1. 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.

2. 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.

3. 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.

4. 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.

5. 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.

6. 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 oil on board 33 7/8 in. x 41 3/8 in.

7. 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.

8. 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 black and white chalk drawing with bistre wash approximately 1 ft. 7 in. x 1 ft. 7 in.

9. 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
oil on canvas approximately 5 ft. 1 in. x 3 ft. 9 1/2 in.

10. 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.

11. 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.

12. 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 oil on canvas 9 ft. x 7 ft.

13. 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.

14. 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.

15. 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.

16. 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.

17. 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.

18. 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.

19. 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 oil on canvas approximately 6 ft. 9 in. x 11 ft.

20. 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.

21. 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.

22. 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.

23. 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.

24. 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.

25. 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.

26. 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 oil on canvas 8 ft. 8 in. x 6 ft. 9 in.

27. 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 oil on canvas 3 ft. 8 3/4 in. x 3 ft. 1 in.

28. 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 etching 11 x 15 1/4 in.

29. 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.

30. 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 oil on canvas 2 ft. 5 3/8 in. x 2 ft. 1 5/8 in.

31. 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.

32. View of Haarlem from the Dunes at Overveen
Jacob van Ruisdael
View of Haarlem from the Dunes at Overveen
ca 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.

33. 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.

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

35. 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
oil on canvas 4 ft. 4 in. x 3 ft. 8 in.

36. 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
oil on canvas 4 ft. 4 in. x 3 ft. 8 in.

37. 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
oil on canvas 18 x 16 in.

38. 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
oil on canvas 2 ft. 8 1/4 in. x 2 ft. 3 3/4 in.

39. “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.

40. 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.

41. 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.

42. 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.

43. 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
oil on canvas 3 ft. 6 in. x 4 ft. 6 in.

44. 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 oil on canvas 3 ft. 8 in. x 5 ft. 2 in.

45. 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.

46. 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 oil on canvas 2 ft. 10 in. x 4 ft.

47. 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.

48. 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.

49. François Girardon & Thomas Regnaudin Apollo Attended by the Nymphs
Grotto of Thetis, Park of Versailles Versailles, France
ca 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.

50. 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.

51. François Girardon & Thomas Regnaudin Apollo Attended by the Nymphs
Grotto of Thetis, Park of Versailles Versailles, France
ca 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.

52. 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
marble 3 ft. 6 in. x 4 ft. 10 1/2 in.8 ft. 10 in. high

53. 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.

54. 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.

55. 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

56. 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.

57. 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

58. 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

59. Jules Hardouin-Mansart & Charles Le Brun
Galerie des Glaces (Hall of Mirrors) Palace of Versailles
Versailles, 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.

60. Jules Hardouin-Mansart and Charles Le Brun
Galerie des Glaces (Hall of Mirrors) Palace of Versailles
Versailles, 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.

61. Jules Hardouin-Mansart and Charles Le Brun
Galerie des Glaces (Hall of Mirrors) Palace of Versailles
Versailles, 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.

62. 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

63. 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.

64. 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

65. 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.

66. 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.

67. 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

68. 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

69. 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.

70. 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

71. 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

72. 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.

73. 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.

74. 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

75. 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

76. 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

77. 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.

78. 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

79. 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.

80. 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
fresco

81. 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.

82. 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.

83. 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
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.

84. 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.

85. 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.

86. 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.

87. 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.

88. 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.

89. 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 oil on canvas 10 x 7 in.

90. 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 oil on canvas 18 3/8 x 21 3/4 in.

91. 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
oil on canvas 4 ft. 3 in. x 6 ft. 4 in.

92. 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.

93. 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.

94. 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 terracotta 1 ft. 11 in. high

95. 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.

96. 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.

97. 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