Well of Moses by Claus Sluter, 1395 - 1406, Dijon, France, French Renaissance, (p.

521)
Italians looked at northern artists with wonder, not understanding what made them so good. Northern art represents a Renaissance. The early developments take place in the state of Burgandy. The outstanding representative of the short live Burgundian school is Claus Sluter. Sluter worked on some of the sculptures for the portal of this monetary church, however, they don't exist anymore.

Retable de Champmol From the Chapel of the Monastery of Chartreuse de Champmol by Melchior Broederlam, 1399, Dijon, France, French Renaissance, (p. 520)
These public altarpieces mostly came as polyptychs. This altarpiece was a precursor of many artistic developments.

David Before Saul and the Annunciation by Jean Pucelle, 1325, France, Gothic
He revitalizes manuscript illuminations. They begin to take on the character of independent paintings. The first steps towards the illumination's expansion within the text appears within the work of this Paris illustration.

October from Les Tres Riches Heures du Due de Berry by the Limbourg Brothers, 1413-1416, Netherlands, Dutch Renaissance, (p. 533) The oil technique allowed artists to achieve a depth and resonance of color they couldn't achieve in any other medium. Oil supersedes tempera entirely, even in Italy.

Merode Altarpiece by Robert Campin, 1425 1428, Flemish, Early Flemish, (p. 523)
Campin was a leading Flemish painter. He was the artist known as the "Master of Flemalle." Mary is seated on a cushion, the Merode altarpiece takes us to a contemporary Flemish interior. He tried to render as accurately as possible the views outside the windows.

Ghent Altarpiece (closed) by Jan Van Eyck, 1432, Ghent, Flemish, (p. 525)
Two panels that close together are a diptych. Three would be a triptych. Among all the artists who outdid each other in efforts to enhance this new realism, only Jan Van Eyck stands out. He stood out in the eyes of his contemporaries, and us today. He was one of the greatest artists that ever lived. Nothing in his paintings is more convincingly real than this atmospheric space. This believable space. Light is dissolved, reflects back to you from countless surfaces and textures. Jan Van Eyck is the most enigmatic artist. Scholars still debate what he painted. He traveled in a diplomatic fashion. He is the first Flemish artist to achieve international fame.

Man in a Red Turban by Jan Van Eyck, 1433, Netherlands, Dutch Renaissance, (p. 526)
One of the first and the greatest painters of independent portraits. He takes another step towards the complete secularization of the portrait. There is no religious imagery of one kind or another. This is the earliest known portrait where the sitter looks directly at you. It may or may not be a self portrait.

Giovanni Arnolfini and His Bride by Jan Van Eyck, 1434, Flanders, Flemish
The purpose of the picture is to document the marriage. In this context, human beings come to the fore in their own setting. He had an optimistic message of human salvation. His paintings are perfect and impossible to surpass.

Deposition by Rogier Van Der Weyden, 1435, Flemish (p. 527)

He was the leading northern painter of the middle part of the 15th century. The thee great genii: Jan Van Eyck, Rogier Van Der Weyden, with Hugo Van Der Goes. It stresses human action and human drama, which is what he's all about. He compresses the figure and action onto this very shallow stage, somewhat neoclassical. Official city painter of Brussels.

The Last Judgment by Rogier van der Weyden, 1444 - 1451, Netherlands, Dutch Renaissance
This is a polyptych. The medium is oil on oak wood. He is considered one of the greatest leaders of the Early Netherlandish painting movement.

Portrait of a Lady by Rogier van der Weyden, 1460, Netherlands, Dutch Renaissance, (p. 529)
Portraits were important in his career. The woman is unknown.

A Goldsmith in His Shop by Petrus Christus, 1449, Netherlands, Early Netherlandish

He painted it specifically for the guild chapel. (Not on Exam)

Last Supper of the Holy Sacrament Altarpiece by Dirk Bouts, 1464 - 1468, Netherlands, Early Netherlandish
He is one of the most impressive. (not on exam)

Portinari Altarpiece by Hugo Van Der Goes, 1476, Belgium, Early Netherlandish
In the decades following the death of Van der Weyden was Hubert Van der Goes. A harp is the symbol of David.

EXAM

Adoration of the Magi by Hans Memling, 1479, Belgium, Belgian Renaissance, (p. 531)
He was born in Germany. His style is subtle and more tranquil. It represents a synthesis of the painting tendencies we find in Flemish paintings. There was an influx of Africans. This painting represents admiration of the black culture. The whole century begins on a note of humanistic optimism. (not on exam)

The Garden of Earthly Delights by Hieronymus Bosch, 1505 - 1510, (p. 636)
Hell is the right. Heaven is in the center, and the creation of Adam and Eve is on the left. Salvation is possible to Bosch, but only with the greatest difficulty. Death and the fear of Death is an ever present reality in the art of Bosch. It's closed. Bosch is the last and the greatest of the medieval painters. Chronologically he is not medieval, but he is in terms of style. His style is pessimistic and moralizing. He illustrates the reality of the deadliest of sins: lust. The first giraffe arrives in Florence in 1484 Owls represent wisdom in the west, but also represent witchcraft. Bosch is condemning all erotic activity, yet is fascinated by it. Bosch is heretical. He sees no salvation. Rather than backwards toward the middle ages, the imagination of Bosch leads us to the idea that we're all doomed, with dream symbols. It leads us to the message that beauty is two faced: attractive and deadly. This world represents a false paradise.

Melun Diptych, Etienne Chevalier and Saint Stephen by Jean Fouquet, 1450, Berlin, Germany, German Renaissance, (p. 534)

There were a few artists with sensitivity that showed the combined influence of Italy and the Netherlands. There is a personal narrative in this work.

Saint Anthony Tormented by Demons by Martin Schongauer, 1480- 1490, Germany, German Renaissance
In Germany, the Netherlands art was more reaching than the Italian renaissance. Unlike France, Germany develops a host of competent masters formed along the Flemish line. One of them is Martin Schongauer. He was especially known for his engravings, which was as an important aspect of German art. The Fabriano company made paper in Italy since the 12th century. This work is 13 by 11 inches. He was the most influential graphic artist in northern Europe in the last quarter of the 15th century, and he was the first German engraver who had his work partially reconstructed. He was the first panel painter who made very significant works. He has 115 works, none of them are dated. It was Schongauer who elevated the print to artistic rivalry with traditional art forms.

The Battle of Issus by Albrecht Altdorfer, 1529, Munich, Germany, German Renaissance
In the artistic developments of the 15th century, Germany followed the great innovations that were taking place in Italy and the Netherlands. In the early 16th century, German art moves into a commanding position, surpassing that of the Netherlands in quality and inventiveness. It competes with the Italian high Renaissance, and even influences the great Italian masters we've strudied. This sudden rise of German school is no more surprising than it's sudden decline. Oil painting is a northern development, but the Venetians understood it better than the Germans. The Italians had a better understanding of the human body than the Germans because they had antique sculptures to look at. The Germans understood lines very well though. There were northern artists that even surpassed the Italians in the use of line. By 1528, this Renaissance of German art was over. It's most brilliant period almost corresponds to that of Italy's renaissance, 1495 - 1520. This is Altdorfer's most celebrated painting. He was a gifted colorist and had a keen eye for light.

Judgment of Paris by Lucas Cranach, 1528, Germany, German Renaissance

He was a printmaker. He remains provincial. His style in general stresses mood, the Danube style.

Isenheim Altarpiece by Matthias Grunewald, 1510 1515, Isenheim, Germany, German Renaissance
Grunewald was one of the greatest individuals of the northern Renaissance and he was a highly original artist. Few artists make any attempt to show the horror of this scene. The most astonishing resurrection in all of Christian art. Color determines everything. His intention is to render the supernatural. EXAM

Self-portrait by Albrecht Durer, 1490, Germany, German Renaissance

The founder of the German High Renaissance. He is considered the "German Leonardo da Vinci." He found it difficult to reconcile his northern tendency for precise detail for the monumentality he discovered in the high Renaissance. His emphasis of detail and precision combined with form from the Renaissance in Italy, he found it difficult to do that. He believed in the inherent nobility in art, and wanted to raise it from the craftsman status. He's half-Hungarian. During his early years, he realized the art in the North was crude. He made two trips to Venice, but knew about Italian art through engravings and educated himself on it. He was the first Northern artist to travel to Italy specifically to study Italian art. He was the first Northern artist who fully understood the basic aims of the Italian Renaissance.

Self-Portrait (2) byAlbrecht Durer, 1500, Germany, German Renaissance

This has Northern and Italian elements combined. He makes his portraits reading of character. It would not be equal in the print medium until the 17th century.

The Fall of Man (Adam and Eve) by Albrecht Durer, 1504, Germany, Germany Renaissance
His greatest achievements were always in the realm of graphic art. The medium is copper engraving. Scholars consider this engraving to be one of his most brilliant achievements. He engraves his name in Latin. His interest is primarily in physical perfection, and religion is second. Not only were Medieval artists restricted from drawing the nude, so this print emancipates the contempt from the North for flesh. Durer was the first Northern artist to concern itself with Italian Renaissance classicism and the human form. In 1504, he was acquainted with many Italian artists and saw many statues that were famous. He wanted to transcend reality by creating the ideal Adam and Eve. This is a summation of the artistic knowledge of the day and universally valid view of human proportion.

Knight, Death, and the Devil by Albrecht Durer, 1513, Germany, German Renaissance, (p. 630)
The print demonstrates incredible technical skill. The art of engraving was carried to the highest degree of excellence. He was familiar with Italian Renaissance artwork, such as Donatello's Gattamelata.

Four Apostles by Albrecht Durer, 1526, Germany, German Renaissance, (p. 630)
In this painting, one of his very last, Durer is finally able to recognize these two opposing tendencies: northern realism and southern monumentality. This sums up everything he's learned.

Henry VIII by Holbein, 1536, Germany, German Renaissance

o Holbein was the last great o o o o

German painter of the High Renaissance. He traveled widely. He was in London when painting this. He is chiefly known for his portraits. He was one of the greatest portrait painters who ever lived. He also had trouble combining the Northern and Italian elements. By the mid 1520s, he had achieved a synthesis of these two things. The resulting new style can be seen here. He transforms the German linear tradition into a major instrument for the conquest of the visual and psychological reality.

The French Ambassadors by Hans Holbein the Younger, 1533, Germany, German Renaissance
He hoped to impress Henry VIII with his skill. France was seen as a political power and cultural force in the early 16th century.

Landscape with Saint Jerome by Joachim Patinir, 1520 1524, Netherlands, Dutch Renaissance
While German art fades, the art of the Netherlands is changing and growing. Durer visits the Netherlands in 1520, he is hailed as a messiah. There is a new interest in the mood of nature and light becomes part of it. He invents a special kind of landscape, a landscape of mood: romantic landscape. Patinir is the first Netherlandish landscape painter. Patinir collaborated with other artists and let them paint the figures in his art. There is realism in this romantic landscape. In landscapes like this, Patinir contrasts man's frailness with nature.

The Harvesters by Pieter Bruegel, 1565, Netherlands, Dutch Renaissance

The greatest and most original Flemish painter of the 16th century was Brugel. He went to Italy, but remained just as Northern in mentality despite being there and mastering the Italian art. He paid attention to the foreground, middleground, and background - he was interested in the progression of space.

Hunters in the Snow by Pieter Bruegel the Elder, 1565, Netherlands, Dutch Renaissance
Bruegel is Flemish. This depicts a dynamic variety of his work. This is a great landscape painting of the classical Chinese landscape.

The Peasant Wedding by Pieter Bruegel, 1565, Netherlands, Dutch Renaissance

Bruegel was a printmaker and painter.

Francis I by Jean Clouet, 1525- 1530, Netherlands, Dutch Renaissance

The best portrait painters were French. Clouet was the most important of all of them.

Pierre Lescot, west wing of the Cour Carre (Square Court), 1546, Paris, France, Mannerism
Does the louve but doesnt complete Will not be done till 17th cen Of the 16th cen but not complete till 17th

The Burial of Count Orgaz by El Greco, 1586, Spain, Mannerism

Chronologically it is mannerist. 1560, he goes to Venice. Reinvents the Byzantine style in Spain. Last and greatest of Greek painters. El Greco distinguishes the terrestrial and celestial spheres. The late seems to originate from the figures within themselves. "The last and the greatest of the Mannerists." His concern is emotion. El Greco does not relate to mannerism.

Mary Magdalene by El Greco, 1580, Spain, Mannerism

El Greco was born in Crete but moved to Italy when he was young. In 1577, at age 30, he moved to Spain. His art is a mix of the Byzantine and Mannerist style. He did portraits. He prefigured the Baroque style of the 17th century with his use of movement and light. With El Greco we end the 16th century.

Plan II Gesu by Giacoma da Vignola, 1568, Rome, Italy, Mannerism

The term baroque was termed by 19th century historians. The 17th century is associated with the Baroque style. The transformation from Mannerism to Baroque takes place in Rome. He was a North Italian architect. This is the most influential church plan during this period of the counter reformation. It would become "the Baroque plan" for large churches.

The Facade of II Gesu by Giacomo della Porta, 1575 - 1584, Rome, Italy, Mannerism
His facade is a skillful blending of already existing motifs. Make sure you can distinguish it from the next image.

Santa Susanna by Carlo Maderno, 1597 - 1603, Rome, Italy, Baroque

The first true baroque facade in Rome.

St. Peters Vatican by Gianlorenzo Bernini, 1626, Rome, Italy, Baroque

A gigantic expansion with the elements we've just seen in Santa Susanna. The design of st. Peters had engaged all the leading architects of the Renaissance and Baroque periods.

David by Gianlorenzo Bernini, 1623, Rome, Italy, Baroque

Bernini was the undisputed king of the Roman High Baroque. One of the most influential artists in Europe in the 17th century. He was an architect, painter, sculptor, composer, etc. No sculptor until the early 20th century was entirely able to escape his influence. Bernini captures the precise moment when David is about to launch the stone. Movement is a characteristic of the Baroque. He gives us a David with complete physical and psychological reality through David's expression.

Apollo and Daphne by Gianlorenzo Bernini, 1622 - 1624, Rome, Italy, Baroque
He focuses on texture.

Cornaro Chapel, Sta. Maria della Vittoria by Gianlorenzo Bernini, 1626, Rome, Italy, Baroque
Bernini designed the entire Cornaro Chapel.

S. Theresa by Gianlorenzo Bernini, 1645, Rome, Italy, Baroque

This is an extraordinary demonstration of the experience of divine love. There is a real light coming from a hidden window. The light changes and animates the sculpture.

Fountain of the Four Rivers by Gianlorenzo Bernini, 1648 - 1651, Rome, Italy, Baroque
He was one of the most inventive and widely imitated designers in this field of fountain design. This was the most spectacular of the day.

Cathedra Petri by Gianlorenzo Bernini, 1657- 1666, Rome, Italy, Baroque

His first commission called for a large bronze baldacchino under the great dome in St. Peter's.

The Enclosure of the Entire Pietza in front of St. Peter's by Bernini, 1656, Rome, Italy, Baroque
While Bernini's sculpture expresses the Baroque style, as an architect he remains relatively conservative with austere simplicity. His largest and most impressive single project. It's a symbol of welcome. Bernini was one of the most brilliant and imaginative artists of the Baroque period. He was the originator of the style, and probably it's most characteristic and sustaining spirit. In 1665, the Sun King, Louis XIV summons Bernini to Paris. Bernini goes. He's ask to complete the Louvre. The Italian Baroque is exuberant and the French is restrained.

Interior of the Plan of San Carlo by Francesco Borromini, 1638 - 1641, Rome, Italy, Baroque
* Borromini is the counterpart to Bernini. San Carlo was small in scale but not in importance. It was widely copied throughout Europe. This is typical of Borromini's very sculptural style. Borromini raised the Baroque style in Italy to new heights, more than Bernini could do.

Saint Ivo by Francesco Borromini, 1642, Rome, Italy, Baroque

It's a much larger scale project. A concave facade. Few architects have matched his ability to translate extremely complicated designs into such masterly unified cohesive structures.

Palazzo Carignano by Guarino Guarini, 1679 1692, Turin, Italy, Baroque

The heir to Bernini's style is Guarino Guarini. He creates his own brilliant new architectural style. Here he does something else we have not seen. He uses a new type of brick architecture that resulted from its feelings for the material. He did not mask the brick with stucco. He is so enamored with the quality of the brick, that he uses only brick or terracotta.

Palazzo Farnese by Annibale Carracci, 15971601, Rome, Italy, Baroque

The three Carracci brothers were important. It is historically the most important. Annibale is the most important and gifted of his family members. In Bologna, in the 1580s, all three of them were vital in the new type of Renaissance. This academy of art is the first significant institution of its kind in the history of western art. It was found on the premise that art can be taught. Learning anatomy was essential.

Triumph of Bacchus and Ariadne by Annibale Carracci, 1597- 1601, Rome, Italy, Baroque
His most notable work is his decoration of the Palazzo Farnese gallery. A simulation of easel painting for ceiling design is known as quadro riportato. The interest in illusion continued into the 17th century.

Aurora by Guido Reni, 1613 -14, Bologna, Italy, Baroque

This was a masterpiece of the age, and the Baroque style.

Aurora by II Guercino, 1621 - 1623, Bologna, Italy, Baroque

II Guercino is the final Bolognese painter of the early Baroque painters. He is the first to apply to the lessons of quadro riportato and Barromini. The grace and opulence of his story, the rich coloring, places him a class apart from Ariadne and Reni. He provided a new enthusiasm.

Conversion of St. Paul, Caravaggio, 1601, Rome, Italy, Baroque

One of the real giants is Caravaggio. He goes out of his way to shock conventional people. He abandons beauty and is just interested in depicting reality. He is the only one who attempts to imitate nature, as opposed to the others who attempt to imitate painters. Others didn't like Caravaggio at all, and called him the "anti-christ of painting." He played a tennis game and beats the guy to death. He dies of malaria at 37 years old. This style was made to revolutionize European art. He secularizes the work. He is trying to create a convincing copy of the optical world and makes it mean something. It's a vehicle for him to express his spiritual feelings. This first shocked and then fascinated his contemporaries. Carravaggio revolutionizes European painting.

Last Communion of S. Jerome by Domenichino, 1614, Bologna, Italy, Baroque

His work reminds of us Caravaggio. Van Rembrandt and Volquez were two great painters.

Judith and Maidservant with the Head of the Holofernes by Artemisia Gentileschi, 1625, Rome, Italy, Baroque
She was over looked, but is gaining popularity since the last 40 years. She uses Caravaggio's style. She uses the dark element. This picture is about murder.

Flight into Egypt by Annibale Carracci, 1603 - 1604, Rome, Italy, Baroque
While the Carracci and Caravaggio powerfully influenced the art of figure painting for 200 years, it was Carracci who largely determined the dominant course overtaken by landscape painting. Annibale Carracci elevates the landscape theme to importance. He develops a new type of landscape painting. This landscape is based on a real landscape outside Rome itself. Carracci creates the new approach, the ideal or classical landscape, which would be adopted and developed in France. Now in the 17th century, landscape comes fully into its own, as a major subject for artists. It's Carracci that does it.

The Finding of Moses by Salvator Rosa, 1640, Rome, Italy, Baroque

He presents us with nature in a violent mood.

Glorification of St. Ignatius by Andrea Pozzo, 1691 - 1694, Rome, Italy, Baroque
It's quadro riportato. It's seen as a view into heaven, you just go up and up and up.

Martyrdom of St. Bartholomew by Jusepe (Jose) de Ribera, 1639, Italy (Spanish Control), Baroque
The great creative development of Spanish painting in the 17th century, owed little or nothing to El Greco's style. One of the earliest of the 17th century Spanish artists to work in the Baroque style. He presents probably the most important link between Spain and Italy. He visited Italy shortly after 1610. He presents the most important link between Spain and Italy. Caravaggio's followers are known as tenebrists, or shadowy ones. The harsh reality of this scene is a precursor to some of the most powerful Spanish art of the later periods. Ex: the realism of Goya. Such frank realism is Spain's greatest contribution to European art.

St. Francis by Francisco de Zurbaran, 1639, Spain, Baroque

The saint suffered martyrdom while preaching the Gospel to Muslims.

Los Borrachos by Diego Rodriques de Silva y Velazquez, 1628, Spain, Baroque

Velazquez is universally accepted and recognized to be the supreme native master of painting in Spain before Goya. Velaquez found the academic styles of Baroque Italy pretentious.

Ladies in Waiting (Les Meninas) by Velazquez, 1656, Spain, Realism

10x9 feet work. He had a great understanding of light. Velazquez doesn't believe in line, because nature doesn't have lines. He creates visual realism by using spots of light and color for illusionism of form. His style is more accurate. He has subtle degradations of tone, which is gray scale. In 1658, there was the order of Santiago.

Elevation of the Cross by Peter Paul Rubens, 1610, Belgium, Baroque

In Flanders, he had the stylistic authority similar to Michelangelo in Italy. He surpassed Bernini in contemporary Italy. He's German by birth, and spoke six modern languages. Probably the most learned artist of his day. Through wide travels and diplomatic servants, he establishes relations with kings and aristocracy. In 1600, he goes to Italy and influences Caravaggio, who also influences him. He remains in Italy for eight years. He was an adopted Italian. Rubens is a draftsman, who draws a lot.

Arrival of Marie de Medici at Marseilles by Peter Paul Rubens, 1622 - 1625, France, Baroque
In 1621 - 1625, he carries out a commission from Maria de Medici (queen of France, widow of Henry IV.)

Tiger Hunt by Peter Paul Rubens, 1620, France, Baroque

This reminds us of George Stubbs in the 18th century.

The Three Graces by Peter Paul Rubens, 1638 - 1640, Spain, Baroque
If Rubens had one general theme, it would be the human body. Rubens celebrates cellulite.

Consequences of War by Peter Paul Rubens, 1638 - 1639, Italy, Baroque

Ruben promoted peace throughout his entire career. This painting reflected his attitude about the Thirty Years War.

Charles I Dismounted by Anthony Van Dyck, 1635, England, Baroque

He is an accomplished painter in his teens. His extreme sensitivity to color and shape separates him from other artists. Charles I looks better in this picture than in real life. The most impressive of all official portraits. Van Dyck set the tone for portraits in England for more than 100 years. His style is that of Baroque flanders.

Supper Party by Gerrit Van Honthorst, 1620, Netherlands, Baroque

The Dutch and Flemish are separate people. They are two such opposite artistic cultures that flourished. The Dutch were protestants, and the Flemish who were Catholics. Holland was Calvinist which was separate from the rest of the European scene. The artist was for the first time in recorded history was thrown into the open market. Holland was extremely prosperous despite all the wars.

Supper Party by Gerrit Van Honthorst, 1620, Netherlands, Barqoue

There was no monarch or aristocracy in Holland. Calvinism opposed religious imagery. The artist was thrown on his or her own in the open market, which had an enormous positive effect on Dutch artists. They met the high demand with high quality, and only in ancient Athens or Florence was it like this. In Holland, there are no large pictures, only living room size. No images of saints or royal power. Classical mythologies are rare. We're never shown factories or shops. Instead we have images of leisure time, activity, and enjoyment. Caravaggio sparked the realism in Dutch art. Dutch art realism is made up of the old tradition and the new realism of light and dark, brought to Holland who had been to Italy and fell under the spell of Caravaggio. Only three Dutch masters are: Frans Hals, Van Rembrandt, and Jan Vermeer.

Self Portrait by Judith Leyster, 1630, Netherlands, Baroque

Leyster told us a lot about herself through her self portrait. She produced still lifes, floral pieces, self portraits, and other paintings.

Laughing Cavalier by Frans Hals, 1624, Netherlands, Baroque

He was the leading painter of the Haarlem school.

Malle Babbe by Frans Hals, 1629, Netherlands, Baroque

He presents us with this tremendous illusion of life.

Anatomy Lesson of Dr. Tulp by Rembrandt Van Rijn, 1632, Netherlands, Baroque
Greatest Dutch master and one of the supreme geniuses in the history of western art. He's under two combined influences: Caravaggio, and another anatomy picture.

The Company of Captain Frans Banning Cocq (Night Watch) by Rembrandt Van Rijn, 1642, Netherlands, Baroque
The painting is not of a nocturnal scene. They cropped the painting on all sides. The artist managed to paint the three most important stages of using a musket.

Self-portrait by Rembrandt Van Rijn, 1659- 1660, Netherlands, Baroque

The Baroque period was the time of self-portraits. Raphael influenced Rembrandt.

Self-portrait by Rembrandt Van Rijn, 1669, Netherlands, Baroque

It lacks idealization. It's realistic.

Three Trees by Rembrandt, 1643, Netherlands, Baroque

Rembrandt was the greatest etcher who ever lived. No enthusiasm could possibly overstate the sheer force implicit in these visual conceptions of his. Rembrandt takes natural forms and turns them into perfect artistic expression.

Return of the Prodigal Son by Rembrandt Van Rijn, 1665, Netherlands, Baroque
Despite the Calvinism in Holland, Rembrandt still made religious paintings and prints. He had a special interest in probing the states of the human soul.

Young Woman with a Water Jug by Vermeer, 1660, Netherlands, Baroque

They're known as the little Dutch masters of the 17th century because they painted on small scale. He transforms it into more than what it is. He is considered one of the best Dutch painters, only second to Rembrandt. He's far ahead of his time when it comes to color. Find out what circles of confusion have to do with Vermeer in the textbook.

Girl with Turban by Jan Vermeer, 1660 - 1665, Netherlands, Baroque

The foremost Dutch painter of interior scenes was Jan Vermeer. He made most of his income by being an innkeeper and art dealer.

Still Life with a Late Ming Ginger Jar by Willem Kalf, 1669, Netherlands, Baroque
His interest in light is scientific and poetic. Like Vermeer, he is a specialist in observing.

View of Haarlem from the Dunes at Overveen by Jacob Van Ruisdael, 1670, Netherlands, Baroque
He was a landscape painter in Haarlem. He created a quiet serenity that becomes almost spiritual.

Adoration of the Shepherds by Georges De La Tour, 1645 - 1650, France, Baroque

The most classical painter of the 17 century is Nicolas Pusant. He remains indifferent to Italian Baroque art. Paris begins to place Rome as the artistic center of Europe during the 72 year rein of Louis XIV, or the "sun king." The severe classical attitude so admired in France is very exceptional in the Baroque age. Classicism came to be thought of as a standard in France. During the rate of Louis XIV, the French art academy was established to standardize style in all the arts. La Tour is the first important French painter of the 17th century. La Tour preferred night scenes. Several apparently contradictory elements meet in his work. There is a classical composure, fervent spirituality, and a degree of realism.

Family of the Peasant Family (Country People) by Louis Le Nain, 1640, France, Baroque
Le Nain paints this family with a cool stillness.

Hanging Tree by Jacques Callot, 1629 1633, France, Baroque

At the beginning of the 17th century, etching burst into popularity. He is one of the greatest print makers of all time. He creates more than 14,000 etchings. It reflects the turbulent time when he lived. Callot is unique for his time because he rose above national prejudice. He's depicting its universal devastation instead. First print maker before Rembrandt to acquire a national reputation.

Cephalus and Aurora by Poussin, 1630, France, Baroque

The first French painter in history to win international fame.

The Rape of the Sabines by Poussin, 1636 - 1637, France, Baroque

Raphael is his source of inspiration,.

Pastoral by Claude Lorraine, 1640s, France, Baroque

He avoids noon or any bright contrast of light. While he is working in the great tradition of classical landscape, he actually studies light. He studies light the way the impressionists had. He makes a unique contribution to landscape painting.

Orlean's Wing of the Chateau du Blois by 1635 - 1638, France, Baroque

The true contributions can be found in the secular sphere of Baroque art. France maintained a cautious view of Italian Baroque. These became the hallmarks of French Baroque architecture.

East Facade of the Louvre by Claude Perrault, Louis Le Vau, and Charles Le Brun, 1667 1670, France, Baroque
Louis XIV insisted that Bernini come to Paris. Bernini's plan was rejected on practical grounds. It was incompatible with French taste. This is so classical that it has little connection with anything in France, it was original. The design is a brilliant adjustment of French and classical Italian elements.

Versailles (Aerial View) by Charles Le Brun, 1669, France, Baroque

Charles Le Brun is the director of the academy. Greatest architectural design of the age.

Hall of Mirrors by Jules Hardouin-Mansart and Charles Le Brun, 1680, France, Baroque
Influences from Michalengelo, but also figured out the facial emotions by himself

Milo of Crotona by Pierre Puget, 1671 1682, France, Baroque

There is brutal realism. Puget was the most original French sculptor of the day, but he never found acceptance at the French court because he was too Italian.

Apollo Attended by the Nymphs by Francois Girardon and Thomas Regnaudin, 1666 - 1672, France, Baroque
He was responsible for a new type of Free standing Tomb

Banqueting House at Whitehall by Inigo Jones, 1619 - 1622, England, Italian Renaissance (Palladian)
Under the Stewarts, English architecture enters a new period of productivity. Inigo Jones is the driving force in this. The style he brings back to England is pure Palladianism. It was built for James I. It does not reproduce any specific work by Andrea Palladio. It just reflects his architectural vocabulary. Chronologically it is Baroque, but not stylistically.

Saint Paul's Cathedral by Sir Christopher Wren, 1675 - 1710, England, Baroque
There was the great London fire of 1666 which destroyed most of the city. He was an Oxford teacher. Almost every church in the city of London was built in a Wren design after the great fire. Wren's design served as a prototype for later buildings in England and Colonial America.