2. 1400 - 1550 The Renaissance

3.  Linear Perspective  Realism  Use of light and shadow (chiaroscuro)  Pyramid configuration – scene builds to a climax at the focal point)  Introduction of oil on canvas  Inspiration from Classical Greece and Rome

4. Masaccio: Tribute Money Use of perspective

5. Donatello

6. Botticelli

8. Leonardo da Vinci

9. Michelangelo

10. Raphael

11. Titian Charles V

12. The Northern Renaissance

13.  Painted reality as they saw it  Les emphasis on classical forms  Use of oil paints – allows for more blending of colors  Atmospheric perspective  Portraits and religious themes

14. Jan Van Eyck

16. Hans Holbein

17. Durer

19. Mannerism and the Late Renaissance

20.  Reaction to the perfect symmetry of Renaissance art  Distortion, especially of human body  No strong focal point  Bold colors

21. El Greco

23. 1600 - 1750 Baroque

24.  The art of the Catholic Reformation and of Divine Right monarchs  “married the advanced technique and grand scale of the Renaissance to the emotion, intensity and drama of Mannerism...”  Mastery of the use of light  Intensely emotional  To instill in viewers the awe and mystery of the Catholic church

25. Caravaggio St. Francis Receiving the Stigmata

27. Bernini St. Teresa in Ecstasy

28. Peter Paul Rubens Self Portrait with a Friend

29. Van Dyck Charles I on the Hunt

30. Velasquez Las Meninas

31. Rembrandt The Jewish Bride

32. Vermeer

33. Baroque Architecture St. Peter’s Basilica, Rome

34. Bernini’s altar

35. Versailles

36. 1723 - 1774 Rococo

37.  Highly decorative and ornamental  Flowers, curlicues, few straight lines  Found mostly on architecture and interior decoration  Representative of the aristocracy and the their disposable wealth  Superficial?  Celebration of the beauty of nature…not the power like Romanticism

38. Fragonard The Reader

39. Watteau

40. Bustelli

41. Rococo Architecture

42. Metropolitan Museum of Art –Reproduction of Rococo Parlor

43. 1780 - 1820 Neo-Classicism

44.  Reaction to exuberance of Baroque and Rococo  Classical influence  “Age of Reason”  Influenced by ancient Greek and Roman statues - muted colors, short & smooth brush strokes, ancient looking architectural elements  Classical values: placing the state first, duty, honor, Glory of Rome: seeds of nationalism…….

45. Jacques Louis David The Death of Socrates

47. Death of Marat

49. Neo-Classical Architecture Royal Academy, Edinburgh

50. Arch of Triumph, Paris

51. Monticello, Thomas Jefferson’s Estate

52. 1800 - 1850 Romanticism

53.  Rebels against Neo-Classicism  Looks to Middle Ages for inspiration  Emotional  Emphasis on nature, its beauty, majesty and unpredictability  Religious or spiritual themes  Reaction against Industrialization

54. Delacroix

55. Friedrich

57. Goya

58. Turner

59. John Constable

61. 1860 - 1886 Impressionism

62.  Rejects Renaissance perspective, balanced composition, idealized figures and chiaroscuro  Use of color and light  Use of short, choppy brushstrokes  Do not mix colors on the palette, but place them side by side on the canvas – results in more brilliance  Main goal was to “present an impression”  Reaction to photography

63. Manet A Bar at the Folies-Bergere

64. Boating

65. Monet

67. Camille Monet

68. The Houses of Parliament

69. Renoir

70. Girl with a Cat

71. Degas

72. Little Dancer of Fourteen Years

73. 1880 - 1905 Post Impressionism

74.  Bold, formal design  Bold, rainbow colors  Express emotions through color and light  Artists were mostly French  Use of shapes and symmetry  Pointillism

75. Seurat

76. Toulouse-Lautrec

77. Cezanne Road before the Mountains

78. Gauguin

79. Van Gogh

81. 1908 - 1914 Cubism

82.  Inspired by Native American, African and Micronesian art  Analyzed form of objects by shattering them into fragments (but not necessarily cubes)  Use of geometric shapes  Two types –  Analytic - analyzed natural forms and reduced them to basic geometric parts on the two- dimensional picture plane. Painting often mono- chromatic color schemes – mostly brown, green or gray.  Synthetic – use of collage.

83. Picasso The Guitarist

84. Guernica

85. Braque

86. 1890 - 1914 Art Nouveau

87.  Reaction to “academic” art of the 19 th century  “sinuous lines and tendril like curves”  Flowering forms and plant inspired motifs  Flowing curvilinear forms  Described in a German magazine as “sudden violent curves generated by the crack of a whip.” Style is sometimes referred to as whiplash.  Ornamental  Some Romantic themes

88. Beardsley

89. Klimt The Kiss

90. Judith with the Head of Holofernes

92. Tiffany Glass

94. Early 20 th century Expressionism

95.  Reaction to positivism, impressionism  To express the meaning of “being alive”  Emphasizes emotional experience rather than physical reality  Art should express the artist’s feelings rather than images of the real world

96. Kandinsky

97. Chagall

98. Rouault

99. This movement also influenced literature (novels of Franz Kafka), film (The Cabinet of Dr. Caligari, Nosferatu, several films by Ingmar Bergman), theatre (mostly in Germany), and music

100. Post World War I Dada

101.  Protests world gone mad b/c of war  Denounce and shock  In poetry, verse was often nonsensical

102. Georg Grosz

103. Arp

104. Schwitters

105. 1918 - 1940 Surrealism

106.  Began as a literary movement  Goes beyond realism  Often dreamlike, bizarre, hallucinatory

107. Miro

108. Dali

109. Post World War II Abstract Impressionism

110.  Also called “action painting” – it stressed action and freneticism  Gave free reign to impulse and chance  Mostly an American art form

111. Pollack

112. Late 1900’s Pop Art

113.  Return to “pictorial art”  Based on modern world – advertising, media, celebrities  Impersonal

114. Blake

115. Oldenburg

116. Warhol Birth of Venus (after Botticelli)