Eshnunna Statuettes (Sumerian votive offerings)

Square Temple @ Eshnunna, Iraq

2700 BCE

Gypsum inlaid w/ shell & black limestone, 2’6”

Sumerian

One of first commissioned pieces of art

Stele with Law code of Hammurabi

Susa, Iran

1780 BCE

Basalt 7’4”

Babylonian

Foreshortening

Victory Stele of Naram-Sim

Susa, Iran

2254-2218 BCE

Pink Sandstone 6’7”

Akkadian

Menkaure and Khamerernebty

Gizeh, Egypt

2490-2472 BCE

Greywacke 4’6”

4^th Dynasty (Old Kingdom)

Kroisos

Anavyssos, Greece

530 BCE

Marble 6’4”

Archaic

Dying Warrior (east pediment)

Temple of Aphaia, Aegina, Greece

480 BCE

Marble 6’1” long

Transition to Classical

POLYKLEITOS

Doryphoros (Spear Bearer)

Roman Mafble Copy of Bronze Original 6’11”

Pompeii, Italy

450-440 BCE

Early/High Classical

Sarcophagus with reclining couple

Cerveteri, Italy

520 BCE

Painted Terracotta 3’9” x 6’7”

Etruscan Archaic

DIRK BOUTS

The Last Supper

Center panel of Altarpiece of Holy Sacraments

St. Peter’s Louvain, Belgium

1464-1468

*vanishing point/ 1 point perspective

* orthogonals

*focuses on the breaking of the bread, not the religious accuracy

Head of Roman Patrician

Orticoli, Italy

75-50 BCE

Marble 1’2”

Republic

Parting of Abraham and Lot

Nave of Santa Maria Maggiore, Rome, Italy

432-440 CE

Mosaic 3’4” high

Justinian, Bishop Maximianus and Attendants

North wall of apse of San Vitale, Ravenna, Italy

547 CE

Mosaic

Early Byzantine Art

Virgin and Child (Virgin of Paris)

Notre Dame, France

Early 14^th Century

Late Gothic

* S-curve

*shown as queen with crown and scepter

GIOTTO DE BONDONE

Madonna Enthroned

Church of Ognissanti, Florence, Italy

1310

Tempera and Gold Leaf on Wood

*byzantine gold background

*weighty figures

*gothic architecture

PIETRUS CHRISTUS

A Goldsmith in his Shop

1449

Oil on Wood

ROBERT CAMPIN (MASTER OF FLEMALLE)

Merode Altarpiece

1425-1428

Oil on Wood

*Tones of color

*annunciation scene in mid-class Flemish home

*Peter Anglbrecht & wife (patrons)

*candle just blown out, among other symbols…

DONATELLO

David

1440-1460

Bronze 5’2”

*classical contrapposto

*first renaissance nude statue

*youthful biblical slayer of goliath symbol of independent Florentine republic

*Medici commissioned b/c he identified himself with Florence and its prosperity/ freedom

* classical proportions, sensuous beauty of gods, appealed to humanist medici

ANDREA DEL VERROCCHIO

David

1463-1470

Bronze 4’11”

* thinly adolescent body shows close reading of bible

*sturdy, wiry

LEON BATTISTA ALBERTI

West Façade of Sant’ Andrea

Mantua, Italy

Designed 1470, begun 1472

*Roman like basilica nova

*façade shorter than building behind it

* barrel vault, triumphal arch, pediment, colossal/giant order

MICHELANGELO BUONARROTI

Pieta

1498-1500

Marble 5’8”

St Peter’s Vatican City Rome, Italy

High/Late Renaissance

*terribilata

*focus on connection between Mary and Jesus

TITIAN

Meeting of Bacchus and Ariadne

Camerino d’Alabastro Palazzo Ducale, Ferrara, Italy

1522-1523

Oil on Canvas

High/Late Renaissance

PARMIGIANINO

Madonna with Long Neck

Balardi Chapel, Sanat Maria dei Servi, Parma, Italy

1534-1540

Oil on Wood

Mannerism

*aristocratic representation

*body position emphasizes elongation

GIACOMO DELLA PORTA
Façade of Il Gesú

Rome, Italy

1575-1584

*classical pediments, paired pilaster

QUINTEN MASSYS

The Moneychanger and His Wife

1514

Oil on Wood

*Ignoring religious symbols, focus on money

*rich color

JAN VAN EYCK

Ghent Altarpiece

St Bavo Cathedral

Ghent, Belgium

1432

Oil on Wood

*Top: adam, Mary, God, Joseph, Eve

*Bottom: fountain of life, lamb of Christ, virgins, pilgrims, hermits, knights, judges

MASACCIO

Tribute Money

Brancacci Chapel

Santa Mara de Carmine, Florence, Italy

1424-27

Fresco

*linear perspective

*atmospheric perspective

*chiaroscuro

*outside light source

*commentary on income tax Florentine Republic was considering implementing at the time

MICHELANGELO

David

Piazza della Signoria Florence Italy

1501-1504

Marble 17’ high

High/Late Renaissance

*exaggerated features so it could be seen from ground

*classical contrapposto

*tension of LYsippan athletes and emotionalism of Helenistic statuary

TITIAN

Venus of Urbino

1538

Oil on Canvas

High/Late Renaissance

*actually was duke of Urbino’s 14 yr old wife

*myrtle and roses, matching trunks symbolize wedding; dog=fidelity

SOFONISBA ANGUISSOLA

Portrait of the Artist’s Sisters and Brother

1555

Oil on Panel

Mannerism

*relaxed poses and expressions in intimate and informal group portrait

CARLO MADERNO

Façade of Santa Susanna

Rome Italy

1597-1603

Baroque

*stressed vertical axis thru pilasters and columns

CARLO MADERNO

Façade of Santa Susanna

Rome Italy

1597-1603

Baroque

*stressed vertical axis thru pilasters and columns

FRANCESCO BORROMINI

Façade of San Carlo alle Quattro Fontane

Rome Italy

1665-1667

Baroque

*undulating motion

GIANLORENZO BERNINI

David

1623

Marble 5’7” high

Baroque

*expansive and theatrical

*element of time plays an important role

GIANLORENZO BERNINI

Ecstasy of Saint Teresa

Cornaro Chapel Santa Maria della Vittoria Rome Italy

1645-1652

Marble

Baroque

*passionate drama

*Iggy Loyola says spiritual experience increases devotion and piety

CARAVAGGIO

Calling of Saint Matthew

1597-1601

Oil on Canvas

Baroque

*tenebrism

*influence of outside light illuminates figures

CARAVAGGIO

Conversion of St Paul

1601

Oil on Canvas

Baroque

*different type of naturalism, unidealized figures

*tenebrism

*low horizon line

CARAVAGGIO

Judith Beheadding Holofernes

1599-1600

Oil on Canvas

Baroque

*tenebrism

*rich fabrics

*Judith more physically appealing than in Gentileschi’s

*unidealized

ARTEMISIA GENTILESCHI

Judith Slaying Holofernes

1614-1620

Oil on Canvas

Baroque

PETER PAUL RUBENS

Consequences of War

1638-1639

Oil on Canvas

Flanders

REMBRANT VAN RIJN

Anatomy lesson of Dr. Tulp

1632

Oil on Canvas

Dutch Republic

REMBRANT VAN RIJN

The Company of Captain Frans Banning Cocq (The Night Watch)

1642

Oil on Canvas

Dutch Republic

*varnish made it darker

JAN VERMEER

Allegory of the Art of Painting

1670-1675

Oil on Canvas

Dutch Republic

JUDITH LEYSTER

Self Portrait

1630

Oil on Canvas

Dutch Republic

*not realistic genre piece because she is wearing formal attire

CLAUDE LORRAINE

Landscape with Cattle and Peasants

1629

Oil on Canvas

France

*linear perspective

*atmospheric perspective

HYACINTHE RIGAUD

Louis XIV

Oil on Canvas

1701

France

*The Sun King

LEBRUN, HARDOUIN, MANSART

Galerie de Glaces (Hall of Mirrors)

Versailles France

SIR CHRISTOPHER WREN

St. Paul’s Cathedral

London, England

*design influences: Palladio & Borromini

*dome recalls saint peters

WATTEAU

Pilgrimage to Cythera

Oil on Canvas

1717-1719

Rococo

*fete galante (amorous festival)

*hazy color, subtly modeled shapes, gliding motion, air of suave gentility

BOUCHER

Cupid, a captive

1754

Oil on Canvas

Rococo

FRAGONARD

The Swing

1766

Oil on Canvas

Rococo

ELISABETH-LOUIS VIGEE LEBRUN

Self Portrait

1790

Oil on Canvas

New Naturalism

*one of few women admitted to France’s Royal Academy of painting and sculpture

*depicted confidently painting mary Antoinette, showing how her art has made her part of society

HOGGARTH

Breakfast Scene from Marriage a la Mode

1745

Oil on Canvas

New Naturalism

*satirizing 18^th century English life

*marital immoralities of monied class

JACQUES LOUIS DAVID

Oath of the Horatii

1784

Oil on Canvas

Neoclassicism

*celebrates ancient roman patriotism & sacrifice

*statuesque figures and classical architecture

ANGELICA KAUFFMANN

Mother of Gracchi (Cornelia Presenting her children as treasures)

1785

Oil on Canvas

Neoclassicism

*Enlightenment fascination with classical antiquity and classical art

COPLEY

Portrait of Paul Revere

1768-1770

Oil on Canvas

New Naturalism

*emphasizes down to earth character, differentiating from European counterparts

JACQUES LOUIS DAVID

Coronation of Napoleon

1505-1508

Oil on Canvas

*neoclassical elements

*polarity between religious entities on right and supporters on left

*took artistic liberties to demonstrate Napoleon’s power over the state

JEAN AUGUSTE DOMINIQUE INGRES

Grande Odalisque

1814

Oil on Canvas

*Greco-roman subject but neoclassical figure, mannerist face

*exotic elements

HENRY FUSELI

The Nightmare

1781

Oil on Canvas

Romanticism

*shift of emphasis from reason to feeling

*subconscious

*fantasies of imagination, dark, sadistic

JACQUES-LOUIS DAVID

Death of Marat

1793

Oil on Canvas

Neoclassicism

*depicted as matyr

FRANCISCO GOYA

Third of May

1808

Oil on Canvas

Romanticism

*sympathized with Spanish

*anguished expressions

THEODORE GERICAULT

Raft of the Medusa

1818-9

Oil on Canvas

Romanticism

*diagonal orientation, jorner juts out

*powerful x

*black crewmember at top gives statement against slavery

EUGENE DELACROIX

Liberty Leading the People

1830

Oil on Canvas

Romanticism

*contemporaneous historical fact balanced with poetic allegory

*1830 revolution

*Parisian landmarks announce specificity and locale

JOSEPH MALLARD WILLIAM TURNER

The Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On)

1840

Oil on Canvas

*Emotive Power of Color

*Sublime- awe mixed with terror

GUSTAVE COURBET

The Stone Breakers

1849

Oil on Canvas

Realism

*used color to display dreary and dismal nature of menial labor in mid 19^th century france

ALBERT BIERSTADT

Among the Sierra Nevada Mountains, California

1868

Oil on Canvas

Romanticism

*Reinforced manifest destiny, justify westward expansion

THOMAS COLE

The Oxbow (View from Mount Holyoke, Northhampton Mass after a Thunderstorm)

1836

Oil on Canvas

Romanticism

*dark wilderness on left and sunlit civilization on right

EDUOARD MANET

Olympia

1863

Oil on Canvas

Realism

*controversial with nude prostitute and black maid

*rough brush strokes and abruptly shifting tonality

EDOUARD MANET

Le Dejeuner sur l’Herbe (Luncheon on the Grass)

1863

Oil on Canvas

Realism

*controversial for shocking subject matter and manner of painting

*colors used to flatten from and draw attention to surface

GUSTAVE COURBET

Burial at Ornans

1849

Oil on Canvas

Realism

*ordinary nature of the subject

*antiheroic composition

JEAN FRANCOIS MILLET

The Gleaners

1857

Oil on Canvas

Realism

LOUIS JACQUES MANDE DAGUERRE

Still Life in Studio

1837

Daguerreotype

Photography

*one of first plates Daguerre produced after perfecting his new process

*still life with detail and graduated tones

NADAR

Eugene Delacroix

1855

Modern Print

Photography

*one of earliest portrait photographers

TIMOTHY O’SULLIVAN

A Harvest of Death, Gettysburg PA July 1863

1863

Negative by Timothy O’Sullivan

Albumen print by ALEXANDER GARDNER

CLAUDE MONET

Rouen Cathedral: The Portal (in Sun)

1894

Oil on Canvas

Impressionism

*real subject is sunlight not building

*short choppy brush strokes

GUSTAVE CAILLEBOTTE

Paris: A Rainy Day

1877

Oil on Canvas

Impressionism

*randomly placed figures and arbitrarily cropped vista suggest transitory nature of modern life

*Haussmannization

PIERRE AUGUSTE RENOIR

Le Moulin de la Galette

1876

Oil on Canvas

Impressionism

*dappled sunlight and shade blurred into figures produce floating and fleeting light

*single moment in time

*cropped figures, brush strokes

 EDOUARD MANET

Bar at the Flies Bergere

1882

Oil on Canvas

Impressionism

*spatial inconsistencies

EDGAR DEGAS

Ballet Rehearsal

1874

Oil on Canvas

Impressionism

*cut off figures, patterns of light, blurry images

MARY CASSATT

The Bath

1892

Oil on Canvas

Impressionism

*Degas & Japanese influences

HENRI DE TOULOUSE LAUTREC

At the Moulin Rouge

1892-1895

Oil on Canvas

Post-Impressionism

*inflences of degas, Japanese, photography: oblique composition

*glaring light, masklike faces, dissonant colors= Lautrec

GEORGES SEURAT

Sunday Afternoon on le Grande Jatte

1884-6

Oil on Canvas

Post Impressionism

*pointillism/ dividionsim

VINCENT VAN GOGH

Night Café

1888

Oil on Canvas

Post impressionism

*colors and distorted forms to express emotions

*thickness shape and direction of brushstrokes create tactile counterpart to intense colors

PAUL GAUGIN

Where do we come from? What are we? Where are we going?

1897

Oil on Canvas

Post impressionism

*pessimistic view of inevitability of life

PAUL CEZANNE

Mont Sainte Victoire

1902-1904

Oil on Canvas

Post impressionism

*careful analysis of lines, planes, color of nature

*used juxtaposition of color to create depth

ODILON REDON

The Cyclops

1898

Oil on Canvas

Symbolism

*figment of imagination as if it was real: whimsical colors adapted from impressionist palette

ANTONIO GAUDI

Casa Mila

Barcelona Spain

1907

Spanish Art Nouveau

*naturalism of shape

AUGSTE RODIN

Burghers of Calais

1884-1889

Bronze

*commemorates 100yrs war

*enhanced psychic effects, unidealized

GUSTAV KLIMT

The Kiss

1907-1908

Oil on Canvas

Symbolism

HENRI MATISSE

Woman with the Hat

1905

Oil on Canvas

Fauvism

*color to produce reaction from viewer

ERNST LUDWIG KIRCHNER

Street, Dresden

1908

Oil on Canvas

German Expressionsim

*influence of Fauves and Munch

VASSILY KANDINSKY

Improvisation 28

1912

Oil on Canvas

German Expressionism: Blue Rider Group

PABLO PICASSO

Les Demoiselles D’Avignon

1907

Oil on Canvas

Cubism

*influenced by African, Iberian, cezanne

FRANZ MARC

Fate of the Animals

1913

Oil on Canvas

German Expressionism: Blue Riders

GEORGES BRAQUE

The Portuguese

1911

Oil on Canvas

Analytic Cubism

PICASSO

Still Life with Chair Caning

1912

Oil and oilcloth on canvas

Synthetic Cubism

PICASSO

Guernica

1937

Oil on Canvas

Analytic Cubism

*fragmentation of objects and dislocation of anatomical figures to express emotion

UMBERTO BOCCIONI

Unique forms of Continuity in Space

1913

Bronze

Futurism

*abolished enclosed statue

JEAN (HANS) ARP

Collage Arranged According to the Laws of Chance

1916-7

Torn and Pasted paper

Dada

*dropped pieces of paper, reliance on chance reinforces anarchy inherent to Dada

MARCEL DUCHAMP

Nude Descending a Staircase No. 2

1912

Oil on Canvas

Cubist and Futurist

*at 1913 Armory show, intro’d avante garde art to America

CHARLES DEMUTH

My Egypt

1927

Oil on composition board

Precisionism

*geometric forms amid cubist transparent diagonal planes

KATHE KOLLWITZ

Woman with Dead Child

1903

Etching and soft-ground etching

Overprinted lithographically with gold tone plate

German Expressionism

*mother mourning over child like pieta

*animal like grief

MAX ERNST

Two Children are Threatened by a Nightingale

1924

Oil on wood with wood construction

Surrealism

*intentionally ambiguous title

*traditional perspective to represent setting but sketchily rendered figures belong to a dream world

SALVADOR DALI

The Persistence of Memory

1931

Oil on Canvas

Surrealism

*”images in concrete irrationality” in realistically rendered landscape

RENE MAGRITTE

The Treachery (or Perfidy) of Images

1928-9

Oil on Canvas

Surrealism

*challenges viewers reliance on conscious and rational in reading of visual art

JOAN MIRO

Painting

1933

Oil on Canvas

Surrealism

*automatism, creation f art without conscious control

PIET MONDRIAN

Composition in Red Blue and Yellow

1930

Oil on Canvas

De Stijl (The Style)

*pure plastic

*primary colors in grid of intersecting lines

*dynamic tension

EDWARD HOPPER
Nighthawks

1942

Oil on Canvas

*loneliness and depression of Depression era life in US

 DIEGO RIVERA

Ancient Mexico

From History of Mexico, National Palace, Mexico City

1929-1935

Fresco

FRIDA KAHLO

The Two Fridas

1939

Oil on Canvas

*sensual and psychological

FRANK LLOYD WRIGHT

Robie House

Chicago, IL

1907-9

*architecture of democracy: free individuals move within free space

*nonsymmetrical design

FRANK LLOYD WRIGHT

Kaufmann House (Fallingwater)

Bear Run, PA

1936-9

*extends into natural environment

GIACOMETTI

Man Pointing

1947

Bronze

Postwar Expressionism

*epitome of existentialist humanity: alienated, solidary, lost in world’s immensity

WILLEM DE KOONING

Woman I

1950-1952

Oil on Canvas

Gestural Expressionism

MARK ROTHKO

No. 14

1960

Oil on Canvas

Chromatic Abstraction

*emphasized color and visual experience

ELLSWORTH KELLY

Red Blue and Green

1963

Oil on Canvas

Post Painterly Abstraction

*Hard Edge painting: razor sharp edges and clearly delineated areas of color

*2D image

FRANK STELLA

Mas o Menos

1964

Metallic power in acrylic emulsion on canvas

Post painterly abstraction

*no central focus, no painterly or expressive elements, no tactile quality

CHUCK CLOSE

Big Self Portrait

1967-8

Acrylic on Canvas

Superrealism

*avoided creative compositions, flattering lighting effects, and revealing facial expressions

RICHARD HAMILTON

Just what is it that makes todays homes so different, so appealing?

1956

Collage

Pop Art

*mass media imagery

ANDY WARHOL

Marylin Diptypch

1962

Oil on Silkscreen enamel on Canvas

Pop Art

*repetition of face reinforce status as consumer product

CINDY SHERMAN

Untitled Film Still #35

1979

Gelatin silverprint

Feminist Art

*address women’s representation in western art for enjoyment of “male gaze’

ROY LICHTENSTEIN

Hopeless

1963

Oil on Canvas

Pop Art

*Benday dots

BARBARA KRUGER

Untitled (Your Gaze Hits the Side of My Face)

1981

Photograph, red painted frame

Feminist Art

*male gaze

MARK TANSEY

A short history of modernist painting

1982

Oil on Canvas

Social/Political Art

*Renaissance window to world, modernist insistence on flat surface, postmodern reflection on place in art history

FRANK GEHRY

Guggenheim Bilbao Museo

Bilbao Spain

1997

Deconstructivist

*disorder and randomness

FRANK LLOYD WRIGHT

Soloman R Guggenheim Museum

New York

1943-59

Modernism

ROBERT SMITHSON

Spiral Jetty

Great Salt Lake UT

Basalt, limestone, earth

1970

Environmental Art

NAM JUNE PAIK

Video still from Global Groove

1973

Color videotape, sound, 30 min

Video

*fragmented sequences of performances and commercials intended as a sample of rich worldwide TV menu of future