Art History II
by Lumen Learning
- Subjects
- Humanities, Art
- Licence
- CC BY-NC-SA 4.0, as LibreTexts states it. Non-commercial use only.
- Who can read
- Tweens profiles and older, judged from its title and subjects
Contents
LibreTexts writes equations in TeX, and here they show as TeX; the PDF has them typeset.
- Front Matter
- TitlePage
- InfoPage
- Table of Contents
- Licensing
- 1: Introduction
- 1.1: Overview
- 1.2: Key Learning Items
- 1.3: What is Art? Form and Content
- 1.4: The Skill of Describing
- 1.5: Art as Concept
- 1.6: Art and Context
- 1.7: Representation and Abstraction
- 1.8: Why Is That Important?
- 1.9: Why Is This Art?
- 1.10: Interpreting Contemporary Art
- 1.11: Iconographic Analysis- Understanding Iconography
- 1.12: Formal Analysis- Understanding Visual Form
- 1.13: Art History Terms
- 1.14: External Resources
- 2: Proto-Renaissance (1300–1400)
- 2.1: Overview
- 2.2: Key Learning Items
- 2.3: Cimabue
- 2.4: Giotto’s Arena Chapel
- 2.5: Ognissanti Madonna
- 2.6: Duccio, Maesta
- 2.7: Lorenzetti’s Palazzo Pubblico Frescos
- 2.8: Simone Martini’s Annunciation
- 2.9: External Resources
- 3: 1400–1500—Art in Northern Europe
- 3.1: Overview
- 3.2: Key Learning Items
- 3.3: Introduction to the Renaissance in Italy and the North
- 3.4: Sluter’s Well of Moses
- 3.5: Holy Thorn Reliquary
- 3.6: Introduction to Flanders
- 3.7: Campin’s Merode Altarpiece
- 3.8: Jan van Eyck’s Ghent Altarpiece
- 3.9: Arnolfini Portrait
- 3.10: Hugo van der Goes
- 3.11: Van der Weyden’s Deposition
- 3.12: The Unicorn in Captivity
- 3.13: External Resources
- 4: 1400–1500—Art in Italy
- 4.1: Overview
- 4.2: External Resources
- 4.3: Key Learning Items
- 4.4: Florence in the Early Renaissance
- 4.5: Orsanmichele
- 4.6: Bruelleschi and Ghiberti, The Sacrifice of Isaac
- 4.7: Linear Perspective
- 4.8: Early Applications of Linear Perspective
- 4.9: Donatello’s Works
- 4.10: Contrapposto
- 4.11: Masaccio’s Tribute Money
- 4.12: Masaccio’s Holy Trinity
- 4.13: Fra Angelico’s The Annunciation
- 4.14: Fra Filippo Lippi
- 4.15: Piero della Francesca’s Portraits of the Duke and Duchess of Urbino
- 4.16: Botticelli’s Birth of Venus
- 4.17: Alberti
- 4.18: Introduction to Venice
- 4.19: Bellini’s St. Francis
- 4.20: Mantegna’s Works
- 5: 1500–1600—High Renaissance and Mannerism in Italy
- 5.1: Overview
- 5.2: Saint Peter’s Basilica
- 5.3: Introduction to Venetian Painting
- 5.4: Giorgione, The Tempest
- 5.5: Bellini and Titian, Feast of the Gods
- 5.6: Titian, Bacchus and Ariadne
- 5.7: Titian, Madonna of the Pesaro Family
- 5.8: Titian, Venus of Urbino
- 5.9: Veronese, Feast in the House of Levi
- 5.10: Tintoretto, The Origin of the Milky Way
- 5.11: Introduction to Mannerism
- 5.12: Key Learning Items
- 5.13: Parmigianino’s Madonna of the Long Neck
- 5.14: Bronzino and the Mannerist Portrait
- 5.15: El Greco’s Adoration of the Shepherds
- 5.16: External Resources
- 5.17: Art and Science in the Renaissance
- 5.18: Toward the High Renaissance
- 5.19: Leonardo da Vinci Introduced
- 5.20: Virgin of the Rocks
- 5.21: The Last Supper
- 5.22: Mona Lisa
- 5.23: Michelangelo Introduced
- 5.24: Pietà
- 5.25: David
- 5.26: Moses
- 5.27: Sistine Chapel Ceiling
- 5.28: Sistine Chapel- Last Judgment
- 5.29: Marriage of the Virgin
- 5.30: Madonna of the Goldfinch
- 5.31: School of Athens
- 5.32: Alba Madonna
- 5.33: Tempietto
- 6: 1500–1600—The Age of Reformation- Northern Renaissance Art
- 6.1: Overview
- 6.2: Key Learning Items
- 6.3: Introduction to the Protestant Reformation
- 6.4: Dürer’s Four Apostles
- 6.5: Self-Portrait 1498
- 6.6: Self-Portrait 1500
- 6.7: What Is a Print?
- 6.8: Dürer’s Prints
- 6.9: Bosch’s Last Judgment
- 6.10: Altdorfer’s Battle of Issus
- 6.11: Cranach’s Adam and Eve
- 6.12: Cranach’s Wittenberg Altarpiece
- 6.13: Holbein’s The Ambassadors
- 6.14: Portrait of Henry the VIII
- 6.15: Bruegel’s The Dutch Proverbs
- 6.16: External Resources
- 7: 1600–1700—Baroque Art in Italy
- 7.1: Overview
- 7.2: Key Learning Items
- 7.3: Introduction to the Baroque
- 7.4: Baroque Art in Italy
- 7.5: Bernini’s David
- 7.6: Bernini’s St. Peter’s Square
- 7.7: Bernini’s Ecstasy of St. Teresa
- 7.8: Borromini’s San Carlo alle Quattro Fontane
- 7.9: Coffered Dome Explained
- 7.10: Caravaggio’s Deposition
- 7.11: Caravaggio’s Calling of St. Matthew
- 7.12: Caravaggio and His Followers
- 7.13: Il Gesu, Rome
- 7.14: Gentileschi
- 7.15: Carracci’s Ceiling of the Farnese Palace
- 7.16: Quadro Riportato Explained
- 7.17: External Resources
- 8: 1600–1700—Baroque Art in Flanders, Dutch Republic, Spain and France
- 8.1: Overview
- 8.2: Louis XIV and Versailles
- 8.3: Poussin, Landscape with St. John
- 8.4: Le Nain, Peasant Family in an Interior
- 8.5: External Resources
- 8.6: Key Learning Items
- 8.7: Baroque Terms Explained
- 8.8: Rubens, Elevation of the Cross
- 8.9: Rubens, Arrival of Marie de Medici
- 8.10: Rubens, The Consequences of War
- 8.11: Vermeer, Young Woman with a Water Pitcher
- 8.12: Vermeer, The Glass of Wine
- 8.13: Vermeer and the Camera Obscura
- 8.14: Rembrandt, Bathsheba at her Bath
- 8.15: Rembrandt, The Three Crosses
- 8.16: Rembrandt’s Self-Portraits
- 8.17: Hal’s Singing Boy with Flute
- 8.18: Hal’s Malle Babbe
- 8.19: van Huysum, Vase with Flowers
- 8.20: Vanitas Painting Explained
- 8.21: Dutch Genre Painting Explained
- 8.22: Las Meninas
- 8.23: Los Borrachos
- 9: 1700–1800—The Age of Enlightenment
- 9.1: Overview
- 9.2: External Resources
- 9.3: Key Learning Items
- 9.4: Age of Enlightenment
- 9.5: **Rococo Explained
- 9.6: Fragonard’s The Swing
- 9.7: Boucher’s Madame de Pompadour
- 9.8: Vigee Le Brun’s Madame Perregaux
- 9.9: Introduction to Neo-Classicism
- 9.10: David’s Oath of the Horatii
- 9.11: David’s Death of Marat
- 9.12: David’s Napoleon Crossing the Alps
- 9.13: Antonio Canova
- 9.14: Benjamin West
- 9.15: Sir Joshua Reynolds
- 9.16: William Hogarth
- 9.17: John Singleton Copley
- 9.18: Copley’s Watson and the Shark
- 9.19: Charles Wilson Peale
- 9.20: Gilbert Stuart
- 10: 1800–1848—Industrial Revolution Part I
- 10.1: Overview
- 10.2: Hudson River School
- 10.3: The Oxbow
- 10.4: Portrait of a Young Woman
- 10.5: External Resources
- 10.6: Key Learning Items
- 10.7: Introduction to Romanticism
- 10.8: Liberty Leading the People
- 10.9: Scene of the Massacre at Chios
- 10.10: Death of Sardanapalus
- 10.11: Understanding Delacroix’s Painterly Techniques
- 10.12: Napoleon Bonaparte Visiting the Plague-Stricken in Jaffa
- 10.13: Raft of the Medusa
- 10.14: Portraits of the Insane
- 10.15: Apotheosis of Homer
- 10.16: Madame Riviere
- 10.17: Grand Odalisque
- 10.18: Princesse de Broglie
- 10.19: Third of May, 1808
- 10.20: Sleep of Reason Produces Monsters
- 10.21: Saturn Devouring One of His Sons
- 10.22: Constable, The Haywain
- 10.23: Turner, Slave Ship
- 11: 1848–1907—Industrial Revolution Part II
- 11.1: Overview
- 11.2: Caillebotte, Paris Street; Rainy Day
- 11.3: Cassatt, In the Loge
- 11.4: Cassatt, The Child’s Bath
- 11.5: Morisot, The Mother and Sister of the Artist
- 11.6: Renoir, Moulin de la Galette
- 11.7: Post-Impressionism Explained
- 11.8: Seurat, La Grande Jatte
- 11.9: Van Gogh, Self-Portrait Dedicated to Paul Gauguin
- 11.10: Van Gogh, The Bedroom
- 11.11: Van Gogh, Self-Portrait with Bandaged Ear
- 11.12: Key Learning Items
- 11.13: Cezanne, Basket of Apples
- 11.14: Cezanne, The Large Bathers
- 11.15: Gauguin, Vision After the Sermon
- 11.16: Gauguin, Spirit of the Dead Watching
- 11.17: Toulouse-Lautrec, At the Moulin Rouge
- 11.18: Gaudi, Sagrada Familia
- 11.19: Fin-de-siecle Explained
- 11.20: Klimt, The Kiss
- 11.21: Munch, The Storm
- 11.22: Rodin, Gates of Hell
- 11.23: Becoming Modern
- 11.24: Emanuel Leutze, Washington Crossing the Delaware
- 11.25: Eakins, The Gross Clinic
- 11.26: Homer, The Life Line
- 11.27: John Singer Sargent, Madame X
- 11.28: Whistler, Nocturne in Black and Gold
- 11.29: External Resources
- 11.30: Introduction to Early Photography
- 11.31: Louis Daguerre
- 11.32: Timothy O’Sullivan
- 11.33: Introduction to Realism
- 11.34: Courbet, The Stone Breakers
- 11.35: Bonheur, Plowing in the Nivernais
- 11.36: Millet, The Gleaners
- 11.37: Degas, The Dance Class
- 11.38: Degas, At the Races in the Countryside
- 11.39: Manet, Luncheon on the Grass (Le Dejeuner sur l’herbe)
- 11.40: Manet, Olympia
- 11.41: Manet, A Bar at the Folies-Bergere
- 11.42: Garnier, Paris Opera
- 11.43: Introduction to Impressionism
- 11.44: Monet, Gare St. Lazare
- 11.45: Monet, Rouen Cathedral Series
- 12: 1907–1960—Age of Global Conflict Part I
- 12.1: Overview
- 12.2: Duchamp, In Advance of the Broken Arm
- 12.3: Duchamp, Fountain
- 12.4: Duchamp, The Red Box
- 12.5: Arp, Untitled
- 12.6: Hoch, Cut with the Kitchen Knife
- 12.7: Klee, Twittering Machine
- 12.8: An Introduction to Futurism
- 12.9: Three Futurists
- 12.10: Malevich
- 12.11: Mondrian, Composition No. II
- 12.12: Key Learning Items
- 12.13: Modigliani, Young Woman in a Shirt
- 12.14: Otto Dix
- 12.15: Feininger, Cathedral
- 12.16: Maholy-Nagy
- 12.17: External Resources
- 12.18: Introduction to Fauvism
- 12.19: Matisse, Bonheur de Vivre
- 12.20: Matisse, The Red Studio
- 12.21: Matisse, The Piano Lesson
- 12.22: Kirchner, Street, Dresden
- 12.23: Kandinsky, Composition VII
- 12.24: Schiele, Seated Male Nude
- 12.25: Picasso, Still Life with Chair Caning
- 12.26: Picasso’s Early Works
- 12.27: Picasso, Portrait of Gertrude Stein
- 12.28: Picasso, Les Demoiselles d’Avignon
- 12.29: Picasso, The Reservoir
- 12.30: Picasso, Guitar
- 12.31: ** Picasso, Guernica
- 12.32: Braque, The Portuguese
- 12.33: Braque, The Viaduct at L’Estaque
- 12.34: Duchamp and the Ready-Mades
- 13: 1907–1960—Age of Global Conflict Part II
- 13.1: Overview
- 13.2: ** Rothko’s Painting Technique
- 13.3: Newman, Onement 1
- 13.4: ** Newman’s Painting Technique
- 13.5: de Kooning, Woman I
- 13.6: Robert Motherwell
- 13.7: Jasper Johns
- 13.8: Rauschenberg
- 13.9: Reinhardt
- 13.10: Introduction to Photography
- 13.11: Cartier-Bresson
- 13.12: Key Learning Items
- 13.13: Brancusi, Bird in Space
- 13.14: Gilbert, Woolworth Building
- 13.15: Frank Lloyd Wright, Guggenheim Museum
- 13.16: Mies van der Rohe, Seagram Building
- 13.17: External Resources
- 13.18: Man Ray, The Gift
- 13.19: Giacometti, The Palace at 4 a.m.
- 13.20: Giacometti, The City Square
- 13.21: Magritte, The Treachery of Images
- 13.22: Dali, The Persistence of Memory
- 13.23: Dali, Metamorphosis of Narcissus
- 13.24: ** House of Art
- 13.25: George Bellows
- 13.26: Grant Wood, American Gothic
- 13.27: Georgia O’Keeffe
- 13.28: Edward Hopper, Nighthawks
- 13.29: Frida Kahlo and Diego Rivera
- 13.30: Origins of Abstract Expressionism
- 13.31: Impact of Abstract Expressionism
- 13.32: Pollock, One- Number 31, 1950
- 13.33: ** Pollock’s Painting Techniques
- 13.34: Rothko, No. 3/No. 13
- 14: 1960–Now—Age of Post-Colonialism Part I
- 14.1: Overview
- 14.2: Robert Morris
- 14.3: Eva Hesse, Untitled
- 14.4: Eva Hesse, Untitled (Rope Piece)
- 14.5: Chicago and Benglis
- 14.6: Introduction to Performance Art
- 14.7: Joseph Beuys, Fat Chair
- 14.8: Joseph Beuys, Table with Accumulator
- 14.9: External Resources
- 14.10: Key Learning Items
- 14.11: Introduction to Contemporary Art
- 14.12: Diane Arbus
- 14.13: Cindy Sherman
- 14.14: Sherrie Levine
- 14.15: Francis Bacon
- 14.16: Lucian Freud
- 14.17: Louise Bourgeois
- 14.18: Warhol, Gold Marilyn Monroe
- 14.19: Warhol, Campbell’s Soup Cans
- 14.20: Oldenburg, Floor Cake
- 14.21: ** Lichtenstein, Girl with Ball
- 14.22: Lichtenstein, Rouen Cathedral Set V
- 14.23: Ed and Nancy Kienholz
- 14.24: Richter, Uncle Rudi
- 14.25: Richter, The Cage Paintings
- 14.26: Donald Judd
- 14.27: Dan Flavin
- 15: 1960–Now—Age of Post-Colonialism Part II
- 15.1: Overview
- 15.2: Key Learning Items
- 15.3: Understanding Installation Art
- 15.4: Vito Acconci
- 15.5: John Baldessari
- 15.6: Hans Haacke
- 15.7: Mary Kelly
- 15.8: Robert Smithson
- 15.9: Bruce Nauman
- 15.10: Robert Colescott
- 15.11: Damien Hirst
- 15.12: Art in the Twenty-First Century
- 15.13: Ai Weiwei
- 15.14: External Resources
- Back Matter
- Index
- Glossary
- Glossary
- Detailed Licensing