AH1002 VAT Review University of St Andrews

Caravaggio, Cupid Victorious, 1603, oil on canvas

(Amor Vincit Omnia-Love conquers all) smooth skin, still boyish, hinting at adulthood. wing points to genitals. victorious cupid="open declaration of warfare on dry academism of Mannerists." deliberate a parody or admiration for Michaelangelo's work. tenabrism (strong contrast between light and "shadowy richness" contrasted by bright focused light)

Hendrik ter Brugghen, The Incredulity of St Thomas, 1622, oil on canvas

(Caravaggisti) Dutch influence of naturalism because of artist's home there. Christ guiding Tomas's hand to his side womb. old man with glasses right. cloaked figure is curious. figure in black represents proper response--real belief--to whats happening. tells faith story, moral lesson, statement amount of dogma of faith while adding to mystic of it as well.

Claude, Seaport with the Embarkation of the Queen of Sheba, 1648

Backlighting: intense study of nature, the ruins depicted evoke remote past that has been lost. theatricality and grandeur are legendary here. careful treatment of rising sun, and special attention to change of weather (backlighting again here) defined horizontal planes, as he isn't good at figure painting. golden age air. many of his other works concerned with journeying. Q of Sheba visited King Solomon.

Annibale Carracci, Rest on the flight to Egypt, c.1604, oil on canvas, Rome, Galleria Doria Pamphil

Baroque, but with a classical influence New Testament subject. landscape is Italian (even tho going to Egypt) as the painter moved to Rome in 1595. antique air about it. featured in small private study originally for italian commissioner. antique essence about it, anti-mannerism. scene stratified into four layers by hill, river, sky. focus on nature of landscape perhaps mores then the holy family at the bottom. peaceful, idyllic setting. naturalism reigns.

Flaxman, Monument to Vice-Admiral HOratio Nelson, 1808-18, St. Paul's Cathedral, London

Classically educated artist who gained international celebrity after visit to Rome. British lion=3 lions on B's coat of arms, representing strength of nation. classically dressed, armed woman=personified Britain. using classical style and imagery to make symbolic connotations. naked sea gods on the pedestal on which the admiral stands.

Dirck van Baburen, The Procuress, 1622, oil on canvas

Dutch Caravaggisti. man showing companion a coin. old woman directly at coin. music playing=erotic connotations for what happen when the old lady leaves. new interpretation of story.

Jan Steen, As the Old Sing, So the Young Pipe, c. 1668-70, oil on canvas, The Hague, Mauritshuis

Dutch Genre Painting: centered around everyday people. audience was middle class though his paintings depict lower class. Baptism of baby as an excuse for adults to indulge themselves. sexual symbols in the footstool and the oysters. Self-portrait of artist in the man teaching boy how to smoke. textural variety, dog, floor, drinks, people, showing off his skill.

Jan Vermeer, Lady Seated at a Virginal, c.1670-72, oil on canvas, London National Gallery

Dutch genre painting. features The Procuress by Dirch van Barburen to express connection between music and love perhaps. debated meaning. lack of refinement in woman's blue overskirt. thick fluid strokes applied to white ruffle, perhaps most detailed part of work. viola de gamba in the far left corner. landscape painting associated with woman's idyllic beauty, quite unusual.

Jan Vermeer, Woman in Blue Reading a Letter, c. 1662-3, oil on canvas, Amsterdam, Rijksmuseum

Dutch genre painting. woman wears casual satin attire, suggesting she just woke up to read a letter. wall map behind her was popular in 17th century dutch homes, while it provides foil for severity of geometrical composition. noted this could be his wife, as other dutch painters often employed family members as their models.

Caravaggio, Madonna del Pellegrino ('Madonna of the Pilgrims') (c.1603-1605) oil on canvas

In the Cavaletti Chapel, of Saint Agostino, where the Virgin and child are apparitions that receive the most light and reflect it unto the pilgrims, symbolizing a spiritual transaction. Use of chiascuro. Not idealized pilgrims, but realistic as showing humble people with dirty feet and nails. barefoot=standing on holy ground.

Entrance facade of Chiswick House/Villa, London, 1725-9, by Lord Burlington

Neo-Palladian architecture, echoes classical temple design. Burlington drew insp. from grand tours to Italy. has immensely intricate gardens, meant for entertaining and a statement of art rather than a home.

Robert Adam, The Etruscan Drawing Room, Osterely Park, Middlesex, 1775

Neoclassicism. harmonized, decorated, and organized space with a continuity of color and style. artist applies classicism to minute decoration in walls, ceilings, floor, to windows and furniture on armchairs, chests. details were completely original and unprecedented.

Robert Adam, South (garden) facade, Kedleston Hall, Derbyshire, 1761-2

Neoclassicism. style is plain and non-fussy, until he comes back from traveling. took influence from arch of Constantine in its blind triumphal arch (corinthian columns and figures on either side) influence from Pantheon in dome. stairwell like 17th c. french work of his father. ground floor=rusticated, upper floors=smooth dressed stone. north side is very Palladial.

Joseph Wright of Derby, A Philosopher Giving a Lecture on the Orrery, in which a Lamp is put in place of the sun, c.1766 Oil on canvas, Derby, Derby Museum and Art Gallery

Orrery--lamp--sun. viewer is aware of where we stand in relationship to it, what it means "look". "clockwork universal" Isaac Newton comes into play as understanding of universe as machine in contact motion, governed abstract mathematical principles. light illuminating on children particularly, relationship shown between SIGHT and KNOWLEDGE. tenebrism=compare with Caravaggio except Derby focuses on secular truths of natural world.

Donato Giuseppe Frisoni (and others) and Franz Schemer: Benedictine abbey church, Weingarten, 1715-1724

Pilgrimage church, as well as abby. synthetic planning: involved a lot of people and planning. inside: stucco, including pulpit has delicate two toned ribbon work. Frescoes by Cosmas Asam (him and his bro dominated), competition for best illusionary architecture around it.

Thomas Gainsborough, Portrait of Mrs Sarah Siddons, 1783, NG London

Rococo, with soft brushwork and fine working of her textural garments. had trouble painting her nose and has to go over it several times, regal self-expression demonstrates a sense of importance.

Allan Ramsay, Portrait of Anne Bayne, c. 1739, NG Scotland, Edi

Scottish artist, major role in establishing National school. this is portrait of his first wife set within an oval. vivacity in his observation of her. she has strict rigid pose, suggesting this an early work from when they were first engaged. graceful and individualistic.

GianLorenzo Bernini, David, 1623-24, Marble

adverse of David NOT shown, compared to others (Donatello's and Michaelangelo's) This captures him in the very act of springy his might. spectator is the adversary. David is fighting external force, while spectator is the adversary=most advanced rendition psychologically. sculpture has multiple viewpoints.

Caravaggio, St Matthew writing the Gospel (first version, 1602), oil on canvas, (destroyed 1945) COMPARE W SECOND VERSION

angel swooping down to guide Matthew's hand as he writes the gospels. He is in moment of understanding, wrinkled eyes and rolled forehead lines) feet exposed to the public. Matthew not "saintly" at all, instead looking human, ignorant, earthly (feet exposed and he is V close to picture plane) divine intervention is tangible to the viewer.

William Hogarth, O the Roast Beef of Old England (or The Gate of Calais) 1748, oil on canvas, London, tate Britain

anti-French, lampooning picture of Gate of Calais. Theatrical stage of London. morally debase French , Scotsman lampooning idea that French were annul. beef in center from england, allude to English culture and how it is "best" for France.

Sir Joshua Reynolds, Three Ladies Adorning a term of Hymen/The Montgomery Sisters, 1773 [Tate Gallery London]

artist believed art was a mode of expression founded on intellectual effort. elevation of portraiture to high art="grand manner" invented by artist. elements of neoclassical style should be encouraged and costume/settings should be timeless, with sense of antiquity. elevate woman to likeness of goddess. one of his largest, most grand portraits. meant to commemorate the commissioner, as he is married to one of the woman in ecstatic dance, all connected by lay of flowers. pseudo-antique clothes. take influence from Poussin. intention was make subjects GRAND

Rubens, Raising of the Cross, [triptych: view from the interior when open], 1610-1611, oil on canvas

artist is happy in his work, as this is important 1st in career blossoming in Antwerp. tritpych format: VM and John standing solemnly, not sorrowful (counter-reformation trend) dignity of church remains in quietness of their reactions. diagonal emphasis. irregular muscularity shows egregious nature of lifting up Christ. introduced possibility of salvation. huuuuge. examine way it was presented in original church (Cathedral of our Lady Antwerp)

Thorvaldsen, Jason with the Golden Fleece, 1803-28, marble, Thorvaldsen Museum, Copenhagen

artist was Danish, neoclassic sculptor took influence from Canova. this is neoclassical masterpiece. prince from mythology needed to get fleece from dragon. caught bet. rest and movement, prey thrown over his arm, both armed and naked. Inspired by apollo Belvedere and Polykleitos Doryphoros. style marked independence from refined works of Canova (lyrical) while Thorvaldsen was more severed.

Aelbert Cuyp, Thunderstorm over Dordrecht (c.1640-5) oil on panel, Zurich, Foundation collection of EG Buhrle.

artist was draftsmen who created sensitive drawing of Dordrecht, Dutch landscape. fearful atmosphere, lots of sky, sheets of rain and pale blue sky to the right. one of the first thunderstorm depictions without context (esp. Biblical) thick yellow strikes. cow and horses waiting out the storm. people want what was familiar to them, which is why dutch landscape was popular in the homes of the bourgeouis. blacksmiths, cobblers, everyone has these pictures in their home or workspace.

Jean-Antoine Watteau, Fetes Venitiennes, 1719, oil on canvas, National Gallery of Scotland, Edi

artist was inventor of Fetes Galante genre: well-dressed people playfully flirting and enjoying life. idyllic charm and theatrics. self-portrait as musician seated. featured another artist who is dance partner to Charlotte Desmares, the mistress of Duc d'Orleans, suggesting private meaning between the audience?. pastoral setting=innocence of party. statue in the back.

The Sheldonian Theatre, Oxford, Christopher Wren, begun 1663

artist was professor during time when sciences and architecture had close relationship. architecture was a hobby for intellectuals. context: civic architecture became nationalistic pride. architect shifts from religion to fuller emblem of Britain. he thought architects should be "renaissance men". this theater was first newest building in a longtime, uniquely original, displays model work of an engineer, structural qualities are very important. this was built and is still used by the university for admiration, events, talks, award ceremonies, etc.

Jean-Antoine Watteau, The Embarkation for Cyphera, 1717, oil on canvas, Musee du Louvre, Paris

artist was transitional from baroquee to Rococo. used a lot of color like Rubens. this was diploma piece for the academy. celebration of love. air of nostalgia, lovers leaving island, making way down to ship. artist: prep drawing were key to creative success.

Artemisia Gentileschi, Judith and Holofernes, Naples, Museo di Capodimonte, 1612-1613, oil on canvas

awfully violent depiction of up-close decapitation of Holofernes. fabric and surface textures expertly done. silk contrasts with blood running down his neck and the silk. this is more realistic than Caravaggio's version. before making this painting, artist was raped by father's biz associate. competitive nature of telling this story, and personal connection makes for violence.

Poussin, The Israelites Gathering Manna in the Desert, 1637-1639, oil on canvas

before, during and after manna has fallen. eye drawn to Moses ad Aaron giving thanks to God.

Le Vau and Hardouin-Mansart, Chateau de Versailles, West or garden facade

building compliments garden=stylistic symmetry. style in ordered and deliberate in building and in the gardens.

Holkham Hall, Norfolk, Enterance Hall, by William Kent, from 1734

closer to Palladian style than any other, certain severity of design. aided by Burlington.simple, unscaled plan has 6 column portico on south facade

Sir Joshua Reynolds, General Sir Tarleton, 1782 [NG, London]

common subject for artist to paint. this general distinguished himself in war for independence in America, depicted here in uniform. diagonal composition. pose derived from classical statue of Hermes, insinuating the general's deservingness of such a painting. he lost two figures, so artist discreetly covers them up. this is an example of Reynolds marking who was "famous" a sense of celebrity is being developed. notable members of society were his friends, clients. shaped public images by his charm and publicity.

Johann Michael Fischer and Johann Michael Feichtmayr, Benedictine abbey church, Zweifelten, 1739-65 INTERIOR

convent that later became a church. architect knew it coolant be finished in a year, so he uses Benedictine network to call in another architect. marble stucco: expensive but allowed for complete control over color scheme. ornamentation is organic and alive. no pieces of wooden furniture

Rembrandt, The Descent from the Cross, c.1633, oil on canvas. Munich, Alte Pinakotchek

direct tribune to Ruben's version, although this one is much smaller and meant as for a series of the passion of Christ. both use widening white clothe to emphasize body of Christ through light. artist uses central focus with broadens at the bottom to emphasize stillness. body is like rubber, life taken out of it, whereas Ruben's has movement and muscles.

Diego Valaquez, Toilet of Venus (Rokeby Venus), c. 1650, oil on canvas, London, National Gallery

first Spanish female nude, back to the viewer, reflection of face in the mirror.

Three designs for Wanstead House, Essex, c.1715, by Colen Campbell

first design: central pedimented portico, simplistic, basic, augment paired back to windows, walls, and portico. 2nd: dome, windows, columns, wall space=still simplistic 3rd: wall towers at the end with Venetian windows. impressive stairwell and entrance, columns and triangular pediment consistent throughout. again Palladian architectural example going back to classicism.

Velaquez, Las Meninas (The Maids of Honor) 1656,oil on canvas, Museo del Prado, Madrid

genre painting--no event shown, just artist working in his own studio. infant Margherita looks at the artist, everyone else looks outward. Painted from POV of royal couple (painted in mirror as well)=gracious, humble clever way of painting., confusing of definitive subject. strong feeling of unreality. various planes. light and dark. clever use of colors, remarkable structure and clarity, brushwork is what he was famous for.

Annibale Caracci, The Butcher's Shop, c. 1585, oil on canvas, Oxford Christ Church College.

genre subject unusual for its time. massive in size. 4 men carving meat for customer. earthly tones in thick strokes which mimics texture of meat.(different from smoothness of mannerists) allegorical warning of temptations of the flesh. "Disengage della viva carne=drawn from living flesh. influenced by Passerotti. these pictures are remarkable for the unprecedented directness and sympathy with which they present their simple subjects; light and colour are handled to a maximum effect of naturalism, and the summary brushwork helps to render a first impression as directly as possible. grove art.

Thomas Gainsborough, Mr and Mrs Andrews, 1749, NG London

group portrait, demonstrates artist's imaginative qualities. portraiture and landscape are equal here. her ankle crossed, The landscape evokes Robert Andrews's estate, to which his marriage added property. He has a gun under his arm, while his wife sits on an elaborate Rococo-style wooden bench. The painting of Mrs Andrews's lap is unfinished. The space may have been reserved for a child for Mrs Andrews to hold. -National Gallery

Claude, The Mill, (Landscape with the Marriage of Isaac and Rebecca), 1648, oil on canvas (National Gallery London)

humans in perfect harmony with nature. generalized Arcadian scene. use of trees to frame the action and provide compositional balance. structure of clouds are realistic (streaky flats one and ones that rise with the mountains) inscription in the middle of original relays only relation to Isaac and Rebecca.

Francesco Borromini, San Carlo alle Quattro Fontane

iconic example of Baroque church, restricted by the small plot of land its on. commissioned by Discalred Trinitarians. shape between rectangle cross and oval. artist was a good craftsmen, imaginative with use of space. contemporaries found him strange patron had hard time working with him.

Gianlorenzo Bernini, S. Peter's colonnade

immense, free standing Doric columns of 4 rows, 3 pathways with ecentral pathway designed for carriages. saints on top are 12 feet tall. legions looking down on visitors, sillouhetted against the sky. artist never built third part of colonnade, road built in 1937. Bernini compared arms of colonnade to the arms of the church. movement of spirit/beholder is captured, message of embracing mother church. late 16th century transformed religious architecture of city into beautiful and monumental.

Jean-Antoine Watteau, L'Enseigne de Gersaint, 1720, oil on canvas, Schloss Charlottenburg, Berlin

intended as as shop sign for an art dealer. features real people in normal dress, no fantastical elements, no subsidiary groups. nude paintings in the background suggest the lust and desires of the genteel figures in the shop. ambiguity of what they are looking at. new intensity in this work, constant reference of "Rubenism", idea was to emulate master he admired so much.

Artemisia Gentileschi, Susan and the Elders, 1610, oil on canvas

later Biblical story of Jewish woman confronted by nosey men accusing her for adultery--she claims innocence. Susanna is close to picture plane, shallow space--men coming fast!! intensity heightened. female body of REAL woman. not idealized as nipples and breasts are weight and real, but also classical influence because of sculptural nature, twisting of body, consciously representing to represent strong female heroin. communicates pleasure and violent message.

Rembrandt, Self-Portrait as St Paul, 1661. oil on canvas, New York Metropolitan Museum of art.

later period of artist's career. mix portrait with religious matter, hilt of the sword indicates direct relation with Paul. touching, somber, intimate representation as an "everyday man". successful pupils imitating his style. he often painted himself in different outfits, with different persona. (self-promotion)

Caravaggio's second version of St Matthew writing the Gospel, 1603

more majestic than the first, a halo added, and more saturated colors of red and yellow on Matthew's garments contrasting with black, homogenous background.

Poussin, Et in Arcadia ego, 1637-38, oil on canvas

move from busy landscapes to only four figures in primary hues. subject matter is kind of odd, Et Arcadia Ego is reminder of death, one's own mortality. ambiguity of meaning. Arcadia is perfect imagined wilderness, so even in arcadia death is present?

Gianlorenzo Bernini, Apollo and Daphne, 1622-25, Marble, Rome, Galleria Borghese

movement within the Baroque!! sense of a struggle. intended to be viewed from one spot as relief. Ovid's Metmorphosis story where Apollo loves Daphne--she asks to be transformed into a tree to escape his love. this poses a technical challenge of turning marble into bark, leaves, flesh, woodery. hands transform into leaves, feet turn into roots. expressiveness (anguish in hers) in face is essential to artist's work.viewer becomes apart of his work. alternation bet. positive and negative space to create drama.

Harmen Steenwijck, Vanitas Still Life, c.1640, oil on panel, Leiden, Museum De Lakenhal

named after Biblical quote saying vanities of vanity, all is vanity. purple silk is physical luxury symbolism. chronometer is reminder of time. book and musical instruments represent pleasures of the flesh. soul symbol of death, The Japanese sword and the shell, both collectors' rarities, symbolise wealth. (NG) reminds the viewer of transience of life. direct light emphasizing the skull. composition shows spiritual emptiness in far left, diagonal breaks it up from our view of luxury items on right side of painting. territory colors, but immense skill in representing textures.

Canova, Venere Italica, 1812, Palazzo Pitti, Florence

neoclassical sculpture. combined elements, not a copy, wholly original and highly praised as so. all Venus sculptures of his show epitome of female beauty. challenge and compete with classical statues by rejecting their artificiality or melodramatics. lines are refined and elegant, compare to Three Graces figures. she stands in contraposto, emotion is controlled but artist still strives for perfection and calm realism/grandeur.

Rembrandt, The Militia Company of Captain Frans Banning Cocq and Lieutenant Wilhem van Ruytenburgh (The Night Watch) 1642. oil on panel. Amsterdam, Rijksmuseum

not a night scene like originally thought. light behind emphasized certain group portrait, more of a story than a portrait. militia company of black-enrobed figure=important function in city life. 3 crosses on clothing to one figure on the right is a suggestion of these men protecting city against danger. compare to Anatomy of Dr. Nicolas where artist revolutionizes figure importance in ordinary scenes.

Francois Boucher, Portrait of Madame de Pompadour at her Toilet, 1758, oil on canvas, Harvard, Fogg Art Museum

objects related to her interests depicted, such as sculpture and painting, music. flowers depicted. Rococo interest in the SENSES. influence of the enlightenment clear here. unlike Poussin more like Rubens in its embracement of the natural world. she was fond of rouge, connotation of healthfulness, as she is responsible for her own image.

Gianlorenzo Bernini, Bust of Louis XIV, 1665, Chateau de Versailles, Salon of Diana

on display in Versailles palace. said to be the "grandest piece of architecture in the baroque age", represents climb of Louis IV's power. drama within the movement of his flowing drapery, winded to the right, while he stares off into the other direction not even phased by such earthly things. gaze is upward=serious, dignified, regal, and focused authority of france. idealized because he was small in real life, while this portrays him in full grandeur.

Johann Zoffany, The Tribuna of the Uffizi, 1772-1778, oil on canvas, Royal Collection, Windsor

original design by Vasari for the Uffizi galleria. (this is where we first get a concept of modern museums) space in this painting intended to house works of art of beginning (1584) Painting: tells us about people, use and physical experience with works of art. recognize reproduced famous images by Caracci, Raphael, Caravaggio, Titian. etc. compare relationship of 18th c. ppl to art and contemporary art. this shows progression of artwork as being exttremly self-aware of its importance.

Bernini, Sant'Andrea al Quirinale

oval design, project for Jesuit. transverse oval which was wider than its depth. aimed to restore people to Catholicism . artist granted full artistic freedom. exterior has convex and concave forms. dynamic inside because of altar is immediately visible. crucifixion of patron saint, St Andrew shown in huge sculpture ascending into heaven, eye continues upward to dome with dove, golden light of heaven, sun rays are symbolic.

Diego Velaquez, King Phillip IV on Horseback, 1634-1635. oil on canvas, Madrid, Museo del Prado

painted after first trip to Italy. more colorful snd freely painted work. equestrian portraits and military victory, draws inspiration from Titian's and symbolizes sovereignty of the king. splendid royal costume.

Dominikus Zimmermann: Pilgrimage church, Steinhausen, 1727-33 INTERIOR

pastelle pallette, moves from terrestrial simplicity of benches to the celestial splendor of the ceiling. virtuality that draws eye upward, unlike Gothic, because it uses ornamentation and white walls, not windows. oval ceiling, very baroque. influence from renaissance & baroque comes in architectural features in the frescos, very illusionistic. pompous, festive, joyful, ornate.

The Banqueting House, Whitehall, London, by Indigo Jones, 1619-22

pilasters (flat columns on the edges), engaged columns, dentals (square dots at the top), Ionic capitals at the bottom, composite capitals at the top, triangular pediments (some are segmented, some are rounded alternate, first done by Michelangelo) chunky outline allows for justification. 7 bays along the front. sophisitcated on the outside but dramatic and colorful on the inside.

The Queen's House, Greenwich, by Indigo Jones, begun 1616

prime example of English Palladianism (classical architecture being brought to UK) influence from Andrea Palladio, who wrote 4 Books on Architecture. proportioned, symmetrical. used classical Ionic orders.role of books and drawings were fundamental to Jone's designs, need to sketch work and annotate. 2 story. took off triangular pediment he had originally sketched. south front has central loggia, and is unlike any predecessors.

Annibale Carracci, Triumph of Bacchus and Ariadne, 1595-1604, Galleria Farnese, Palazzo Farnese, Rome

progressive style leans toward classicism and antiquity. theme is power and classical mythology. this is featured on ceiling. continuous narrative. color isolates each figure form its surroundings. expresses artist's stance on the paragon (argument on sculpture v. painting)

Clara Peeters, Still Life with Cheeses, Almonds and Pretzels, c. 1615, oil on panel, The Hague, Maurishuis

purpose was to wet the appetite; appeal to senses not the intellect, genre painters looked down upon still life artists: Rubens. cheaper to make and don't need a rigorous education to do well at making them.this shows skill of painter as glass with light reflecting off of it.

Nicholaes Berchem, Italian Landscape at Sunset, 1670-72)

rustic iconography, comfortable, innocent, and happy peasants with their animals against sky and terrestrial elements. pleasing aesthetics despite dry flatness. artist is precursor to Rococo as seen in the mood of this artist's work.

Peter Paul Rubens, Henry IV Receiving the Portrait of Marie de 'Medicis, 1621-1625, Paris, Louvre, oil on canvas

scene shows betrothal precursor that is the presentation of portrait. God of marriage carrying the portrait, personification of France behind king. sends message to leave war behind and focus on married life (putti below) Jupiter and Juno symbolize perfect married couple above. vertical lines of females focuses on centrality of Marie Portrait.

Jacques-Louis David, Antoine-Laurent Lavoisier and His Wife, 1788. oil on canvas, New York MET

science takes place in private interior. uniform lighting of whole painting. unusual position of wife leaning over husband, she was heavily involved in hubby's experiments. her importance underscored by the diagonal. compare with Derby, this one expresses real scholarly academics, sophisitcated whereas d's was entertainment science. highly debated.

Gianlorenzo Bernini, The Rape of Proserpina, 1621-22, marble, Rome, Galleria Borghese

shows emotion and motion through straining muscles, movement, and agitated gestures. struggling Properpina, clutching of Neptune. 3 headed dog Cerbarus underneath. intended to be against back wall (artist has meticulous control of what viewer sees, where this is placed creates certain effect.)urgency of scene contrasted with soft marble of female's body (drama) "an amazing contrast of tenderness and cruelty" --Bernini's son and biographer.

Juan Sanchez Cotan, Still life with Wildfowl, Vegetables, and Fruit, 1602, oil on canvas, Madrid, Museo del Prado

simple subjects, stone frame, fools eye of 3D illusion, veggies protruding into viewer's space. duel function: exemple of artistic skill and ability to make it attractive, appealing from dull things.

William Hogarth, Gin Lane (1751). Engraving

stab at lower class, not a moral progress but a hippy portrayal of gruesomeness. depicts lower-class obsession with alcohol (cheap, highly alcoholic gin)

Maurice-Quentin de La Tour, Portrait of Madame de Pompadour, 1755, pastel on paper

subject matter: kept her position as mistress until death. she built and restored 15 residences, kept interest of kind with wandering eye. portrait: educated woman with accomplishments in arts and letters. this is pastel paper which was introduced in high class portraits by Venician Rosalba Carriera. colors preserved well, unlike oil, allows for spontaneity of touch. massage surrounded by engravings, astronomy, rows of books, insuating that the king should be open to these ideas?

Hogarth, Marriage a la Mode: The Marriage Contract/the Marriage Settlement, 1745, oil on canvas, London National Gallery

tells story of marital convinience between titled aristocrat marrying non-aristocrat (but wealthy) young woman. father faulting pedigree to the right. blue-bloods marrying indusrtial wealth satirized in this series. fluttery style, symbolic connotations in the details. pompous aristocrat women not looking at her fiancé= pure business. series ends in tragic death. moral message so consistent with Hogarth's work.

Allan Ramsay, Portrait of Margaret Lindsay, c. 1759, NG Scotland EDI

tender, more informal than portrait of second wife, with whom he eloped with after his first wife died.. pretty lace fabric and fall of light is perceived greatly. she is arranging flowers as she glances to the viewer. this has insp. from french paintings of the 18th c. he was official painter for royal family as well.

Diego Valaquez, Pope Innocent X, c. 1650, oil on canvas, London, National Gallery

typical 3/4 view of sitting pope (invented by Raphael) unique expressiveness here. artist creates convincing reality with casual technique, competently used tones of red. daring and visible brush strokes. likeness of portrait impressed everyone. Pope said it was "too truthful"

Sir Joshua Reynolds, Mrs. Siddons as the Tragic Muse, 1789 [Dulwich Picture Gallery]

woman is leading tragic actress of her time, appears here elegant and comfortable on her throne. insp. from prophet Isaiah, Michelangelo where the dignity of sitter is consciously increased. behind two figures are Pity and Terror. large scale painting, she is luminescent against darkness (added drama) this has likeness and story-like ness to a history painting. compare to Gainsborough's portrait

Rubens, Samson and Delilah, 1609-10, oil on panel

work for mayor of Antwerp. Samson slumped on her, his hair cut, he is beguiled by sex, masoginistic work? exemplified artist's love for human form. color is Caravaggio-inspired, light is provided by artificial source (candle) and there is lots of play on light and dark play. old woman above is procurer, helping Delilah seduce him. one-sided view. compare with Van dyck. Rubens sets his version of the story in a bed chamber at night. In complete contrast, Van Dyck chooses to set his scene outside and in bright daylight. Van Dyck's decision to depict the moment before Samson's hair is cut is also an important divergence, since in Rubens' painting the action is already underway. (Khan academy)

Annibale Caracci, Pieta with the Virgin and Saints, 1585, oil on canvas, Galleria Nazionale, Parma

St Clare, St John, and Mary Magalene, Christ in the center. Mary about to faint behind him. light emphasizes somber mood. enough realism to be believable, enough idealism to be other-worldy=nice balance.

Caravaggio, Incredulity of St Thomas, 1601-02, oil on canvas

absence of a halo shows Christ's humanistic nature. chiascurio used. Matthew astounded as Christ guides hand to his wound. unison of all the heads in the center. Christ mostly in the shadows because he is the least "knowable", show men's curiosity and shock as this physically intense action occurs.

Jacob van Ruisdael, Wheatfields, 1660s, oil on canvas, Metropolitan Museum of art.

centralized recession into space, light creates diagonal across painting while lone tree to the right and fallen log to the left creates tension. perhaps intended to go above a mantelpiece, its colossal in size.