Romanticism

Baron Antoine-Jean Gros (1804 A.D.)

Napoleon Bonaparte Visiting the Plague-Stricken in Jaffa

Oil on canvas

  This romanticized depiction of Napoleon's visit to plague victims in Jaffa is typical of the period's devotion to classical works and biblical symbolism. Napoleon reaches out in a Christ-like manner--that of miraculous healing--to touch the wounds of one sufferer while others lay contorted, stretched upon the floor. Gros includes a sick man propped up close to Napoleon as another depiction of Christ, reminiscent of classical renderings from crucifixion scenes. The placement of classical architecture--such as the Egyptian style arch in the left portion of the piece--is a notable element of the Romantic style of painting. Gros' use of rich color palettes and soft brush strokes are utilized by many of his contemporary Romanticists as well.

Enlightenment style

John Singleton Copley (1768-1770 A.D.)

Portrait of Paul Revere

Oil on canvas

  Copley demonstrates his skill in portraiture with this lifelike depiction of Revere at work as a silversmith. Great attention to minute detail, such as the reflection on the tabletop and texture of clothes, exemplifies his work. Like his contemporary Joseph Wright of Derby, Copley utilized a dark shadowy background to highlight the subject, who seemed bathed in a soft, natural light. This use of sharp focus and relaxed subjects is typical of the Enlightenment style during the 18th century.

Rococo style

Antoine Watteau (1717 A.D.)

Pilgrimage to Cythera

Oil on canvas

    Watteu is known as one of the leading French artists of the Rococo period. He is recognized as the creator of a type of painting known as the fete galante (amorous festival) of which this piece exemplifies. The fete galante is characterized by the outdoor festivities or entertainment of noble individuals and members of high-society. Watteu was also influenced by the bright, prominent use of color associated with Rubens' works. He was influential in establishing Rococo as a prominent style during the 18th century, and worked for many wealthy patrons of the time. Like other works of the Rococo period Pilgrimage to Cythera features elaborate decorations and presents a cheery, picturesque scene.

Northern Baroque Art Pt. 2

Peter Claesz (1630s A.D.)

Vanitas Still Life

Oil on panel

  Claesz's Vanitas Still Life is a prime example of the symbolism which Baroque artists sought to subtly include in their works. The exposed time piece--which scientifically details the inner workings of the item, the cracked nut, tipped glass, and skull are all symbols of life's temporality. Claesz displays his mastery of perception by including himself and the interior of the room as a reflection in the convex ball on the table.

Northern Baroque Art Pt. 1

Peter Paul Rubens (1622-1625 A.D.)

Arrival of Marie de’ Medici at Marseilles 

Oil on canvas

  This piece by Rubens captures the welcoming of Marie de' Medici to Marseilles by a congregation of people and soldiers. Neptune, his three daughters, and other figures look on from the bottom half of the piece. Rubens attempts to portray weighty, muscular figures whose skin or clothes hang and fold in realistic fashion. The cluttered and frenzied action in the piece is separated from and and surrounds the quiet regal quality of Marie de' Medici with her retainers near the center of the piece. The background is smoky and indistinct, but gives an impression of a ship's mast and rigging. The splashing characters in the foreground support the impression of a waterfront setting.

Baroque painting

Artemisia Gentileschi (1614-1620 A.D.)

Judith Slaying Holofernes

Oil on canvas

  Artemisia Gentileschi was one of the most renowned female artists of the Baroque era. She was the daughter of Orazio Gentileschi, another well known Baroque painter, and both were heavily influenced by the realistic naturalism and drama of Caravaggio's work. Artemisia eventually became court painter for Charles I under the patronage of the powerful Medici family. In this painting, Artemisia utilizes the characteristic chiaroscuro technique along with dramatic lighting to highlight the figures depicted. The dark subject matter--another trait of Caravaggio's work, depicts a biblical scene in which Judith and her handmaiden cut the throat of the Assyrian general Holofernes. The spurting blood and strained postures, or expressions, depict a starkly realistic struggle between the figures.

Baroque sculpture

Gianlorenzo Bernini (1623 A.D.)

David

Marble

  Bernini was a master of both architecture and sculpture in the 17th century. In the words of Filippo Baldinucci, "He gave his works a marvelous softness . . . making the marble, so to say, flexible." This is apparent in the textural and visual distinction Bernini creates between his figure's skin, clothing, and miscellaneous items. This piece is heavily influenced by classical renditions of David, such as Michelangelo's and Donatello's, however it is distinct because of its depiction at the height of climactic action in David's battle against Goliath. Instead of standing poised for a fight, or as the arrogant victor; Bernini presents us with a violent and distracted figure of David which is distinct of the Baroque style--serving to break away from Renaissance-era ideas about restraint and modesty. With its unrestrained action and dynamic representation this piece is especially successful as a free standing piece of art.