Judgment of Paris Peter Paul Rubens, 1629 Oil on Panel Chapter 2.

Judgment of Paris

Peter Paul Rubens, 1629

Oil on Panel

Chapter 2

View of Toledo

El Greco, 1600-1610. Oil on Canvas. Known for its depiction of the sky in Western Art and features sharp color contrast between

the sky and the hills below.

Chapter 2

St. Martin and the Beggar

El Greco, 1597-1599. Oil on Canvas. In this painting, Martin cut his cloak in half to share with a beggar and Christ later appeared in his dream praising him for his good deed, Martin then devoted his

life to Christianity.

Chapter 2

The Park

Gustav Klimt, before 1910. Oil on Canvas.

Chapter 2

Dancer on Stage

Edgar Degas, 1876-1877. Pastel on monotype on paper. This painting employs asymmetrical balance, which means that a larger object is on one side of the piece and is balanced by smaller parts on the other side. Degas uses this informal balanced positioning in

many of his pieces.

Chapter 2

The Lamentation

Niccolo dell’Arca, 1485-1490. Italian Terra-cotta, life size. Focus on the figure on the far right and how movement is conveyed.

Movement is directed along the edges and contours to a focal area.

Chapter 2

Flower Day

Diego Rivera, 1925. Oil on canvas. This painting is famous for combining European modernism with Mexican tradition and issues.

Chapter 3

Siva, Lord of the Dance, Performing the Nataraja

10th Century, Chloa dynasty, India. Bronze casting.

Chapter 4

Taj Mahal

Shah Jahan, 1632. Marble, Agra, India.

Chapter 4

Buddha from the top of Borobudor

Stone, 750-850 CE, located in the Indonesian province of Central Java. This is the largest Buddhist monument on Earth. Used for

pilgrimage and prayer, it contains nine levels and is a map of the cosmos as conceptualized by the Buddhist philosophers of the time.

Chapter 4

Stonehenge

Stone, England. 2000 BC. Today, we are still unsure of the purpose of this landmark. Two theories are 1) a temple made for the

worship of ancient earth deities and 2) a site for the burial of high-ranking citizens long ago.

Chapter 5

Mycerinus and His Queen

4th Dynasty, 2470 BC. Slate. This is a statue of the king who built the third and smallest of the Great Pyramids at Giza. This carving shows the subordinate position of his wife by her more naturalistic

pose, open hands and and foot less extended than the king’s.

Chapter 5

Mask of King Tutankhamen

18th Dynasty, 1352 BC. Gold with precious stones and glass. King Tut was 19 years old when he died and was discovered after being

buried for over 3,300 years.

Chapter 5

The Arch of Constantine

312-315 AD, Stone, Concrete. This is an example of how Romans commemorated victories and important people in public

monuments.

Chapter 6

St. Mark’s

1063, Venice, Italy. This is the largest and most lavishly decorated church of the Golden Age. It is dedicated to St. Mark, the patron

saint of Venice. The exterior has many mosaics and 2,643 columns brought from Constantinople by crusaders.

Chapter 7

Cathedral of Cologne/Salisbury Cathedral

1248, Germany (Left). 1220, England (Right). Cathedral of Cologne was built on the site of an old Roman town. These cathedrals are excellent examples of the spread of Gothic

architecture during this time. Some of the features of Gothic construction are displayed such as interiors as high as possible and

pointed arches as if reaching toward heaven.

Chapter 8

Birth of Venus

Sandro Botticelli, after 1482. Tempera on canvas. Most paintings of this time depicted Roman Catholic themes. This painting and

many others of Botticelli were considered pagan and burned. This one was spared due to Botticell’s close relationship to famous

artist, Lorenzo de Medici.

Chapter 9

Mona Lisa

Leonardo da Vinci, 1503-1506. Oil on panel. This painting is considered the prototype of the Renaissance portrait. The slightly opening of the lips at the corners of the mouth was considered a

sign of elegance during that period. Her slight smile enters into the gentle, delicate, atmosphere, pervading the whole painting.

Leonardo da Vinci used the sfumato technique which is a gradual dissolving of the forms themselves with continuous interaction

between light and shade and an uncertain sense of the time of day.

Chapter 9

David

Michelangelo, 1501-1504. Marble. This is considered a masterpiece of Renaissance sculpture. David is a symbol of both strength and youthful human beauty. David holds the title of the

most recognizable statue in the history of art.

Chapter 9

The Finding of Moses

Paolo Veronese, 1570. Oil on Canvas. The flowing colors and spiraling, twisting figures are designed to lead the viewer’s eyes to the face of the princess, even thought Baby Moses is the reason for

the painting. Her light complexion is set off by the dark foliage behind her.

Chapter 9