Moses, Tomb of Pope Julius II, by Michelangelo

Marble, 7' 8.5" high

Rome, Italy 1513-1515

David by Michelangelo

Marble, 17' high

Piazza della Signoria

Florence, Italy 1501-1504

Unlike previous David statues, this one depicts him before the battle with goliath. he is looking to the left intensely awaiting his enemy.

Last Judgement by Michelangelo

Fresco

Altar Wall of the Sistine Chapel

Vatican City, Rome, Italy, 1536-1541

Commissioned by Pope Paul III

Christ is the stern judge of the world. The flayed skin held by st. Bartholomew is a self portrait of Michelangelo. On the bottom left the dead awake and assume flesh. to the right demons torment the damned.

Feast of the Gods, by Bellini & Titian

oil on canvas

Ferrara, Italy, 1529

This painting was unique because it depicted Olympian Gods as Peasants enjoying a picnic.

Assumption of the Virgin, by Titian

Oil on wood, 22'x11'

Venice, Italy, 1516-1518

Titian was known for his ability to convey light through color. Here the virgin Mary ascends to heaven, apostles below, god above.

Venus of Urbino, by Titian

Oil on canvas, 1538

Based on an earlier painting by Giorgione.  Set the standard for the reclining female nude.

Entombment of Christ, by Pontormo

Oil on wood, 10'x6'

Florence, Italy, 1525-1528

Pontormo left out the cross and the tomb from the picture. The center of the painting, generally the focus, is left as a void.

Madonna with the Long Neck, by Parmigianino

Oil on wood, 1534-1540

Parma, Italy

Isenheim Alterpiece, by Grunewald

Oil on Wood (outside)

Germany 1510-1515

Fall of Man (Adam and Eve), by Durer

Engraving

Germany, 1504

Human figures created using a mathmatical theory of human proportions. animals (cat, elk, rabit, ox) represent the four temperaments of humanity. the tension between the cat and mouse represent the tension between adam and eve.

Battle of Issus, by Albrecht Altdorfer

Oil on wood, 1529

munich

the latin inscription hanging in the sky, announces the subject of the painting, Alexanders defeat of the persians in 333bc.

Money Changer and His Wife, by Massys

Oil on wood, 1514

Netherlands

this painting is a commentary on netherlandish values and mores. the couple pays more attention to the money than the prayer book. in the back window two men can be seen idly gossiping. in contrast the mirror reflection shows a man reading what is most likely the bible.

Netherlandish Proverbs, by Pieter Bruegel

Oil on wood, 1559

Netherlands

Bruegel was known for his understanding of human nature and depicting it in his art.

Filled with over 100 proverbs, including the blind leading the blind, a shortsighted fool, and ambitious idiot.

Hunters in the Snow, by Pieter Bruegel

Oil on wood, 1565

Netherlands

one of a series of six paintings illustrating seasonal changes.

Burial of count Orgaz, by El Greco

Oil on canvas, 1586

Spain

A blend of Byzantine and Italian Mannerist elements, his use of light and dark foreshadowed the Baroque style.

St. Peter's Piazza, Bernini

1656-1667

Bernini's design had to accomodate two existing structures, an ancient roman obelisk and a fountain. intended to extend a dramatic gesture of embrace to all who enter the piazza.

Baldacchino, Bernini

St. Peters, Vatican City, Rome

Guilded bronze, 100' high

1624-1633

Marks the high altar and tomb of st. peter. Bronze taken from the portico of the pantheon and melted down.

David, Bernini

Marble, 5'7" high

differs from previous david sculptures by showing David in the moment of combat rather than after or before.

Ecstasy of St. Teresa, Bernini

cornaro chapel, rome italy

Marble, 11'6" high

the entire statue is carved of the same stone but each part is textured differently. cloud, cloth, skin each have their own texture. St. teresa had sharp pains in her heart that she attributed to a fire tipped arrow of divine love that was thrust repetedly into her heart.

san carlo alle quattro, borromini

rome, Italy 1665-1667

emphasizes the 3 dimensional effect by creating deep recessed niches. uses concave and convex elements to put the facade in motion.

Facade of St. Peters, Maderno

1606-1612

the two bell tower bays were not part of the original plan and disrupt the verticality maderno sought.

Conversion of St. Paul, Caravaggio

oil on canvas, 1601

Rome

use of perspective, chiaroscuro and dramatic lighting bring you into the painting as if you were there.

Entombment, Caravaggio

Oil on canvas, 1603

rome

the plant represent life and rebirth.

Judith slaying holofernes, Artemisia Gentileschi

Oil on Canvas

Florence, Italy

Taught to paint by her father, renowned in her time. Heroic women were a favorite subject.

Triumph of the name of jesus, Gaulli

fesco and stucco

rome, italy

Glorrifaction of st. ignatious

fresco

Rome, Italy

Gives the illusion that heaven is opening above the church congregation. A disc in the floor marks the perfect spot to stand in order to gain the whole perspective.

Martyrdom of St. Phillip, Ribera

Oil on Canvas

Madrid

Water Carrier of Seville, Velazquez

Oil on Canvas

1619

Great contrast of dark and light, incredible detail of water drops. painted when the artist was only 20.

Surrender of Breda, Velazquez

Oil on Canvas

1634-1635

Painted by king phillip IV. A glorified depiction of the spanish victory over the dutch  at Breda in 1625.

Las Meninas (maids of honor), Velazquez

oil on canvas

Allegory of the art of painting, Vermeer

Oil on canvas

n. europe, 1670-1675

Elevation of the cross, Rubens

Oil on wood

Antwerp

well studied and reproduced human anatomy, focused light, contrast of light and dark.

Consequences of War, Rubens

Oil on Canvas

Mars, rushes fourth leaving the temple of janus open(which during times of peace would be closed). Venus can do nothing to stop him, dragged forward bu fury. monsters in the back represent pestilence and famine.

Charles I dismounted, Van Dyck

Oil on canvas

Depicted the monarch at an angel so it appears to be looking down at the viewer.

Archers of St. Hadrian, Hals

Oil on canvas

1633

Each character seems to have his own personality, some engage the viewer others look away, this gives the painting action.

The Night Watch, Rembrandt

Oil on canvas

12'x14'

used dramatic lighting. Varnish darkened over time for an even more dramatic effect.

Return of the prodigal Son, Rembrandt

Oil on canvas

1665