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. The Delphic Sibyl

11. Raphael

12. Pope Leo X

13. Titian Charles V

14. The Northern Renaissance

15.  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

16. Jan Van Eyck

18. Hans Holbein

19. Durer

21. Mannerism and the Late Renaissance

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

23. El Greco

25. 1600 - 1750 Baroque

26.  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

27. Caravaggio St. Francis Receiving the Stigmata

28. Bernini St. Teresa in Ecstasy

29. Peter Paul Rubens Self Portrait with a Friend

30. Van Dyck Charles I on the Hunt

31. Velasquez Las Meninas

32. Rembrandt The Jewish Bride

33. Vermeer

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

35. Bernini’s altar

36. Versailles

37. 1723 - 1774 Rococo

38.  Highly decorative and ornamental  Flowers, curlicues, few straight lines  Found mostly on architecture and interior decoration

39. Fragonard The Reader

40. Watteau

41. Bustelli

42. Rococo Architecture

43. Metropolitan Museum of Art –Reproduction of Rococo Parlor

44. 1780 - 1820 Neo-Classicism

45.  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

46. Jacques Louis David The Death of Socrates

48. Neo-Classical Architecture Royal Academy, Edinburgh

49. Arch of Triumph, Paris

50. Monticello, Thomas Jefferson’s Estate

51. 1800 - 1850 Romanticism

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

53. Delacroix

54. Friedrich

56. Goya

57. Turner

58. John Constable

59. 1860 - 1886 Impressionism

60.  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”

61. Manet A Bar at the Folies-Bergere

62. Boating

63. Monet

65. Camille Monet

66. The Houses of Parliament

67. Renoir

68. Girl with a Cat

69. Degas

70. Little Dancer of Fourteen Years

71. 1880 - 1905 Post Impressionism

72.  Bold, formal design  Bold, rainbow colors  Express emotions through color and light  Artists were mostly French

73. Seurat

74. Toulouse-Lautrec

75. Cezanne

77. 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

88. Beardsley

89. Klimt The Kiss

90. Judith with the Head of Holofernes

91. Tiffany Glass

93. Early 20 th century Expressionism

94.  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

95. Kandinsky

96. Chagall

97. Rouault

98. 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

99. Post World War I Dada

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

101. Arp

102. Schwitters

103. 1918 - 1940 Surrealism

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

105. Miro

106. Dali

107. Post World War II Abstract Impressionism

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

109. Pollack

110. Late 1900’s Pop Art

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

112. Blake

113. Oldenburg

114. Warhol Birth of Venus (after Botticelli)