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Peter Paul Rubens Elevation of the Cross Antwerp Cathedral, Antwerp, Belgium 1610 oil on panel 15 ft. 2 in. x 11 ft. 2 in.

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Presentation on theme: "Peter Paul Rubens Elevation of the Cross Antwerp Cathedral, Antwerp, Belgium 1610 oil on panel 15 ft. 2 in. x 11 ft. 2 in."— Presentation transcript:

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4 Peter Paul Rubens Elevation of the Cross Antwerp Cathedral, Antwerp, Belgium 1610 oil on panel 15 ft. 2 in. x 11 ft. 2 in.

5 Peter Paul Rubens Elevation of the Cross Antwerp Cathedral, Antwerp, Belgium 1610 oil on panel 15 ft. 2 in. x 11 ft. 2 in. In his Elevation of the Cross Rubens synthesized his study of classical antiquity with the work of the Italian masters Michelangelo, Tintoretto and Caravaggio­, while adding his own dynamism. T hree features that contribute to the drama of the scene: Foreshortened anatomy and twisted figures. Christ is placed on the cross diagonally which cuts dynamically across the picture while inclining back into it. Strong modeling in light and dark.

6 Peter Paul Rubens The Victory of Eucharistic Truth over Heresy ca oil on board 33 7/8 in. x 41 3/8 in.

7 Peter Paul Rubens The Three Graces oil on canvas 87 in. x 71 1/4 in.

8 Peter Paul Rubens Drawing of Laocoön ca black and white chalk drawing with bistre wash approximately 1 ft. 7 in. x 1 ft. 7 in.

9 Peter Paul Rubens Arrival of Marie de Medici at Marseilles oil on canvas approximately 5 ft. 1 in. x 3 ft. 9 1/2 in. The famous Florentine House of Medici commissioned Rubens to paint a cycle memorializing and glorifying her career and that of her late husband was Marie de Midici.

10 Peter Paul Rubens Allegory of the Outbreak of War 1638 oil on canvas 6 ft. 9 in. x 11 ft. 3 7/8 in. The painting that embodies Rubens attitude toward war was Allegory of the Outbreak of War.

11 Allegorical figures symbolized: Monsters: Plague and famine. Woman with a broken lute: Harmony cannot coexist beside the discord of war. Architect fallen backwards: What is built in peace for the benefit and ornament of cities is laid in ruin and razed by the forces of arms. Book and paper at the feet of Mars: War tramples on literature and other refinements. Sorrowing woman in black: Unhappy Europe.

12 Anthony Van Dyck Charles I Dismounted ca oil on canvas 9 ft. x 7 ft. Van Dyck specialized in Court portraiture. H is style best be characterized as courtly manner of great elegance, and dramatic compositions of great quality.

13 Clara Peeters Still Life with Flowers, Goblet, Dried Fruit and Pretzels 1611 oil on panel 1 ft. 7 3/4 in. x 2 ft. 1 1/4 in.

14 Religious and economic conditions in seventeenth century Holland effected artistic patronage and production in the following ways: Amsterdam had the highest per capita income in Europe and enjoyed widespread prosperity across a large proportion of society, expanding the range of art patronage. Political power increasingly passed into the hands of an urban patrician class of merchants. Art patronage catered to the tastes of a middle- class audience. Calvinism demanded a puritanical rejection of art in churches, and thus artists produced relatively little religious art in the Dutch Republic, although it was tolerated when artists created it.

15 Hendrick ter Brugghen Calling of Saint Matthew 1621 oil on canvas 3 ft. 4 in. x 4 ft. 6 in.

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17 Gerrit van Honthorst Supper Party 1620 oil on canvas 7 ft. x 4 ft. 8 in. The work of Gerrit van Honthorst influenced Caravaggio by the mundane tavern setting and the nocturnal lighting.

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19 Frans Hals Archers of Saint Hadrian ca oil on canvas approximately 6 ft. 9 in. x 11 ft. Frans Hals was the leading painter of the Haarlem school, and specialized in group portraits The main elements of his style that distinguish his works from those of his contemporaries is that he was less ordered and regimented in his depiction of the sitters than his contemporaries. Each man is both a troop member and an individual. The figures look in multiple directions. He uses the uniformity of attire to create a lively rhythm.

20 Frans Hals The Women Regents of the Old Mens Home at Haarlem 1664 oil on canvas 5 ft. 7 in. x 8 ft. 2 in.

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22 Rembrandt van Rijn Anatomy Lesson of Dr. Tulp 1632 oil on canvas 5 ft. 3 3/4 in. x 7 ft. 1 1/4 in. The surgeons guild commissioned Rembrandt to paint The Anatomy of Dr. Tulp. Guilds continued to be active patrons of the arts in addition to the upper- middle, middle, and lower-middle classes who drove most of the market.

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24 Rembrandt van Rijn The Company of Captain Frans Banning Cocq (Night Watch) 1642 oil on canvas 11 ft. 11 in. x 14 ft. 4 in. The Company of Captain Frans Fanning Coq, the varnish Rembrandt used, had darkened considerably over time. A feature of the painting that led to its being misnamed The Night Watch Devices Rembrant used to enliven the group portrait include the company is presented scurrying about in dramatic lighting.

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26 Rembrandt van Rijn Return of the Prodigal Son ca oil on canvas 8 ft. 8 in. x 6 ft. 9 in. Three adjectives or phrases that would contrast Rembrandts religious works to Counter- Reformation art works: Spiritual stillness. Humanity and humility of Jesus. Psychological insight and sympathy. He refined light and shade into finer and finer nuances until they blended with one another, a development from earlier painters use of abrupt lights and darks. A greater fidelity to actual appearances is created because the eyes perceive light and dark not as static but as always subtly changing. His use of light and shade effected the mood of his later portraits in that the variation of light and shade, subtly modulated, could be read as emotional differences: the psychology of light. The prevailing moods are that of quietness, tranquil meditation, philosophical resignation, and musing recollection.

27 Rembrandt van Rijn Self-Portrait ca oil on canvas 3 ft. 8 3/4 in. x 3 ft. 1 in. Rembrandt trying to express the most subtle nuances of character and mood in his portraits and self-portraits

28 Rembrandt van Rijn Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print) ca etching 11 x 15 1/4 in. etching. A copper plate is covered in a layer of wax or varnish. The artist incises the design into this surface with an etching needle or pointed tool, exposing the metal below. The plate is then immersed in acid, which eats away the exposed parts of the metal, acting the same as the burin in engraving. Advantages etching has over engraving; It is more manageable than engraving and allows greater freedom in drawing the design. The mediums softness gives etchers greater carving freedom and offering the greatest subtlety of line and tone.

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30 Judith Leyster Self-Portrait ca oil on canvas 2 ft. 5 3/8 in. x 2 ft. 1 5/8 in. Dutch painter Judith Leyster is most famous for portraiture. Spontaneity was a characteristic she shared with Hals

31 Albert Cuyp A Distant View of Dordrecht, with a Milkmaid and Four Cows and Other Figures (The Large Dort) late 1640s oil on canvas 5 ft. 1 in. x 6 ft. 4 7/8 in. The Dutch had a very direct relationship to the land, having undertaken an extensive land reclamation project that lasted almost a century that impacted social and economic life.

32 Jacob van Ruisdael View of Haarlem from the Dunes at Overveen ca oil on canvas 1 ft. 10 in. x 2 ft. 1 in.

33 Jan Vermeer The Letter 1666 oil on canvas 1 ft. 5 1/4 in. x 1 ft. 3 1/4 in. Vermeer's use of light differed from Rembrandt's in that he rendered space so convincingly through his depiction of light that in his works, the picture surfaces functions as an invisible glass pane through which the viewer looks in to the constructed illusion.

34 camera obscura Light is passed through a tiny pinhole or lens to project an image on a screen or the wall of a room.

35 Jan Vermeer Allegory of the Art of Painting oil on canvas 4 ft. 4 in. x 3 ft. 8 in. Three important facts about the optics of color that are illustrated in Vermeers paintings: Shadows are not colorless and dark. Adjoining colors affect each other. Light is composed of colors.

36 Jan Vermeer Allegory of the Art of Painting oil on canvas 4 ft. 4 in. x 3 ft. 8 in.

37 Jan Vermeer Girl with the Pearl Earring oil on canvas 18 x 16 in.

38 Jan Steen The Feast of Saint Nicholas oil on canvas 2 ft. 8 1/4 in. x 2 ft. 3 3/4 in. The mood created by Steens interiors differ from that created by Vermeer's as Steen painted scenes of chaos and disruption with a festive atmosphere. The childrens behavior in The Feast of Saint Nicholas might be a satirical commentary on adult behavior, in this case selfishness, pettiness, and jealousy.

39 Pieter Claesz Vanitas Still Life 1630s oil on panel 1 ft. 2 in. x 1 ft. 11 1/2 in. Vanitas Still lifes that contain objects that function as reminders of death, or memento mori.

40 Willem Kalf Still Life with a Late Ming Ginger Jar 1669 oil on canvas 2 ft. 6 in. x 2 ft. 1 3/4 in.

41 Rachel Ruysch Flower Still Life after 1700 oil on canvas 2 ft. 6 in. x 2 ft.

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43 Georges de La Tour Adoration of the Shepherds oil on canvas 3 ft. 6 in. x 4 ft. 6 in.

44 Louis Le Nain Family of Country People ca oil on canvas 3 ft. 8 in. x 5 ft. 2 in.

45 Jacques Callot Hanging Tree 1621 etching 3 3/4 x 7 1/4 in.

46 Nicholas Poussin Et in Arcadia Ego ca oil on canvas 2 ft. 10 in. x 4 ft. Four characteristics of Et in Arcadia Ego are typical of Poussin's fully developed Classical style; Figures based on classical statuary. The compact, balanced grouping of the figures. The even light. The thoughtful, reserved, and mournful mood. Subjects Poussin considered to be appropriate for paintings done in the "grand manner were battles, heroic actions, and religious themes.

47 Nicholas Poussin Burial of Phocion 1648 oil on canvas 3 ft. 11 in. x 5 ft. 10 in.

48 Claude Lorrain Landscape with Cattle and Peasants 1629 oil on canvas 3 ft. 6 in. x 4 ft. 10 1/2 in.

49 François Girardon & Thomas Regnaudin Apollo Attended by the Nymphs Grotto of Thetis, Park of Versailles Versailles, France ca marble life-size

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51 François Girardon & Thomas Regnaudin Apollo Attended by the Nymphs Grotto of Thetis, Park of Versailles Versailles, France ca marble life-size

52 Pierre Puget Milo of Crotona marble 3 ft. 6 in. x 4 ft. 10 1/2 in.8 ft. 10 in. high

53 Hyacinthe Rigaud Louis XIV 1701 oil on canvas 9 ft. 2 in. x 6 ft. 3 in.

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55 Claude Perrault, Louis Le Vau and Charles Le Brun east façade of the Louvre Paris, France

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57 Palace at Versailles Versailles, France 1669

58 Palace at Versailles Versailles, France 1669

59 Jules Hardouin-Mansart & Charles Le Brun Galerie des Glaces (Hall of Mirrors) Palace of Versailles Versailles, France

60 Jules Hardouin-Mansart and Charles Le Brun Galerie des Glaces (Hall of Mirrors) Palace of Versailles Versailles, France

61 Jules Hardouin-Mansart and Charles Le Brun Galerie des Glaces (Hall of Mirrors) Palace of Versailles Versailles, France

62 Jules Hardouin-Mansart Royal Chapel Palace of Versailles Versailles, France

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64 Jules Hardouin-Mansart Église de Dôme Church of the Invalides Paris, France

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67 Inigo Jones Banqueting House at Whitehall London, England

68 Christopher Wren new Saint Pauls Cathedral London, England

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70 John Vanbrugh Blenheim Palace Oxfordshire, England

71 John Vanbrugh Blenheim Palace Oxfordshire, England

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74 Balthasar Neumann interior of the pilgrimage chapel of Vierzehnheiligen near Staffelstein, Germany

75 Balthasar Neumann interior of the pilgrimage chapel of Vierzehnheiligen near Staffelstein, Germany

76 Balthasar Neumann plan of Vierzehnheiligen near Staffelstein, Germany

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78 Egid Asam Assumption of the Virgin monastery church at Rohr, Germany 1723

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80 Giambattista Tiepolo The Apotheosis of the Pisani Family ceiling fresco in the Villa Pisani, Stra, Italy fresco

81 Rococo

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83 Germain Boffrand Salon de la Princesse with painting by Charles-Joseph Natoire and sculpture by J.B. Lemoine Hôtel de Soubise, Paris, France

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86 François de Cuvilliès the Amalienburg Nymphenburg Palace Park, Munich, Germany early 18th C. One of the best examples of French Rococo architecture, known as the Amalienburg was built near Munich, Germany. It was designed by Fran ç ois de Cuvill és. Three Rococo features of this small building: Myriad scintillating motifs Everything seems organic, growing, and in motion. Shapes and contours weave rhythmically around the walls.

87 François de Cuvilliès Hall of Mirrors, the Amalienburg Nymphenburg Palace Park, Munich, Germany early 18th C.

88 François de Cuvilliès Hall of Mirrors, the Amalienburg Nymphenburg Palace Park, Munich, Germany early 18th C.

89 Antoine Watteau LIndifferent ca oil on canvas 10 x 7 in.

90 Antoine Watteau View through the Trees in the Park of Pierre Crozat (La Perspective) ca oil on canvas 18 3/8 x 21 3/4 in. fête galant A type of Rococo painting depicting the outdoor amusements of upper-class society.

91 Antoine Watteau Return from Cythera oil on canvas 4 ft. 3 in. x 6 ft. 4 in. Four characteristics of Watteaus Return from Cythera that are typical of Rococo art in general: Exquisite shades of color difference Subtly modeled shapes Gliding motion Air of suave gentility

92 François Boucher Cupid a Captive 1754 oil on canvas 5 ft. 6 in. x 2 ft. 10 in.

93 Jean-Honoré Fragonard The Swing 1766 oil on canvas 2 ft. 11 in. x 2 ft. 8 in.

94 Clodion Nymph and Satyr ca terracotta 1 ft. 11 in. high

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97 Francis Mansart Orléans wing of the Château de Blois Blois, France


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