23 Seventeenth-Century Art

• To apply the vocabulary and concepts relevant century European art for formal, technical, and to seventeenth-century European art, artists, you have to use them.

• European art uses historical methods for subjects and symbols.

• A smiling angel the burning fires of hell or the bliss of heaven, the lash tugs at her clothing while balancing an arrow pointed in ing of the whips and the flesh-piercing crown of thorns.

• Even as actual light illuminates the figures from means of leading the spectator to a revived Christian a hidden window above, art became an instrument of propaganda and also a descend.
• Practice and belief were created by this dramatic scene.

• To serve the mission of ecstatic oneness with God.

• The sculpture is an exquisite example of the emotional, sculpture had to depict events and people accurately theatrical style, following guidelines established by religious religious and political climate in Rome during the period leaders.
• The Counter-Reformation is a type of spiritual renewal.

• The Protestant Reformation of the previ was sponsored by the Church and was created by Rubens and Caravaggio.
• The Church approved of the sculpture of St. Teresa because of its emphasis on rationality and independent thinking, but some viewers find it uncomforting.
• The new Society of cal visions supported the reactionary depictions of the mysti authoritarian position of the catholic church.
• They helped worshipers achieve a state of religious ecstasy that was founded by Jesus.
• Counter-Reformation initiated the "spiritual exercises".

• Reli is a term for an irregularly shaped pearl.

• Dramatically lit, theatrical com cism maintained its dominance in southern Europe, the positions often combine several media within a single Holy Roman Empire, and France through the efforts of an work as artists highlight their technical virtuosity.
• The Jesuit Order, also known as Classi, was a version of the papacy that was aided by the Society of Jesus.

• The south Roman Catholicism was strong after the Counter-Reformation.

• The Empire was divided into two parts.

• The main gates of Rome were used by many seventeenth-century artists.
• Ordinary people in ordinary settings enacted a practical.
• He reopened one of the ancient aqueducts to make sure the city's water supply is biliterated.
• There may be unchallengeable power and references in the same work.

• Painters and patrons were fascinated with the visual parts of which had been neglected since the Middle Ages, and they wanted to be in the center of spiritual and worldly power.

• The Church tury artists sought to engage viewers with their building programs.
• The dome of the Vatican's library was completed by Sixtus, who was a participant in the work of art.

• Counter-Reformation thinking called passionate spiritual life of mystics sought to inspire view for churches with long, wide naves to accommodate large ers, but the central-plan church continued to be used for representations of horrifying scenes of martyrdom or the shrines of saints.
• To participate in the Mass.
• Images of communal parades and city views decoration of new churches were relatively austere in the 16th century to inspire pride in civic accomplishments.
• As the work of art drew them emotional involvement of worshipers, viewers but seventeenth- and eighteenth-century Catholic taste participated in works of art like audiences in a theater.

• It has been half a century since Michelangelo returned St. Peter's near it.

• Italy remained a divided land despite the facade of Il Gesu.
• The King St. Peter's steps forward in three projecting dom of Naples and Sicily were Spanish, while the Papal States planes were from the corners to the doorways flanking the cen crossed the center.
• The orders connecting principalities are similar.
• The first and second stories are flat pilasters at the corners and powerful patrons of the arts, especially as they sought to but fully round columns where they flank the doorways.

• The Council of Trent had set guidelines for steps out as it moved toward the church art that went against the arcane, worldly, and often central door.

• When Maderno died in 1629, the clergy called for clarity, simplicity, chaste subject matter, and the abil to rouse a very Catholic piety in the face of Protestant as Vatican.
• The Vatican collec matter and style offered by a new generation of artists was a response to the fresh approaches to subject part of Bernini's training.

• The many artistic periods and styles that come together in St. Peter's Basilica could only be unified by a Baroque artist like Bernini.
• The basilica presents itself as a triumphal unity of all the parts in one coherent whole, despite the fact that parts were made by different builders at different times.

• We resent the universe and a cross because of our strong debt to the Renaissance tradition.

• The church had large panels and leaves on the vines.

• The vine umns in the apse of the church are part of the union of Christianity and its Jewish tradition.

• Pier decorations in the 16th century were gilt bronze and marble.

• The descent of Christian authority from Peter to the current pope was emphasized in Counter-Reformation Catholicism.

• There is a stained-glass window above the shrine that depicts the Holyspirit as a dove surrounded by golden rays.
• The apse of the church seems to be extended into the natural light by the gilded angels and giltbronze rays that fan out around the window.
• The light reflected back to the window by the gilding creates a dazzling, ethereal effect that the seventeenth century would see as the activation of divinity.

• Bernini was working on the Chair of Peter at the same time as he was in the open space near the church.
• The basilica would have been a huge double piazza in front of the entrance if this design had been used.

• Mussolini had to incorporate an Egyptian obelisk and a fountain from the Tiber to the Basilica into the open space that he had to work in today.
• Bernini's design frames form Rome into a fascist capital.

• The curved porticos are connected to two straight porticos, Bernini as Sculptor, which lead up a slight incline to the two ends of the church.
• Bernini said that his design was the "maternal 1629, he was still able to accept outside commissions thanks to the church".
• He had a large workshop.
• He became famous as a result of his plans to build a third section of the colonnade closing a sculptor, and he continued to create sculpture through the side of the piazza facing the church, so that only after out his career for both the papacy and private clients.
• He was a painter and playwright, as well as a genius for dramatic presentation, when he crossed the Tiber River bridge.

• The young hero bends at the waist and twists to one side to launch the rock.
• Both Michelangelo's pensive young man and Verrocchio's poised and proud adolescent were already victorious.
• Bernini's more mature David, with his clenched mouth and straining muscles, is all tension, action, and determination.
• Bernini incorporated the surrounding space within his composition, implying the presence of an unseen adversary behind the viewer.
• The viewer becomes part of the action instead of being a dispassionate observer.

• The Cornaro family chapel was dedicated to the Spanish saint Teresa of Avila, who was canonized 20 years earlier.
• Bernini designed it to be a rich and theatrical setting for the portrayal of a central event in Teresa's life.
• He covered the walls with marble panels and crowned them with marble pilasters.

• The Spanish mystic described an eroticized vision in which an angel pierced her body repeatedly with an arrow, transporting her to a state of pain, ecstasy, and a sense of oneness with God.

• The marble is 5'7''.

• Borromini bare feet are visible.

• The intersection of two of the wide, straight avenues cre Kneeling against what appear to be balconies on ated by Pope Sixtus V inspired city planners to add a spe both sides of the chapel are marble portrait sculptures of cial emphasis.
• In 1634, the Trinitarian monks made a decision.
• A new church is informally built by the figures at the site.
• Two people read from their mission for San Carlo alle Quattro Fontane and others exclaimed at the miracle taking place in the Four Fountains.

• He worked under Bernini.
• Bernini did not want to make a spectacle for vision on the decoration of St. Peter's.
• The church was finished according to Borromini's design.

• Europe might subdivide modular units to get more complex shapes.
• The octagonal plan of San Carlo has two triangles set base to base along the short axis.
• The distances between the four major and five minor niches are calculated to make up the secondary triangular units.
• Borromini's conception of the whole is not medieval.
• The chapel is dominated by a Classical structure that prevents any surge upward toward the dome.
• The treatment of the architectural elements by Borromini was unprecedented.

• The Trinitarian monks who commissioned the church received requests for plans from visitors from all over Europe.
• Although Borromini's innovative work had little impact on the architecture of Classically minded Rome, it was widely imitated in northern Italy and beyond the Alps.

• More than two decades later, 23-6A was as innovative as his planning of the interior.
• The front of the building was turned into a sculpture filled screen with large columns and niches that created dramatic effects of light and shadow.

• He gave his facade a strong vertical thrust in the center by placing over the tall doorway a statue-filled niche, then a windowed niche covered with a canopy, and a giant, forward-leaning cartouche held up by angels carved in such high relief that they appear to hover in front The entire composition is crowned by a broken cartouche.

• These coffers decrease in size as they lead the way to the highest point, where the dove of the Carracci were from Bologna, and Caravaggio was born.
• The triangle, symbol of the Trinity as well as in northern Italian Renaissance traditions, was taught to all of them.

• It is difficult to appreciate how bold Borro was with the mini's design for this small church.

• He worked from cal sculpture for their ideal figural types, but also as a Gothic architect with decorous compositions.

• Even the students who studied art theory, lowlife of Rome and Renaissance painting were able to work from models with antique Classical sculpture.
• He claimed to ignore the influence of the great figure compositions, complicated narratives, and technical masters so as to focus on a sense of immediacy expertise in both oil and fresco painting.

• The brothers Agostino and drawing achieved naturalism and aesthetic theory.

• His family has an immense Roman palace.
• Both Annibale and Agostino felt inspiration and competition from the important collection of antique sculpture exhibited throughout the palace.

• The work of Man is inspired by motifs in Michelangelo's Sistine Chapel ceil tegna and Correggio.
• The Clas heroic, muscular, and drawn with precise accu sical heritage of Rome are studied in the figure types.
• His theme was complex.
• The Carracci ceiling glows with a reality instead of Michelangelo's cool illumination and by using illusionistic devices to create multiple levels of intellectual detachment.

• The viewer is watching.
• The Farnese family invited young artists to sketch the figures there, so that they could model their poses after the idealized paintings of Carracci, which influenced Italian art well into bodies in the framed scenes next to them.
• Paint the next century.

• The painted framework of the vault was known as "Caravaggio" after Michelangelo Merisi's family's home town of Lom, Italy.
• Many of Annibale's ideas are related to Italian Baroque art.

• The oil on canvas is 97 x 85.1 cm.

• A self-portrait of the artist was caught in the process of painting this picture after a restoration of the painting in 2009.

• The subject is conversion, a common Counter- ization in still-life painting, and the young painter brought an interest.
• Jesus called Levi, the tax collector, to Rome from Milan late in 1592 and found studio work as a join his apostles.
• Levi is a specialist painter of fruit and vegetables.
• When he became St. Matthew, he continued to paint still lifes, but money, surrounded by elegant young men in plumed hats, began to include half-length figures with them.
• There are velvet doublets and shirts.
• His reputation had grown to the extent that an agent from St. Peter offered to market his pictures.

• An intense raking light enters the painting from the house of the art patron Cardinal del upper right, as if it were coming from the actual Monte where the artist was invited to live.
• His subjects window above the altar contains both still lifes and genre tures of the scene from the 1590s.
• The scenes featuring fortune-tellers, cardsharps, and glamor painting obliquely across the empty space of the chapel seem to be seeing the scene as it is happening.
• Caravaggio is before them.

• Caravaggio was not very good at following rules.

• Matthew's circle of friends are seated around the table at the gorgeous goblet of wine held delicately in his left hand, no one rises to leave.
• While fingering the black bow that holds his loose clothing, art historians have not been able to agree on which Matthew is.
• Many people identify at the waist.
• This may be a provocative invitation to him with the bearded man in the center, interpreting his to an erotic encounter or a young actor dressed for the pointing gesture as a self-referential, questioning response to Jesus's call.
• Matthew is hunched over the coins, seemingly unmoved by Jesus's presence, but some see youth's invitation with a still life of rotting fruit may add Matthew in the figure.
• The bearded figure's pointing would question encouraging them to enjoy life's pleasures while they can, if they were admonished to avoid sins of the flesh or this case.

• The painting is even more provocative because of the ambiguity.

• Caravaggio's first religious commission, sought by Counter-Reformation guidelines, is marked by mystery.

• The French community was served by San Luigi dei Francisi within three months, but Caravaggio did not come to Rome until September of 1518 and the building was completed by the patron year.
• The chapel clergy considered Caravaggio's depiction of the saint to be crude and common, as well as being a French noble at the papal uncouth.
• The fleshiness of the court who would serve as a financial administrator under angel, who sidled cozily up to Matthew, was judged.
• The Council of Trent set guidelines for saintly decorum for artists after Contarelli's death in 1585, but inconsistent ists had been called on to provide paintings for the chapel.
• The altarpiece for the chapel had to be painted a second time, more tors of Caravaggio's will brought it to completion.
• Giuseppe Cesare painted the ceiling frescos of Matthew and an angel.
• The first painting was destroyed in the 1945 bombing.

• There is only mysterious darkness.

• Paul's experience is personal.
• The horse and groom behind him seem oblivious to Paul's experience, as he has been flung from his horse and threatens to tumble into the viewer's own space.
• The horse takes up more space in the painting than the saint, and the precarious position of its lifted foreleg, precariously poised over Paul's body, adds further tension to the already charged presentation.

• The emotional power of Caravaggio's theatrical mixed was one of the reasons why most of Caravag gio's commissions after 1600 were religious.
• Critics were different as well.
• Others were acquired by a private collector.
• He was a great innovator who reintroduced realism to Paul's conversion.
• New, dramatic lighting effects were developed.
• Giovanni Bellori described the moment, not Paul's external cause.

• Caravaggio's approach has been compared to a great deal of black to give relief to the forms.

• They were placed in the dark brown atmosphere of the Apostle of Rome and later canonized by Neri, who focused his mis closed room on ordinary people for whom he tried to make Christian history.

• The effect is a spotlight.

• Caravaggio's violent temper got him into trouble, despite the great esteem in which he was held.
• He was frequently arrested for minor offenses, such as carrying arms illegally or street brawling, during the last decade of his life.
• He was sentenced to death in 1606 for killing a man in a fight over a tennis match and had to flee Rome as a fugitive.
• He painted in Naples, Malta, and Sicily while on the run.
• Caravaggio died on July 18, 1610, just gave to Cosimo II shortly before she left Florence to return short of his 39th birthday, after he contracted a fever in Rome.
• He had expected to be par book of Judith, which recounts the story of his capital offense, when he returned to Rome.
• Caravaggio's realism and ten tive invasion of Judah by the Assyrian general Holofernes influenced nearly every important European artist when the brave Jewish widow Judith risked her life to save the seventeenth century.

• One of Caravaggio's most drunks beheads him with his own sword.
• Artemisia Gentileschi, the brilliant Italian follower, emphasizes the gruesome facts of this heroic act, which helped to subdue Holofernes while blood spurts from the spread of the Caravaggesque style beyond Rome.
• The earliest followers of Caravaggio are rivetted by the dramatic spotlighting and a con first studied and worked under her father.
• She moved the most sensational parts of the scene from Rome to Florence, where she worked for the Grand Duke.
• At the age of 23, Cosimo II de' Medici was elected to the Florentine Academy of Design.

• One of her most famous paintings is an example to her own struggle to claim her rightful place in an art of her debt to Caravaggio's tenebrism and naturalism.

• They painted the architectural frame for the projects.

• Baroque ceiling painters wanted a unified direction.
• The artist was trained in Florence and saw the ceiling of the Doge's Palace, which was inspired by Veronese's, on a trip to Venice in 1637.

• There is a ceiling in Rome.

• The ceiling of Palazzo Barberini, Italy/Canali Photobank, Milan, Italy has a dense but unified whole.

• The pope's virtues are depicted in the subject.
• There is a pyramid of clouds and figures personifying Time and the Fates just below the center of the vault.
• Other figures present the crossed keys and the triple-tiered crown of the papacy, while immortality offers a crown of stars.
• The pope's virtue is demonstrated by the Roman gods and goddesses who triumph over the vices.
• One member of the household published a pamphlet explaining the painting that is still in use today, after a guide gave visitors an explanation.

• When the Jesuits renovated their church a century later, they commissioned a religious allegory to cover the nave's plain ceiling, despite the fact that Giacomo da Vignola had designed an austere interior for Il Gesu.
• Between 1672 and 1685, Gaulli designed and executed a series of Baroque illusionistic palace ceilings to eliminate any appearance of scenes around a vaultlike skeleton of architecture.
• Gaulli arrived in Rome.
• Pietro's figures weave in and out of their setting from Genoa in 1657, having worked in his youth for Bernini, in active and complex profusion, while some rest on the actual from whom he absorbed a taste for drama and multime cornice.

• The insignia of the Jesu Gaulli's creation went beyond the ordinary.
• The subject is the Last Judgment, with the elect rising that preceded it in unifying architecture, sculpture, and painting.
• The nave floor is created through the ceiling.
• The illusion that clouds and angels have descended through extension of the work into the nave space, the powerful opening in the top of the church into the upper reaches, and the near-total unity of the nave appeal to the viewer's emotions.
• The figures are pro of the multimedia visual effect and all of the hallmarks of Italian are present.

• In 1692, 16:06 went bankrupt.
• Despite the decline of the Habsburgs' Spanish empire, Charles V left the Holy Roman Empire to his brother Ferdinand, despite the fact that Germany and century writers and artists produced some of the greatest Austria.

• Philip II went to Milan and the Kingdom of Naples and Sicily.
• Ferdinand and the Habsburg emperors Painting in Spain's Golden Age who succeeded him ruled their territories from Vienna in Austria, but much of German-speaking Europe remained.
• The art of Florence and Rome was done by Catholicism.
• The century Spanish painting was profoundly influenced by the north.

• The Spanish Habsburg kings Philip III, Philip IV, and Charles II were characterized by an ecstatic religiosity.

• The empire was weakened by 1665-1700).
• Portugal re-established its inde Spanish artists in the late 16th century and they developed an interest in paintings pendence.
• The Kingdom of Naples was in a state of unrest.
• After 80 years of war, the Protes are done.
• The United earliest painters of pure still lifes in Spain were from the northern Netherlands.
• The provinces gained independence in 1649.
• The sub southern Netherlands (Flanders) remained under Spanish jects and 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611 888-270-6611

• Trade at home also suffered because of a strong light against the dark industry.
• As the Spanishness, this highly artificial arrangement of strikingly realistic forms suggests a fascination with spatial ambiguity, as well as a contemplative sense of interest in the qualities of objects that look forward to the work of Zurbaran and Velazquez.

• He was known as the Little Spaniard in Italy and Spanishruled Naples.

• The oil on canvas is 68.6 x 84.4 cm.

• The canvas is 1.05 x 1.14 m.

• Washington realistic faces with the dramatic light of tenebrism and describes the aging, wrinkled flesh in great detail can be found in the National Gallery of Art.
• Our sense of being witness to this scene has been heightened by the compression of the figures into the foreground space.

• Zurbaran came under the influence of the Caravaggesque taste prevalent in Seville, the Spanish-style, in his early years.
• The link between Caravaggio and Zurbaran and Velazquez was established in Ribera.

• The Church is trying to draw people back to Catholicism by portraying heroic martyrs who had suffered shocking torments as witnesses to their faith.

• The executioner is testing the sharpness of the knife that Bartholomew will use on his victim.

• The oil on canvas is 120.7 x 103.5 cm.

• Like Ribera, Zurbaran began his career working for the monastic orders.

• In this painting, he depicts the martyrdom of a member of the Mercedarians who was painted scenes in taverns, markets, and kitchens.

• In exchange for Christian captives, Serapion sacrificed himself to study the ceramic surfaces and texture.
• Folk art has been characterized by pots through the centuries.

• The shadow was arranged by Velazquez.
• The only colors in his paintings are red and gold.

• The objects and figures allow the artist to exhibit his still life, a study of fabric and flesh becomes an object.

• Diego Rodriguez de glazed waterpot at the left and the coarser clay jug in the Silva y Velazquez, the greatest painter to foreground; it is absorbed by the rough wool and dense velvet of the costumes, as it passes through the clear glass held by the man.

• After moving to Madrid in 1623, Velazquez became court painter to the young King Philip IV, a position that he held until his death in 1660.
• His personal style was developed because of the opportunity to study paintings in the royal collection and travel.

• The king of Spain was convinced by the painter Peter Paul Rubens that Velazquez should visit Italy.

• The first trip was in 1631 and the second in 1651.

• On the first trip, he seems to have taken a special interest in narrative paintings with complex figure compositions.

• There is oil on the canvas.

• According to reports, the Dutch were more presentable in appearance than the paintings and there were no keys involved.
• Velazquez has taken liberties with histori painted in 1634-1635, which is a work of art that focuses on the meaning of the surrender, rather than its traditional meaning.
• Years ear appearance.

• The scene of surrender, starting in the sword of the Dutch soldier in the armies and ending in the checked banner of the city of Breda, was imagined by Velazquez.
• The Dutch commander, Justin of Nassau, moves the composition to the right and gives the keys to the victorious Spanish commander.
• Portraitlike faces, exchange seems gracious, an emblem of meaningful gestures, and controlled color and texture courtly ideal of gentlemanly conduct.
• The victors are trying to convince us of the reality.
• Across the upper attention, holding their lances upright in half of the huge canvas, the landscape background a vertical pattern, is startling.
• The Netherlands in greens and blues stood out, with pikes and banners drooping.

• He used a minimum of drawing, building up his forms with layers of paint and finishing them off with white, lemon yellow, and pale orange highlights.
• Velazquez tried to depict the optical properties of light reflecting from surfaces instead of using light to model volumes.

• His forms become a maze of individual strokes of paint.

• The silvery light forms a back of the catholic church.

• A painting that is nearly 10 1/2 feet tall and is surrounded by an unearthly light may stand on a crescent moon in reference to ers and stimulates debate among art historians.
• Angels draw viewers into the scene.
• In one interpretation, carry palms and symbols of the Virgin, such as a mirror, and the viewer can see the reflection of the ser and his queen in the large fountain.
• The Spanish royal collec began to visualize the Christian story.

• The focus is not on the artist or the royal couple, but on their brilliantly illuminated 5-year-old daughter, Infanta, who is surrounded by her attendants, most of whom are identifiable portraits.

• There is no consensus on the meaning of this painting.
• The portrait is a self-portrait of Velazquez, and it is also a royal portrait.
• Velazquez sought respect and fame for himself and the art of painting.
• The Order of Santiago is on his chest and the keys of the palace are tucked into his sash.

• The center of Spanish art was in the Madrid of Velazquez.
• After an outbreak of plague in 1649, Seville declined, but it remained a center for trade with the Spanish colonies, where the work of Bartolome Esteban Murillo had a profound influence on art and religious iconography.

• The oil on canvas is 2.06 x 1.44 m.

• The south tower and north tower were finished in the 18th century.

• The El Escorial monastery-Palace was turned away from the severity displayed in the influx of pilgrims.
• The cathedral chapter of the 17th century Spanish architects ordered an elaborate facade to be added to the twelfth.

• The last man to be an architect and director in a building.

• St. Joseph is one of the popular saints.
• The gable above the roof became important because it visually linked the archbishop and other leaders in Santiago de Com the towers.
• The postela, where the Cathedral of St. James was located, was simple and elegant.
• The bishop's palace at each side of the portal height was reinforced to increase the flow of pilgrims to the city.

• He left for Italy in 1600.
• In Venice, his work came to the attention of the nobleman Prince William of Orange, who offered him a court erlands' Protestant northern provinces.
• The duke's activities began to rebel against Spain in 1568.
• He had a long and successful career after the United Provinces joined together in 1579.
• The duke had him copy and began a long struggle for independence, achieving only famous paintings in collections all over Italy.
• ducal collection was considered by the king of Spain.

• Rubens was the duke's emissary and he spent two extended periods in Spain, the Vatican, and France on Rome.
• The Italian Renaissance and the Peace of uity.
• The independence of the Caravaggio paintings was officially recognized by Rubens Westphalia in Italy.

• The restoration of Catholic churches focused on sacred art.
• Artists of great talent flourished in Antwerp, the capital city and major arts center, which recovered from the turmoil of the religious wars.
• Peter Paul Rubens and Anthony van Dyck established international reputations that brought them important commission from foreign as well as local patrons.

• Peter Paul Rubens was born in Germany, where his father had fled from his native Antwerp to escape religious persecution.

• After that appointment, he married the young woman, who was almost twice his bride's age, ten days later.
• He had a double portrait of himself and his bride in front of a tree.

• The self-confident couple looks out to engage view, which had been rejected by Caravaggio's ers directly, and the rich detail of their lavish costumes is patrons.

• It was made for the church of St. Walpurga.
• The center panel is made of oil and each wing is made of oil.

• The landscape and central action were extended through all three panels.
• The wooden cross is stretched upon by Jesus at the center of Herculean figures.
• The followers of Jesus are at the left and the soldiers are at the right.
• The drama and intense emotion of Caravaggio is merged with the virtuoso technique of Annibale Carracci, but transformed and rearranged according to Rubens's own unique ideal of thematic and formal unity.
• The heroic nude figures, dramatic lighting effects, dynamic diagonal composition, and intense emotions show his debt to Italian art, but the rich colors and careful description of surface texture reflect his native Flemish tradition.

• The artist slips his foot into the folds of the priate for representing secular rulers as it was for religious flowing red skirt, suggesting a more intimate connection subjects.
• They would have three children before the court bella's death.

• The original house was large.
• Marie de' Medici, regent for ish, asked Rubens to paint the story of her across a courtyard and join the two buildings by a life.

• Rubens portrayed Marie's life and career as laid out in symmetrical beds in the large formal garden in Beyond the courtyard.
• The living room has access to a gallery overlooking Greece and Rome, which is overseen by the ancient gods.

• In the painting depicting the r, it became a painting factory.

• Through the gates at one side of the courtyard, there is a view of the clouds.
• The architectural features of the garden can be seen by a person.

• The ripe colors, lavish textures, and dramatic diagonals give the artist sustained visual excitement to these enormous can collection.

• To satisfy his clients all over Europe, Rubens employed predator and its victim.
• Jan Brueghel was an important painter in his own right and was one of Rubens's many assistants.
• It was standard practice for a major artist to use see assistants in the Elder's workshop.

• Rubens trained or hired specialists in costumes, still lifes, landscapes, portraiture, Van Dyck and Peeters: Portraits and animal painting who together could complete works from his detailed sketches.
• Some of his paintings were collaborations.
• Anthony van Dyck had an illustrious indepen a specialist in painting animals and flowers and collaborated with Rubens to paint the enormous eagle who devours the Rubens.

• Prometheus's side was painted by Frans Snyders, a specialist in painting that identifies the subject animals and flowers, and the eagle's side was painted by him.
• The hero of Greek Rubens was chained to Mount detailed feathers and sentenced to powerful posture of this bird for his sensational punishment of prey.

• During the 17th century, the struggle between Mount Prometheus and the eagle Olympus was interpreted as a battle between good and evil so that humankind would sometimes be involved in artistic creativity, cold and darkness.
• Prometheus's fate was to be of body or soul, since he was the hero's liver regrew involved in enduring suffering each night.
• In Prometheus, it was plucked out again and again, and a prototype of it all over again.

• Prometheus's groin is about to be dug into by the gash in the eagle's talons.

• Rubens added his pain after the main composition was complete.

• Oil on canvas, 951, has been interpreted as a touch 2 x 821/2'' (2.43 x 2.1 m).
• Philadelphia wanted him in the Museum of Art.

• The Philadelphia Museum of Art is in Florence.

• The photo was taken to enhance the stature of Henry IV.
• Charles is taller than his pages and even his horse, since its head is down and its heavy body is partly off the canvas.
• The viewer's gaze is diverted from the king's delicate frame to his pleasant features, framed by his cavalier's hat and graceful cascade of his hair.
• The tree branches look like the lines of the hat as they bow toward him.

• He was a member of the guild until 1618, when he was made a member of the studio and roster of pupils.
• She was a young woman when he began his association with Rubens as a specialist.

• Van Dyck's technical skill was enhanced by the 50 paintings attributed to her.

• Van Dyck traveled to Italy and worked as a fruit seller after visiting the English court of James I.
• They gave a studio, a summer home, and a large salary.

• The pretzels are small.
• Dressed casually for the hunt and standing on a Baroque element, with their complex bluff overlooking a distant view.

• The oil is on a panel of 52 x 73 cm.

• There is a pile of pretzels in this painting.

• The crossed arms of the child were represented by the twisted shapes.

• The House of Orange was not notable for its patronage because of the popularity of art among merchants and work.
• The free market for the arts was stimulated by this taste for art, but patronage improved under paintings that functioned like other commodity markets.

• Dutch art Artists had to compete to capture the interest of the publicists found many other eager patrons among the prosper by painting on speculation.
• The capital city of The Hague was created after a purchase agreement was made.

• The Dutch were delighted in their country, their homes, their possessions, and the life around them, which was characterized by active trade, bustling mercantil cities, and domestic life.

• The saint used it again.

• A painting delicately removes one of the arrows that pierce him.
• During his time in Rome, the powerful diagonal created by St. Sebastian's may have left him from the triangular stability of the seen Caravaggio's.
• The flesh of the nearly dead St. Sebastian is painted with reddened noses and rosy cheeks and is similar to Caravaggesque.
• Ter brilliant red-and-gold brocade of what seems to be his Brugghen's painting was admired by Rembrandt, Vermeer, and Rubens.

• Frans Hals, the leading painter of Haarlem, developed a style that was inspired by the Caravaggesque style introduced by artists such as Ter Brugghen.
• He tried to recreate the optical effects of light on objects.
• He painted with bold strokes and patches of paint.
• A flickering light seems to move when the colors merge into solid forms at a distance.
• In Hals's hands, this loose and seemingly effortless technique suggests an infectious joy in life.
• He was a portraitist.

• Oil on canvas is 5815/16 x 471/2''.

• The 17th-century Dutch portraiture took many angles of a table, window, and tall glass.
• The white ruffs and sashes of rose are set to depictions of groups in white, and baby blue, and the black forms make them even more brilliant.

• Although Hals focused his career on portraits of wealthy members of Haarlem's merchant class, he also painted images of eccentric local figures that were more important in determining a portrait's success.
• The nature of modern life is commented on in the paintings.

• The painting of the 1630s is one of the most striking because of its status and sense of identity.

• These large can lem barmaid who was eventually confined to a charitable vases, filled with many individuals who shared the cost mental institution, the word "Malle" means "mad" and the owl was a popular symbol of folly.
• The composition of Hals's paint is interesting and gives equal ing technique in this character study.
• The office of the Haarlem Milo company is in St. Louis.

• Malle Babbe was charged with the mili for the mentally impaired as Hals's own son was raising tary protection of Haarlem, and the company was confined to the same workhouse made up of several guard units.
• The question of whether this lively vignette of pub life was middle class and held their commission for three years was posed by officers from the upper.

• Hals's contemporary company was actually organized by Judith Leyster, who was a saint, and functioned under her patronage.
• A cleaning uncovered her order, which was mainly a fraternal one, with her holding archery contests, a signature with a star, and taking part in city processions.

• One critic thinks that the man playing the violin may be a visual pun on the painter.
• Leyster's understanding of light and texture is amazing.
• The brushwork she used to depict her own flesh and delicate ruff is more controlled than Hals's loose technique and forms an interesting contrast to the broad strokes of thick paint she used to create her full, stiff skirt.
• She emphasized the difference between her portrait and her painting by painting it on her easel in lighter tones and softer brushwork.
• The warm spotlighting and narrow range of colors are typical of Leyster's mature style.

• Rembrandt van Rijn was the most important painter in Amsterdam.
• Rembrandt was one of nine children who were born to a miller and his wife and studied under Lastman.

• Rembrandt was born in the 1630s.
• Oil on canvas is 307/8 x 26''.
• Staatliche was a portrait painter in Amsterdam.

• It is assumed that Leyster was close to Hals and that she worked in his shop.
• In 1635, she lodged a complaint against Frans Hals for swindling away one of her apprentices, and in 1633 she entered Haarlem's Guild of St.luke, which allowed her to take pupils into her studio.

• Informal scenes of daily life are what Leyster is known for.

• The oil on canvas is 78.6 x 65.1 cm.

• The first attempt at a simple reproduction of posed figures and faces was made by Frans Hals in an edition of the study of human anatomy, but it was 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 888-353-1299 It was transformed into a charged moment from a painting by Rembrandt and has been seen as an homage to Vesalius.
• A portrait of the members of the 1653 surgeons' guild, as well as a portrait of Dr. Tulp, head of the surgeons' guild from 1628 to to science, sits right of center.

• Rembrandt ran a busy studio that produced works that pierced space from right to left for high prices.
• The large output of his work, the calculated arrangement of shop, and the open book into a dramatic have made it difficult for scholars to define his body of work.
• Rembrandt makes use of Cara and many paintings formerly attributed to Rembrandt vaggio's tenebrist technique, as the figures emerge from a have recently been assigned to other artists.
• Rembrandt's work reflected his cosmopolitan city environment by the white ruffs of his attentive faces.
• Light streams down to spotlight his study of science and nature, and the broadening of his the ghostly flesh of the corpse, drawing our attention to the artistic vocabulary of Italian Renaissance art, to the extended arms of Dr. Tulp, who flexes his own chiefly from engravings and paintings imported

• Rembrandt was one of the artists that children mill about.
• A young girl is carrying a chicken with portraits of its members for its new meeting hall as she is being sioned by a wealthy civic-guard company to create large the left middle ground.

• This painting was once thought to be the greatest group portrait in the Dutch tradition because of the complex interactions of the figures and the vivid indi grime.

• Rembrandt exhibited a natural golden light that sets art form with its own aesthetic qualities, like Albrecht Durer, in his enthusiasm for printmaking as an important 1975.
• To the dramatic group, write a design on metal plates.
• The officers use a sharp needle to scratch the plate.

• The canvas is 11'11'' x 14'4'' (3.63 x 4.37 m) and has oil on it.

• Rembrandt was the first artist to popularize etching as a scraper.
• A wide range of tones requires many steps.

• Another intaglio technique is used to register images.
• The metal plate is coated on both sides with a sharp needle that dries hard without being brittle.

• The burr is pushed up by the drypoint needle and the engraving is directly into the plate.
• The artist here holds the ink with both the burr and the grooves.
• A rich black appearance is impossible to expose because of the scratches that are created by a sharp needle to the printed line.
• The plate is immersed in acid, which can be used for engraving or etching.
• The metal is exposed by the drawn lines.
• When the acid stays on different parts of the plate, the artist can't make more than a dozen prints because the burr is fragile.
• Rembrandt can make shallow, fine lines or deep, heavy ones.
• After the prints were completely etched, he added drypoint to the surface of the plate to give it a richer appearance.

• Rembrandt wanted to prepare the plate to its inking and printing, and he captured the moment when darkness covered the Earth and Jesus was crucified.

• The light flooding down from heaven is shared by the Virgin Mary and Rembrandt.

• The Drypoint is 141/6 x 173/4''.

• The Drypoint is 141/6 x 173/4''.

• The oil on canvas is 133.6 x 103.8 cm.

• The theme was reworked by Michael Bodycomb.
• His sensitivity to the human condition the shattered hill of Golgotha dominates the foreground, is perhaps nowhere more powerfully expressed than in, but now the scene is considerably darker, and some of the his late self-portraits, which became more searching as he people in the first state, including He friends, the instillation of a lifetime of study and contemplation has almost disappeared.
• The history of the lance now faces Jesus as the horseman holding expressed his spirituality.
• The composition is art.
• A staff is being held as if it were a baton of command.
• The base of the cross draws viewers' attention to the figure know that fortune no longer smiled on him; he had declared of Jesus, and the people around him are trapped in a state of silent bankruptcy over the course of two years.
• The first state is a rendering of a narrative that moment and this self-portrait he had sold his private art moment, bustling with detail; the fourth state reduces the collection and even his house to cover his debts.
• It is possible that it is an event.

• Rembrandt painted brilliantly as he aged.
• A few well- placed brushstrokes suggest a variety of texture and paint from the lightest glazes to the deepest set eyes.

• He was also an art dealer.
• Most of the paintings by Vermeer were only painted for women in their homes, alone or with a servant.
• Meticulous in his technique, with a unique pied with a refined activity such as writing, reading letters, and highly structured compositional approach and soft, or playing a musical instrument.
• These are quiet and still liquid painting style, Vermeer produced fewer than 40 interior scenes, gentle in color, asymmetrical but strongly canvases that can be attributed to him.
• The more questions arise about a consistent architectonic world in which each object adds to the artist's life and his methods, the more contained and studied the paintings are.

• Solidity isn't paint a photographic reproduction of the scene; it's the light from a window that gives it.
• The ideal composition is created by moving buildings around.

• The city is so stable through brushwork that it becomes invisible except for a stress on horizontal lines, the quiet atmosphere, and the clear, even light that tiny.

• The woman contemplates images from the real world.
• It would not have been possible for Vermeer to use the balance in her right hand as a method of weighing and judging.
• Her hand and scale are reproducing the image but as another tool in the visual central, but directly behind her head is a painting of the analysis of the composition.
• The camera obscura highlighted the figure of Christ the Judge and enhanced the optical distortions that led to the beading above her head.
• Oil on canvas is 381/2 x 461/4''.

• There is oil on the canvas.

• The National Gallery of Art has a depiction of the Washington judgment.
• A clean house could indicate the artist's position as a Catholic living in a Protestant and mother, while a messy household could suggest being lazy.
• The gold and pearls displayed on the table in front of the mirrors led to overindulgence and Lust, as well as succumbing to Vanity, and drinking parties her, shimmering with reflected light from the window, also led to.

• One of the most refined genre painters wasGerard ter Borch.

• The oil is on the canvas.

• The National Gallery of Art is in Washington.
• He used everyday life to portray moral tales, illustrate proverbs, and make puns.
• He had many sources of inspiration for the lively human dramas in his paintings, since he traveled throughout the Netherlands all his life and was a tavern owner in Leiden during the 1670s.

• Steen's paintings of children are remarkable for he captured not only their childish bodies but also their fleeting moods and expressions with rapid, fluid brushstrokes.
• The newcomer was favored by the household setting.
• The painting appears to depict a prosperous gentleman calling on a lady of equal social status.
• The spaniel and the musician seem to be part of the scene, but we are already familiar with the dog as a symbol of fidelity, and stringed instruments were said to symbolize, through their tuning, the harmony of souls and thus, a loving relationship.
• Music making was associated with pleasure evoked by touch.

• Ter Borch's rendering highlights the lace, velvet, and especially the satin of these opulent outfits, potentially symbols of personal excess.

• If there is a moral lesson, it is presented ambiguously.

• Another important genre painter is Jan Steen, whose larger brushstrokes contrast with the treatment of Ter Borch and reveal an artistic affinity with Frans Hals.

• Oil on canvas is 321/4 x 273/4''.

• A scene of light and shade add dramatic movement to the simple motion within a family get-together, where children are inside.
• There is a sense of scale for the architecture and some siveness to the pre- Christmas gifts St. Nicholas has left human interest for viewers.

• This painting is interesting not only as a work of art, but also as a record of a seventeenth-century synagogue, with the details of surface texture, but the focus here is the fes architecture, documenting Dutch religious tolerance.
• Expelled folksy figures are happy.

• In 1670, many of his interiors were created, and in 16 71, many of his interiors were created again.
• De Witte also painted faithful "por tecture, Brazilian jacaranda-wood furniture, and 26 brass traits" of actual buildings with its classical archi architectural view.

• The Dutch loved the narrow side aisles, each covered with a wooden barrel landscape and vast skies of their own country, but land vault resting on lintels supported by columns.

• The Gothic church of St. Bavo was on the hori One continuing theme.
• There may be more than one message.
• Three-quarters of the painting is devoted to a rendering of a band of earth below.

• His workshop was particularly good at inventing the ingenuity of citizens who were engaged in one of the dramatic compositions and the projection of moods.

• Oil on canvas is 22 x 241/4''.

• There is oil on the panel.

• The pewter plates and heavy round glass are inexpensive everyday items.
• This is one of the showpieces that appear in many paintings.

• The Dutch were so proud of their still-life painting he renders the maximum contrast of textures within a tradition that they presented a flower painting by Rachel to the French queen Marie de' Medici during whites.
• The prosperity of Claesz's transience of life and material possessions is shown in the paintings.
• The food may be simple, but it is art.
• This tal cup would have graced the tables of only the owner, so it could document and showcase it.

• One of the first Dutch still-life painters was a man named Claesz (1596/1597-1660) of Haarlem, who, like Antwerp achievement, but also to the inexor.
• "breakfast the fleeting nature of human life, thoughts also prompted pieces, that is, meals of bread, fruits, and nuts."

• She became one of the most sought-after depictions of fresh flowers during her 70 year career.
• Instead, artists made and highest-paid still-life painters in Europe--her paint color sketches of fresh examples of each type of flower ings brought in twice what Rembrandt's did.

• In the studio, using their sketches after the end of the century, they would compose bouquets of per at the center of the canvas's width, then create a specimen of a variety of flowers that could never be metrical floral.
• The short life of flowers yellows rising from lower left to top right of the picture was a poignant reminder of the fleeting nature of beauty offset by the strong diagonal of the table.

• Oil on canvas is 30 x 24''.
• The funds were from the Libbey Endowment.

• New discoveries about the natural world brought a sense of both the grand scale and the tiny detail of the universe.
• Early scientists depended on artists to draw what they discovered in the world around them to publish their theories and research.
• The invention of photography in the 19th century ended this practice.

• Anna Maria Sibylla Merian was both an artist and a scientist, but she was also a researcher.
• Merian was once described by a Dutch contemporary as a painter of "unattractive" subjects such as worms, flies, mosquitoes, and spiders.
• In 1699, the city of Amsterdam subsidized Merian's research on plants and insects in the Dutch colony of Surinam in South America, where she spent two years exploring the jungle and recording insects.

• The interest in scientific exploration was not limited to the Netherlands.

• A new method of studying the 1719 was established by France.
• The engraving is 187/8 x 13''.
• The world by demanding objectivity and logical reasoning.

• The facts can be established from observation and controlled experiments.
• Descartes was a mathematician and argued for a method of reasoning in which conclusions were arrived at logically.

• The Ptolemaic theory was turned into a study of the universe by the new science of the 17th century.
• This is one of the planets that revolved around the Sun.
• The planets are in elliptical circles around the Sun.
• The astronomer, mathematician, and physicist needed a simple magnifying glass, but Galileo Galilei increased his power far beyond that.
• He developed the telescope as a tool for observing the heavens and was able to study the inner workings of plants and animals.

• She was regent for her 9-year-old son, Louis XIII.

• Chapter 23 was about art in Europe.
• His mother, Anne of Austria, became known in art through identification with the Classical sun regent, with the assistance of another powerful minister, god, Apollo.

• He is the envy of every ruler in Europe.
• He was known as shoes to compensate for his short stature.

• When Louis XIV ordered the portrait for his grandson, Philip V of Spain, he didn't want to give it away and instead ordered a copy from Rigaud.

• Since the families of Europe were linked through marriage, the request for copies of royal portraits was not unusual.
• Important political alliances were recorded in visual form thanks to paintings.

• He gave no score higher than 72 in each category.

• There was a debate over the merits of drawing and receiving a 0 in expression and a 6 in drawing.
• The conservatives argued that drawing was superior to color because drawing appealed to the mind while Rembrandt did not.

• Nicolas Poussin was seen as most of the painters examined here do not do very well.

• The young artists who admired the vivid colors of Van Dyck came close with 55 (C+).
• Titian, Veronese, and Rubens claimed that painting should be 53 and 51.

• Adherents of the two positions were called Piles's view.
• It tastes different.

• Most of the faces make him appear human.

• The arts, like everything else, came under the royal con and park complex at Versailles.
• In 1635, Cardinal Richelieu founded the French Brun, who oversaw the interior decoration of the Royal Academy, and directed the members to create a dictionary of the French language.
• There is a garden design on page 772.
• The Royal Academy of Painting and Sculpture was founded because of sentimental reasons, the old chateau was left standing, and the new building went up around it.
• The project had strict control over the arts and began in 1668.
• Jules Hardouin-Mansart was the successor to Le Vau's arts academy, which was the first European and an enlargement completed after Le Vau's death.

• The addition of the academy Hardouin-Mansart gave an artist of royal and civic commission and the renovation of Le Vau's success, but many talented artists did well outside it.

• The main floor of Versailles is lined with enormous arched windows separated by Ionic columns or pilasters and is an attic French architecture developed along Classical lines in the second half of the 17th century under the influence of pilasters and a flat, terraced roof.
• The balance of horizontals and Verticals is relieved by 1670 in the overall design.
• The members of the Royal Academy of Architecture developed guidelines for open, colonnaded porches when they were restrained by regularly spacing projecting blocks.

• The true basis of beauty was the renovation of Le Vau's center block facade.
• The books of Vitruvius and Palladio were the main sources of ideal Hardouin-Mansart.

• He achieved architectural symmetry and a sense of moved to the palace in 1682 and eventually required his both splendor and expansiveness by lining the interior court to live in Versailles.

• There are thickets to hide features such as an open-air ballroom and a At Versailles.
• Statues carved by at least 70 sculptors adorned expanses of palace gardens and park.
• A mile-long canal, crossed by a second canal, nearly as avenues from a series of round focal points.
• The main axis of the garden was marked by him large.
• Fourteen waterwheels succeeded so thoroughly that his plan inspired generations to bring the water from the river to the canals.

• The palace terrain became an all day affair, only because the fountains near the palace were turned on when the king arrived.

• The smaller pavilion at the north end of the secondary canal was built in 1669 and was called the Trianon.
• The gardens of the Trianon became an exercise in precise geometry to satisfy the king's desire to stretch to the horizon.
• The gardens at bedded out with blooming plants from the south shipped in Versailles are classically harmonious.
• Even in the middle of winter, the king and his guests could stroll through a summer garden.
• The gardens were said to have had nearly 2 million flowerpots at the head gardener's disposal.

• The most formal gardens are close to the palace.
• The National distance from the palace increased as the facilities of the fruit and vegetable garden became smaller and larger.
• There are intersecting paths in the school of horticulture.

• Mirrors and window glass were very expensive in the 17th century.
• Hundreds of glass panels of manageable size had to be assembled into the proper shape and attached to one another with glazing bars, which became part of the decorative pattern of the vast room.

• At night, the reflections of flickering candles must be 23-49).
• The king and courtiers saw themselves as state in the grandiose drama of leau in which the mirrored gallery turned into a shimmering tab king.

• Carracci's Farnese ceiling was inspired by it.
• The vaulted ceiling was decorated with paintings on cans, which were stable in the damp northern climate.
• Le Brun was influenced by the Classical style figures into the foreground when he studied in Italy in 1642.
• Nicolas Poussin was his companion as the century went on.
• The director of the Royal Academy of Painting, Le Brun, was the first painter to the the control of the Royal Academy and its encouragement king.
• Le Brun made a statement.

• One of Caravaggio's tion of the king as Apollo the sun god, with whom Louis most important followers in France, Georges de La Tour, received major royal and ducal commissions and became court painter to Louis XIII in 1639 In 1614-1616, La Tour may have traveled to Italy, and in the 1620s he may have visited the Netherlands, where Caravaggio's style was having an impact.
• Like Caravaggio, La Tour filled the foreground of his compositions with imposing figures, but in place of Caravaggio's focus on descriptive detail, La Tour's work revels in the dramatic effects of lighting, usually from sources within the paintings themselves.
• Light is often his real subject.

• The oil on canvas is 461/4 x 361/8''.

• The oil is on the canvas.

• Their lives and careers are not known.

• The light torians have only recently begun to sort out their individ from a source shown in the painting, in this ual styles, because they collaborated closely with each other.
• The flame from an oil lamp is their best known painting.
• French peasants pause from labor for quiet brushes over their hand and skull as a symbol of mortality.
• The compression of the fig by Louis Le Nain conveys a sense of intimacy between the saint and viewers, although she of peasant life.
• Three generations of the same family are completely unaware of our presence.
• Light was not only around the table.
• A spotlighted woman at left seems to offer us at least a hint of the painting's somber mood.
• Mary has put away her wine because the children remain lost in dreams or rich clothing and to meditate on the frailty and focused on play.
• Our attention is drawn to her meditative face and gesture, even though the flickering light that riv is highlighted by the foreground of pets and kitchen is equipment.

• The same feeling of timelessness and a comparable of its most extraordinary passages--a boy in the left back is interested in the effects of light on the ground, warming himself in front of a fireplace and the Le Nain brothers.
• The soft golden firelight was not the only one.
• The question of why the brothers chose to paint in Paris by about 1630 is still unanswered.

• The oil on canvas is 99 x 135 cm.

• The patron died in 1644.

• These paintings epitomize and are among the earliest examples of a new style of rigorously ordered and highly worked for French patrons.
• The French ideal of the "Classical" landscape and theme and format created by Poussin would have a profoundly influenced painters for the next two centuries.

• We refer to Claude and Poussin as Classicists because they were designed to create an ordered whole on their own.
• The large clumps of trees were idealized.
• Both were influenced by at the outside edges form "bookends" that bring Annibale Carracci and Venetian paint closure to the broad panorama that stretches across both ing, yet each evolved an unmistakably personal style that canvases.
• Their unity is emphasized by the evangelists who conveyed an entirely different mood from their postures, turned inward toward each other, and solidified sources and from each other.

• The Barberini family became spective progression in both pictures moves from the picture of his patrons.
• One of the greatest painters in Rome was considered by Bernini to be one of the ture planes back into the distance.

• Two large paintings, commissioned from Poussin, show a ruined temple and an obelisk, as well as Hadri's texts within expansive landscapes dotted with Clas an's.

• The paintings were completed by October 1640, just before the painter left for Paris to work for Louis XIII.

• The balance and order of nature may be what they were the first part of.

• The canvas is 100.3 x 136.4 cm.

• When Claude Lorrain went to Rome in 1613, he first was fascinated with light, and his works are often studied with Agostino Tassi, an assistant of Guercino, and of the effect of the rising or setting sun on colors.
• A device that wasimitated was toferred landscape.
• He sketched outdoors for days at a time, placing one or two large objects in the foreground of a tree, then returned to his studio to create paintings.

• Oil on copper is 151/2 x 21''.

• Instead of balancing symmetrically placed elements in a statement of stable order, Claude England and Scotland were joined in 1603 with the ascent leads viewers actively into the painting in a continuing to the English throne of James VI of Scotland.
• A couple frames the com over Great Britain as James I.

• Their gestures and the ambling of the increased royal patronage of British artists, especially in cows, lead us to the left literature and architecture.
• Across in tribute to the new royal family, and the play was per the bridge into the distance is a city, setting up a contrast in court in December 1606.

• The hazy sions that erupted into civil war cost Charles his throne outlines of hills that seem to take this space into oblivion.

• The picture evokes a city dweller's nostalgia for the sim chical rulers who supported Protestantism, and it is easy to or Catholicism followed, until the Catholic king James II imagines the foreground shepherd.

• Mary's sister, elegance of Jones's interpretation of Palladian design, succeeded him.

• The rule was written by Anne.

• The architecture was repeated along the roofline.
• The English court favored and segmental (semicircular) pediments on the first level for foreign artists.
• The field of architecture was dominated by the Englishmen in the 17th century.
• There are sculpted garlands just below the roofline that include Inigo Jones, Christopher Wren, and Nicholas Hawksmoor.

• The interior has Classicism and the exterior suggests two stories.

• Inigo ionized columns and pilasters suggest a colonnade, but Jones introduced to England his version of Renaissance Classicism, based on the style of Italian architect Andrea Palladio.
• The notes are still preserved.
• The Banqueting House was designed by Jones for the royal palace of Whitehall.

• Peter Paul Rubens painted ceiling paintings of the apotheosis of King James and the Stuart monarchy.

• Peter Paul Rubens was commissioned by Charles I to decorate the ceiling.

• Rubens painted canvases glorifying the reign of James I when Jones divided the flat ceiling into nine compartments.
• The central oval shows the Stuart dynasty's triumph and the king being carried to heaven.
• The birth of the new nation is depicted in a large rectangular panel next to paintings of virtue and strength.

• Charles was so proud of the result that he moved evening entertainments to an adjacent pavilion instead of allowing the smoke of candles and torches to harm the ceiling decoration.

It was built 1675-1710

• After Jones's death, English Paul's has a long nave and equally long sanctuary artic architecture.
• He began his professional career in 1659 as a pro porticos open into short transepts that compressed them.
• When he traveled to France to further his edu from ground level, architecture was a sideline.
• There is an interior masonry cation in the dome.
• Bernini was in Paris to consult on designs for covered wood, but also has a brick cone rising from the Louvre, and he met with French architects and a vault with an oculus.
• The tall lantern was supported by architecture inner oculus.
• The ingenuity of the books, engravings, and greatly increased admiration for design and engineering remind us that Wren was a French Classical Baroque design.
• He was made a professor of astronomy at Oxford in 1669.

• He was knighted because of the columns surrounding the drum.

• The Great Fire of 1666 destroyed large parts of Italy and central London, but Wren was still involved in books.

• His biggest project was the rebuild of Corinthian columns.

• The burned-out Gothic church on the site has porticos and columns that create dramatic areas of light and shadow.
• A new cathedral was needed.
• The importance of the building was recognized by the Wren building with a great dome.
• This was rejected, but the marble slab that forms his tomb in the crypt of the cathe eventually reconciled the tastes of the Reformation.

• The ruler's prestige and power are embodied in the style.
• The work by each artist is from this chapter.

• The Last Judgment is a religious theme that is visualized by these two works.

• They are placed in different locations within their buildings to engage different audiences in different ways.

Do they have anything else?