1. European Art History Review

2. Classical (500 BC – 500 AD)
Left: Roman copy of Myron’s Diskobolos, marble sculpture
Above: Pantheon, Rome, ca. 120 AD

3. Classical (500 BC – 500 AD) sculpture, pottery, murals, mosaics
subjects: gods, goddesses, important leaders, everyday ppl.
idealized figures
nudity, togas
active bodies, emotionless faces
no perspective
architecture: columns, arches, domes

4. Medieval (500 – 1400 AD)
Left: Cimabue, Madonna and Child in Majesty, tempera paint on wooden panel, c. 1280
Above: Narthex Tympanum, sculpture, 1120

5. Medieval (500 – 1400 AD)
stained-glass windows, sculptures, illuminated manuscripts, paintings, tapestries
subject: Christianity
fully clothed
bright colors, gilding
2-dimensional, flat, stiff
emotionless, no individualization

6. Medieval (500 – 1400 AD) GOTHIC ARCHITECTURE
Above: Salisbury Cathedral, England,
Above: Notre Dame Cathedral, Paris,

7. Renaissance (1400 – 1650)
Below: The High Renaissance: Leonardo da Vinci’s Last Supper, fresco, 1498
Above: Breaking ground: Giotto’s Last Supper, fresco,

8. Renaissance (1400 – 1650) Raphael, School of Athens, fresco, 1510
Leonardo, Lady with an Ermine, oil on wood,

9. Renaissance (1400 – 1650)
Left: Donatello’s David, bronze sculpture, 5.2 feet tall, ca
Right: Michelangelo’s David, marble sculpture, 13.5 feet tall, ca. 1504

10. Renaissance (1400 – 1650)
Bramante, Tempietto, San Pietro in Montorio, Rome, 1508

11. Jan Van Eyck, The Betrothal of the Arnolfini, OIL on wood, 1434
Northern Renaissance
Jan Van Eyck, The Betrothal of the Arnolfini, OIL on wood, 1434
Dürer, St. Anne with the Virgin and Child, oil and tempura on canvas, 1519

12. Renaissance (1400 – 1650) painting, sculpture classical revival
Christian + secular themes
portraiture
perspective
scientific naturalism (ex. drawing studies)
natural light

13. Baroque (17th c.)
Above: Bernini, Ecstasy of St. Teresa, marble sculpture, Rome,
Right: Rubens, Virgin and Child Enthroned with Saints, sketch for a large altar painting, ca

14. Baroque (17th c.) religious emotional dynamic movement
Product of Catholic Reformation & Counter-Reformation … rekindle faith
propaganda – for CC and secular patrons (ex. Louis XIV)

15. French classicism (late 17th c.)
Poussin, The Rape of the Sabine Women, oil on canvas,

16. French classicism (late 17th c.)
official style of Louis XIV’s courtw
subject/style: Greco-Roman / Renaissance
discipline, balance, restraint

17. Rococo (18th c.) Above: Fragonard, The Swing, oil on canvas, 1766
Right: Fragonard, The Progress of Love: The Pursuit, oil on canvas, 1773

18. Rococo (18th c.) Left: Basilica at Ottobeuren, Bavaria
Above: Meissonnier, design for a table, Paris, ca. 1730

19. Rococo (18th c.)
French … reaction against the much heavier French classicism
subjects: ornate interiors, sentimental portraits, starry-eyed lovers protected by hovering cupids
soft pastels
decorative arts … used in urban townhouses, Enlightenment salons

20. David, The Death of Socrates, oil on canvas, 1787
Neoclassicism ( )
David, The Death of Socrates, oil on canvas, 1787

21. Neoclassicism ( )
David, The Lictors Bring to Brutus the Bodies of His Sons, oil on canvas, 1789

22. Neoclassicism (1750-1850) Enlightenment era: order, reason, discipline
“new” classical (Greco-Roman themes & style)
smooth brushstrokes
spotlight lighting

23. Romanticism ( s)
Below: Joseph M.W. Turner, Shipwreck, oil on canvas, 1805
Above: Caspar David Friedrich, Moonrise over the Sea, oil on canvas, 1821

24. Delacroix, Liberty Leading the People, oil on canvas, 1830
Romanticism ( s)
Delacroix, Liberty Leading the People, oil on canvas, 1830

25. Romanticism (1800-1850s) Reaction against Enlightenment: emotional
nature
nature as peaceful or powerful
huge skies
man dwarfed by nature
romanticizes the rural life (anti-IR)
soft, muted colors, natural light
other subjects: the macabre, the Gothic, nationalism, heroes, family life, religion

26. Realism (1830s-1900) Above: Millet, The Gleaners, oil on canvas, 1857
Right: Kollwitz, The March of the Weavers, etching, 1897

27. Realism (1830s-1900)
IR-era
hardships of daily life
natural lighting

28. Monet, Bathing at La Grenouillere, oil on canvas, 1869
Impressionism (1870s-1880s)
Monet, Bathing at La Grenouillere, oil on canvas, 1869

29. Renoir, Le Moulin de la Galette, oil on canvas, 1876
Impressionism (1870s-1880s)
Renoir, Le Moulin de la Galette, oil on canvas, 1876

30. Pissarro, Boulevard Montmarte – at various times of day and in various types of weather, 1897

31. Impressionism (1870s-1880s) France
study of light – capture impression of light
very obvious brushstrokes
modern painting grew out of a revolt against French impressionism

32. Post-Impressionism & Expressionism (late 19th – early 20th c.)
Van Gogh in 1889
Above: Van Gogh's Room at Arles
Right: Wheat Fields and Cypress

33. Post-Impressionism & Expressionism (late 19th – early 20th c.)
Gaugin
Above: Tahitian Women OR On the Beach, 1891
Right: Self-Portrait with Halo, 1889

34. Post-Impressionism & Expressionism (late 19th – early 20th c.)
Cezanne, Mont Sainte-Victoire, paintings from late 1890s-early 1900s

35. Matisse, Portrait of Andre Derain, 1905

36. Matisse, The Jazz Series (cutouts), 1943-1944

37. Post-Impressionism & Expressionism (late 19th – early 20th c.)
followed the Impressionists and to some extent rejected their ideas. They:
considered Impressionism too naturalistic
sought to explore emotion in painting
Artists include: van Gogh, Gauguin, Cezanne, Seurat, Signac, and Toulouse-Lautrec

38. Cubism: Works by Picasso
Self-Portrait with Palette, 1906
Guitar and Violin, ca. 1912

39. Cubism
Compositions of shapes and forms “abstracted” from the conventionally perceived world
Picasso

40. More Expressionism – Extreme Abstraction
Kandinsky:
Left: Improvisation 7, 1910
Above: Black and Violet, 1923

41. More Expressionism – Extreme Abstraction
Kandinsky, Composition X, 1939

42. More Expressionism – Extreme Abstraction
elimination of representational elements
Kandinsky saw abstractions as evolving blueprints for a more enlightened and liberated society emphasizing spirituality
Kandinsky & German Expressionist group, Der Blaue Reiter (The Blue Rider)

43. Dada ( )
Duchamp, L.H.O.O.Q. (Mona Lisa with Moustache), 1919

44. Dada ( )
attacked all accepted standards of art and behavior … really anti-art
“Dada” = “hobbyhorse” (nonsensical)
turned into Surrealism, which is an actual art movement

45. Surrealism (1920s forward)
Joan Miró, Singing Fish

46. Surrealism (1920s forward)
Dali, The Persistence of Memory, 1931

47. Surrealism (1920s forward)
Dali, Lighted Giraffes,

48. Surrealism (1920s forward)
Magritte, L’art de vivre, 1967

49. Surrealism (1920s forward)
By 1924, most Dada artists joined the Surrealist movement
expresses the world of dreams and the unconscious; wanted to bring outer and inner “reality” into single position
inspired by psychologists Freud and Jung
2 groups:
Biomorphic – abstract forms that suggest natural forms
Naturalistic – recognizable scenes metamorphosed into dream image