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| Bernini, “Baldacchino,” St. Peters, Rome |
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| Bernini, “Apollo and Daphne” |
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| Borromini, “San Carlo alle Quattro Fontane,” Rome |
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| Borromini, “San Carlo alle Quattro Fontane,” Rome |
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| Borromini, “Sant’Ivo alla Sapienza,” Rome |
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| Caravaggio,“Incredulity of St. Thomas” |
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| Pozzo, “Glorification of St. Ignatius Loyola” |
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| Rembrandt, “The Company of Captain Frans Banning Cocq (Night Watch)” |
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| Johannes Vermeer, “Woman Reading a Letter” |
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| Claesz, “Vanitas Still Life” |
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| Mansart, “Hall of Mirrors,” Versailles Palace |
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| Le Brun, “Apotheosis of Louis XIV” |
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| Boffrand, “Salon de la Princesse,” Hotel de Soubis, Paris |
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| Asam, “Assumption of the Virgin” |
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| Neumann, Tiepolo & Bossi, “Imperial Hall,” Wurzburg |
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| Watteau, “Pilgrimage to Cythera” |
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| Fragonard, “Happy Accidents of the Swing” |
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| Canaletto, “View of the Riva degli Schiavoni” |
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| Lord Burlington, “Chiswick House,” London |
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| Thomas Jefferson, “Monticello,” Virginia, USA |
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| David, “Oath of the Horatii” |
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| West, “Death of General Wolfe” |
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| Canova, “Napoleon as Mars the Peacekeeper” |
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| Goya, “Third of May, 1808” |
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| Delacroix, “Liberty Leading the People” |
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| Friedrich, “Abbey in the Oak Forest (Abbey in the Oak Wood)” |
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| Turner, “Slavers Throwing Overboard the Dead and Dying” |
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| Courbet, “The Stonebreakers” |
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| Manet, “Le Dejeuner sur l’herbe” (Picnic on the Grass)” |
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| Eakins, “Portrait of Dr. Samuel Gross (The Gross Clinic)” |
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| Barry and Pugin, “Houses of Parliament,” London |
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| Paxton, “The Crystal Palace,” London |
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| Niépce, “View from the Window at Le Gras” |
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| Daguerre, “Boulevard du Temple, Paris,” |
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| O’Sullivan, “Incidents of the war: A Harvest of Death, Gettysburg” |
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| Monet, “Impression: Sunrise” |
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| Renoir, “Luncheon of the Boating Party” |
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| Seurat, “Sunday Afternoon on the Island of La Grande Jatte” |
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| Cezanne, “Mont Ste. Victoire” |
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| Horta, ”Tassel House,” Brussels |
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| Eiffel, “Tower for the 1889 Exposition,” Paris |
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| Adler & Sullivan, “Wainwright Building,” St. Louis |
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| Steiglitz, “The Steerage” |
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| Bourke-White, “Fort Peck Dam, Montana” |
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| Matisse, “The Joy of Life” |
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| Kirchner, “Street, Berlin” |
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| Pablo Picasso, “The Young Ladies of Avignon” |
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| Boccioni, “Unique Forms of Continuity in Space” |
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| Duchamp, “Nude Descending a Staircase No. 2” |
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| Malevich, “Suprematist Composition: Airplane Flying” |
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| Dali, “The Persistence of Memory” |
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| Oppenheim, “Fur Breakfast” |
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| Mondrian, “Tableau No. 1” |
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| Rietveld, “Schroeder House,” Utrecht |
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| Brancusi, “Bird in Space” |
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| Calder, “Lobster Trap and Fish Tail” |
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| Gropius, “The Bauhaus,” Dessau |
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| Frank Lloyd Wright, “Robie House,” Chicago |
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| Mies van der Rohe, “Seagram Building,” New York |
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| Judd, “Untitled – in 10 Units” |
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| De Maria, “Lightning Field, New Mexico” |
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| Wright, “Guggenheim Museum,” New York |
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| Graves, “Portland Services Building,” Portland |
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| Gehry, “Guggenheim Museum,” Bilbao |
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| [Gianlorenzo] Bernini's fountain ["Of the Four Rivers" in the Piazza Navona, Rome] exemplifies the Baroque era's love for uniting art and ____________________ . |
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| Whereas Renaissance artists embraced the precise, orderly rationality of classical models, Baroque artists reveled in dynamism, ____________________ , and elaborate ornamentation, often on a grandiose scale. |
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| [Bernini's "Baldacchino" in St. Peter's] marks the high altar and the tomb of Saint Peter beneath the basilica, and provides a ______________________ presence at the crossing, visually bridging the marble floor to the lofty vaults and dome above. |
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| In his design for "San Carlo alle Quattro Fontane" in Rome, [Francesco] Borromini set the building's front in undulating motion, creating a ______________________ counterpoint of concave and convex elements on two levels. |
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| Art historians call Caravaggio's use of dark settings that envelop their occupants tenebrism, from the Italian word tenebroso, or "______________________" manner. |
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| Although [Anthony] Van Dyck created dramatic compositions of high quality, his specialty became the ____________________ . |
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| _____________________ were a major source of income for Rembrandt, as they were Albrecht Dürer, and he often reworked the plates so that they could be used to produce a new edition. |
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| ______________________ scenes abound in 17th-century Dutch art. |
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| The architects and decorators [of Louis XIV's "Versailles Palace"] designed everything from wall paintings to doorknobs in order to reinforce the _____________________ of Versailles and to exhibit the very finest sense of artisanship. |
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| The ____________________, that ultimate source of illusion, was a favorite element of Baroque interior design. |
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| _____________________ or forms resembling shells were the principle motifs in Rococo ornamentation. |
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| The glowing pastel colors and soft light [of Jean-Honore Fragonard's "The Swing"] convey, almost by themselves, the theme's ____________________ . |
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| Most scholars mark the dawn of the technological revolution in the 1740s with the invention in England of steam engines for _____________________ production. |
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| Another manifestation of the "naturalistic" impulse in 18th-century French art was the emergence of a new more personal and less pretentious mode of portraiture, exemplified by the _____________________-portrait. |
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| [Antonio] Canaletto was the leading painter of Venetian vedute, which were treasured ______________________ for 18th-century travelers visiting Italy on the "Grand Tour." |
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| [Jacques-Louis David] rebelled against the Rococo style as an "artificial taste" and exalted the "_____________________ form" of Greek art. |
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| In England, Neoclassicism's appeal also was due to its clarity and ______________________ . |
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| In its simple symmetry, unadorned planes, right angles, and precise proportions, [Richard Boyle's] "Chiswick House" looks very classical and __________________ . |
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| Romanticism emerged from a desire for ____________________ – not only political freedom but also freedom of thought, feeling, action, worship, speech, and taste. Romantics asserted that freedom was the right and property of all. |
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| The transition from Neoclassicism to Romanticism represented a shift in emphasis from calculation to intuition, from _____________________ nature to _____________________ . |
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| Related to the imaginative sensibility was the [Romanticism] period’s notion of the ____________________ . |
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| [Caspar David Friedrich’s] “Wanderer above a Sea of Mist” perfectly expresses the Romantic notion of the sublime in ____________________ . |
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| [J. M. W. Turner’s] discovery of the aesthetic and emotive power of pure color and his pushing of the medium’s fluidity to a point where the _____________________ itself is almost the subject were important steps towards 20th-century Abstract Expressionist art. |
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| Realist artists argued that only the contemporary world – what people could ______________________ – was “real.” |
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| Of great importance for the later history of art, Realism also involved a reconsideration of the painter’s primary goals and departed from the established emphasis on ____________________ . |
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| [Eduoard] Manet aimed to move away from illusionism toward and open acknowledgment of painting’s properties, such as the _____________________ of the painting surface. |
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| [Thomas Eakins’s early masterpiece “The Gross Clinic”] is an unsparing description of an unfolding event, with a good deal more ______________________ than many viewers could endure. |
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| [Joseph Paxton’s “Crystal Palace”] was the perfect expression of the new _____________________ age that the “Great Exhibition [of the Works of Industry of All Nations]” celebrated. |
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| The relative ease of the process [of photography], even in its earliest and most primitive form, seemed a dream come true for 19th-century scientists and artists, who for centuries had grappled with less satisfying methods for capturing accurate _____________________ of their subjects. |
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| From the moment of its invention, photography threatened to expropriate the _____________________ image. |
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| Making _____________________ was an important economic opportunity for most photographers, and portraiture quickly became one of the most popular early photographic genres. |
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| Photographers were quick to realize the ____________________ power of their new medium. |
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| One of the most popular "Impressionist" subjects was Paris's vibrant ______________________ . |
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| "Modernism" in art . . . transcends the simple depiction of the contemporary world - the goal of Realism. Modernist artists also critically examine the premises of _____________________ itself. |
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| Beyond its affinity with sketches, Impressionism operated at the intersection of what the artist _____________________ and what they _____________________ . |
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| The Impressionists, acquainted with these [Japanese woodblock] prints as early as the 1860s, greatly admired their ______________________ organization, familiar and intimate themes, and flat, unmodeled color areas. |
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| The Impressionists were a diverse group of artists, women as well as men, from disparate economic, social national, and religious backgrounds, united by a shared interest in the ________________________ world that they experienced daily and a distaste for the stylistic constraints and restricted themes of academic art. |
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| [The "Post-Impressionist"] artists were much more interested in systematically examining the properties and _______________________ qualities of line, pattern, form, and color. |
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| [Georges] Seurat's color system - pointillism - involved dividing colors into their component parts and applying those colors to the canvas in tiny ___________________ . |
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Definition
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| 3: Color in painting, [Vincent van Gogh] argued, is "not locally true from the point of view of the delusive realist, but color suggesting some _________________________ of an ardent temperament." |
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| For [Paul] Gauguin, the artist's power to determine the _______________________ in a painting was a central element of creativity. |
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| [Paul] Cezanne's rendition of nature approximates the experience that a person has when viewing the forms of _______________________ piecemeal. The relative proportions of objects vary, rather than being fixed by strict linear perspective. |
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Definition
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| By the end of the 19th century, many artists turned their attention away from the real world to the ______________________ . These artists rejected the optical world of daily life in favor of a fantasy world, of forms they conjured in their free imagination. |
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| The task of Symbolist artists was to see through things to a significance and reality deeper than what superficial ______________________ revealed. Symbolists cultivated all the resources of imagination, and their subjects became exotic, mysterious, visionary, dreamlike, and fantastic. |
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| [With his tower for the 1889 Paris Exhibition, the engineer Gustave] Eiffel jolted the architectural profession into a realization that modern materials and processes made possible a radically innovative approach to _______________________ design. |
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| In architecture as well as in the pictorial arts, the late 19th century was a period during which artists challenged traditional modes of expression, often emphatically rejecting the ____________________ . |
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| [In the work of Pablo Picasso], gone is the traditional Renaissance concept of an orderly, constructed, and ______________________ pictorial space mirroring the world. |
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| Driving the Fauve ["wild beasts"] movement was a desire to develop an art having the directness of Impressionism but employing intense ___________________ juxtapositions for expressive ends. |
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| [Henri Matisse has been quoted as saying:] "The chief function of color should be to serve ______________________ as well as possible. |
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| [Vassily] Kandinsky was one of the first artists to explore complete ____________________ as in "Improvisation 28." |
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| Together, [Georges] Braque and [Pablo] Picasso formulated "Cubism" around 1908 in the belief that the art of painting had to move far beyond the description of ____________________ reality. |
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| As [Pablo] Picasso once explained: "I paint forms as I _____________________ them, not as I see them." |
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| Framed with rope, [Pablo Picasso's "Still Life with Chair-Caning"] challenges the viewer's understanding of _____________________ . |
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Definition
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| [Ferdinand] Leger's paintings have the sharp precision of the _____________________, whose beauty and quality he was one of the first artists to appreciate. |
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| [The Futurists] called for radical innovation in the arts. Of particular interest were the speed and dynamism of modern _____________________ . |
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| The Dadaists turned away from logic in favor of the _____________________ . |
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| The creation of "ready-mades," [Marcel] Duchamp insisted, was free from any consideration of either good or bad ____________________, qualities shaped by a society that he and other Dada artists found aesthetically bankrupt. |
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| [Hannah] Hoch's "photo-montages" advanced the absurd illogic of Dada by creating __________________, contradictory, and satiric compositions. |
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| Russian artist Kazimir Malevich developed an abstract style to convey his belief that the supreme reality in the world is "pure _____________________ ." |
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| [Alfred] Steiglitz said that he wanted the photographs that he made with this _____________________ technique "to hold a moment, to record something so completely that those who see it would relive an equivalent of what has been expressed." |
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| The Surrealists were determined to explore ways to express in art the world of _____________________ and the unconscious. |
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| Like the Dadaists, the Surrealists used many methods to free the creative process from reliance on the kind of conscious ____________________ that they believed society had shaped too much. |
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| To achieve "pure plastic art," or Neoplasticism, as [Piet] Mondrian called it, he eventually limited his formal ____________________ to the three primary colors, . . . the three primary values, . . . and the two primary directions. |
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| Clearly not a literal depiction of a bird, the ___________________ form of [Constantin Brancusi's "Bird in Space"] is the final result of a long process. |
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| The public immediately embraced [Grant Wood's painting called] "American Gothic" as embodying qualities that represented the true _____________________ of America. |
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| [Walter Gropius, founder of "The Bauhaus,"] staunchly advocated the importance of strong basic design and craftsmanship as fundamental to good art and architecture, and promoted the ____________________ of art, architecture, and design. |
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| Taking as his motto "less is more" and calling his architecture "skin and bones," the new Bauhaus director [Ludwig Mies van der Rohe] had already fully formed his aesthetic when he conceived the model for a ____________________ skyscraper building in 1921. |
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| The key element of [Frank Lloyd] Wright's new architecture was _____________________ not mass – a space designed to fit the patron's life and enclosed and divided as required. |
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Definition
| a darkened box with a convex lens or aperture for projecting the image of an external object onto a screen inside. It is important historically in the development of photography |
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Definition
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a ceremonial canopy of stone, metal, or fabric over an altar, throne, or doorway.
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| the imitation or evocation of Chinese motifs and techniques in Western art, furniture, and architecture, especially in the 18th century. |
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| Fête Galante (“Amorous Festival”) Painting Daguerrotype |
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| A type of Rococo painting depicting the outdoor amusements of French upper class society |
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| a piece of art made by sticking various different materials such as photographs and pieces of paper or fabric onto a backing. |
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| everyday object selected and designated as art |
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Definition
| a phrase adopted by 1947 by architect Ludwig Mies van der Rohe as a precept for Minimalist design and architecture. |
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| art based on modern popular culture and the mass media, especially as a critical or ironic comment on traditional fine art values |
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| refers tophotography that attempts to depict a scene or subject in sharp focus and detail, in accordance with the qualities that distinguish photography from other visual media, particularly painting. |
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| artistic works that are intended to enhance or become part of the environment or make a statement on environmental issues. |
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