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24 Cards in this Set
- Front
- Back
- 3rd side (hint)
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Annibale Carracci, Loves of the Gods/ Triumph of Bacchus Rome, Italy 1597-1601 +A single barrel vault +The 'Paintings' are all painting on the ceiling and wall +An illusion of a gallery +There are classical elements in the painting +There is no focal point in Baroque paintings +'Triumph...' shows the Roman gods are frolicking |
Italian Baroque |
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Diego Velazquez, Les Meninas Spain 1659 +Expresses the artist's concern for his place in society +A genre painting, in Velazquez's studio +Velazquez is painting the royal family +The mirror behind reflects the royal couple--> questions the space for the viewers +Use of rough brushstrokes--> breakthrough |
Spanish Baroque |
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Peter Paul Rubens, Elevation of the Cross Antwerp, Belgium 1610 +Very melodramatic +The diagonal of the cross reinforces drama +Christ being elevate up--> before crucifixion +Christ looking up and healthy looking--> Divinity of Christ +Trees frames Jesus +Shallow composition and Asymmetrical balance +Modelling inspired by Michelangelo |
Flemish Baroque |
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Judith Leyster, Self Portrait Netherlands 1630 +The artist looks very welcoming +Showing her Tools of Trade +Looking directly at the viewer +Use rough brushstrokes to paint her dress +Good sense of depth +Caught in the act of painting |
Dutch Republic |
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Rembrandt Van Rijn, The Night Watch Netherlands 1642
+Use of tenebrism +Quite confusing but theatrical and dramatic +A moment caught in time +The figures are very disjointed +The light shining on the two men +The use of diagonal lines to create complex composition |
Dutch Republic |
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Rembrandt Van Rijn, The Anatomy Lesson of Dr Tulp Netherlands 1632 +A painting celebrates learning and science +Use of tenebrism +The figures are disjointed and looking at different directions +A shallow painting +The body recede well into depth and pointing at an open book +The book symbolises learning +An open composition and asymmetrical balance |
Dutch Republic |
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Jan Vemeer, The Letter Netherlands 1666 +The Woman received a letter from her lover +A 'Romeo and Juliet' story +The ship painting symbolises 'Forbidden Love' +The loot symbolises 'love' +The viewers is removed from the painting--> looks like the viewer is spying +Strong use of colours eg. blue and yellow
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Dutch Republic |
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Nicholas Poussin, The Burial of Phocion France 1648 +A historical painting +Phocion is a milliarty man and part of the government +Phocion emphasised by wrapping in white cloth +Humbleness shown through the presence of the shepherd and the two people carrying Phocion +The people are smaller than the landscape +The use of atmospheric perspective +Linear, smooth and clean style |
French Baroque |
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Hyacinthe Rigaud, Louis XIV France 1701 +Rich colours are used for the luxurious clothing +The cloaks clings around Louis and creates a diagonal +The column behind is a Roman element. To assoicated the King with the Roman Empire +Louis's crown placed next to him. Meaning he is so powerful that he does not need to be crowned +Louis in a dancer pose +Propagandistic |
French Baroque |
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Jacques Callot, The Hanging Tree French 1621 +A print for wide distribution +Anti-war +Showing the inhumanity and horrors of war in a straight forward way |
French Baroque |
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Christopher Wren, St Paul's Cathedral England 1675-1710 +Based from the souvenirs from Italy +Inspired my Michelangelo and Borromini +Act as an embodiment of the nation +Used corinthian columns, are free standing towards the entrance +A minimalistic design to the church +The verticality is emphasised |
English Baroque |
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Antoine Watteau, Return from Cythera France 1717-1719 +Use of pastel colours +An outdoor scene +A depiction of aristocracy frolicking in a paradisal setting-->Escapism +A few sexual undertone +An association with Venus +A hazy style |
Rococo |
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Jean-Honore-Fragonard, The Swing France 1766 +Making fun of the aristocracy +A commissioned piece +Painting shows the commissioner's married mistress +Symbols to indicate the fall of aristocracy: dead tree, rake, dog and garden statues. +Use of pastel colours and an outdoor setting |
Rococo |
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Joseph Wright, A Philosopher Giving a Lecture at the Orrery England ca.1736-1765 +Use of tenebrism to focus on the apparatus +Very theatrical and dramatic +People from different ages +Children represents learning new knowledge +The Philosopher is the embodiment of the Enlightenment |
Enlightenment |
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William Hogarth, Breakfast Scene from Marriage a la Mode England 1745 +A scene from Hogarth's story, Marriage a la Mode +Making fun of the aristocracy and challenging social norms +The couple are living separate lives->Both partied till dawn +The layer with a handful of recites showing the couple spent too much money +Sexual symbols: instrument, scandalous painting, infidelity +Commentary of the 18th century economy and financial welfare |
Enlightenment |
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Jacques-Louis David, The Oath of the Horatii France 1784 +Referring to the Classical story to correspond to French Republic +The men are in a strong vertical pose +Finely modelled with sharp and hard profile +The swords are in a diagonal to add drama +Red colour tied the father and sons +The women are more soft and organic, contrasting the men +Use of the grid system to recede depth +Spring arches to add movement |
Neo-Classicism |
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Jacques-Louis David, The Death of Marat France 1793 +A historical painting +Painting made Marat's death to be more dignified and noble +Reduced palette: brown, white, green and red +The green and red place focus to Marat +Marat's arms leads to the murder weapon and the paper +Marat in Christ-like pose +The table acts at a tomb marker +White cloth act as a mourning |
Neo-Classicism |
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Jacques-Louis David, Coronation of Napoleon 1805-1808 +A very large scale painting of NP crowning his wife +The pope witnessing the event +There are a lot of repainting +A mixture between fiction and facts +NP has a classical accessories to associate with the Roman Empire +Very detailed with individualised figures |
Napoleonic |
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Antoine-Jean Gros, Napoleon at the Pesthouse at Jaffa France 1804 +Propaganda for 'damage-control' +The incident of NP leaving sick soldiers to die due to plague cause damage to NP's name +Painting showing NP visiting the pesthouse +NP "blessing" a sick patient corresponds to Jesus +Showing NP's divinity +Dying patients in the foreground to frame the "blessing" +Figures are very well modelled and dying in a dramatic fashion |
Napoleonic |
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Jean-Auguste-Dominique Ingres, The Grand Odalesque France 1814 +Ingres is interested in Eastern culture +Painting shows a harem girl +The content fuels the imagination of the artist about the East +A reversed Venus: her back toward us +The use of rich colours for the cloth +The woman is out of proportion +Plays with the concept of exploitation and 'Venus' |
Napoleonic |
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Francisco Goya, Execution of the Third of May Spain 1814 +A painting to promote anti-war +Shows the event of the French soldiers killing innocent people +The lightest figure is protecting others +The soldiers has no face, to remove the psyche +The diagonal hill leads to the dark church meaning there's no hope +The style is very rough and geometric with brushstrokes +Deconstruct the forms into shapes |
Romanticism |
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Theodore Gericault, The Raft of the Medusa France 1818-1819 +Based on a true event about a shipwreck. 150 people need to make a raft from the wreck and only 15 survived. +Also a concept of Man vs Nature +The bodies are piled up in a series of diagonal lines to add drama +Orientation of the men forms a triangle composition. +There are two black men; Gericault's anti-slavery belief +A small ship in the distance, a small hope +A reference to the bad decisions made in politics |
Romanticism |
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Eugene Delacroix, Liberty Leading the People France 1839 +The woman is the embodiment of France or Liberty +Leading a revolution +Woman in a Phrygian cap symbolising 'Freedom' but in reality it doesn't mean freedom +Liberty with a French flag leading people in all different social classes--> how politics affect them + A series of vertical and diagonal lines all point to Liberty |
Romanticism |
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Casper David Friedrich, Abbey in an Oak Forrest Germany 1810 +The Germanic tradition of landscape painting +A very sombre ambience to the painting +The monks are very tiny +Shows the ruins of an old Gothic church +Symbolising all Man-made things will one day will fall +The oak trees frames the church +In a cemetery to represent the transits of life |
Romanticism |
