Dance of Human Life, Nicholas Poussin, c.1638-40

• oil on canvas; baroque style
  
• mythology in the service of christian allegory
• figures represent luxury, wealth, poverty and industry, four states of human existence, circular movement
• old man represents time
• life is fleeting and insubstantial
  

Ashes of Phokion ,Nicholas Poussin, c1648

• oil on canvas
• somber, stoic mood
• baroque lighting, everything else ordered and rational
• buildings and nature may last, but humans do  not
• Phokian's widow is highlighted in white
• foreground=nature, background=temple

Louvre (East Front) ,Louis Le Vau, Claude Perrault, Charles Le Brun, c1667-70

• elegant, ordered, rational and restrained, Classical Aesthetic
• rectilinear: moving in straight lines
• long horizontal plane
• balustrade hides the flat roof that accents the horicontality of the building
• pediment at temple front like Roman temple, echoed by window pediments

Palace of Versailles, Numerous Artists, c1668-85

• built under Louis XIV
• gardens with pools- baroque features
• intended to glorify the power of the French Monarch (divine right to rule)
• identifies Louis XIV with the sun god 

Pilgrimage to Cythera, Jean-Antoine Watteau, c1717

• oil on canvas
• interest in voluptuous nudes and richly textured materials
• best known for paintings of festive gatherings
• couples journeying to the island of venus
• right: venus statue with flowers, love and fertility, enduring character of Classical tradition (in comparison to the travellers)
• emphasis on silk textures, reflection of light
• colors dull as they return 

The Swing, Jean-Honore Fragonard, c1766

• oil on canvas
• frilly patterns
• fuffles on the dress of girl are repeated in the leaves, twisting branches and fluffy clouds
• enclosed yet open garden, where games are played
  
• sexual references with shoe and hat
• cupid on left represents secrecy, other two cupids hug a dolphin (Classical imagery)
• erotic themes

Chiswick House, Lord Burlington, c1724-29

• Simple restrained.
  

• Not that much decoration on the outside.  Stripped down and geometric. 

• Classical.  New approach called "neoclassicism".
• Octogonal shape for the roof

Monticello, Thomas Jefforson, c1769-84

•  ideal of enlightenment
• made of brick and wood
  

University of Virginia, Thomas Jefforson, c1817-26

• Idea of universal enlightenment and education
  
• Classical idea, Classicism in the new repub of US
• Classical pendiment
• modeled after Pantheon
• built in the form of Roman temples
  

Death of Socrates, Jacques-Louis David, c1787

• oil on canvas, Neoclassical
• heroism, self-sacrifice
• Socrates pointing up to a greater truth, teaching until the end
  
• formal clarity, stability, solidity, rights of the individual
  

Death of Marat, Jacques-Louis David, c1793

• oil on canvas, Neoclassical
• rejection of Rococo
• wounds like jesus
• painting of a political event 

Witches' Sabbath, Francisco Goya, c1798-9

• oil on canvas, romantic style, sublime
• exaggerating belief of witches
• plays off general fantasy of what witches would look like 

a certain type of art characterized by it's purpose to evoke strong emotions in its audience

The Mad Woman, Theodore Gericault, c1822-1823

• oil on canvas, romanticism
• rational response to subjective emotions felt when seeing this woman
• she has psycological problems, symbolized by the slight shift in her face (paranoia)
• unified by matching colors
• things emphasized by light and texture
• untied cap represents the unraveling of her mind

Raft of Medusa, Gericault, c1818-19

• oil on canvas, romanticism
•  commitment to social justice
• disaster at sea compare to neoclassical depiction of a hero
• huge political debate over things that happend at this shipwreck
• struggle of humanity against the elements
• writhing form of figures echoes the sea
• those waving for hope stand over the corpses

The Boat of Dante, Delacroix c1822

•  oil on canvas, romanticism
• broad sweeps of color, lively patterns, energetic figural groups
• freer lines than neoclassicism
• dante, shocked, holding up hand for balance, calm Virgil, boatman of Hades

Liberty Leading the People, Delacroix, c1830

• oil on canvas, romanticism
• romantic principles to revolutionary idea
• populace has taken up arms for liberty
• haze symbolizes France's tyranny
• objects leading to liberty
• people of different classes are willing to die to secure the freedom of their followers
• colors match figures that represent liberty 

Woman of Algiers, Delacroix, c1834

• oil on canvas, romaticism
• rejects of precise edges and smooth texture
• perfumed maybe drugged woman
• black woman on right is aware
• figure of woman on the left is reminiscent of the reclining nude, against Ingres' odalisque
  

The Royal Pavillion, John Nash, c1815-18

•  fashionable english resort
• onion domes borrowed from Indian culture
• Eastern forms
• architecture marked by revival of historical styles
  

Houses of Parliament, Barry and Pugin, begun 1836

• Gothic style instead of Classical to emphasize importance of Christianity
• functional government building with Gothic decoration, with gormal symmetry 

Gothic

Burning of the Houses of Parliament, Turner, 1835

• oil on canvas, romanticism
• one of two greatest landscape painters
• image is swept up in the paint
• architectural structures symbolizes dissolution
• nature under control and in harmony, but man-made structures are destroyed

Two Men Contemplating the Moon, Friedrich, c1819

• oil on canvas, romaticism
• focused on the longing to return to nature
• moods of nature reflect state of mind
• romantic nostalgia for the past symbolized by old fashioned clothing of the men

The Oxbow, Cole, c1836

•  oil on canvas, romantic landscape
• abupt contrast between two sides of painting
• power of the elements
• thunderstorm represents changing moods of nature
• storm moving away from the cultivation made by man
• leaving serene and tranquil landscape
• artist is included in the piece
• common in a lot of Cole's works is the symbolism of a storm which can be compared directly to his inner life

The Stone Breakers, Courbet, c1849

• oil on canvas, realism
• rejected historical painting/ romantic depiction of revivals of the past
• impact of socialist ideas
• simple existence, mindless repitition of physical labor
• faces in shadow, the labor is more important than their individuality 

Luncheon on the Grass, Manet, c1863

• oil on canvas, French realism 1960s
• formed a transition from realism to impressionism
• shock of casual nude woman
• against Classical nude paintings
• painting technique considered lazy 

• oil on canvas, French Realism 1960s
• inspired by the past
• assumed to be a prostitute, representing venereal disease, rampant in paris at the time
• called "Olympia" to contrast reality of Paris as apposed to Greek idealism
• stares directly at viewer, removing modesty of  traditional nude figures

Terrace at Sainte-Adresse, Monet, c1866-67

•  oil on canvas, impressionism
• embodied technical principles of Impressionism
• wide range of color
• ships and steamboats hint at the changing of times

Water Lilies, Monet, c1904

• oil on canvas, impressionism
•  direct observation of nature
• breaks up color into light and dark
• lack of motion is indicated by vertical stokes
• fidelity to optical experience

Moulin de la Galette, Renoir, c1876

•  oil on canvas, impressionism
• slice of life painting
• separated from dancers by strong diagonal of the bench
• shifting shadows and patterns of lights and darks make the painting animated

Nocturne in the Black and Gold, Whistler, c1875

• oil on oak panel
•  throes of psychotic breakdown
• devoid of recognizable form
• stylistic tendacies-linear and atmospheric
  

Arrangement in Black and Grey, Whistler, c1871

• oil on canvas
• color representing mood
• piece tied together by matching colors and textures
  
• Whistler before his impressionism works
  

The Glass of Absinthe, Degas, c1876

•  oil on canvas, impressionism
• slice of life
• arbitrary placement of the paintings borders and slanted zig zags make it seem like a photograph
• poses and gestures convey psychological isolation
  

Dancing Lesson, Degas, c1876

• oil on canvas, impressionism
• wide range of movement, different stages of motion or unrest
• oblique angle of borders
• three main colors of the costumes are brought together by the fan of the middle dancer
• girls are unified by their constumes 

Boating Party, Cassatt, c1893

•  oil on canvas, impressionism
• like a close-up picture
• slanting viewpoint emphasizes intimacy of mother and child, back of rower like a silhouette emphasizing his anonymity
• intensifies tension by flattening space
  

• etching and aquatint, impressionism
• relationship to another person is implied by the letter
• hunches forward, concentrating on the letter oblivious to the observer

Sunday Afternoon on the Island of La Grande Jatte, Seurat, c1884-86

• oil on canvas, post-impressionist
• volume and structure with Impressionist subject matter
• scene of leisure with rigid iconic forms
• motion created by contrast of color, repitition, silhouettes rather than figures 

Great Bathers, Cezanna, c1898

• oil on canvas, post-impressionist
• transformed paint into visible structures
• synthesis of a traditional subject with his own technique of spatial construction 

Self-Portrait, Van Gogh, c1889

• oil on canvas, post-impressionist
• thick, impasto texture
• structure of face is emphasized by outlines and shading
• nearly all monochromatic
• figure itself is immobile
• yellows represent death
• like looking through van Gogh's head 

Bedroom at Arles, Van Gogh, c1889

• oil on canvas, post-impressionist
• isolation and tension, absence of figures
• existence only represented by clothing
• pairs of everything, efforts to achieve a relationship with a woman 

Starry Night, Van Gogh, c1889

• oil on canvas, post-impressionist
• line and color become one, spiraling across the sky
• left to right movement countered by hills
• vertical stabilization with trees and spire
• reflection of disturbed mind
• control of formal elements
  

The Scream, Munch, c1893

•  oil, pastel and casein on cardboard, post-impressionist
• bright colors- red yellow orange intesify the sky
• darker blues and pinks define water
• endless swirl echoes artist's anguish
• munch's head echoes form of the landscape

Self-Portrait, Gauguin, c1889

• oil on wood, post impressionist
• allude to the fall of man
• piece tied together by element of curve
• head is caught between two colors, polarities of good and evil
• common theme to convey his struggle 

Nevermore, Gauguin, c1897

• oil on canvas, post-impressionist
• taste for dreams, natives, traditional western themes
• contrast with the immobility of figures
• traditional reclining nude with sense of danger and suspicion 

Madame Matisse, Matisse, c1905

• oil on canvas, fauvism
• forms built of color, unusualy color combos
• color divides color. center of face ivides let and right
• unity between background and foregroud achieved through matching colors 

Harmony in Red, Matisse, c1909

• oil on canvas, after fauvism
• woman is secondary compared to formal arrangement around her
• perspective minimized
• harmony with colors and curves
• synthesis of different artistic currents 

The Street, Kirchner, c1907

• oil on canvas, expressionism
• emotional properties of color 

The Old Guitarist, Picasso, c1903

• oil on panel, blue period
• depicts a mood or state of mind
• downward curve of body shows dejection
• absorbed in music, blind 

Les Demoiselles d'Avinon, Picasso, c1907

• oil on canvas, cubism
• forms and poses refer to different traditional arts
• african allusion
• fauve preference for bold stokes of color
  

Man with a Hat, Picasso, c1912

• pasted paper, charcoal, ink, collage
• geometrically cut paper to form head and neck
• involves disassembling objects then rearranging its parts to form a new image
  

Girl Before a Mirror, Picasso, c1932

• Oil on Canvas, surrealism
• denotes a truer reality than that of the visible world
• psychological reality
• image is darker than real girl
• girl is combo of front and side profile, image just side profile
• outer appearance vs psychological state 

Guernica, Picasso, c1937

• oil on canvas, cubism with surrealism
• protest against brutality of war and tyranny
  
• theme of death, devoid of color
• divided into triangle and rectangles
• dying horse represents death of civilization, woman saving it is Liberty
• shape of an eye/lamp is the light of reason
• woman on right with dead baby is like Mary
  

Painting, Kandinsky, 1914

• oil on canvas
• geometric angularity
• measured constructed and dominated by dynamic diagonal planes 

Black Square, Malevich, c1929

• oil on canvas, suprematism from cubism
• black square expression of cosmic feeling
• white is void of feeling
• aimed to embody pure feeling, instead of what is visible or natural

Broadway Boogie-Woogie, Mondrian, c1942

• oil on canvas, cubism/futurism
• rejects curves
• grid pattern of NY with cars and pedestrians
• fast shifts of color and repitition imitate rhythm of song
• expressionist exuberance with cubist order and control 

Bird in Space, Brancusi, intro.1928

• what is art
• can artist make it bird by calling it so
• upward movement and sense of spatial freedom like a bird 

Unique Forms of Continuity in Space, Boccioni, c1913

• Futurism inspired by dynamic energy of industry and machine age
•  man striding with a goal
• layered surface planes related to the fragmented planes of cubism
• organic flesh becomes machine
• objects live by showing their extensions in space
  

Nude Descending a Staircase, Duchamp, c1912

• oil on canvas, cubism, futurism
• kinetic qualities consisten with futurism
• different points in her descent
• static representation of movement 

Fountain, Duchamp, c1917

• adding title to a ready-made
• questions many works of western art that feature fountains
• what is art 

The Betrayal of Images, Magritte, c1928

• representational surrealism 

Time Transfixed, Magritte, c1938

• representational surrealism
• juxtaposes two familiar objects
• impression of immobility and timelessness
• cold sterile room devoid of human figures

The Persistence of Memory, Dali, c1931

• oil on canvas, representational surrealism
• uncanny quality of certain dreams
• dead, lifeless objects juxtaposed by living fly and ants
• impossible lighting and color combos 

Spanish Dancer, Miro, c1945

• oil on canvas, abstract surrealism
• biomorphic, sexually suggestive, abstract forms and primary colors
• thin curves against shapes that shift abruptly with color 

Cow's Skull With Roses, O'Keeffe, c1931

• oil on canvas, american abstraction
• close-up view abstracts skull
• represents crucifixion
• life against death 

Gas, Hopper, c1940

• oil on canvas, realism
• last chance for gas
• gas station that goes nowhere
• sinister aspects 

Ancient Mexico, Rivera, c1929-35

• fresco mural, mexican nationalism
• social conciousness
• simplified, abstracted with understanding of anatomy
  

Thinking About Death, Kahlo, c1943

• representational surrealism
• self-portrait 

White Light, Pollock, c1954

• abstract expressionism
• eliminates reference to recognizable objects
• lines move in and out of the picture plane 

Woman and Bicycle, Kooning, c1952-53

• oil on canvas, abstract expressionism
• attack on idealized female body
• imfluenced by cubism 

Number 15, Rothko, c1957

• abstract expressionism
• eliminates presence of artist's hand
• softens contrast between squares 

Three Flags, Johns, 1958

• encaustic on canvas, pop art
• boundary of everyday objects and fine art
• popular image that is also a country's flag
• abstract geometry in design of flag, but is also a recognizable object