Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
15 Cards in this Set
- Front
- Back
|
"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. |