GREEK
11.9   Three Goddesses, from east pediment of Parthenon, c.350 BCE   (Classical Greek)
Works of art brought to the West in the 19th century.   Helped create a "taste" for the classical.
 

BYZANTINE
I.18   Christ as Pantocrator, in dome of church at Daphne, Greece, c.1080  (Byzantine)
Art in the service of religion.  The "head" of the Christian cosmos (Christ as ruler of the world = Pantocrator) is at the
highest point of the church, making the church a microcosm of the world.
 

RENAISSANCE
2.43  Masaccio, The Tribute Money, 1427 (Italian Renaissance)
Fresco painting made with tempera paint. This is a narrative, with the story told over time in several scenes incorporated into one work
of art.  It is one of the ways of dealing with "time" in a medium that does not move.

13.18  Jan van Eyck, Arnolfini Wedding, 1434 (Northern Renaissance)
Painting done with oil paint on panel, luminous colors, inclusion of many details.

2.38  Leonardo daVinci, Last Supper, 1498 (Italian Renaissance)
This fresco made of tempera paint is also a prime example of one-point perspective.   It has ALWAYS been considered a masterpiece.

I.11  Leonardo daVinci, Mona Lisa, c.1503-05 (Italian Renaissance)
This belongs to the genre of painting called "portrait."  There are not a lot of clues about this woman's name or position, but we do get
a feeling of understanding something of her mood -- a little sad and mysterious?

3.15 & I.1  Michelangelo, Sistine Ceiling, Creation of Adam 1511 (Italian Renaissance)
Fresco painting made with tempera.   This, too, has always been considered a masterpiece.  No changing tastes have discredited it.
 

BAROQUE
1.18  Artemesia Gentileschi, Judith & Holofernes, 1625 (Baroque)
Painting, oil on canvas. Strong light and dark, chiaroscuro. Provides high emotion.
 

19TH CENTURY
2.9   Francisco Goya, Execution of the Madrilenos on May 3, 1808, 1814  (Romanticism)
Painting: oil on canvas.   This highly charged work focusses your attention on the "point" of the  painting through the use of
implied lines and strong light.

3.19  J.M.W. Turner, Venice, Sunrise, 1819 (19^th Century)
Painting: watercolor on paper. Watercolor is a translucent type of paint.  A sense of deep space is created without 1-point linear
perspective.

14.10  Gustave Courbet, Artist's Studio, 1855 (Realism)
Painting: oil on canvas.   Gives us a look into the artist's studio.  He doesn't seem to see the artist as a solitary creative genius, but as
someone who works for an audience or at least has some relationship to things outside of himself.

14.11  Edouard Manet, Dejeuner sur l'Herbe/Luncheon on the Grass, 1863  (19th Century)
Painting: oil on canvas.  He subverts a classical painting and makes it a shocker for his own time.  This was "refused" in 1863.
Not all "masterpieces" were considered so when they first were shown.

2.22   Edouard Manet, Execution of Emperor Maximilian, 1867 (19th Century)
This is a "history" painting.  Paintings of historical events were once considered the highest form of art.  Like most history paintings
this work is very large -- 8'3" x 10'.

14.17  James McNeill Whistler, Arrangement in Grey and Black: Portrait of the Artist's Mother, 1871  (19th Century)
This oil painting on canvas is created with a rather restricted color palette.  There are not a lot of different colors.  But, there are many values
of the same color (various shades of gray).

1.16  Vincent van Gogh, Starry Night, 1889 (Post Impressionism)
Painting: oil on canvas. Paint is applied thickly (lots of texture) so that you can see the 3-D effects = impasto.  Van Gogh brings much personal
emotion to his later works as his mental state continued to deteriorate.
 

20TH CENTURY
2.46  Marcel Duchamp, Nude Descending Staircase #2, 1912 (Cubism)
Painting: oil on canvas. The breaking up of the figure into planes and repitition of the figure make it seems as if she moves.

I.28  Mondrian, Composition w/Red, Blue, Yellow, 1930 (de Stijl)
Painting: oil on canvas. Non-objective work. An off-center composition that is still balanced and calm.  Mondrian hated the
irregularities of nature and thought it a higher calling to make things regular, rational.  Makes no reference to the natural world.

16.5  Edward Hopper, Early Sunday Morning, 1930  (American Realism)
Painting: oil on canvas. A very regular, rhythmic composition as the doors and windows succeed each other.

1.5  Matisse, Nude from Back, 1940 (20th Century)
Drawing, wet medium: ink pen.  As part of the creative process we see the artist taking only the elements of something in
the natural world that speak to his creative vision of it.

3.18 Andrew Wyeth, Christina's World, 1948 (20th Century)
Painting; tempera paint on panel.

1.13  Jackson Pollock, Number 1, 1948, 1948  (Action Painting)
Painting: oil on canvas.  But, this is made by laying the canvas on the floor and "actively" flinging paint on it.  This is part of Pollock's
personal creative process in which he got his emotions on canvas.  This is a non-objective work of art.  It is quite balanced as it uses
the entire surface in an all over pattern.

I.3  Diego Rivera, History of Mexico, War of Independence, 1950 (20th Century)
Fresco painting: deep space is not shown, but many events are placed all over the surface.  A poltiical statement is made in the
choice of subject matter and in it's location at the central building of the Mexican government.  It claims legitimacy with the image.

16.19  Willem de Kooning, Woman I, 1952 (Abstract Expressionism)
Painting; oil on canvas.  Abstracted image of a woman, painted with slashing brushstrokes and bright colors.   You can tell it is a woman
that he is painting, but it doesn't "naturally" reproduce an object from the natural world.

2.13   Alexander Calder, Big Red, 1959  (20th Century)
Sculpture:  sheet metal.   Despite the fact that this is 3-dimensional, the overall impression is rather more of line than of form/mass.

2.32  Helen Frankenthaler, Formation, 1963 (20th Century)
Painting: acrylic paint on untreated canvas.

I.16   Edward Keinholz, State Hospital, 1966  (20th Century)
Scupture:  made with real objects.    To make an unpleasant image of  a hospital he used unpleasant "real" objects from a hospital.
He even included a bad smell in the first installation.   The forms he used to make his art, bring with them the something to add to the
content of the work.

3.4  Leonda Finke, Survivors: Study for a Frieze, 1980 (20th Century)
Drawing: dry medium: silverpoint

18.24  Francesco Clemente, Two Painters, 1980 (Neo-Expressionism)
Painting: gouache on paper. This kind of paint, tho' water based, is opaque.  Odd coloration intensifies the struggle between the two
artists from East and West.  This is culture clash.

18.23  Anselm Kiefer, Osiris & Isis, 1985 (Neo-Expressionism)
Mixed media.  Seems like a painting, but all kinds of objects are pasted onto the surface of the work.