17th century, 18th century, art, art appreciation, art history

1. Martin Luther

4. 17 th Century

8. Restored view (a), plan (b), and section (c) of Old Saint Peter’s, Rome, Italy, begun ca. 320. (The restoration of the forecourt is conjectural.) They added a transept , an elongated rectangle, to the apse as a focal point. This constructed the cross plan

9. CARLO MADERNO, plan of Saint Peter’s, Vatican City, Rome, Italy, with adjoining piazza designed by GIANLORENZO BERNINI.

11. CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.

13. Aerial view of Saint Peter’s, Vatican City, Rome, Italy

17. GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624–1633. Gilded bronze, approx. 100’ high. 100 feet high bronze altar piece Symbols of the patrons (sun and bees) Bronze taken from Roman Pantheon – pagan works transformed into Christian works

19. GIANLORENZO BERNINI, Scala Regia, Vatican City, Rome, Italy, 1663–1666.

20. GIANLORENZO BERNINI, David, 1623. Marble, approx. 5’ 7” high. Galleria Borghese, Rome. Action and energy – much different than the potential action of Michelangelo’s David

21. Donatello, 1408 Verrocchio, 1470 1501-1504

34. Bernini, Apollo and Daphne

36. FRANCESCO BORROMINI, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665–1676.

37. FRANCESCO BORROMINI, plan of San Carlo alle Quattro Fontane, Rome, Italy, 1638–1641.

38. PIETRO DA CORTONA, Triumph of the Barberini, ceiling fresco in the Gran Salone, Palazzo Barberini, Rome, Italy, 1633–1639.

39. GIOVANNI BATTISTA GAULLI, Triumph of the Name of Jesus, ceiling fresco with stucco figures in the vault of the Church of Il Gesù, Rome, Italy, 1676–1679.

42. FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy, 1691–1694.

45. Differentiate between chiaroscuro and tenebrism. Chiaroscuro: light and shadow used to show modeling Tenebrism: violent contrasts of light used to heighten drama and emotion and add to theatrical effects.

47. CARAVAGGIO, Conversion of Saint Paul , ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”. Cerasi Chapel, Santa Maria del Popolo, Rome.

51. CARAVAGGIO, Calling of Saint Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome, Italy, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Influence of Michelangelo

52. ARTEMISIA GENTILESCHI, Self-Portrait as the Allegory of Painting , ca. 1638–1639. Oil on canvas, 3’ 2 7/8” X 2’ 5 5/8”. Royal Collection, Kensington Palace, London.

54. ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.

56. Trophime, Bigot (1579-1649) S. Sebastiano curato da Irene

58. Contemporary painter Jonathan Wateridge

59. Scene from Lord of the Flies - 1963

60. David Lynch – “Mulholland Drive”

61. PETER PAUL RUBENS, Elevation of the Cross, Antwerp Cathedral, Antwerp, Belgium, 1610. Oil on panel, 15’ 1 7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing).

62. PETER PAUL RUBENS, drawing of Laocoön, ca. 1600-1608. Black-and-white chalk drawing with bistre wash, approx. 1’ 7” x 1’ 7”. Ambrosiana, Milan.

63. PETER PAUL RUBENS, Arrival of Marie de’ Medici at Marseilles, 1622–1625. Oil on canvas, approx. 5’ 1” x 3’ 9 1/2”. Louvre, Paris.

64. PETER PAUL RUBENS, Consequences of War , 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti, Florence..

65. DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid. When asked to explain what he has contributed to Art, Salvador Dali says, “"To art, nothing, absolutely nothing. Because as I've always said I'm a very bad painter. Because I'm too intelligent to be a good painter. To be a good painter you've got to be a bit stupid. With the exception of Velazquez who is a genius..."

66. Goya, Francisco, 1778 “After Velazquez Las Meninas” Diego Velázquez “Las Meninas, or the Family of Philip IV”, 1656 oil on canvas

67. PABLO PICASSO, “Las Meninas” (after Velazquez) Cannes, 17 August 1957 Oil on canvas 194 x 260 cm Diego Velázquez “Las Meninas, or the Family of Philip IV”, 1656 oil on canvas

68. Diego Velazquez, The Triumph of Baccus (The Drinkers), 1628

71. VELASQUEZ / FRANCIS BACON

75. JUDITH LEYSTER, Self-Portrait, ca. 1630. Oil on canvas, 2’ 5 3/8” x 2’ 1 5/8”. National Gallery of Art, Washington

76. REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”. Mauritshuis, The Hague.

77. REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas (cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam.

78. REMBRANDT VAN RIJN, Return of the Prodigal Son, ca. 1665. Oil on canvas, approx. 8’ 8” x 6’ 9”. Hermitage Museum, Saint Petersburg.

79. The number is still a matter of contention, but it seems he depicted himself in approximately forty to fifty paintings, about thirty-two etchings, and seven drawings. It is an output unique in history.

84. Rembrandt Harmensz van Rijn, 'Rembrandt Laughing,' 1627-28

89. REMBRANDT VAN RIJN, Self-Portrait, ca. 1659–1660. Oil on canvas, approx. 3’ 8 3/4” x 3’ 1”. The Iveagh Bequest, Kenwood House, London.

90. Vermeer, Woman Holding a Balance

91. JAN VERMEER, Allegory of the Art of Painting , 1670–1675. Oil on canvas, 4’ 4” x 3’ 8”. Kunsthistorisches Museum, Vienna.

95. Vermeer, A Woman Asleep at a Table c. 1657; Oil on canvas, 87.6 x 76.5 cm; Metropolitan Museum of Art, New York

96. JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, approx. 1’ 10” x 2’ 1”.

97. RACHEL RUYSCH, Flower Still Life , after 1700. Oil on canvas, 2’ 5 3/4” x 1’ 11 7/8”. The Toledo Museum of Art, Toledo

99. Eric Yahnker -Bummed Bouquet, 2009, graphite on paper, 52.5 x 65 in.

101. NICOLAS POUSSIN, Et in Arcadia Ego, ca. 1655. Oil on canvas, approx. 2’ 10” x 4’. Louvre, Paris.

102. LOUIS LE NAIN, Family of Country People , ca. 1640. Oil on canvas, 3’ 8” x 5’ 2”. Louvre, Paris.

103. 18 th Century Rococo and Neo-Classical

105. HYACINTHE RIGAUD, Louis XIV, 1701. Oil on canvas, approx. 9’ 2” x 6’ 3”. Louvre, Paris.

106. Antoine Watteau (1648-1721), A Pilgrimage to Cythera, 1717.

109. GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740.

110. FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century.

111. Egid Quirin Asam, Assumption of the Virgin , 1717-25

112. Aerial view of palace at Versailles, France, begun 1669

114. JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of Versailles, Versailles, France, ca. 1680. Versailles is a combination of Italian Renaissance design and Baroque decoration.

119. JACQUES-LOUIS DAVID, The Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris.

123. JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 11’ x 14’. Louvre, Paris. An episode of Roman history - three Horatii brothers swear a solemn oath to conquer the enemy or die Arches in the background indicate three stages of story: oath; battle; grief

124. David, Death of Socrates, 1787.

127. The Laundry Room (Death of Marat)«, 2009 by Richard Jackson.

128. Pauline Borghese as Venus -1808

130. JOHN SINGLETON COPLEY, Portrait of Paul Revere, ca. 1768–1770. Oil on canvas, 2’ 11 1/8” x 2’ 4”. Museum of Fine Arts, Boston In America, Neo-classical art pictured the fathers of the American Revolution of 1776. These artists looked back to the logical, ordered compositions, fine brushwork, and “window on the world” techniques of Classical art.

131. Benjamin West – The Death of General Wolfe - 1771