Baroque Art in Northern Europe and Rococo Art Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Flemish Baroque Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Antwerp Cathedral, Antwerp, Belgium Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Peter Paul Rubens Elevation of the Cross Antwerp Cathedral, Antwerp, Belgium 1610 oil on panel 15 ft. 2 in. x 11 ft. 2 in.

Foreshortened anatomy and twisted figures. In his Elevation of the Cross Rubens synthesized his study of classical antiquity with the work of the Italian masters Michelangelo, Tintoretto and Caravaggio­, while adding his own dynamism. Three features that contribute to the drama of the scene: Foreshortened anatomy and twisted figures. Christ is placed on the cross diagonally which cuts dynamically across the picture while inclining back into it. Strong modeling in light and dark. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Peter Paul Rubens Elevation of the Cross Antwerp Cathedral, Antwerp, Belgium 1610 oil on panel 15 ft. 2 in. x 11 ft. 2 in.

The Victory of Eucharistic Truth over Heresy Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Peter Paul Rubens The Victory of Eucharistic Truth over Heresy ca. 1626 oil on board 33 7/8 in. x 41 3/8 in.

Peter Paul Rubens The Three Graces oil on canvas 87 in. x 71 1/4 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Peter Paul Rubens The Three Graces oil on canvas 87 in. x 71 1/4 in.

Peter Paul Rubens Drawing of Laocoön Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Peter Paul Rubens Drawing of Laocoön ca. 1600-1608 black and white chalk drawing with bistre wash approximately 1 ft. 7 in. x 1 ft. 7 in.

The famous Florentine House of Medici commissioned Rubens to paint a cycle memorializing and glorifying her career and that of her late husband was Marie de’ Midici. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Peter Paul Rubens Arrival of Marie de’ Medici at Marseilles 1622-1625 oil on canvas approximately 5 ft. 1 in. x 3 ft. 9 1/2 in.

The painting that embodies Rubens’ attitude toward war was Allegory of the Outbreak of War. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Peter Paul Rubens Allegory of the Outbreak of War 1638 oil on canvas 6 ft. 9 in. x 11 ft. 3 7/8 in.

Allegorical figures symbolized: Monsters: Plague and famine. Architect fallen backwards: What is built in peace for the benefit and ornament of cities is laid in ruin and razed by the forces of arms. Book and paper at the feet of Mars: War tramples on literature and other refinements. Sorrowing woman in black: Unhappy Europe. Allegorical figures symbolized: Monsters: Plague and famine. Woman with a broken lute: Harmony cannot coexist beside the discord of war. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Van Dyck specialized in Court portraiture. His style best be characterized as courtly manner of great elegance, and dramatic compositions of great quality. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Anthony Van Dyck Charles I Dismounted ca. 1635 oil on canvas 9 ft. x 7 ft.

Still Life with Flowers, Goblet, Dried Fruit and Pretzels Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Clara Peeters Still Life with Flowers, Goblet, Dried Fruit and Pretzels 1611 oil on panel 1 ft. 7 3/4 in. x 2 ft. 1 1/4 in.

Dutch Baroque Religious and economic conditions in seventeenth‑century Holland effected artistic patronage and production in the following ways: Amsterdam had the highest per capita income in Europe and enjoyed widespread prosperity across a large proportion of society, expanding the range of art patronage. Political power increasingly passed into the hands of an urban patrician class of merchants. Art patronage catered to the tastes of a middle- class audience. Calvinism demanded a puritanical rejection of art in churches, and thus artists produced relatively little religious art in the Dutch Republic, although it was tolerated when artists created it. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Calling of Saint Matthew Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Hendrick ter Brugghen Calling of Saint Matthew 1621 oil on canvas 3 ft. 4 in. x 4 ft. 6 in.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

The work of Gerrit van Honthorst influenced Caravaggio by the mundane tavern setting and the nocturnal lighting. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Gerrit van Honthorst Supper Party 1620 oil on canvas 7 ft. x 4 ft. 8 in.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Archers of Saint Hadrian Frans Hals was the leading painter of the Haarlem school, and specialized in group portraits The main elements of his style that distinguish his works from those of his contemporaries is that he was less ordered and regimented in his depiction of the sitters than his contemporaries. Each man is both a troop member and an individual. The figures look in multiple directions. He uses the uniformity of attire to create a lively rhythm. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Frans Hals Archers of Saint Hadrian ca. 1633 oil on canvas approximately 6 ft. 9 in. x 11 ft.

The Women Regents of the Old Men’s Home at Haarlem Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Frans Hals The Women Regents of the Old Men’s Home at Haarlem 1664 oil on canvas 5 ft. 7 in. x 8 ft. 2 in.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

The surgeon’s guild commissioned Rembrandt to paint The Anatomy of Dr The surgeon’s guild commissioned Rembrandt to paint The Anatomy of Dr. Tulp. Guilds continued to be active patrons of the arts in addition to the upper-middle, middle, and lower-middle classes who drove most of the market. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Rembrandt van Rijn Anatomy Lesson of Dr. Tulp 1632 oil on canvas 5 ft. 3 3/4 in. x 7 ft. 1 1/4 in.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

The Company of Captain Frans Fanning Coq, the varnish Rembrandt used, had darkened considerably over time. A feature of the painting that led to its being misnamed The Night Watch Devices Rembrant used to enliven the group portrait include the company is presented scurrying about in dramatic lighting. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Rembrandt van Rijn The Company of Captain Frans Banning Cocq (Night Watch) 1642 oil on canvas 11 ft. 11 in. x 14 ft. 4 in.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Humanity and humility of Jesus. Psychological insight and sympathy. His use of light and shade effected the mood of his later portraits in that the variation of light and shade, subtly modulated, could be read as emotional differences: “the psychology of light.” The prevailing moods are that of quietness, tranquil meditation, philosophical resignation, and musing recollection. He refined light and shade into finer and finer nuances until they blended with one another, a development from earlier painters’ use of abrupt lights and darks. A greater fidelity to actual appearances is created because the eyes perceive light and dark not as static but as always subtly changing. Three adjectives or phrases that would contrast Rembrandt’s religious works to Counter- Reformation art works: Spiritual stillness. Humanity and humility of Jesus. Psychological insight and sympathy. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Rembrandt van Rijn Return of the Prodigal Son ca. 1665 oil on canvas 8 ft. 8 in. x 6 ft. 9 in.

Rembrandt trying to express the most subtle nuances of character and mood in his portraits and self-portraits Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Rembrandt van Rijn Self-Portrait ca. 1659-1660 oil on canvas 3 ft. 8 3/4 in. x 3 ft. 1 in.

Advantages etching has over engraving; It is more manageable than engraving and allows greater freedom in drawing the design. The medium’s softness gives etchers greater carving freedom and offering the greatest subtlety of line and tone. etching. A copper plate is covered in a layer of wax or varnish. The artist incises the design into this surface with an etching needle or pointed tool, exposing the metal below. The plate is then immersed in acid, which eats away the exposed parts of the metal, acting the same as the burin in engraving. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Rembrandt van Rijn Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print) ca. 1649 etching 11 x 15 1/4 in.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Dutch painter Judith Leyster is most famous for portraiture. Spontaneity was a characteristic she shared with Hals Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Judith Leyster Self-Portrait ca. 1630 oil on canvas 2 ft. 5 3/8 in. x 2 ft. 1 5/8 in.

The Dutch had a very direct relationship to the land, having undertaken an extensive land reclamation project that lasted almost a century that impacted social and economic life. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Albert Cuyp A Distant View of Dordrecht, with a Milkmaid and Four Cows and Other Figures (The Large Dort) late 1640s oil on canvas 5 ft. 1 in. x 6 ft. 4 7/8 in.

View of Haarlem from the Dunes at Overveen Jacob van Ruisdael View of Haarlem from the Dunes at Overveen ca. 1670 oil on canvas 1 ft. 10 in. x 2 ft. 1 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Vermeer's use of light differed from Rembrandt's in that he rendered space so convincingly through his depiction of light that in his works, the picture surfaces functions as an invisible glass pane through which the viewer looks in to the constructed illusion. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jan Vermeer The Letter 1666 oil on canvas 1 ft. 5 1/4 in. x 1 ft. 3 1/4 in.

camera obscura Light is passed through a tiny pinhole or lens to project an image on a screen or the wall of a room.

Shadows are not colorless and dark. Three important facts about the optics of color that are illustrated in Vermeer’s paintings: Shadows are not colorless and dark. Adjoining colors affect each other. Light is composed of colors. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jan Vermeer Allegory of the Art of Painting 1670-1675 oil on canvas 4 ft. 4 in. x 3 ft. 8 in.

Allegory of the Art of Painting Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jan Vermeer Allegory of the Art of Painting 1670-1675 oil on canvas 4 ft. 4 in. x 3 ft. 8 in.

Girl with the Pearl Earring Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jan Vermeer Girl with the Pearl Earring 1670-1675 oil on canvas 18 x 16 in.

The children’s behavior in The Feast of Saint Nicholas might be a satirical commentary on adult behavior, in this case selfishness, pettiness, and jealousy. The mood created by Steen’s interiors differ from that created by Vermeer's as Steen painted scenes of chaos and disruption with a festive atmosphere. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jan Steen The Feast of Saint Nicholas 1660-1665 oil on canvas 2 ft. 8 1/4 in. x 2 ft. 3 3/4 in.

“Vanitas” Still lifes that contain objects that function as reminders of death, or memento mori. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Pieter Claesz Vanitas Still Life 1630s oil on panel 1 ft. 2 in. x 1 ft. 11 1/2 in.

Still Life with a Late Ming Ginger Jar Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Willem Kalf Still Life with a Late Ming Ginger Jar 1669 oil on canvas 2 ft. 6 in. x 2 ft. 1 3/4 in.

Rachel Ruysch Flower Still Life Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Rachel Ruysch Flower Still Life after 1700 oil on canvas 2 ft. 6 in. x 2 ft.

French Baroque Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Adoration of the Shepherds Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Georges de La Tour Adoration of the Shepherds 1645-1650 oil on canvas 3 ft. 6 in. x 4 ft. 6 in.

Family of Country People Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Louis Le Nain Family of Country People ca. 1640 oil on canvas 3 ft. 8 in. x 5 ft. 2 in.

Jacques Callot Hanging Tree 1621 etching 3 3/4 x 7 1/4 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jacques Callot Hanging Tree 1621 etching 3 3/4 x 7 1/4 in.

Four characteristics of Et in Arcadia Ego are typical of Poussin's fully developed Classical style; Figures based on classical statuary. The compact, balanced grouping of the figures. The even light. The thoughtful, reserved, and mournful mood. Subjects Poussin considered to be appropriate for paintings done in the "grand manner” were battles, heroic actions, and religious themes. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Nicholas Poussin Et in Arcadia Ego ca. 1655 oil on canvas 2 ft. 10 in. x 4 ft.

Nicholas Poussin Burial of Phocion Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Nicholas Poussin Burial of Phocion 1648 oil on canvas 3 ft. 11 in. x 5 ft. 10 in.

Landscape with Cattle and Peasants Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Claude Lorrain Landscape with Cattle and Peasants 1629 oil on canvas 3 ft. 6 in. x 4 ft. 10 1/2 in.

François Girardon & Thomas Regnaudin Apollo Attended by the Nymphs Grotto of Thetis, Park of Versailles Versailles, France ca. 1666-1672 marble life-size Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

François Girardon & Thomas Regnaudin Apollo Attended by the Nymphs Grotto of Thetis, Park of Versailles Versailles, France ca. 1666-1672 marble life-size Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Pierre Puget Milo of Crotona Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Pierre Puget Milo of Crotona 1671-1682 marble 3 ft. 6 in. x 4 ft. 10 1/2 in.8 ft. 10 in. high

Hyacinthe Rigaud Louis XIV Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Hyacinthe Rigaud Louis XIV 1701 oil on canvas 9 ft. 2 in. x 6 ft. 3 in.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Claude Perrault, Louis Le Vau and Charles Le Brun Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Claude Perrault, Louis Le Vau and Charles Le Brun east façade of the Louvre Paris, France 1667-1670

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Palace at Versailles Versailles, France 1669 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Palace at Versailles Versailles, France 1669

Palace at Versailles Versailles, France 1669 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Palace at Versailles Versailles, France 1669

Jules Hardouin-Mansart & Charles Le Brun Galerie des Glaces (Hall of Mirrors) Palace of Versailles Versailles, France 1667-1670 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Jules Hardouin-Mansart and Charles Le Brun Galerie des Glaces (Hall of Mirrors) Palace of Versailles Versailles, France 1667-1670 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Jules Hardouin-Mansart and Charles Le Brun Galerie des Glaces (Hall of Mirrors) Palace of Versailles Versailles, France 1667-1670 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Jules Hardouin-Mansart Royal Chapel Palace of Versailles Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jules Hardouin-Mansart Royal Chapel Palace of Versailles Versailles, France 1698-1710

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Jules Hardouin-Mansart Église de Dôme Church of the Invalides Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jules Hardouin-Mansart Église de Dôme Church of the Invalides Paris, France 1676-1706

English Baroque Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Banqueting House at Whitehall London, England Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Inigo Jones Banqueting House at Whitehall London, England 1619-1622

new Saint Paul’s Cathedral London, England Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Christopher Wren new Saint Paul’s Cathedral London, England 1675-1710

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John Vanbrugh Blenheim Palace Oxfordshire, England 1705-1722 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. John Vanbrugh Blenheim Palace Oxfordshire, England 1705-1722

John Vanbrugh Blenheim Palace Oxfordshire, England 1705-1722 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. John Vanbrugh Blenheim Palace Oxfordshire, England 1705-1722

German Baroque Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

interior of the pilgrimage chapel of Vierzehnheiligen Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Balthasar Neumann interior of the pilgrimage chapel of Vierzehnheiligen near Staffelstein, Germany 1743-1772

interior of the pilgrimage chapel of Vierzehnheiligen Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Balthasar Neumann interior of the pilgrimage chapel of Vierzehnheiligen near Staffelstein, Germany 1743-1772

plan of Vierzehnheiligen near Staffelstein, Germany Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Balthasar Neumann plan of Vierzehnheiligen near Staffelstein, Germany 1743-1772

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Assumption of the Virgin monastery church at Rohr, Germany Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Egid Asam Assumption of the Virgin monastery church at Rohr, Germany 1723

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Giambattista Tiepolo The Apotheosis of the Pisani Family ceiling fresco in the Villa Pisani, Stra, Italy 1761-1762 fresco

Rococo Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Hôtel de Soubise, Paris, France Germain Boffrand Salon de la Princesse with painting by Charles-Joseph Natoire and sculpture by J.B. Lemoine Hôtel de Soubise, Paris, France 1737-1740 Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Three Rococo features of this small building: One of the best examples of French Rococo architecture, known as the Amalienburg was built near Munich, Germany. It was designed by François de Cuvillés. Three Rococo features of this small building: Myriad scintillating motifs Everything seems organic, growing, and in motion. Shapes and contours weave rhythmically around the walls. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. François de Cuvilliès the Amalienburg Nymphenburg Palace Park, Munich, Germany early 18th C.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. François de Cuvilliès Hall of Mirrors, the Amalienburg Nymphenburg Palace Park, Munich, Germany early 18th C.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. François de Cuvilliès Hall of Mirrors, the Amalienburg Nymphenburg Palace Park, Munich, Germany early 18th C.

Antoine Watteau L’Indifferent ca. 1716 oil on canvas 10 x 7 in. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Antoine Watteau L’Indifferent ca. 1716 oil on canvas 10 x 7 in.

fête galant A type of Rococo painting depicting the outdoor amusements of upper-class society. Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Antoine Watteau View through the Trees in the Park of Pierre Crozat (La Perspective) ca. 1715 oil on canvas 18 3/8 x 21 3/4 in.

Exquisite shades of color difference Subtly modeled shapes Four characteristics of Watteau’s Return from Cythera that are typical of Rococo art in general: Exquisite shades of color difference Subtly modeled shapes Gliding motion Air of suave gentility Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Antoine Watteau Return from Cythera 1717-1719 oil on canvas 4 ft. 3 in. x 6 ft. 4 in.

François Boucher Cupid a Captive Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. François Boucher Cupid a Captive 1754 oil on canvas 5 ft. 6 in. x 2 ft. 10 in.

Jean-Honoré Fragonard The Swing Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Jean-Honoré Fragonard The Swing 1766 oil on canvas 2 ft. 11 in. x 2 ft. 8 in.

Clodion Nymph and Satyr ca. 1775 terracotta 1 ft. 11 in. high Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Clodion Nymph and Satyr ca. 1775 terracotta 1 ft. 11 in. high

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Slide concept by William V Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights.

Orléans wing of the Château de Blois Blois, France Slide concept by William V. Ganis, PhD FOR EDUCATIONAL USE ONLY For publication, reproduction or transmission of images, please contact individual artists, estates, photographers and exhibiting institutions for permissions and rights. Francis Mansart Orléans wing of the Château de Blois Blois, France 1635-1638