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Art History Course Green Hill Part 2

Art History for beginners

dan shread

on 2 March 2013

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Transcript of Art History Course Green Hill Part 2

real name Jacopo Comin
1518 – 1594 Titian (Tiziano Vecellio)
c. 1488/1490 – 1576 Veronese Perseus
1576-1578 Allegory of Love
National Gallery Venus and Adonis The deposition
of Christ 1549 St John The Baptist
preaching 1562 Paolo Veronese
(1528–1588) Giorgione 1560 Pastoral Concert. Louvre, Paris. A work which the Louvre now attributes to Titian, c. 1509. The Adoration of the Shepherds - Giorgione - 1505
The National Gallery London Bronzino
Agnolo di Cosimo 1502 - 1572 Venus, Cupid, Folly, and Time - Renaissance (Late, Mannerism) - Oil on wood - Mythology - National Gallery - London, 1545
Baroque Mannerism
(maniera) 17th Century England Spain The Southern Netherlands The Germanic Countries France Guido Reni 1575-1642 “L'Aurora”
1613-1614 Caravaggio (1573-1610) Caravaggio's Supper at Emmaus
c. 1600-01; Oil on canvas,
54 3/4 x 76 3/4 in;
National Gallery, London The Crucifixion of Saint Peter
Oil on canvas
90 1/2 x 70 in
Cerasi Chapel
Santa Maria del Popola
Rome The Incredulity of Saint Thomas
Oil on canvas
42 1/8 x 57 1/2 in
Neues Palais, Potsdam David and Goliath
Oil on canvas;
Prado, Madrid Bacchus c. 1597
Oil on canvas
37 3/8 x 33 1/2 in
Uffizi, Florence 'his aim was to restore full corporeal density to the unstable figures of Mannerism' Germain Bazin The Cardsharps 1595
91.5 x 128.2cm
Kimbell Art Museum, Fort Worth The Calling of Saint Matthew
Oil on canvas
10' 7 1/2" X 11' 2"
Contarelli Chapel,
Church of San Luigi dei Francesi, Rome Venus and Adonis Annibale Carracci
1560 - 1609 Self-portrait (Uffizi) Jupiter and Junon The Temptation
of St Anthony Salvator Rosa 1615-1673 Harbour With Ruins Landscape with a dilapitated tree Evening landscape Diego Rodriguez de Silva y Velazquez 1599-1660 Neo-Classicism Las Meninas Philip IV Juan de Pareja
c. 1650
Oil on canvas, 81,3 x 69,9 cm
Metropolitan Museum of Art, New York Jacob Van Ruisdael
c. 1628 – 1682 Woman Boiling eggs
National Gallery Scotland Wheat Fields 1670 Vermeer 1632 – 1675 A Young Woman
Standing at a Virginal
National Gallery
London Woman Holding a Balance
Oil on Canvas
1664, National Gallery of Art Washington Self-Portrait
c. 1623 Gian Lorenzo Bernini
1598-1680 Apollo and Daphne David
Galleria Borghese Rome Pluto and Proserpine
Galleria Borghese
Rome Sir Peter Paul Rubens
1577 – 1640 Self Portrait
1623 Between 1627 and 1630, Rubens's diplomatic career was particularly active, and he moved between the courts of Spain and England in an attempt to bring peace between the Spanish Netherlands and the United Provinces. He also made several trips to the northern Netherlands as both an artist and a diplomat. At the courts he sometimes encountered the attitude that courtiers should not use their hands in any art or trade, but he was also received as a gentleman by many. It was during this period that Rubens was twice knighted, first by Philip IV of Spain in 1624, and then by Charles I of England in 1630. He was awarded an honorary Master of Arts degree from Cambridge University in 1629.[19]
The Fall of Man 1628–29. Prado, Madrid

Rubens was in Madrid for eight months in 1628–1629. In addition to diplomatic negotiations, he executed several important works for Philip IV and private patrons. He also began a renewed study of Titian's paintings, copying numerous works including the Madrid Fall of Man (1628–29).[20] During this stay, he befriended the court painter Diego Velázquez and the two planned to travel to Italy together the following year. Rubens, however, returned to Antwerp and Velázquez made the journey without him.[21] Maria De Medici The Maria de Medici cycle The Destiny of Marie de' Medici
The Birth of the Princess
The Education of the Princess
The Presentation of Her Portrait to Henry IV
The Wedding by Proxy of Marie de' Medici to King Henry IV
The Disembarkation at Marseilles
The Meeting of Marie de' Medici and Henry IV at Lyons
The Birth of the Dauphin at Fontainebleau
The Consignment of the Regency
The Coronation in Saint-Denis
The Death of Henry IV and the Proclamation of the Regency
The Council of the Gods
The Regent Militant: The Victory at Jülich
The Exchange of the Princesses at the Spanish Border
The Felicity of the Regency of Marie de' Medici
Louis XIII Comes of Age
The Flight from Blois
The Negotiations at Angoulême
Reconciliation of the Queen and her Son
The Triumph of Truth
The Queen Opts for Security
The Portraits of The Queen's Parents Isabella Brant The Honeysuckle Bower (ca. 1609)
Oil on canvas
Alte Pinakothek, Munich Isabella Brant ( 1591– 1626) was a Flemish artists' model, the first wife of painter Peter Paul Rubens. She was the daughter of Jan Brant, an important city official in Antwerp, and Clara de Moy. Brant married Rubens on 3 October 1609 in Saint Michael's Abbey, Antwerp. They had three children: Clara, Nikolaas and Albert. She was 34 years old when she died of the plague. Equestrian Portrait of the Duke of Lerma, 1603,
Museo del Prado, Madrid.
Painted during Rubens's first trip
to Spain in 1603 The Three Graces
Oil on Canvas
Madrid A View of Het Steen in the Early Morning
Oil on Canvas
National Gallery Rubens married Helena Fourment on December 6, 1630, when he was fifty-three and she was sixteen. Helena became the model and the inspiration for many paintings by Rubens dating from the 1630s, particularly those dealing with themes of ideal beauty or love. They had five children. The child's blue sash, heavy shoes, and plain collar resemble adult male attire and suggest that he is either Frans Rubens, born in 1633, or, more likely, Peter Paul, born March 1, 1637. The parrot, long a symbol of the Virgin Mary, suggests ideal motherhood, while the fountain, caryatid, and garden setting imply fertility and recall Rubens's own garden in Antwerp, where he frequently escorted Helena. Bacchus and Ariadne
Oil on Canvas
National Gallery London Bacchus Returns from India
Tunisia Detail
Titian Self Portrait
1566. Madrid, Prado Tintoretto scarcely ever travelled out of Venice. He loved all the arts and as a youth played the lute and various instruments, some of them of his own invention, and designed theatrical costumes and properties. He was also versed in mechanics and mechanical devices. While being a very agreeable companion, for the sake of his work he lived in a mostly retired fashion, and even when not painting was wont to remain in his working room surrounded by casts. Here he hardly admitted any, even intimate friends, and he kept his mode of work secret, with the exception of his assistants. He abounded in pleasant witty sayings, whether to great personages or to others, but he himself seldom smiled. Susanna and the Elders Ariadne Milky Way Jacopo Pontormo 1494-1557 Deposition from the Cross,
Oil on wood
c.1526 The Penitence
of St Jerome Bronzino
Venus, Cupid and Satyr,
1553-1554. Portrait of Lodovico Capponi
1550-55 The Fortune Teller,
probably 1630s
Oil on canvas Georges de La Tour
1593–1652 Portrait of Stefano IV Colonna, 1546
Galleria Nazionale d'Arte Antica, Rome
Oil on panel, 125 x 95 cm Rembrandt Rembrandt Harmenszoon van Rijn
1606 - 1669 Landscape Group portraits Hobbema
Meindert Hobbema (bapt. 1638 – 1709 The Avenue at Middelharnis, 1689, Frans Hals 1582 – 1666 Night Watch
Oil on Canvas
Amsterdam Ferdinand Bol
The Officers
of the Guild of Wine Merchants
1659 EVERDINGEN, Caesar van
(b. 1617, Alkmaar, d. 1678, Haarlem)
Officers and Standard-Bearers of the Old Civic Guard
1657 c.1636-38 Portrait of the Artist at His Easel
Oil on canvas
43 1/2 x 35 1/2" (111 x 90 cm)
Musée du Louvre, Paris Self-Portrait 1661
Oil on canvas, 114 x 94 cm The Syndics of the Amsterdam Drapers' Guild, known as the ‘Sampling Officials’. De_Staalmeesters
oil on canvas Catherina Hooft and Her Nurse,
ca. 1620 The Anatomy Lesson of Dr. Tulp
1632 Etching,
Jan Cornelis Sylvius,
1633 Belshazzar's Feast
Oil on wood
National Gallery
London The Jewish Bride
Oil on Canvas
Rijks museum
Amsterdam Self-Portrait Leaning on a Stone Sill
1639 Philosopher in meditation.
oil on panel
29 × 33 cm (11.4 × 13 in)
Musée du Louvre Little 'The Little Street'.
Oil on canvas Genre Pieter de Hooch 1629-after1684 The Le Nain brothers Neo-Classicism Portrait of the sculptor Girardon, by Gabriel Revel Girardon, François 1628 - 1715 Apollo Attended by the Nymphs Gardens of Versailles 1666-1672 The Forge
Nicolas Poussin 1594–1665 it is now generally accepted, the landscape and sky, by Titian, completed after Giorgione's death in 1510, as Vasari first noted. The High Renaissance Claude
Claude Lorraine
1604/5? - 1682
Seaport with the Embarkation of the Queen of Sheba
Oil on Canvas
National Gallery The Triumph of Flora.
Oil on canvas.
Louvre, Paris, ET IN ARCADIA EGO
1647 Triumph of St. Ignatius of Loyola
Ceiling of Sant'Ignazio,
Rome Andrea Pozzo
1642- 1709 Allegory of the Jesuits' Missionary Work (detail)
1691-94 St Peter's piazza, Rome Diana and her Nymphs
Oil on canvas,
225 x 320 cm Bologna Rome DOMENICHINO
Bolognese school (b. 1581, Bologna, d. 1641, Napoli) Genoa Prince Baltazar Carlos on Horseback (1634) Danae 1636 A Woman bathing in a Stream
(Hendrickje Stoffels?)
National Gallery The model is probably Hendrickje Stoffels (about 1625/6 - 1663). She lived in Rembrandt's household from about 1649 until her death. She became his common-law wife and bore him a daughter, Cornelia, who was baptised on 30 October 1654 (the year of this painting). Venus of Urbino
Oil on Canvas
Uffizi Florence The Tempest
1510 Louis XIV
Hyacinthe Rigaud Ballo De Vita Humana
1634-1636 Landscape with Polyphemus
1649 Louix XIV
Girardon Louis XIV, known as Louis the Great or the Sun King, was a Bourbon monarch who ruled as King of France and Navarre. His reign of 72 years and 110 days is one of the longest in French and European history. Still Life Pieter Claesz
Still Life
1625-30 Versailles Still Life Gio Andrea Ansaldo (1584-1638), portray “The Glory of Maria Among Angels and Saints” Evaristo Baschenis
1617 – 1677 Still Life with Musical Instruments,
undated, oil on canvas,
Wallraf-Richartz-Museum, Cologne Giorgione born Giorgio Barbarelli da Castelfranco; c. 1477/8 – 1510 1580
Prado Mars and Venus
United by Love,
mid 1570s Venus, Cupid and Mars Venus Mars and Cupid
mid 1630s
Dulwich Picture Gallery Venus and Adonis
mid- or late 1630s.
Oil on canvas
Metropolitan Museum of Art
New York Portrait of René Descartes
Oil on Canvas
old copy of a lost original
Paris Sir Nicholas Stone
Nicholas Stone (1586-1647) was the son of a quarryman of Woodbury, near Exeter, and as a boy was apprenticed to Isaac James, a London mason. About 1603 he went to Holland and worked under the sculptor Hendrik de Keyser (1567-1621) and his son Pieter, and married his masters daughter.Sir Baptist Hicks at Chipping Campden Stone is said to have made the portico to the Westerkerk in Amsterdam. Returning to London about 1613 with Bernard Janssens, a fellow pupil, he settled in Southwark and obtained a large practice. In 1619 he was appointed master-mason to James I, and in 1626 to Charles I. Lady Digges' memorial
Chilham church, Sir Peter Lely
(1618 – 1680)
was born into a Dutch family that was living in Germany and was originally named Pieter van der Faes. He trained in Haarlem, but in the 1640s he moved to England, where he spend most of his working life. John Wilmot, 2nd Earl of Rochester.
c. 1647. oil on canvas.
Portrait of Abraham van der Doort
Oil on Canvas William Dobson
Sir Anthony van Dyck,
(1599-1641) Charles I
c. 1635;
Oil on canvas,
266 x 207 cm;
Musée du Louvre, Paris Studies of a Mans Head Giovanni Bellini (c. 1430–1516) Agony in the Garden St Jerome in the Desert St. Francis in Ecstasy, 1480
Oil and tempera on panel
Frick Collection, New York Sacred and Profane Love , Titian's masterpiece painted when he was about twenty-five to celebrate the marriage of the Venetian Nicolò Aurelio (coat of arms on the sarcophagus) and Laura Bagarotto in 1514. The bride dressed in white sitting beside Cupid is assisted by Venus in person. The figure with the vase of jewels symbolizes "fleeting happiness on earth" and the one bearing the burning flame of God's love symbolizes eternal happiness in heaven.
The title is the result of a late 18th-century interpretation of the painting, which gives a moralistic reading of the nude figure, whereas the artist intended this to be an exaltation of both earthly and heavenly love. In fact in the Neoplatonic philosophy that Titian and his circle believed in contemplating the beauty of the creation led to an awareness of the divine perfection of the order of the cosmos.
In this painting of love in the open countryside Titian has surpassed the delicate lyrical poetry of Giovanni Bellini and Giorgione and attributes a classical grandeur to his figures. In 1899, the Rotschilds offered to buy this world famous work at a price that was higher than the estimated value of the Villa Borghese and all its works of art (4,000,000 Lire as opposed to 3,600,000 Lire). However, Titian's Sacred and Profane Love has remained and virtually become the symbol of the Borghese Gallery itself. Sacred and Profane Love (1514 ca.)
oil on canvas cm. 118x279 Sandro Botticelli
The Birth of Venus
c. 1486
Tempera on canvas
172.5 cm × 278.5 cm (67.9 in × 109.6 in)Uffizi, Florence Sleeping Venusc.
Oil on canvas
108.5 cm × 175 cm (42.7 in × 69in)
Gemäldegalerie Alte Meister, Dresden Giorgione
Sleeping Venus
Oil on canvas
108.5 cm × 175 cm (42.7 in × 69in)
Gemäldegalerie Alte Meister, Dresden Sandro Botticelli
The Birth of Venus
c. 1486
Tempera on canvas
172.5 cm × 278.5 cm (67.9 in × 109.6 in)Uffizi, Florence Design for a Flying Machine
1488 Flying Machines Leonardo Da Vinci
1452–1519 Sfumato
Leonardo da Vinci described sfumato as "without lines or borders, in the manner of smoke or beyond the focus plane." Michelangelo The Creation of Adam
Sistine Chapel
Rome Raphael
Raffaello Sanzio da Urbino
1483–1520 The School of Athens 1509–1510
Dimensions 500 cm × 770 cm (200 in × 300 in)
Apostolic Palace, Vatican City The High Renaissance period is traditionally taken to begin in the 1490s, with Leonardo's fresco of the Last Supper in Milan and the death of Lorenzo de' Medici in Florence, and to have ended in 1527 with the sacking of Rome by the troops of Charles V The Virgin of the Rocks The Virgin and St Anne Louvre version
Oil on panel (transferred to canvas)
199 cm × 122 cm (78.3 in × 48.0 in)
National Gallery, London Version
Oil on panel
189.5 cm × 120 cm (74.6 in × 47.25 in) Venice: atmosphere, drama colour Titian's Supper at Emmaus Saskia van Uylenburgh in Arcadian Costume
Oil on Canvas
National Gallery,
London Saskia van Uylenburgh (1612 - 1642), the daughter of a burgomaster of Leeuwarden in Friesland, married Rembrandt in 1634 and brought him a large dowry. They had met in the studio of her cousin Hendrick Uylenburgh, who was Rembrandt's employer after his arrival in Amsterdam. Of their four children, only Titus was alive at the time of her death in 1642.
Rembrandt painted this portrait in the year after their wedding. In showing Saskia as Flora, the Roman goddess of Spring, he reflected the contemporary fashion for Arcadian and rustic themes, which could be found in poems and plays as well as in painting. Self Portraits Le Nain brothers, three brothers best known for their paintings of peasant life. The work of Antoine Le Nain (b. c. 1588, Laon, France—d. May 25, 1648, Paris), Louis Le Nain (b. c. 1600, Laon, France—d. May 23, 1648, Paris), and Mathieu Le Nain (b. 1607, Laon, France—d. April 20, 1677, Paris) exhibits a realism unique in 17th-century French art.

By 1630 the Le Nain brothers had established a common workshop in Paris. They remained unmarried and are traditionally said to have worked in harmony, often collaborating on the same picture. In 1648 all were received into the newly founded French Academy. The “Le Nain problem” of determining which of them painted what is complicated because no signed work bears a first initial and no work completed after 1648 is dated. Evaluation of the three personalities early in the 20th century was therefore based on what was traditionally known of each brother and on the dubious establishment of three stylistic groups. Art scholars today no longer try to attribute individual works, and the three brothers are treated as a single artist. Their portraits of peasants and beggars remain their most important works, although A Blacksmith in His Forge was one of the most-admired and most-copied paintings in the Louvre in the 19th century. Their domestic scenes of peasant life depict humble people with human dignity, with a classical composure that is characteristically French.
The Encyclopaedia Britannica Peasant Interior1642oil on canvasHeight: 55.6 cm (21.9 in). Width: 64.7 cm (25.5 in)
National Gallery of Art
Washington D.C.

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