flashcard CH25
25-31 CLAUDE PERRRAULT, LOUIS LE VAU, & CHARLES LE BRUN, Louvre The design of the Louvre's east facade is a brilliant synthesis of French and Italian classical elements, including a central pavilion that resembles an ancient temple front with a pediment.
architecture
25-37 INIGO JONES Banqueting House at Whitehall, London, England Jones was a great admirer of the classical architecture of Palladio, and he adopted motifs from the Italian Renaissance architect's villas and palaces for the buildings he designed for his royal patrons.
architecture
25-38 CHRISTOPHER WREN New Saint Paul's Cathedral,London Wren's cathedral replaced an old Gothic church. The facade design owes much to Palladio (FIG. 22-31) and Borromini (FIG. 24-12). The great dome recalls Saint Peter's in Rome (FIGS. 24-3 and 24-4).
architecture
25-32 Versaille Building on right is Trianon Palace in Versaille, France. End portion of building Louis XIV ordered his architects to convert a royal hunting lodge at Versailles into a gigantic palace and park with a satellite city whose three radial avenues intersect in the king's bedroom.
architecture, class structure
25-33 JULES HARDOUN-MANSART & CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors) This hall overlooks the Versailles park from the second floor of Louis XIV's palace. Hundreds of mirrors illusion- istically extend the room's width and once reflected gilded and jeweled furnishings.
architecture, structure
24-45 REMBRANDT VAN RIJN The Company of Captain Frans Banning Cocq (Night Watch)
art to influence
25-30 Louis XIV In this portrait set against a stately backdrop, Rigaud portrayed the 5 4 Sun King wearing red high-heeled shoes and with his ermine- lined coronation robes thrown over his left shoulder.
art to influence
25-28 CALLOT, Hanging Tree Callot's Miseries of War etchings were among the first realistic pictorial records of the human disaster of military conflict. Hanging Tree depicts a mass execution of thieves in the presence of an army.
art to influence, satire
25-27 LOUIS LE MAIN, Family of Country People Le Nain's painting expresses the grave dignity of a peasant family made stoic by hardship. It reflects 17th-century French social theory, which celebrated the natural virtue of those who worked the soil.
female human form
25-19 VERMEER, The Letter Vermeer used both mirrors and the camera obscura to depict opulent 17th-century Dutch domestic interiors so convincingly. He was also far ahead of his time in understanding the science of color.
forms and elements
25-21 Pieter Claesz, Vanitas Still Life Vanitas still lifes reflect the pride Dutch citizens had in their material possessions, but Calvinist morality and humanity tempered that pride. The skull and timepiece remind the viewer of life's transience
forms and elements
25-4 RUBENS, Allegory of the Outbrak of War Beginning with the Renaissance, artists have left behind many writings shedding light on their life and work. In a 1638 letter, Rubens explained the meaning of each figure in this allegorical painting.
forms and elements
25-5 ANTHONY VAN DYCK, Charles I Dismounted Van Dyck specialized in court portraiture. In this painting, he depicted the absolutist monarch Charles I at a sharp angle so that the king, a short man, appears to be looking down at the viewer.
forms and elements
25-2 PETER PAUL RUBENS, Elevation of the Cross In this triptych, Rubens explored foreshortened anatomy and violent action. The composition seethes with a power that comes from heroic exertion. The tension is emotional as well as physical.
forms and elements , style
25-12 Rembrandt, Anatomy Lesson of Dr. Tulip In this early work, Rembrandt used an unusual composition, portraying members of Amsterdam's surgeons' guild clustered together on one side of the painting as they watch Dr. Tulp dissect a corpse.
historical narrative
25-13 Rembrandt van Rijn, The Company of Captain Frans Banning Cocq (Night Watch) Rembrandt's dramatic use of light contributes to the animation of this militia group portrait in which the artist showed the company rushing about as they organize themselves for a parade
historical narrative
25-16 Rembrandt, Christ with the Sick aroung Him, Receiving the Children Rembrandt's mastery of the new print- making medium of etching is evident in his expert use of light and dark to draw attention to Christ as he preaches com- passionately to the blind and lame.
historical narrative
25-25 NICHOLAS POUSSIN, Burial of Phocion Poussin's landscapes do not represent a particular place and time but are idealized settings for noble themes, like this one based on Plu- tarch's biography of the Athenian general Phocion. Poussin's Notes for a Treatise on Painting The idea of beauty does not descend into matter unless [a painting] is prepared as carefully as possible. This preparation consists of three things: arrangement, measure, and aspect or form. Arrangement means the relative position of the parts; measure refers to their size; and form consists of lines and colors. Arrangement and relative posi- tion of the parts and making every limb of the body hold its natural place are not sufficient unless measure is added, which gives to each limb its correct size, proportionate to that of the whole body [com- pare "Polykleitos's Prescription for the Perfect Statue," Chapter 5, page 124], and unless form joins in, so that the lines will be drawn with grace and with a harmonious juxtaposition of light and shadow.† * Translated by Robert Goldwater and Marco Treves, eds., Artists on Art, 3d ed. (New York: Pantheon Books, 1958), 155. † Ibid., 156.
historical narrative
25-29 Adoration of the Shepherds Without the aid of the title, Georges de la Tour's painting could be a genre piece instead of a biblical narrative. The French painter did not even paint halos around the heads of the holy figures.
historical narrative
25-3 Arrival of Marie de Medici at Marseilles Marie de' Medici asked Rubens to paint 21 large canvases glorifying her career. In this historical-allegorical picture of robust figures in an opulent setting, the sea and sky rejoice at the queen's arrival in France.
historical narrative, display
25-15 REMBRANDT, Self-Portrait In this late self-portrait, Rembrandt's interest in revealing the human soul is evident in the attention given to his expressive face. The controlled use of light and the nonspecific setting contribute to this focus.
male portraiture
25-26 Lorrain, Landscape with Cattle and Peasants Claude used atmospheric and linear perspective to transform the rustic Roman countryside filled with peasants and animals into an idealized classical landscape bathed in sunlight in infinite space.
nature
25-1 Allegory of the Art of Painting Dutch painters often specialized in domestic scenes, but Vermeer's mother-in-law described this work as "the Art of Painting." Vermeer's tribute to his craft includes a model holding the attributes of Clio.
patronage
25-10 HALS, Women Regents of the Old Men's Home Dutch women played a major role in public life as regents of charitable institutions. A stern puri- tanical sensibility suffuses Hals's group portrait of the regents of Haarlem's old men's home.
social event
25-9 FRANS HALS, Archers of Saint Hadrian In this brilliant composi- tion, Hals succeeded in solving the problem of adequately representing each individual in a group portrait while retaining action and variety in the painting as a whole.
social event
25-6 Peeters, Still Life with Flowers, Dried Fruit, and Pretzels Clara Peeters was a pioneer of still-life painting. Although a Flemish artist, she spent time in Holland and laid the groundwork for many Dutch artists (FIGS. 25-21 to 25-23).
symbolism
25-11 Judith Leyster, Self-Portrait Although presenting herself as an artist specializing in genre scenes, Leyster wears elegant attire instead of a painter's smock, placing her socially as a member of a well-to-do family.
woman portraiture
