LATE ANTIQUE
12.1  Christ as Good Shepherd, in Catacomb of Calixtus, Rome, 250 CE (Late Antique)
Fresco painting:  same style as Fourth Sytle Roman painting, but now used in a Christian context.  Catacombs were general
places of burial for all religions in the Roman world.  Good Shepherd is one of the "happy" images in a funereal context in the
Late Antique period.

11.22   Arch of Constantine, in Rome, 312 CE (Late Antique)
Triumphal monument that comes out of the Roman past, but continues to be used in a Christian world.

11.21   Constantine, 330 CE (Late Antique)
Sculpture; subtractive, stone:  A colossal statue of the first Christian emperor of Rome.  Colossal statues of Emperors
is part of Roman tradition, but this new "other worldly" style adopted by Christians, may come from the Eastern Empire.
(See also image on the WEB showing all remaining "bits" of the statue)

12.4  Old Saint Peters, in Rome, reconstruction, 333 CE (Late Antique)
Architecture:  this is the standard basilica plan for Western Christian churches.  The words, narthex, nave, transept, apse,
clerestory go along with this image.

12.3  Christ as Good Shepherd, in Mausoleum of Galla Placidia, Ravenna, 425 CE (Late Antique)
Mosaic: Christ is still depicted as the Good Shepherd in a funereal setting.  But, here He begins to have the dress and
other attributes of the Roman Emperor, possibly derived originally from the Roman gods.
 

MEDIEVAL
12.23  Reliquary of Sainte Foi, c.1100 (Medieval)
Made of gold and gems, this reliquary held bits of the body of the saint, and was the focus of an
important pilgrimage to her church in the Middle Ages.

12.27   La Belle Verriere, Chartres, 1220 (Medieval)
Stained glass windows were an important area for narrative images in Gothic churches.   The light that came thru
them gave the interior of the church a beautiful and sometimes otherworldly quality.
 

RENAISSANCE (Northern and Italian)
12.32   Claus Sluter, Well of Moses, 1406 (Northern Renaissance)
Sculpture: subtractive, stone.  Among the early life-sized, naturalistic sculptures from the Northern Renaissance.

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

12.30  Giotto, Lamentation, in the Arena Chapel in Padua, 1306 (Italian Renaissance)
Fresco w/tempera:  This work shows some depth, figures who seem to have weight, and strong emotions.

12.29  Simone Martini, Annunciation, 1333 (Italian Renaissance)
Painting: tempera on wood panel w/gold leaf.  This large altarpiece uses the "medieval" gold background w/figures that seem 3-dimensional
and have more human emotions.

13.4  Donatello, David, 1440 (Italian Renaissance)
Sculpture: additive, cast bronze.  A truly liberated man, showing off for all to see -- beauty, cockiness.

13.6   Mantegna, The Dead Christ, c.1500 (Italian Reniassance)
Painting (oil) that uses foreshortening to make it seem that the body of Christ recedes into the painting.

I.11  Leonardo daVinci, Mona Lisa, c.1503-05 (Italian Renaissance)
This belongs to the genre of painting called "portrait."  One gets a sense of the psychology of the person in the painting.

13.9   Raphael, School of Athens, 1511 (Italian Renaissance)
Here, one-point linear perspective gives a perfectly constructed sense of 3-dimensional space on a 2-dimensional wall.

13.12   Parmigianino, Madonna with the Long Neck, 1535 (Italian Renaissance)
Painting: oil on canvas.  From the Mannerist Period of the Renaissance.  Things are no longer classical, rational and balanced.
Her neck is too long, the baby looks dead, the columns behind go nowhere.  It's unsettling.

13.11  Titian, Venus of Urbino, 1538 (Italian Renaissance)
Oil painting on canvas: secular/mythological scene in the style of Venice for a northern court.  Sensuous goddess is part of a wedding image.

13.13  Tintoretto, Last Supper, 1594 (Italian Renaissance)
Oil painting: uses space (the table recedes into the painting on a diagonal) and light (spotlight kind of illumination)  in ways that
announce the Baroque.

BAROQUE
13.24  Caravaggio, Conversion of St. Paul, 1602 (Southern Baroque)
Painting: oil on canvas.  Prime example of tenebrism (deep shadows and strong light areas).  Also,
Caravaggio places with space and the figure practically falls out of the painting at you.  Emotional.

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

13.33  Rembrandt, The Night Watch, 1642 (Northern Baroque)
Painting: oil on canvas.  A most unusual "corporpate portrait."  Rembrandt captures them actively taking part in their group
activity, rather than depicting them seated all in a row.  He uses light to bring our eyes to the important parts of the painting.

13.26  Bernini, Ecstasy of St. Teresa, 1645 (Southern Baroque)
Sculpture, subtractive: stone. Moving drapery and high emotion is very Baroque.

13.28  Diego Velasquez, Las Meninas, 1656 (Southern Baroque)
Painting: oil on canvas.  At the court of Spain, this unusual portrait makes us question, whom the artist is painting.
Reflections of people outside the picture are captured in the mirror on the wall.  Are they the actual subject of the work?

13.27   Rome, Saint Peters, 1547-1663 (colonnade by Gianlorenzo Bernini) (Southern Baroque)
Architecture:  outer arms of the colonnade "enfold" the faithful. The Counter Reformation Church reaches out.
Very Baroque in it's use of space, not just a facade but something that comes toward the viewer.

18TH CENTURY
13.35   Jean Antoine Watteau, Embarkation for Cythera, 1717 (Rococo)
Painting: oil on canvas.  A light-hearted fantasy about love among the high class and well dressed.

13.40   Jean-Baptiste Simeon Chardin, Still Life, 1730 (Rococo)
Painting: oil on canvas.  The opposing moral world of the Rococo interested in "vanitas" still life paintings.

14.3   Jacques Louis David, Death of Socrates, 1787 (Neo Classicism)
Painting: oil on canvas.  Balanced classical composition, and subject from Roman history.  It is very large as
befits a history painting.  It was used as propaganda for the French Revolution.

19th CENTURY
14.5   John Constable, The Hay Wain, 1821 (Romanticism)
Painting: oil on canvas.   English Romanticism was interested in the happy peasant in beautiful landscapes.

14.4  Francisco Goya, Saturn Devouring One of his Sons, 1821 (Romanticism)
Fresco, detached.  Spanish painter using mythology to make reference to the evils of his day.  Highly emotional work.

14.8  Eugene Delacroix, Liberty Leading the People, 1830 (Romanticism)
Painting: oil on canvas.  A large painting of the personification of Liberty leading the French people during times of Revolution.
This is one of the ways that French Romantics idealized political values.

14.9   Honore Daumier, Third-Class Carriage, 1862 (Realism)
Painting: oil on canvas.  Depictions of the urban poor in "realistic" situations made a political statement at the time.

14.11  Edouard Manet, 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.

14.13   Claude Monet, Impression: Sunrise, 1872 (Impressionism)
Painting: oil on canvas.   Classic Impressionist work that clearly shows the brush strokes from which it is made.  This painterly technique
which juxtaposes colors and leaves it up to the eye to blend them is the hallmark of Impressionism.

14.14  Auguste Renoir,  Moulin de la Galette, 1876  (Impressionism)
Painting; oil on canvas.  Dappled light shows clearly the Impressionists interest in the effect of light on colored objects.
The subject, the upper middle class at play, was one of the common themes of Impressionism.

14.16  Berthe Morisot, Woman in Ball Dress, 1879 (Impressionism)
Painting: oil on canvas.  Morisot was one of the well-known female Impressionists.  Morisot exhibited with the other Impressionists, but
her subject matter was mostly women and their daily lives.

1.16  Vincent van Gogh, Starry Night, 1889 (Post Impressionism)
Painting: oil on canvas. Paint is applied thickly 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.

4.12  Edvard Munch, The Scream, 1893 (Symbolism)
Painting: oil on canvas.   Symbolist paintings bring to pictorial form dreams and visions.  This Scandinavian artist brings a particularly high level
of emotion to his vision of the alienation of modern life.  He leads the way to Expressionism.

20th Century
14.20   Paul Cezanne, Mont Sainte-Victoire, 1904 (Post Impressionism)
Painting: oil on canvas.   Cezanne takes the colors and landscapes of the Impressionists and transforms them into something more constructed
and long-lasting.  He flattens the pictorial space.   He builds up blocks of color rather than just dashes.

15.1   Pablo Picasso, Les Demoiselles d'Avignon, 1907  (Cubism)
Painting: oil on canvas.  First Cubist work where the soft curves of female nudes are transformed into geometric shapes and hard-edged
planes shown from multiple viewpoints at the same time.  Mask-like faces come from influences of African art.

15.4  Gino Severini, Dynamic Hieroglyphic of the Bal Tabarin, 1912 (Futurism)
Painting: oil on canvas.   Futurists wished to capture the speed of the new mechanized, industrialized world of the 20th century, where
airplane flight and motorcars were becoming a part of life.

15.9  Kasimir Malevich, White on White, 1918 (Suprematism)
Painting: oil on canvas.   Malevich, head of the Russian avant garde, wanted to "free himself from the tyranny of the object."
The supreme simplicity for him is the square and very limited colors.

9.17   Marcel Duchamp, The Bride Stripped Bare by her Bachelors, Even, 1923 (Dada)
Assemblage.  Duchamp used a mixture of found objects to create very complex works.   Unfulfilled sexual desire seems to
be the meaning of this work that was broken.  The artist put it back together calmly and finally considered it finished enough to sign.

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.

16.7  Grand Wood, American Gothic, 1930 (American Realism)
Painting: oil on canvas.  Real, sturdy, upstanding Americans show what reality ought to be in the midst of the rural poverty of the Great Depression.

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, making this work calm and quiet, with
perhaps a bit of a lonely feeing to it.

7.16  Frank Lloyd Wright, Falling Water, PA, 1937  (20th Century)
Architecture: example of cantilever construction. Wright makes his buildings fit into their environment.  But, his engineering wasn't quite perfect, and
a several million dollar renovation recently strengthened the structure of the building.

15.27   Marc Chagall, Three Candles, 1939 (20th Century)
Painting: oil on canvas.  Chagall's happy fantasy/dream world and its floating figures and blue cows often comes from his Jewish heritage in Russia.