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WORKS BY PERIOD |
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Style of the Baroque Period |
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painting: |
exaggerated, exciting,
beautiful |
Classical= |
Greek & Roman |
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spectators common theme |
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mixed together |
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action |
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architecture: |
scrolls; facades more sculptural |
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Image # |
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| I. |
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BAROQUE PERIOD IN ITALY |
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Italian: |
Catholic: exaggerated, beautifiul, theatrical, action, spectators common |
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| 1 |
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Coronaro Chapel |
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Bernini |
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10 |
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Bernini: |
theatrical, action,
exggerated, beautiful |
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| 2 |
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David |
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Bernini |
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12 |
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| 3 |
x |
Ecstacy
of St. Theresa |
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Bernini |
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11 |
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| 4 |
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Four Rivers Fountain |
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Bernini |
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13 |
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| 5 |
x |
St.
Peter's Baldacchino |
Bernini |
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7, 8 |
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| 6 |
x |
St.
Peter's Cathedra Petri |
Bernini |
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9 |
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| 7 |
x |
St.
Peter's Piazza |
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Bernini |
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4 |
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| 8 |
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Bacchus |
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Caravaggio |
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19 |
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Caravaggio: |
invented tenebrism, liked
young boys as subjects |
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| 9 |
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Basket of Fruit |
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Caravaggio |
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21 |
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painted realistic still
lives in flemish style |
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| 10 |
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Boy Bitten by Lizard |
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Caravaggio |
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18 |
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in still lives: always
included fresh vs. rotten, living vs. dead |
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| 11 |
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Boy w Basket of Fruit |
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Caravaggio |
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17 |
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| 12 |
x |
Calling
of St. Matthew |
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Caravaggio |
22, 23 |
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| 13 |
x |
David
w Head of Goliath |
Caravaggio |
29 |
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| 14 |
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Death of the Virgin |
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Caravaggio |
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26 |
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| 15 |
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Entombment |
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Caravaggio |
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25 |
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| 16 |
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Execution of St.John the
Baptist |
Caravaggio |
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27 |
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| 17 |
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Martyrdom of St. Matthew |
Caravaggio |
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24 |
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| 18 |
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Repentant Magdalen |
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Caravaggio |
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20 |
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| 19 |
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Salome w Head of St. John
the Baptist |
Caravaggio |
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28 |
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| 20 |
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Sick Bacchus |
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Caravaggio |
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16 |
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| 21 |
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Bacchus & Ariadne |
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Carracci |
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14, 15 |
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| 22 |
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Il Gesu |
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della Porta |
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1 |
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| 23 |
x |
Judith
& Maidservant w Head of Holofernes |
Gentileschi |
30 |
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| 24 |
x |
Santa
Susanna |
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Maderna |
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2 |
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| 25 |
x |
St.
Peter's Façade |
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Maderna |
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3, 4 |
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| 26 |
x |
St.
Peter's Dome |
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Michelangelo |
5 |
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| 27 |
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Glorification of St.
Ignatius |
Pozzo |
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31 |
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| II. |
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BAROQUE PERIOD IN SPAIN |
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Spain: |
Catholic: extreme realism, extremely devotional |
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| 1 |
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Still Life |
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Cotan |
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6 |
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Cotan: |
one of 1st in Spain to
paint in Flemish style (realistic) |
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| 2 |
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Still Life w
Quince,Cabbage,Melon,Cucumber |
Cotan |
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6 |
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| 3 |
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Assumption of Virgin |
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El Greco |
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2 |
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El Greco: |
noted for combining 2
scenes: heavenly, earthly |
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| 4 |
x |
Burial
of Count Orgaz |
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El Greco |
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3 |
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typifies both extreme
realism & extreme devotion at the same time |
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| 5 |
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Christ on the Cross |
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El Greco |
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4 |
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influenced by Titian,
Giorgioni |
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| 6 |
x |
View
of Toledo |
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El Greco |
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1 |
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Painter of drama, with
manneristic touches |
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| 7 |
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Infanta Margherita
Theresa in Blue |
Velasquez |
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13 |
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Velasuez: |
invented casual &
also did conventional royal portraits |
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| 8 |
x |
Las
Meninas |
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Velasquez |
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11,12 |
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court painter to Philip
IV of Spain |
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| 9 |
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Crucifixion |
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Zurbaran |
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10 |
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Zurbaran: |
noted for painting richly
garbed saints |
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| 10 |
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St. Casilda |
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Zurbaran |
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8 |
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| 11 |
x |
St.
Francis in Meditation |
Zurbaran |
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7 |
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| 12 |
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St. Serapion |
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Zurbaran |
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9 |
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| III. |
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BAROQUE PERIOD IN
FLANDERS |
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Flemish: |
Catholic: realism; still lives |
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| 1 |
x |
Debarkation
of Marie de Medici at Marseilles |
Rubens |
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4 |
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| 2 |
x |
Descent
from the Cross |
Rubens |
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2 |
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Rubens : |
used diagonals, drama,
romance, exaggeration to excite |
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| 3 |
x |
Elevation
of the Cross |
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Rubens |
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1 |
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spectacular color,
translucent flesh |
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| 4 |
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Garden of Love |
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Rubens |
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7 |
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admired / inspired by
Michelangelo (musculature in bodies etc) |
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| 5 |
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Holy Family |
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Rubens |
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5 |
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personality like Raphael
(charming, humble, educated, happy) |
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| 6 |
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Portrait of Elena Forment |
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Rubens |
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8 |
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studied in Italy |
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| 7 |
x |
Rape
of Daughters of Leucippus |
Rubens |
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3 |
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future colorists called
"Rubeniste" |
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| 8 |
x |
Self-Portrait |
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Rubens |
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9 |
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| 9 |
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Three Graces |
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Rubens |
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6 |
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| 10 |
x |
Charles
I Dismounted |
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van Dyck |
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10 |
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VanDyck: |
known for royal
portraiture |
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| 11 |
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Queen Henrietta Maria
w/ her Dwarf |
van Dyck |
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12 |
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apprentice to Rubens |
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| 12 |
x |
Self-Portrait
w Sir Endymion Porter |
vanDyck |
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11 |
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court painter to Charles
I |
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| IV. |
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BAROQUE PERIOD IN HOLLAND |
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Holland: |
Protestant: middle class art as a secular commodity |
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liked materialism in
their art |
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chose difficult subjects
to show skill |
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| 1 |
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Banquet of the Civic
Guards |
Anthonisz |
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42 |
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Dutch artists specialized
in a category & painted on spec |
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| 2 |
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Regentesses of the
Burgher Orphanage |
Bacher |
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21 |
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Categories: |
portraiture |
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| 3 |
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Regents of the Lazar
House |
Bol |
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22 |
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still lives
(food/flowers) - brought to a high point at this time |
| 4 |
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Flower Piece |
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Boschaert |
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7 |
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genre |
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| 5 |
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Still Life with Turkey |
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Claesz |
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4 |
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landscape - |
typically low horizon w
dramatic cloud play |
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| 6 |
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Interior with Figures |
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de Hooch |
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17 |
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group portraiture |
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| 7 |
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Anatomy Lesson |
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de Keyser |
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39 |
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interiors |
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| 8 |
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Portugese Synagogue
Interior |
de Witte |
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27 |
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Didn't paint from
stylebooks |
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| 9 |
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Four Regents &
Bookkeeper |
Elias |
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29 |
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Iconoclasts: persons not
liking religious art |
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| 10 |
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Balthasar Coymans |
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Hals |
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1 |
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Hals: |
invented white
slash/stroke |
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| 11 |
x |
Malle
Babbe |
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Hals |
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2 |
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humorous, spent lots of
time in tavern |
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| 12 |
x |
(Portrait
of a) The Married Couple |
Hals |
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3 |
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known for stop-action |
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| 13 |
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Regents of Old Men's Home |
Hals |
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28 |
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| 14 |
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Still Life w/Oysters,Rum
Glass & Silver Cup |
Heda |
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6 |
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Boschaert: |
invented |
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| 15 |
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Banquet of the Civic
Guard |
Helst |
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20 |
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flower paintings |
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| 16 |
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A Woodland Road |
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Hobbema |
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25 |
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| 17 |
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Wooded Landscape |
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Hobbema |
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30 |
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| 18 |
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Still Life |
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Kalf |
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5 |
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| 19 |
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Old Woman Praying |
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Maes |
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18 |
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| 20 |
x |
Anatomy
Lesson of Dr. Tulp |
Rembrandt |
40 |
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Rembrandt: |
typical style
caravagesque w/ metallic accents |
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| 21 |
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Aristotle Contemplating
the Bust of Homer |
Rembrandt |
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52 |
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master of verisimilitude
(closest proximity to what eye sees |
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| 22 |
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Hendrickje as Flora |
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Rembrandt |
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48 |
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could paint realism PLUS
add subtle expression |
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| 23 |
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Holy Family at Night |
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Rembrandt |
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56 |
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unlike Rubens, Rembrandt
was unhappy and struggled |
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| 24 |
x |
Militia
Company of Capt. Frans Banning Cocq |
Rembrandt |
43-47 |
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| 25 |
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Portrait of Nicholaes Ruts |
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Rembrandt |
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49-50 |
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| 26 |
x |
Return
of the Prodigal Son |
Rembrandt |
54 |
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| 27 |
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Saskia Van Uylenborch |
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Rembrandt |
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41 |
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| 28 |
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Self Portrait as Jeremiah |
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Rembrandt |
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55 |
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| 29 |
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Self-Portrait 1629 |
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Rembrandt |
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31,32 |
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| 30 |
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Self-Portrait 1652 |
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Rembrandt |
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33 |
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| 31 |
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Self-Portrait 1658 |
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Rembrandt |
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34,35 |
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| 32 |
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Self-Portrait 1661 |
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Rembrandt |
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36 |
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| 33 |
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Self-Portrait 1667 |
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Rembrandt |
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37 |
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| 34 |
x |
Self-Portrait
1669 |
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Rembrandt |
38 |
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| 35 |
x |
Supper
at Emmaus |
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Rembrandt |
51 |
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| 36 |
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Syndics of the Cloth Guild |
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Rembrandt |
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53 |
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| 37 |
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View of Haarlem from
Dunes at Overeen |
Ruisdale |
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24 |
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| 38 |
x |
The
Merry Family9aka Family Scene) |
Steen |
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19 |
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Steen: |
painted a lot of comical
families |
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| 39 |
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Girls in the Civic
Orphanage |
Van der Waay |
23 |
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| 40 |
x |
Allegory
of the New Testament |
Vermeer |
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11 |
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Vermeer: |
lack of energetic
movement, with soft light |
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| 41 |
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Head of a Girl |
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Vermeer |
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14 |
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always painted in same
corner of his house except for 2 paintings |
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| 42 |
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Kitchen Maid |
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Vermeer |
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12 |
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| 43 |
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Lace Maker |
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Vermeer |
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15 |
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| 44 |
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Lady with a Lute |
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Vermeer |
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8 |
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| 45 |
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Little Street |
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Vermeer |
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16 |
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| 46 |
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The Letter |
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Vermeer |
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13 |
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| 47 |
x |
View
of Delft |
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Vermeer |
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26 |
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| 48 |
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Woman Reading a Letter |
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Vermeer |
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10 |
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| 49 |
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Young Woman with a Water
Jug |
Vermeer |
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9 |
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| V. |
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BAROQUE PERIOD IN ENGLAND |
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England: |
Protestant: middle class, literary, inherited aristocracy |
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| 1 |
x |
Osterly
Park House, Etruscan Room |
Adam |
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12 |
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middle class patrons
wanted wit and satire |
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| 2 |
x |
Chiswick
House |
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Boyle |
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11 |
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| 3 |
x |
Honourable
Mrs. Graham |
Gainsborough |
20 |
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| 4 |
x |
Mrs.
Richard Brinsley Sheridan |
Gainsborough |
21 |
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| 5 |
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After the Marriage |
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Hogarth |
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15 |
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| 6 |
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Countess' Levee |
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Hogarth |
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17 |
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| 7 |
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Killing of the Earl |
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Hogarth |
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18 |
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| 8 |
x |
Marriage
a la Mode:The Marriage Contract |
Hogarth |
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14 |
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| 9 |
x |
Suicide
of the Countess |
Hogarth |
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19 |
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| 10 |
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Visit to the Quack |
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Hogarth |
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16 |
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| 11 |
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Light of the World |
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Hunt |
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19 |
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| 12 |
x |
Monticello |
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Jefferson |
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13 |
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| 13 |
x |
Banqueting
Hall (House) |
Jones |
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1 |
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| 14 |
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Julia, Lady Peel |
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Lawrence |
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23 |
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| 15 |
x |
Lord
Heathfield |
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Reynolds |
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22 |
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| 16 |
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High Altar and Baldacchino,
St. Paul's |
Wren |
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5 |
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| 17 |
x |
St.
Paul's Cathedral |
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Wren |
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2-4,6-9 |
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Nave,
Saucer
Domes 1, Saucer
Domes 2 |
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| VI. |
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BAROQUE PERIOD IN FRANCE |
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France: |
Catholic:: strong monarachy, not subject to popular will |
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Taste in
France very regal, Louis XIV longest reigning king |
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| 1 |
x |
Ideal
View of Tivoli |
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Claude (Lorraine) |
9 |
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| 2 |
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Marriage of Isaac &
Rebekah |
Claude (Lorraine) |
8 |
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| 3 |
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Education of the Virgin |
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de la Tour (Georges) |
2,3 |
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| 4 |
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Lamentation Over St.
Sebastian |
de la Tour (Georges) |
1 |
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| 5 |
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Repentant Magdalen |
|
de la Tour (Georges) |
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| 6 |
x |
Versailles |
|
LeBrun |
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11 |
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x |
Versailles
Chapel |
|
Hardouin-Mansart |
16 |
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x |
Versailles
Hall of Mirrors |
Hardouin-Mansart,LeBrun |
14 |
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| 7 |
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Er
in Arcadia Ego 1630 |
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Poussin |
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6 |
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| 8 |
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Er in Arcadia Ego 1640 |
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Poussin |
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7 |
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| 9 |
x |
St.
John on Patmos |
|
Poussin |
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5 |
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| 10 |
x |
Louis
XIV |
|
Rigaud |
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10 |
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| VII. |
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FRENCH ROCOCO STYLE |
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ROCOCO - main intent to
be decorative |
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Extension of Baroque
Period but Rococo is a STYLE |
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| 1 |
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Salon de la Princesse |
|
Boffrand |
|
|
1 |
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aristocratic patronage
wanted only decoration |
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| 2 |
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Diana Resting After Her Bath |
Boucher |
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3 |
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no regal stateliness or
social commentary |
|
| 3 |
x |
Grace
at Table |
|
Chardin |
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|
10 |
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lighthearted w beauty, color, charm |
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| 4 |
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Still Life with Plums |
|
Chardin |
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|
11 |
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After Louis XIV |
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| 5 |
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The Provider |
|
Chardin |
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|
12 |
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| 6 |
x |
Self-Portrait |
|
de la Tour (Quentin) |
9 |
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| 7 |
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Love Letters |
|
Fragonard |
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|
7 |
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| 8 |
x |
Lover
Crowned |
|
Fragonard |
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8 |
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| 9 |
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The Meeting |
|
Fragonard |
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|
6 |
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| 10 |
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The Pursuit |
|
Fragonard |
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5 |
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| 11 |
x |
The
Swing |
|
Fragonard |
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|
4 |
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| 12 |
x |
Marie
Antoinette |
|
Vigee-Le Brun |
13 |
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| 13 |
x |
Self-Portrait
w her Daughter |
Vigee-Le Brun |
14 |
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| 14 |
x |
Embarkation
for Cythera |
Watteau |
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2 |
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| VIII. |
|
NEOCLASSICISM |
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Revival of classical form in
art. |
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Main purpose to educate |
|
|
| 1 |
x |
The
Oath of the Horatii |
|
David |
|
|
1 |
|
Very representational |
|
| 2 |
x |
The
Deathof Socrates |
|
David |
|
|
2 |
|
Sometimes subjects
masquerade as contemp. Issues |
|
| 3 |
|
Brutus Receiving the
Bodies of His Sons |
David |
|
|
3 |
|
David's
paintings had moral: put aside self and tend |
|
| 4 |
|
The Deathof Marat |
|
David |
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4 |
|
to the state |
|
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| 5 |
x |
Self
Portrait |
|
David |
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5 |
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| 6 |
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Monsieur Seriziat |
|
David |
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6 |
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| 7 |
|
Madame Seriziat |
|
David |
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|
7 |
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| 8 |
|
General Bonaparte |
|
David |
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|
8 |
|
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| 9 |
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Intervention of the
Sabine Women |
David |
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|
9 |
|
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| 10 |
|
Madame Recamier |
|
David |
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10 |
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| 11 |
x |
Napoleon
Crowning Josephine |
David |
|
|
11 |
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| 12 |
|
Leonidas at Thermopolye |
|
David |
|
|
13 |
|
|
| 13 |
|
The Pantheon |
|
Soufflot |
|
|
14 |
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|
|
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