Juan Sánchez Cotán, Quince, Cabbage, Melon, and Cucumber, 1602 (pg 690)

Oil on canvas. Still-life painter; direct sunlight against impenetrable darkness is the hallmark of early Spanish still-life painting. Painstaking realism of humble fruits and vegetables. Spanish Baroque Painting.

Kazimir Malevich, Suprematist Composition: Airplane Flying, 1915 (pg 968)

Oil on canvas. Suprematism. Abstract language included different geometric shapes and colors. Infatuation with technology, the image itself relates to the experience of air travel and the new relationship to the universe brought about by this mode of transportation.

Salvador Dalí, The Persistence of Memory, 1931

Oil on canvas. Title suggests we are looking backward to the past, not forward to the future; many scholars interpret the flaccid watches as symbols of impotence. Dreamscape of mysterious objects that an be read as metaphors for the deepest desires, fears, and anxieties, especially sexual, of the mind, and that can unleash multiple interpretations from a viewer's own unconscious.

Frans Hals, The Jolly Toper, c. 1628-30 (pg 716)

Oil on canvas. Toper = drunkard, hence wine glass. Brush strokes are visible, loose, and painterly. Golden age of Dutch painting 17th c. Genre painting (not royal portrait). Open mouth.

Claude Monet, The Gare Saint-Lazare: Arrival of a Train, 1877 (pg 875)

Oil on canvas. Trains = transformation of the city (technology + industrialization). Haze of color and brushwork softens everything, giving the steel of the tracks, locomotive, columns, and grid of glass roof almost the same ethereal, transitory quality as the charming, blue-shaded puffs of smoke floating upward. Ferrovitreous Construction.

Antoine-Jean Gros, Napoleon in the pesthouse at Jaffa, March 11, 1799. 1804 (pg 840)

Oil on canvas. Unlikely ever happened. Touching soldier to prove plague was not contagious through touch (NOT true). Men = active and women = passive. Gros depicted men and men - homoerotic undertone between dressed and undressed men. Romantic era - politically charged. Painting ignores fact that Napeoleon poisoned these same sick troops when he retreated from Jaffa. Exoticism of Arab attendants and Islamic architecture. Similar to David's The Oath of the Horatii arches but not supporting narrative of Neoclassical stoicism/clarity ; rather, contribute Romantic exoticism and horrifying uncertainty.

Vincent van Gogh, Starry Night, 1889 (pg 914)

Oil on canvas. Voluntarily entered asylum - pic = view from asylum; chose to omit bars that would have destructed his view in the window. Interested in Japanese woodblock prints. Used color and brushwork abstractly to convey emotion rather than to document reality and employed a personal symbolic vocabulary.

Francois Boucher, Portrait of Madame de Pompadour, 1756 (pg 767)

Oil on canvas; Artist = god mother of Rococo due to patronage for that style. Pastel colors, detail, and opulence anchor this painting in the Rococo world. Madame de Pompadour = Venus (cupid by the clock, roses by her feat and on her dress; pearl bracelets = attributes that suggest her affinity with the love-goddes.

Ernst Ludwig Kirchner, Street, Dresden, 1908 (pg 956)

Oil on canvas; German Expressionism; non-naturalistic devices to express emotion.

Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going?" 1897 (pg 916)

Oil on canvas; mythology; returned to technique of continuous narrative; against Western convention of reading L to R and so meant to read R to L to emphasize non-Western elements of painting; Right = child/birth, Middle = adulthood, Left = old age/death. Complementary colors = violet and yellow

Joseph de Ribera, The Club-Footed Boy, 1642 (pg 690)

Oil on canvas; normal daylight in a landscape, but boy is pushed up close to picture plane. The words on the paper he holds state< "Give me alms for the love of God." = Begging for charity.

Claude Lorrain, A Pastoral Landscape, c. 1648 (pg 745)

Oil on copper. French Baroque. Landscapist. Does not aim for topographic accuracy in his paintings, instead evokes poetic essence of a countryside filled with echoes of antiquity. Hazy, luminous atmosphere of early morning or late afternoon. Sunlight often sets at teh center at the horizon line of the painting so that the architecture and other lements in teh foreground or middleground appear almost as silhouettes.

Pieter Saenredam, Interior of the Choir of St. Bravo's Church in Haarlem, 1660 (pg 728)

Oil on panel. Dutch Baroque Painting. Stripped of all furnishings and white-washed under the Protestants (sanitize Catholicism); invites spiritual contemplation through the painting's quiet intensity. Tiny figures at bottom provide scale and often narrative.

Judith Leyster, The Proposition, 1631 (pg 717)

Oil on panel. Early feminist. Monogram J* included on the left.

Peter Paul Rubens, The Raising of the Cross, 1610-11 (pg 700)

Oil on panel. Exciting movement and muscular depiction + diagonal compositions. Rubens traveled all over Europe - influence is prevalent.

Willem Claesz. Heda, Still Life with Oysters, a Roemer, a Lemon, and a Silver Bowl, 1634 (pg 729)

Oil on panel. Monochromatic. Unwinding of life-short duration (depicted in lemon). Reflective objects: shinning metal, slippery oyster, gleaming glass, glistening lemon. Central pleasures are fleeting. Aftermath of some event indicated by broken glass.

Pieter Bruegel the Elder, "The Return of the Hunters," 1565 (pg 656)

Oil on panel. Northern Renaissance 16th c. Realistic depiction of depth esp. foreground and landscape in the background. Human activity is fully integrated into the natural landscape in Bruegel's image.

Pieter Bruegel the Elder, "Peasant Wedding," c. 1568 (pg 657)

Oil on panel. Northern Renaissance. No spatial awkwardness. Bruegel and his patron would disguise themselves as peasants to observe/sketch peasants. Only food = simple porridge..

James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket. ca. 1875 (pg 887)

Oil on panel; (abstract?) Nocturne-Chopine - suggests piano. Nocturnes = musical term for "night scenes." Whistler considered painting visual music, declaring it, in essence, abstract.

Frank Lloyd Wright, The Solomon R. Guggenheim Museum, NY, 1956-59 (pg XXVII)

Organic structure that deviated from conventional static rectangular box filled with conventional rectangular rooms. Designed around spiral ramp --> hence exterior spiral shell (the ramp defines the design of the exterior). Cone-shaped glass roof for natural light. Wright wanted visitors to take an elevator to the top of the ramp, then slowly walk down the ramp. Visitors forced into more intimate relationship with the art because ramp = narrow - had to stand close to the art by necessity. Communial spirit: everyone united in one large room and traveling the same path.

Jules Hardouin-Mansart, Charles Le Brun (room decoration) + Antoni Coysevox (relief Triumph of Louis XIV) Salon de la Guerre (Salon of WaR), Palace of Versailles. Begun 1678 (PG 751)

Overload of decoration in mixed media design

Edgar Degas, The Orchestra of the Paris Opera, 1860-69 (pg 870)

P.o.v. = really good seat. Frequent viewer of the ballet. Missing middle ground.

Le Corbusier Villa Savoye, Poissy-sur-seine, France. 1931 (pg 1012)

Pilotis columns. Ribben windows, interior flows to exterior; no clear division between outside and inside; roof garden = modern man should have access to outdoors; open floor plan; free walls --> open space.

Auguste Rodin, "The Gates of Hell" 1880-1900 (pg 925)

Plaster. Symbolism. Influence of Michelangelo: vertical composition with muscular twisting figures.

Claude Monet, Wheatstack, Sun in the Mist 1891 (pg 880)

Play of light @ different moments; scientific method. Same subject at different points in time/different season. Know the different viewpoints.

Frank Lloyd Wright, Robie House, Chicago, 1908-10 (pg 934)

Praire house; complements flatness of Midwest; long, thick walls; open floor plan; total work of art; designed outside AND inside; rectilinear.

Diego Velázquez, Las Meninas, 1656 (pg 694)

Reading report done on this work. Oil on canvas. King and queen visible in the mirror (nod to Jan van Eyck's portrayal fo people outside the picture plane in reflective surface); cannot be easily categorized; NOT portrait, seems like a snapshot or genre painting of common activities.

Nicolas Pineau, Room in the Hotel de Varengeville, c. 1735 (pg 773)

Rococo architecture + decoration has large areas of bare wall between ornamentation; blank space lets eye's rest. Highlight gilt decorative motifs throughout the work. Greater sense of restraint/refined > Baroque. At the MET.

Thomas Cole, The Oxbow, 1836 (pg 833)

Romanticism. View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm. NY landscape painters on Hudson River. Travel to create detailed drawings and would paint small drawings in front of the landscape, then went back to NY to create larger final version of the paintings. Oil on canvas. "Noah" on distant hill = Hebrew letters "the Almighty"

Francesco Borromini, Dome of San Carlo alle Quattro Fontane 1638-41 (pg 680)

Symbol of the Trinity appears in the vault of the lantern in this church, built for the Trinitarians, an order dedicated to the mysteries of the Holy Trinity.

Pablo Picasso, Guitar, Sheet Music, and Wine Glass, 1912 (pg 953)

Synthetic Cubism. Charcoal, gouache, and pasted paper; monochromatic, language transmitted via newspaper clips.

Rembrandt van Rijn, Self-Portrait, 1658 (pg 724)

The Frick Collection. Oil on canvas. Lost fortune and was bankrupt. Emphasis on large hands similar to Albrecht Durer did in his self-portrait to emphasize source of skill. Thick impasto so surface has palpable quality.

John Constable, The Haywain (Landscape: Noon) 1821 (pg 828)

Timeless rural landscape. Promotion of his area. Cloud studies. Not a perfect world representing ideal beauty; rather it is the new emotions experienced in the Romantic era was national pride and Constable passionately painted their own countries.

John Singer Sargent, Portrait of Madame X, 1884

Woman posing in a black satin dress with jeweled straps, a dress that reveals and hides at the same time. The portrait is characterized by the pale flesh tone of the subject contrasted against a dark colored dress and background. Originally, strap was off the shoulder - but SO scandalous, actually edited the work.

Vladimir Tatlin, Project for "Monument to the Third International" 1919-20 (pg 1004)

Wood, iron, and glass. Inspired by Eiffel Tower. Skyscraper model for industry. Tell time through the monument's different speeds of rotating parts; project news into the sky.