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Parmigianino Madonna with the Long Neck ca. 1535 oil on wood 7 ft. 1 in. x 4 ft. 4 in.

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Presentation on theme: "Parmigianino Madonna with the Long Neck ca. 1535 oil on wood 7 ft. 1 in. x 4 ft. 4 in."— Presentation transcript:


2 Parmigianino Madonna with the Long Neck ca. 1535 oil on wood 7 ft. 1 in. x 4 ft. 4 in.

3 CHARLES MOORE, Piazza d'Italia, New Orleans, Louisiana, 1976-1980. Historical styles are cited by Charles Moore in his Piazza d Italia (FIG. 34-48): Italian architecture, all the way back through to the time of Roman culture: the Greek agora or the Roman forum, the Renaissance, Mannerism, and Baroque.

4 FRANK STELLA, Nunca Pasa Nada, 1964. Metallic powder in polymer emulsion on canvas, 9' 2" x 18' 4 1/2". Collection Lannan Foundation. Frank Stella (born May 12, 1936) is an American painter and printmaker. He is a significant figure in minimalism and post-painterly abstraction. He was born in Malden, Massachusetts Frank Stella - 1972

5 Leonardo da Vinci Virgin of the Rocks ca. 1485 oil on wood 6 ft. 3 in. x 3 ft. 7 in. Four artists who were most closely associated with the High Renaissance: Leonardo da Vinci Raphael Michelangelo Titian Compositional devices Leonardo used in The Virgin of the Rocks to knit the figures together; Pyramidal grouping of the figures. Light simultaneously reveals and veils the forms, immersing them in a layer of atmosphere that exists between them and the viewers eye.

6 Willem de Kooning Woman I (detail) 1950-52 oil on canvas 6 ft. 3 7/8 in x 58 in.

7 Raphael Marriage of the Virgin Chapel of Saint Joseph in Città di Castello near Florence, Italy 1504 oil on wood 5 ft. 7 in. x 3 ft. 10 1/2 in.

8 Michelangelo Buonarroti Moses San Pietro in Vincoli, Rome, Italy ca. 1513-1515 marble approximately 8 ft. 4 in. high Three figures that Michelangelo is believed to have created for the tomb of Julius II. Moses Bound Slave Unfinished Captive

9 Donato dAngelo Bramante Tempietto San Pietro in Montorio, Rome, Italy 1502 Four aspects of the sculptural appearance of Bramante's Tempietto. Lower level directly inspired by Roman round temples. Resembles a sculptured reliquary. The dome, drum, and base bear a logical and harmonious relationship to each other and to the whole. Rhythmical play of light and shadow in the columns and balustrade.

10 GÜNTER BEHNISCH, Hysolar Institute Building, University of Stuttgart, Stuttgart, Germany, 1987. Six adjectives that describe Deconstructivist architecture: Disorder Dissonance Imbalance Asymmetry Unconformity Irregularity

11 CINDY SHERMAN, Untitled Film Still #35, 1979. Black-and-white photograph, 10" x 8". Cindy Sherman produced a series of film stills in which she transformed herself The issue that was of primary concern to Cindy Sherman was the way much of Western art has been constructed to present female beauty for the enjoyment of the male gaze, and in women s images and identities.

12 Michelangelo Buonarroti Capitoline Hill Rome, Italy designed ca. 1537

13 Taj Mahal Agra, India 1632-1647

14 Matthias Grünewald Isenheim Altarpiece (fully open) ca. 1510-15 oil on panel center panel, 9 ft. 9 1/2 in. x 10 ft. 9 in.

15 Faith Ringgold Who's Afraid of Aunt Jemima? 1983 Acrylic on canvas with fabric borders, quilted 7 ft. 6 ins. x 6 ft. 8 ins. Three artists who used their art to explore issues involved with being African American women: Faith Ringgold Adrian Piper Lorna Simpson

16 Titian Assumption of the Virgin Santa Maria Gloriosa del Frari, Venice, Italy ca. 1516-1518 oil on wood 22 ft. 6 in. x 11 ft. 10 in. The most outstanding feature of Titians Assumption of the Virgin is his ability to convey light through dazzling color.

17 Matthias Grünewald Isenheim Altarpiece (open) ca. 1510-15 oil on panel center panel, 9 ft. 9 1/2 in. x 10 ft. 9 in.

18 Dome of the Shah Mosque Isfahan, Iran 1611-1638

19 Hans Holbein the Younger The French Ambassadors 1533 oil and tempera on panel 6 ft. 8 in. x 6 ft. 9 1/2 in.

20 DAVID EM, Nora, 1979. Computer-generated color photograph, 1' 5" x 1' 11". Private collection. Computer-Generated landscapes: In Nora, David Em uses computer imaging to create futuristic geometric versions of Surrealistic dreamscapes with a vivid illusion of space.

21 Theodora and attendants south wall apse mosaic, San Vitale Ravenna, Italy ca. 547 mosaic Theodora was an actress born in a low family, and before she and Justinian could be married, the laws had to be rewritten allowing senators to marry actresses (often prostitutes). She was known to be quite intelligent and became Justinians adviser, acquiring vast power and prestige throughout the empire. Although neither of them ever visited Ravenna, the mosaics in San Vitale show them lining up with their retinues to take part in the Eucharist at that church, Justinian carrying the bread and Theodora the wine.

22 Jean Dubuffet Dhotel Hairy with Yellow Teeth (haute pâte) 1947 mixed media on canvas 45 3/4 x 35 in. Two characteristics of the art of Jean Dubuffet: His scenes are painted or incised into thickly encrusted, parched-looking surfaces of impasto. Scribblings are interspersed with the images, heightening the impression of smeared and gashed surfaces of crumbling walls and worn pavements marked by random individuals.

23 Giorgionne da Castelfranco Pastoral Symphony ca. 1508 oil on canvas 3 ft. 7 in. x 4 ft. 6 in. poesia Painting meant to operate in a manner similar to poetry.

24 Jackson Pollock Autumn Rhythm 1952 oil on canvas

25 Titian Venus of Urbino 1538 oil on canvas 4 ft. x 5 ft. 6 in. Titian's painting Venus of Orbino established the compositional essentials for the representation of the female nude in much of later Western art.

26 HELEN FRANKENTHALER, Bay Side, 1967. Acrylic on canvas, 6' 2" x 6' 9". Private Collection, New York. Frankenthaler's soak-stain technique. She poured diluted paint onto unprimed canvas, allowing the pigments to soak into the fabric, resulting in absolute flatness. Effect she wanted to achieve: The images appear spontaneous and almost accidental. Morris Louis was another artist who utilized it

27 Albrecht Dürer Four Horsemen of the Apocalypse ca. 1498 woodcut 15 1/4 x 11 in.

28 Philip Johnson and John Burgee, 1978-1984, AT&T Building 560 Madison Avenue (at 56th Street) New York NY Iktinos and Kallikrates Parthenon, Temple of Athena Parthenos Acropolis, Athens, Greece 447-438 B.C.E. Leon Battista Alberti façade of SantAndrea Mantua, Italy designed ca. 1470

29 Claes Oldenburg Clothes Pin Philadelphia, Pennsylvania 1976 Cor-ten steel 45 ft. x 12 ft. 3 in. x 4 ft. 6 in. The artist who created designs for gigantic monuments depicting ordinary objects: Claes Oldenburg.

30 CHRISTO and JEANNE-CLAUDE, Surrounded Islands, Biscayne Bay, Greater Miami, Florida, 1980-1983. Pink woven polypropylene fabric, 6 1/2 million sq. ft. The type of art are Christo and his wife Jeane-Claude were most famous for their temporary alter of landscape, by enclosing it, and buildings, in huge lengths of cloth. Their works are only on view for a few weeks.

31 Dome of the Rock Jerusalem 687-692 Muhammad is believed to have ascended to heaven from the Dome of the Rock The first great achievement of Islamic architecture was The Dome of the Rock

32 Frieze of the Umayyad Palace Mshatta, Jordan ca. 740 – 750, limestone 16 ft. 7 in. high A series of triangles, each containing a large projecting rosette, framed by elaborately carved moldings. Each triangle is different, and animal figures appear in some of them, but not to the right of the entrancethe part of the façade corresponding to the mosques qibla wall.

33 Michelangelo Buonarroti Tomb of Giuliano deMedici Medici Chapel, San Lorenzo, Florence, Italy 1519-1534 marble central figure approximately 5 ft. 11 in. high

34 Malwiya minaret of the Great Mosque Samarra, Iraq ca. 848-852 The distinguishing feature of the minaret from Samarra is Its steeped spiral ramp. Its name, Malwiya, means snail shell in Arabic) The 165 foot tall Malwiya minaret is in Samarra, Iraq

35 Trading with the white man: Jaune Quick-to-See Smith's Trade (Gifts for Trading Land with White People) is a large-scale painting with collage elements and attached objects that explores the politics of identity. Quick-to-See Smith uses cultural heritage and historical references to comment on the present and to challenge stereotypes and unacknowledged assumptions. JAUNE QUICK-TO-SEE SMITH, Trade (Gifts for Trading Land with White People), 1992. Oil and mixed media on canvas, 5' x 14' 2". Chrysler Museum of Art, Norfolk, Virginia (museum purchase 93.2).

36 Prayer hall of the Great Mosque Córdoba, Spain 8th to 10th centuries Horseshoe arches were an important architectural feature of Mosque at Córdoba

37 CHUCK CLOSE, Big Self-Portrait, 1967-1968. Acrylic on canvas, 8' 11" x 6' 11" x 2". Collection Walker Art Center, Minneapolis (Art Center Acquisition Fund, 1969). Two Superrealist painters: Audrey Flack Chuck Close "Some people wonder whether what I do is inspired by a computer and whether or not that kind of imaging is a part of what makes this work contemporary. I absolutely hate technology, and I'm computer illiterate, and I never use any labor-saving devices although I'm not convinced that a computer is a labor-saving device."

38 Eastern façade of Great Mosque Djenne, Mali begun 13th century, rebuilt 1906-07

39 Justinian as world conqueror (Barberini Ivory) mid-6th century ivory 1 ft. 1 1/2 in. x 10 1/2 in. Feature that makes this image Christian and not pagan are the uppermost panel showing two angels holding a youthful image of Christ carrying a cross.

40 San Vitale Ravenna, Italy 526-547

41 Justinian, Bishop Maximianus and attendants north wall apse mosaic, San Vitale Ravenna, Italy ca. 547 mosaic Justinian and Theodoras reign marked the end of the Late Roman Empire and the beginning of the Byzantine Empire. He drove the Ostrogoths out of Italy, the Vandals from the African provinces, the Bulgars out of the northern frontier, and held the Sasanians on the eastern border, thus briefly restoring the Roman Empires range. Justinian's halo signifieshis association with Christ, who is also haloed and who also wears purple robes. The dual political and religious role of the Byzantine emperors is emphasized. Overlapping of Justinian and Maximianus: Each figure seems to be partly in front of and behind the other, representing the balance of imperial and church powers. A halo, purple cloak, crown, and large golden bowl distinguishes Justinian from other figures in Byzantine mosaics.

42 Pieter Breughel the Elder The Triumph of Death ca. 1562 oil on board 46 x 63 3/4 in.

43 Saint Apollinaris amid sheep SantApollinare in Classe Ravenna, Italy 533-549 mosaic Symbolism from the apse mosaic of Sant' Apollinare in Classe: Jeweled cross Symbol of the transfigured Christ, possibly representing the cross Constantine erected on Calvary. Three sheep below the cross The three disciples who accompanied Christ to the foot of the Mount of the Transfiguration. Twelve sheep Possibly the congregation under the protection of Saint Apollinaris.

44 Château de Chambord Chambord, France begun 1519

45 Pieter Aertsen Meat Still-Life 1551 oil on panel 4 ft. 3/8 in. x 6 ft. 5 3/4 in.

46 Pieter Breugel the Elder Hunters in the Snow 1565 oil on panel 3 ft. 10 in. x 5 ft. 4 in.

47 Jasper Johns Flag 1954-55 encaustic, oil and collage on fabric mounted on plywood 3 ft. 6 1/4 in. x 5 ft. 5/8 in. Example of Jasper Johns' things seen but not looked at : The American flag.

48 El Greco (Domenikos Theotokopoulous) The Burial of Count Orgaz 1586 oil on canvas 16 x 12 ft.

49 Michelangelo Buonarroti Creation of Adam, Sistine Chapel Ceiling Vatican City, Rome, Italy 1511-12 fresco approximately 18 ft. 8 in. x 9 ft. 2 in. Characterize Michelangelo's style in painting and sculpture with four adjectives or phrases. Figures are sharply outlined against the neutral architectural setting, rather than forming atmospheric picture windows. Reclining and twisting positions of the figures. Heavy musculature. Straight architectural axes (such as in Leonardos compositions) are replaced by diagonals and curves.

50 Raphael Philosophy (School of Athens) Stanza della Segnatura, Vatican Palace, Rome, Italy 1509-11 fresco approximately 19 x 27 ft.

51 Titian Meeting of Bacchus and Ariadne 1522-1523 oil on canvas 5 ft. 9 in. x 6 ft. 3 in.

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