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15 Cards in this Set

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"ELEVATION OF THE CROSS," PETER PAUL RUBENS (1610), OIL ON PANEL; ANTWERP CATHEDRAL. ANTWERP, BELGIUM.



A triptych with crying followers, and inspiration from mannerism.

"ARRIVAL OF MARIE DE' MEDICI AT MARSEILLES," PETER PAUL RUBENS (1622-25), OIL ON CANVAS; MUSEE DU LOUVRE. PARIS, FRANCE.



Depicts the arrival of the queen, and has a use of heavy texture and rich colors. Rubens also used fleshy women and depended on color, texture, and female nudists.

"CONSEQUENCES OF WAR," PETER PAUL RUBENS (1638-39), OIL ON CANVAS. PALAZZO PITTI. FLORENCE, ITALY.



This painting is inspired by the 30 years war. Ruben's allegorical painting, a commentary on war.


"SELF-PORTRAIT WITH ISABELLA BRANT," PETER PAUL RUBENS (1609), OIL ON CANVAS. ALTE PINAKOTHEK. MUNICH, GERMANY.



Isabella was Ruben's second wife, and the hand holding represents a sign of affection.

"CHARLES I DISMOUNTED," ANTHONY VAN DYCK (1635), OIL ON CANVAS; MUSEE DU LOUVRE. PARIS, FRANCE.



Van dyck was an expert at accurately depicting, sygniomony and personality. His stance shows confidence and power.

"CALLING OF ST. MATTHEW," HENDRICK TER BRUGGHEN (1621); OIL ON CANVAS; CENTRAAL MUSEUM.UTRECHT, THE NETHERLANDS.



Perspective is less dramatic than Caravaggio's rendition. The use of every day men.

"SUPPER PARTY," GERRIT VAN HONTHORST (1620), OIL ON CANVAS; GALLERIA DEGLI UFFIZI. FLORENCE, ITALY.



Utrech carvagiast are people who are inspired by the works of Caravaggio. Genre scene pictures ordinary scenes filled with ordinary people.

"ARCHERS OF ST. HADRIAN," FRANS HALS (1633), OIL ON CANVAS; FRANS HALSMUSEUM. HARLEM' THE NETHERLANDS.



Use of thicker strokes. Halls specialized in group portraits, yet showed individual features.

"NIGHT WATCH," REMBRANDT (1642), OIL ON CANVAS; RIJKSMUSEUM. THE AMSTERDAM, THE NETHERLANDS.



Group portrait of a militia.

"RETURN OF THE PRODIGAL SON," REMBRANDT (1665), OIL ON CANVAS; HERMITAGE MUSEUM. ST. PETERSBURG, RUSSIA.



Thinks about how the human eye views light, and displays emotion through lighting.

"WOMAN HOLDING A BLANCE," JAN VERMEER (1664), OIL ON CANVAS; NATIONAL GALLERY OF ART. WASHINGTON, D.C.



Suggests that though she has riches she needs to remember God.

"ALLEGORY OF THE ART OF PAINTING," JAN VERMEER (1670-75), OIL ON CANVAS; KUNSTHISTORISCHES MUSEUM. VIENNA AUSTRIA.



Used the camera score to paint, and shows the process of painting. Shows that art is inspired by history.

"VIEW OF DELFT," JAN VERMEER (1661), OIL ON CANVAS; MAURITSHAUS. THE HAGUE, THE NETHERLANDS.



Used extensive land reclamation, and expresses the pride in the Netherlands. Focuses on the landscape.

"VANITIES STILL LIFE," PIETER CLAESZ (1630), OIL ON CANVAS; GERMANSICHES, NATIONAL MUSEUM. NUREMBURG, GERMANY.



A still life that shows the moral and religious message along with exotic things. Contains a moment amore emphasizes the passage of time to eventually death.

"THE ANATOMY LESSON OF DR. TULP," REMBRANDT (1632), OIL ON CANVAS; MAURITSHIUS. THE HAUGE, THE NETHERLANDS.



A golden "Rembrandt Light," and used a different color for each value.