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1. Art History Slides

2. Adoration of the Magi - Botticelli - 1475

3. Primavera - Botticelli - 1482

4. Birth of Venus - Botticelli - 1486

5. Ginevrade’Benci - Leonardo Da Vinci - 1476

6. Virgin of the Rocks - Leonardo Da Vinci - c1483 - Louvre

7. “Where the spirit does not work with the hand there is no art.” – Da Vinci

8. Last Supper - Leonardo Da Vinci - 1495

9. “The greatest deception men suffer is from their own opinions.” – Da Vinci

10. Mona Lisa - Leonardo Da Vinci - 1503-05

11. “A good painter has two main objects to paint, man and the intention of his soul. The former is easy, the latter hard as he has to represent it by the attitude and movement of the limbs.” – Da Vinci

12. Virgin and Child with St.Anne - Leonardo Da Vinci - 1510

13. Battle of the Centaurs - Michelangelo - c1492

14. “forzadilevare”- Michelangelo (force of taking away)

15. Pieta - Michelangelo - 1499

16. “Every block of stone has a statue inside it and it is the task of the sculptor to discover it.” - Michelangelo

17. David - Michelangelo - 1501-04

18. DoniTondo - Michelangelo - 1503

19. “Good painting is the kind that looks like sculpture.” - Michelangelo

20. Creation of Adam (Detail from Sistine Ceiling) - Michelangelo - 1508-12

21. The Last Judgement - Michelangelo - 1534-41 (Biagio de Cesena)

22. Marriage of the Virgin - Raphael - 1504

23. Agnolo/MaddalenaDoni - Raphael - 1506

24. School of Athens - Raphael - 1510

25. Fire In The Borgo - Raphael/Giulio Romano - 1514

26. Baldassare Castiglione - Raphael - 1515

27. Leo X with two Cardinals - Raphael - 1518

28. The Transfiguration - Raphael - 1519

29. St. Marks Body Brought To Venice - Tintoretto - 1548

30. The Last Supper - Tintoretto - 1594

31. Deposition from the Cross/Entombment - Pontormo - c1525

32. Starry Night Over The Rhone - Van Gogh - 1888

33. Vision After The Sermon - Gauguin - 1888

34. Where Do We Come From? What Are We? Where Are We Going? - Gauguin - 1897

35. Sunday Afternoon on the Island of La Grande Jatte - Seurat - 1884

36. The Papal Palace, Avignon - Signac - 1900

37. Luxe, Calme et Volupte - Matisse - 1904

38. “I cannot copy nature in a servile way; I am forced to interpret nature and submit it to the spirit of the picture. From the relationship I have found in all the tones there must result a living harmony of colors, a harmony analogous to that of a musical composition.” – Henri Matisse

39. The Open Window - Matisse - 1905

40. “Whether we want to or not, we belong to our time and we share in its opinions, its feelings, even its delusions. All artists bear the imprint of their time, but the great artists are those in whom this is most profoundly marked.” – Henri Matisse

41. The Joy of Life - Matisse - 1905-06

42. “The role of the artist, like that of the scholar, consists of seizing current truths often repeated to him, but which will take on new meaning for him and which he will make his own when he has grasped their deepest significance.” – Henri Matisse

43. Harmony In Red - Matisse - 1908

44. “I simply try to put down colors which render my sensation” – Henri Matisse

45. The Red Studio - Matisse - 1911

46. “But the thought of a painter must not be considered as separate from his pictorial means” – Henri Matisse

47. Mountains at Collioure - Derain - 1905

48. “I use colour as a means of expressing my emotion and not as a transcription of nature” – Derain

49. Charing Cross Bridge - Derain - 1906

50. “The visible world is a great deal less interesting than the world re-imagined through colour” - Derain

51. The Turning Road - Derain - 1906

52. Restaurant de la Machine a Bougival - Vlaminck - 1905

53. “What I could have done in real life only by throwing a bomb which would have led to the scaffold I tried to achieve in painting by using color of maximum purity. In this way I satisfied my urge to destroy old conventions, to disobey in order to re-create a tangible, living, and liberated world.” - Vlaminck

54. The River Siene At Chatou- Vlaminck - 1906

55. Street, Dresden - Kirchner - 1908

56. “We want to wrest from the comfortably established older generation freedom to live and move. Anyone who directly and honestly reproduces that force which impels him to create belongs to us.” – Ernst Kirchner (Die Brucke Manifesto)

57. Naked Playing People - Kirchner - 1910

58. “A painter paints the appearance of things, not their objective correctness, in fact he creates new appearances of things.” – Ernst Kirchner

59. NollendorfPlatz - Kirchner - 1912

60. “All true artists, whether they know it or not, create from a place of no-mind, from inner stillness.” – Ernst Kirchner

61. PotsdamerPlatz - Kirchner - 1914

62. “My paintings are allegories not portraits” – Ernst Kirchner

63. Brandenburger Tor - Kirchner - 1915

64. WeissesHaus In Dangast - Heckel - 1908

65. Portrait of a Man - Heckel - 1919

66. Two Women - Schmidt-Rottluff - 1912

67. Sonnenuntergang / Strombrücke in Leba - Pechstein - 1921

68. The Blue Rider - Kandinsky - 1903

69. “Are these human figures an absolute necessity to the composition, or should they be replaced by other forms, and that without affecting the fundamental harmony” – Wassily Kandinsky

70. The Blue Mountain - Kandinsky - 1908

71. “There is no ‘must’ in art, because art is free” – Wassily Kandinsky

72. Untitled (First Abstract Watercolour) - Kandinsky - 1910

73. “The more abstract is form, the more clear and direct its appeal.” – Wassily Kandinsky

74. Lyrical - Kandinsky - 1911

75. "Colour is the key. The eye is the hammer. The soul is the piano with its many chords. The artist is the hand that, by touching this or that key, sets the soul vibrating automatically."– Wassily Kandinsky

76. All Saints - Kandinsky - 1911

77. “The problem of harmonizing the appeal of the material and the non-material” – Wassily Kandinsky

78. Composition VI - Kandinsky - 1913

79. “The more frightening the world becomes ... the more art becomes abstract." – Wassily Kandinsky

80. Composition VIII - Kandinsky - 1923

81. "Each period of a civilization creates an art that is specific in it and which we will never see reborn. To try and revive the principles of art of past centuries can lead only to the production of stillborn works." – Wassily Kandinsky

82. The Wolves/Balkan War - Marc - 1913

83. “Today we are searching for things in nature that are hidden behind the veil of appearance... We look for and paint this inner, spiritual side of nature.” – Franz Marc

84. The Fate of The Animals - Marc - 1913

85. “Blue is the male principle, stern and spiritual. Yellow the female principle, gentle, cheerful and sensual. Red is matter, brutal and heavy and always the colour which must be fought and vanquished by the other two.” – Franz Marc

86. Fighting Forms - Marc - 1914

87. “Art is nothing but the expression of our dream; the more we surrender to it the closer we get to the inner truth of things, our dream-life, the true life that scorns questions and does not see them.” – Franz Marc

88. Meditation - Münter - 1917

89. The City - Grosz - 1916

90. Night - Beckmann - 1919

91. Survivors - Kollwitz - 1923

92. On A Motif From Hamamet - Klee - 1914

93. “Art does not reproduce what we see; rather, it makes us see.” – Paul Klee

94. Ad Parnassum - Klee - 1932

95. “Color possesses me. I don't have to pursue it. It will possess me always, I know it. That is the meaning of this happy hour: Color and I are one. I am a painter.” – Paul Klee

96. The Sacrifice of Iphigenia - Rothko - 1942

97. “If our titles recall the known myths of antiquity, we have used them again because they are the eternal symbols upon which we must fall back to express basic psychological ideas.” – Mark Rothko

98. Orange and Yellow - Rothko - 1956

99. “I’m interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.” – Mark Rothko

100. Black On Maroon - Rothko - 1959

101. “I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them, however – I think it applies to other painters I know – is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience. However you paint the larger picture, you are in it.” – Mark Rothko

102. Untitled (Brown and Grey) - Rothko - 1969

103. “Painting is a language for exchange of truths about needs.” – Mark Rothko

104. Onement I Newman 1948

105. “Any art worthy of its name should address 'life', 'man', 'nature', 'death' and 'tragedy'.” – Barnett Newman

106. Who’s Afraid of Red, Yellow and Blue? Newman 1966

107. “To produce important art it is necessary as a rule to digest the major art of the preceding period, or periods.” – Clement Greenberg (American-Type Painting)

108. Voice of Fire Newman 1967

109. “And it is understood, I hope, that tradition is not dismantled by the avant-garde for sheer revolutionary effect, but in order to maintain the level and vitality of art under the steadily changing circumstances of the last hundred years” – Clement Greenberg (American-Type Painting)

110. 1957 D1 - Still - 1957

111. "I am not interested in illustrating my time. A man's "time" limits him, it does not truly liberate him. Our age - it is one of science, of mechanism, of power and death. I see no point in adding to its mechanism of power and death. I see no point in adding to its mammoth arrogance the compliment of a graphic homage.” – Clyfford Still

112. Beginning - Noland - 1958

113. New York, NY Kline 1953

114. “The final test of a painting, theirs, mine, any other, is: does the painter's emotions come across?” – Franz Kline

115. Elegy To The Spanish Republic No. 110 - Motherwell - 1971

116. The She Wolf - Pollock - 1943

117. “The painting has a life of its own.” – Jackson Pollock

118. No. 5 Pollock 1948

119. “On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.” – Jackson Pollock

120. Blue Poles - Pollock - 1952

121. “When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about.” – Jackson Pollock

122. Legend and Fact - De Kooning - 1940

123. “Whatever an artist's personal feelings are, as soon as an artist fills a certain area on the canvas or circumscribes it, he becomes historical. He acts from or upon other artists.” – Willem De Kooning

124. Excavation - De Kooning - 1950

125. “I make pictures and someone comes in and calls it art.” – Willem De Kooning

126. Woman V - De Kooning - 1952

127. Flag - Johns - 1954

128. “Everyone is of course free to interpret the work in his own way. I think seeing a picture is one thing and interpreting it is another.” – Jasper Johns

129. Three Flags - Johns - 1958

130. Map - Johns - 1961

131. “When something is new to us, we treat it as an experience. We feel that our senses are awake and clear. We are alive.” – Jasper Johns

132. Canyon - Rauschenberg - 1959

133. Erased De Kooning - Rauschenberg - 1953

134. “An empty canvas is full.” – Robert Rauschenberg

135. Portrait of Iris Clert - Rauschenberg - 1961

136. Retroactive I - Rauschenberg - 1964

137. “The artist's job is to be a witness to his time in history.” – Robert Rauschenberg

138. Campbell Soup Cans - Warhol - 1962

139. Triple Elvis - Warhol - 1963

140. Brillo Boxes - Warhol - 1964

141. “Making money is art and working is art and good business is the best art.” – Andy Warhol

142. Drowning Girl - Lichtenstein - 1963

143. Whaam! - Lichtenstein - 1963

144. Brushstroke - Lichtenstein - 1965

145. Self Portrait - Lichtenstein - 1978

146. The Dinner Party - Chicago - 1974

147. “Do I even think about myself as a woman when I go to make art? Of course not. “ – Judy Chicago

148. Judith Slaying Holofernes - Gentileschi - 1614

149. Nighthawks - Hopper - 1942

150. Lucas - Close - 1942