Chapter 28- Impressionism, Post-Impressionism, Symbolism: Europe and America, 1870 to 1900

Rousseau's Sleeping Gypsy is simply otherworldly. The simplicity and inattention to detail makes the Impressionist painting doubly exotic and quixotic.

Henri Rousseau, Sleeping Gypsy, 1897. Oil on canvas. Impressionism (France).

The other favorite of mine from the chapter is also by Rousseau. The Dream has the same appeal of Sleeping Gypsy although, seemingly, with more detailing. The imagined exotic paradise, however, seems as though it could be an illustration of a real location.

Henri Rousseau, The Dream, 1910. Oil on Canvas. Impressionism (France)

Chapter 27- Romanticism, Realism, Photography: Europe and America, 1800-1870

 Goya's Saturn Devouring One of His Children, illustrates the most disturbing scene that I have seen in a painting thus far.  It is indeed horrific, but it is haunting as well, a trait that I consider to be an attribute of good art. It is a great image to view because of quality of humanistic expression; even if he hadn't have illustrated the bloody, decapitated corpse, the crazed eyes of Goya's Saturn hinted at the mythical being's savagery and insanity. The dark-colored, void backdrop of the painting further adds to the painting's moroseness, but it also gives it a kind of "transcendent" appearance. Every thing about the painting embodies the Romantic period that it is associated with.

Francisco Goya, Saturn Devouring One of His Children, 1819-1823. Fresco. Romanticism (Spain).

 One of the biggest reasons that Blake's Ancient of Days stood out to me was because of its close resemblance to the common illustration of the Egyptian "All-Seeing Eye" or, the "Eye of Horus". The angle created by the two rays of light extending from the Creator's thumb and fingers look to be the top of the (technically, incomplete) pyramid, which is often pictured below or contains the "Eye". The actual "Eye", seems to be formed by the sun and the clouds that surround it.

William Blake, Ancient of Days, 1794. Metal relief etching, hand colored. Romanticism (England)

One depiction of the "All-Seeing Eye" (compare with Blake's Ancient of Days)

Chapter 26- Rococo To Neoclassicism: The 18th Century In Europe And America

One of my favorite works in this chapter is The Swing by Fragonard. The setting for the painted scene is very jovial and utopian. The painting's characters -the eager suitor peeping underneath dress of the "unsuspecting" dame, the helpful attendant, and the stone cupid- though mischievous and racy, remain relaxed and serene.

Jean-Honoré Fragonard, The Swing. 1766. France. Rococo/ Neoclassicism.

Another of my favorites in this chapter is Joseph Wright of Derby's A Philosopher Giving a Lecture at the Orrery. I love the genuine interests that the depicted observers seem to have with the "cosmic" lesson presented before them. I also have an appreciation for the audience itself- particularly the artist's inclusion of the young children and the lone woman. That Wright included them seems to openly suggest that previous, adult-male monopoly on art and science is coming to an end; culture is becoming attainable for all.

Joseph Wright of Derby, A Philosopher Giving a Lecture at the Orrery. ca. 1763-1765. England. Rococo/Neoclassicism.

Chapter 25- The Baroque in Nothern Europe

Gerrit van Honthorst. Supper Party. 1620. Dutch Republic/Baroque.

I seem like Supper Party by Gerrit van Honthorst, not only because it is a well painted work, but it is a great storyteller as well. The chiaroscuro lighting was convincing in establishing the setting for the viewers. The painted characters, of course, help in displaying the intimacy of the event.



Judith Leyster's Self-Portrait is particularly refreshing to view. The painting shows the enjoyment that she has in her work, and in herself as an artist and as a person.

Judith Leyster. Self-Portrait. 1630. Dutch Republic/Baroque.

Chapter 24- The Baroque In Italy And Spain

  Gentileschi's Judith Slaying Holofernes depicts a somewhat disturbing scene in which the Israeli heroine Judith and a maidservant are pictured as being in the process of beheading the Assyrian-enemy's general. The illustration definitely corresponds with the Baroque art movement in that the scene is very nearly a stage performance, very dramatic and showy. I also feel that Gentileschi's preferred subject matter of the adventures of historic heroines was rather risky for a female artist, in a seemingly male dominated field, to market feminist-oriented artwork. Her boldness is admirable and honest; her artwork was made without an aim to placate or to appease others, but to reflect personal interests and character.

Artemisia Gentileschi, Judith Slaying Holofernes. ca 1614-1620. Baroque Italy

 Borromini's architectural work on the facade of San Carlo alle Quattro Fontaine is very creative and seems to be somewhat of an anachronism is the time period. It is reminiscent of a modern-day "fun house" often featured at most fairs, carnivals, and amusement parks. I especially like the way he defined the structure of the building to correspond with the city's street, making it evident that he derived at least some of his inspiration from his environment and combined this with whatever internal influence that played a role in the building's frontal construction.

Francesco Borromini, facade of San Carlo alle Quattro Fontane. 1638-1641. Baroque Italy

Chapter 23- High Renaissance And Mannerism In Northern Europe And Spain

Jan Gossaert, Neptune and Amphidrite, ca 1516. High Renaissance; Netherlands.

One element of this painting that I appreciate is Gossaert's concept of painting the figures that they so closely resemble free-standing statues standing in a room. His majestic subjects are full-figured, which I love because it seems to contrast so starkly with the modern West's idea of ideal male and female bodies . Another is his color choice. I find it interesting that Gossaert chose to use rather earthy tones amid the fact that his subjects are the mythological god, and goddess, of the sea. Nevertheless, it is evident that Gossaert illustrates his subjects' relationship with the vast sea by including the conch shell covering Neptune's genitals, and the shell atop Amphitrite's head.

El Greco, View of Toledo, ca.1619. High Renaissance/ Mannerist Art; Spain.

El Greco's View of Toledo is fantastic. By far, my favorite landscape painting out of all of the chapters we've studied so far. The chimerical depiction of the landscape, however "manneristic", has a somewhat realistic element to it. The clouds, for instance, seem to be very realistic in that they are not painted as isolated, rigid forms, but are represented as abstract and interconnecting wisps of white that fade into the blue of the sky.

Chapter 22- Renaissance and Mannerism in Cinquecento Italy (post 2)

Sofonisba Anguissola, Portrait of the Artist's Sisters and Brother, 1555. Renaissance Great Britain.

Anguissola's portrait of her siblings really stood out to me among the others. I especially love the adolescent animation and innocence of the painting. Her painting also seems to be one of the first that I've seen where the characters clearly have individualized features, even though it is just as evident− through their individual faces− that the children are related. I also liked that the painted siblings were not positioned in the typical, frontal positions, but each had different focal points where their eyes realistically corresponded with the direction that each was facing. The different positions, I believe, helped to further individualize the children.

Chapter 22- Renaissance and Mannerism in Cinquecento Italy (post 1)

The interior of San Giorgio Maggiore is magnificent. I adore the balcony that overlooks the nave, the soft white of the stone along with the large columns work together to give the interior architecture a regal and majestic atmosphere to the church.

Andrea Palladio, interior of San Giorgio Maggiore, begun 1566. Renaissance Italy.

Chapter 21-The Renaissance In Quattrocento Italy (post 2)

The ceiling of the Camera Picta is absolutely beautiful in its incorporation of nature and perspective. I also appreciate the fact that in addition to the naturalistic (the sky and the curvature of the people's bodies, for instance) approach, the artist also incorporated symbols belonging to the supernatural/mythological (angels and Juno's peacock) realms.

Andrea Mantegna, ceiling of the Camera Picta (Painted Chamber), 1465-1474. Renaissance Italy.

Chapter 21-The Renaissance In Quattrocento Italy (post 1)

One of my favorites from Chapter 21 is Madonna and Child with Angels by Fra Filippo Lippi. I really found the picture to be, aside from its spiritual elements, rather realistic. I actually like to look at it as two paintings: one is of Mary, Jesus, and the angels; the other is of the windowed landscape n behind the characters. Another interesting aspect of the painting actually comes, not from the painting itself, but from the possible inspirations Mary and Jesus; I find it quite interesting that the characters could possibly be portraits of the artist's mistress and their child.

Fra Filippo Lippi, Madonna and Child with Angels, ca 1460-1465. Renaissance

Chapter 20- Late Medieval and Early Renaissance Northen Europe (post 2)

Jan van Eyck, Giovanni Arnolfini and His Wife, 1434. Late Medieval/Early Renaissance.

Initially, this painting by Jan van Eyck, this painting neither excited me or bored me; it was just a painting of a patron and his wife. After class, however, Giovanni Arnolfini and His Wife suddenly became one of my favorite paintings featured in this chapter. My sudden interest occurred after I learned of all of the symbolism and subliminal, secular and religious, over/undertones in the painting. That no item in the painting was rendered insignificant or just simply there for "decoration" was extremely creative on the part of the artist.

Chapter 20- Late Medieval and Early Renaissance Northern Europe (post 1)

Hubert and Jan van Eyck, Ghent Alterpiece (open), 1432. Late Medieval/Early Renaissance.

The scene positioning featured in the Ghent Alterpiece is quite neat. I especially appreciate the way that the far-left and far-right scenes correspond with one another, despite the central scenes that creates the distance. I also am intrigued by the representation of Jesus' sacrifice- or maybe the Last Supper's "wine"- with the bleeding heart of the lamb into the chalice.

Hubert and Jan van Eyck, Ghent Alterpiece (closed), 1432. Late Medieval/Early Renaissance.

The life-like statues in the "closed" (above) are very dynamic. I also appreciate the tiny view of the city's horizon in the painting. It truly looks like the layout of an actual room. 

Chapter 14-Late Medieval Italy

Giotto di Bondone, Lamentation, ca. 1305. Late Medieval Italy.

I absolutely love the display of emotion in the Lamentation painting by Giotto di Bondone. It stood out to me because the visages of the figures featured in the painting not only indicate the recognition of  human feeling, but I believe that it successfully involves its viewers, technically making them witnesses to the scene.

Introduction- What is Art History?

Reading through the first chapter of the textbook, I will honestly say that I did not become genuinely interested in the content until I saw Georgia O'Keeffe's painting. The painting’s deep, rich color scheme is, all at once, attention-grabbing and calming. The shades of blue and green in reminded me of the colors that appear on a “mood ring” which often indicate that a person is relaxed and tension-free.

Georgia O'Keeffe's Jack-in-the-Pulpit, 1930. Modern/Contemporary.