Western Art II 1

Foundling Hospital, Filippo Brunelleschi, Florence, 1420, Architecture, Early Renaissance in Italy, silk and gold manufacturers commissioned this

Subject: it is an orphanage - promotes charity and contributes to buildings to take care of the unfortunate children

Form: row of arches (arcade) in the front, advertisement in roundels on arches with relief sculpture of babies - directly from ancient Rome, relief sculpture that has the image project from the wall, columns have capitals and bases, pediment, taking classical forms and making them decorative, Corinthian order for columns, symmetry and order are very balanced, module - basic unit of measure repeated throughout a structure to help determine major divisions and proportions of the building (cube for this building),

Function: first fully Italian Renaissance building, features both classical forms and a focus on modern values (math, precision)!! very humanist

Church of San Lorenzo, Filippo Brunelleschi, Florence, 1420, architecture, early Renaissance in Italy

Subject: church dedicated to Saint Laurence

Form: is a Basilica plan church, simple exterior, round arch windows in clerestory, formed after Old. St. Peters, rectangular layout with cross arm (transept), modular cube plan also used here, apse/sanctuary, nave, chapels on the side, side aisles, dome is created above the crossing by round arches all around, coffers on ceiling, large Corinthian columns, arcade on the inside, oculus as part of dome, beautiful painting within it, somewhat triumphal arch feeling - triumph of the church/Christianity,

Function: public religious building, wanted to go back to early church designs in Rome, scaled down from Gothic vertical growth to emphasis of human achievement with Christ

Gates of Paradise, Lorenzo Ghiberti, Baptistry of San Giovanni, Florence, 1420, sculpture, early Renaissance in Italy, commissioned by wool merchants guild

Subject: Florence Baptistry, doors that led into the building, “gates of paradise” show OT rebirth stories that have critical importance

Form: gold gilded, bronze large doors, deep relief and light relief to show closeness, square panels to show scenes, Ghiberti - growing awareness of artist’ impact on art and individuality (claiming the work with self portrait as a roundal)

Function: place for baptizing the faithful, important building, needed to be adorned

Jacob and Esau panel, Lorenzo Ghiberti, Baptistry of San Giovanni, Florence, 1420, sculpture, early Renaissance in Italy

Subject: Florence Baptistry, doors that led into the building, “gates of paradise” show OT rebirth stories that have critical importance, scene displayed is the story of Jacob and Esau

Form: deeper relief is closer to the present while the very light relief is the farthest moment in the past, lot of Roman architecture with rounded arches, pilaster columns (flat and square that projects slightly), capitals, and paneled floor to show depth, lot of folds in clothing like classical figures, movement back into space, conflated narrative - several different scenes are shown at the same time (7 separate events), moves back and forth from top left, to middle left moving right then moving to the bottom left and across the left, one point linear perspective used (mathematical equations to create lines that go back to one source to organize space symmetrically, orthogonals are the lines used to find vanishing point), humanist - vanishing point is at human eye level, lot of body underneath drapery, figures are scaled down accurately

Function: show a rebirth story and the redemption of those who were sinful but came back to God

David, Donatello, 1420, sculpture, early Renaissance in Italy, commissioned by Cosimo de Medici

Subject: biblical story of David after he fought Goliath, made of bronze

Form: seen as a child standing on Goliath’s head with a sword in his hand and a hand on his hip standing triumphantly, naked because armor wasn’t him and to show human form, kind of cocky pose, nudity is heroic and not shameful anymore, idealized body, fit and athletic, youthful body, has boots and a hat - shepherd’s cap, has a stone in hand on hip, contrapposto stance, on top of laurel wreaths - symbol of triumph, free standing sculpture

Function: shows the triumph of humanity and how, with Christ, a person can be naked with no armor and still win against a terrible foe, David becomes Florence’s patron saint and hold him up as an inspiring image, first life sized, free standing nude sculpture since the fall of Rome in the 5th cent!!

Equestrian Monument of Erasmo da Narni (Gattamelata), Donatello, Padua, 1440, sculpture, early Renaissance in Italy, commissioned just outside of Venice

Subject: 12 ft tall equestrian statue in the square of Padua, real life person named Erasmo da Narni, mercenary soldier

Form: bronze statue, horse is standing on a globe/earth, highly admired for efforts to protect Padua and Venice, very accomplished - humanist!!, revives ancient roman form (equestrian portrait to celebrate emperors), warhorse looks solid, dynamic in movement, commanding staff in right hand and sword hilt on left side, face is hard set and commanding vibe, sits proud and straight/confident, diagonal movement of moving forward, in control of beast - also very classical, portrait like face, very individualized serious face, armor being worn is classically inspired as well as contemporary

Function: appreciate the hard work of da Narni to protect the city and to inspire the people to believe that he will always protect them, monumental, elevate the individual

Trinity, Masaccio, Santa Maria Novella, Florence, 1420, painting, early Renaissance in Italy, commissioned by Domenico Lenzi and his wife

Subject: on the wall of Santa Maria Novella,

Form: spatial illusion created by Masaccio, one point linear perspective, stepped chapel space, deep composition, coffers in ceiling, wanted to create private chapel space of two donors who are represented praying in the piece, large columns, capital, full trinity present (God is above, Holy Spirit in the middle, and Christ below on the cross, roundels, Corinthian columns, foreshortening figures, bodies are somewhat visible underneath drapery, Mary is on Christ’s right and John the Evangelist is on the left, Mary’s gesture presents the Trinity to us the viewer, painted stone sarcophagus projects into space of viewer, true fresco, triumphal arch, ionic columns, barrel vault ceiling, Corinthian pilasters, architrave

Function: one of the earliest Italian paintings to incorporate one point linear perspective, shows how death is always a prevalent thought for the Christian so that they can be focused on Christ’s sacrifice and how material life is not forever

Tribute Money, Masaccio, Brancacci Chapel, Santa Maria del Carmine, Florence, 1420, painting, early Renaissance in Italy, commissioned by Felice Brancacci

Subject: part of a large series of frescos that Masaccio was commissioned to make for a private chapel, St. Peter’s life is the focus of these compositions, scene displayed

Form: fresco, shadows of figures are reflective of the window of the chapel, conflated narrative, story where Roman tax collector says they can’t enter without paying tax, Christ says he will pay the tax and has Peter go over to the river and was able to get enough money to pay the tax, halos are on the holy figures, bodies are somewhat visible underneath drapery, extensive background, story starts in middle, moves to left, and then to right, somewhat naturalistic water, lot of blues and greens, arches and clothing of the time period, Corinthian columns on the sides to frame the image, standing in contrapposto, focus is on Christ’s face with linear perspective, atmospheric perspective used (changes in geography and nature), lot of individuality in faces and poses

Function: meant to honor patriarch of their family who is named after St. Peter, subject is chosen because they wanted support for a new tax introduced that would help keep up their treasury, people weren’t happy but this scene reinforces the idea that Jesus paid His taxes, so should you (no one is exempt from the tax)

Battista Sforza and Federico da Montefeltro, Piero della Francesca, 1480, painting, early Renaissance in Italy

Subject: private commission by the Duke of Urbino, important patron, was a major proponent of the arts, this is a portrait of him and his wife

Form: figures facing one another - helps marriage identification, celebrates the individuals - humanist, expansive background, port city, uses atmospheric perspective, soft colors in back, strong facial details, wife passed away so this was done posthumously, he loved her greatly, clothing is very ornate and luxurious - pearl necklace, ribbon, fanciful leaves and collar), duke is wearing garb of his office, very light face for wife and darker skin for the duke with warts and crooked nose, back is also painted which displays roman chariots, victory and virtue figures, pelican piercing breast - charity, latin text below speaks to their virtue, original frame is very classical, Corinthian pilasters supporting a full entablature, both shown in profile (roman connections)

Function: show their importance and wealth through landscape, glorification of the two sitters

The Birth of Venus, Sandro Botticelli, 1480, painting, early Renaissance in Italy

Subject: mythological subject, Venus’ birth, private commission from the Medici family

Form: classical past, points of discussion for learning and debate, addresses the birth of beauty in the world, scallop shell, about to be covered by an attendant, personifications of breezes (north wind), little flowers around the breezes, reacting to environment, stands in contrapposto, very floral drapery, ideal female form in ancient Greece - shows appreciation for the female body but also maintain modesty (covering up body slightly), beautiful adorned gold long hair, somewhat developed background, gold on wings, edge of scallop shell, and on the sand, robust figures

Function: showcase their knowledge and education as well as wealth, modesty and appreciation for womanly form, status of the patron highlighted

Last Supper, Leonardo da Vinci, Santa Maria delle Grazie, Milan, 1500, Central Italy, high Renaissance in Italy, commissioned by refectory in church, Duke of Milan - Ludovico Sforza

Subject: religious subject, scene from the Last Supper where Christ has just revealed that someone will betray Him and the disciples are reacting to the news, large scale

Form: anatomy is correct, one point linear perspective focused on Christ, windows frame figures, groups look natural and help order composition, Roman room with coffers and open doorways, slight landscape seen in background, fresco, monumental presence, gestures direct eyes, diagonals, new way of showing the scene with everyone on one side and having feet visible, atmospheric perspective, vanishing point at Christ’s head, figures all engage with one another connecting with gesture, Judas is not by himself and has a money bag to signify who he is

Function: show the Last Supper scene in a new way, a place for the monks to eat

Mona Lisa, Leonardo da Vinci, 1500, Central Italy, High Renaissance in Italy

Subject: portraiture of a woman - very humanist

Form: atmospheric perspective, oil, wood panel, extensive landscape but unrecognizable, sfumato is used - soft blurring of edges, no lines and borders like smoke, soft hair edges, softness of clothing and hair on shoulders, term of respect (mona), wife of Florentine Banker, mysterious nature of her smile, gives character/personality - confidence, wanted her to be more natural/lifelike, one point perspective, ¾ view, green, brown, and yellow/beige colors, not just a bust shot, goes down to her hands - shows her confidence and presence, goes against societal norms by directly engaging with viewer, triangular form - unity and order, smaller painting than original, columns were on both sides of her, connect nature to humanity, mysterious and complex qualities of woman is mirrored in the landscape, face is illuminated, darker parts of her hair help frame her face - chiaroscuro

Function: commission is unknown, assumed to be a marriage gift, innovative display of portraiture, show the importance of sitter

School of Athens, Raphael, 1500, Stanza della Segnatura, Vatican, central Italy, high Renaissance in Italy

Subject: scene where tons of classical figures come together to debate and discuss all kinds of ideas, knowledge, wisdom, art, theology, law, poetry, philosophy - humanist theme

Form: ideal beauty, fresco technique, creates painted sculpture, space is expansive within piece, barrel vaults, coffers, classical motifs everywhere, bright colors, grid flood, triumphant art, columns, large figures that represent art and wisdom, ancient Greek philosophers - Plato and Aristotle, Christian, Muslim, Jewish, and Atheist philosophers, portraits/figures of contemporary visionaries - humanist, engaged columns, pilasters, Doric columns, teachers talking to students, mathematicians, self portrait of Raphael, Pythagoras, Euclid, Donato Bramante is in image - THE architect of the High Renaissance, Ptolemy, natural poses, major gestures, classical forms - slender canon, individualized appearances, one point linear perspective, vanishing point sits between Aristotle and Plato, Heraclitus/Michelangelo - bulky and is resting on a block of stone (two point linear perspective)

Function: done for the papacy, private room of debate and signing important documents

David, Michelangelo, 1500, central Italy, high Renaissance in Italy

Subject: religious subject, marble, moment as David enters the battlefield and is preparing for the task of defeating Goliath, Florence commissioned this statue

Form: monumental presence, naked, idealized body type, complex pose in some areas, contrapposto, all parts of the body are sculpted to human perfection, curly hair, heroic figure, veins, muscles seen in neck, makes him older so he can have more of an athletic body, physical and psychological charging taking place, hand seems to be fidgety, eyes are carved interesting - seems to be nervous, blood is coursing through body and neck is tense, looks like he will move forward and engage, furrowed brow, no fear/complete focus

Function: placed in the town hall, wanted to have an inspiration figure right in view and engage with, looks like he is ready to protect the people against threats

Sistine Ceiling, Michelangelo, 1500, Vatican, central Italy, high Renaissance in Italy

Subject: religious subject, displays a ton of scenes from history that are mostly religious but has secular figures who all predicted the coming of Christ

Form: ordered composition, 300 figures, everything fits in boxes, figures move out of spaces though to interact with each other, major scenes of OT are in the center area and significant figures are in the outside, fresco, seen in Genesis, Creation of Man, Banishment from the Garden of Eden, Flood of Noah/Drunkenness of Noah - major scenes that predict Christ’s coming and purpose, order and balance everywhere in complexity, move back in time as we approach the altar, figures are all idealized and unique (like statues), male prophets and female sibyls - all with distinguishable objects, little angels all over composition, important, OT scenes in the corners and ancestors over the windows, illusionistically display architecture with columns, bronze medallions, and sculpted figures, incredibly complex poses of figures - twisting and turning to show muscles and body parts in different poses than ever before, Creation of Adam: very direct in composition, monumental heroic figures, Jonah is above the altar - Jesus rebirth image, responding to God separating light from dark, God is larger than life, Adam is huge, landscape is boring, Adam is very detailed, leaning on his shoulder and strengthless even though he has lots of muscle, needs to touch God to get strength, emphatic gesture, God has entourage of angels and figures, Mary and Christ are present, in the shape of a brain, for us to be alive, God has to “touch” us, Hellenistic Greek type (heavily bulky), God is covered respectfully but is also a large figure

Function: called to Rome by the Pope to paint the ceiling

Tempietto, Donato Bramante, 1500, San Pietro in Montorio, Rome, central Italy, high Renaissance in Italy

Subject: “little temple,” cloister - garden space within the courtyard of a church

Form: central plan, circular designed structure, two leveled structure, circle - shape of perfection, associated high renaissance concept of God - cosmic mind containing a sphere of the entire universe, steps leading up to central structure, capped by a dome, reflection of Roman/Greek temple designs, Doric columns (frieze has triglyphs and metopes), elements to help it stand out as Christian: cross and globe on top, relief sculptures of crosses, chalices, and bibles

Function: reflection of motivations to build churches by early Christians, believed to be the cite where st. Peter was believed to be crucified - keep the focus on St. Peter and what he did for the church,

The Pastoral Concert, Titian, 1510, Venice, high Renaissance in Italy

Subject: inventive subject, not religious, focus is on two men playing instruments, wealthy dress, with two women around them

Form: vast countryside landscape, creating music, oil creates saturated deep reds, deep greens, softer yellows, details in grass and nature in the foreground, reflection of light on the glass jar, play of light on the bodies, effects of light hitting parts of the trees (aware of directional nature of light as it enters the landscape), soft atmospheric quality, women are idealized, atmospheric perspective in the distance with blue sky and the softening of details, individuals seem to be affected by air, slightly humid, classically inspired women, embracing nudity - men do not pay any attention, idea is that these are not real women but instead are allegory - symbolizes an idea, actually represent the Greek muses

Function: sense of harmony and nature, mood is contemplative, somber, quiet, show of growth and life

Venus of Urbino, Titian, 1530, Venice, high renaissance in Italy

Subject: unique subject, private commission - Duke of Urbino, “a beautiful nude”, a celebration of beauty meant for the male gaze, woman might be a prostitute,

Form: richness of color, pattern of cushion, tapestries in the background, curling of green velvety fabric, atmospheric background, grid like floor, paleness of skin, loose hair, intense detail in the folds of white drapery and pillows, dog is sleeping - represents relaxation and unprotected, full figured lady with soft skin and sense of warmth (idealized), woman is looking at viewer, attendants/assistants are rummaging through a chest for clothes for her (shows her wealth and status), one point linear perspective system, different levels of space, placed in a contemporary setting, not really mythological

Function: growing desire for paintings of reclining female nudes, uses the name venus to “allow” for more people to buy/create it and keep it slightly more respectable

Villa Rotunda, Palladio, 1560, Vicenza, Venice, high Renaissance in Italy

Subject: example of a country home to escape city life, party and relax for the wealthy, unusual dome - wouldn’t normally put it on a private home

Form: taken inspiration from High Renaissance and classical buildings, familiar with ancient Roman architect - Vitruvius, classical temple porch - Roman staircase, ionic order, full entablature, triangular pediment, raised structure, rotunda/dome over the structure - direct inspiration from Pantheon, symmetry on all sides, lots of classical sculpture, porches are all the way around, balanced composition, central planned structure, atmosphere/view is different for each porch to give it variety

Function: take an inventive leap for architecture and create a classically inspired structure that went against modern and classical conventions

Entombment, Pontormo, 1530, Mannerism, high Renaissance in Italy

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Madonna with the Long Neck, Parmigianino, 1530, Mannerism, high Renaissance in Italy

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Merode Altarpiece, Workshop of the Master of Flemalle, 1420, early Renaissance in the North

Subject: traditional altarpiece, triptych, man and woman have come home to see Mary praying while Gabriel reveals the news of Christ’s birth to her, domestic interior, Annunciation scene

Form: anatomy is accurate, really wanted to capture fine details of various surfaces/textures, portrait of patrons is within the piece, figures are kneeling, body might be underneath drapery but not anatomically correct, meant to display their divine nature while in a scene that is relatable to the people, wings on Gabriel are interesting, towel in background highlights her purity, brick buildings, tall piers, awkward spatial depth, long bench, one point linear perspective not used, book shows her knowledge and piety with praying, intuitive perspective used, white lilies, drapery is her color, basin in background speaks to purity, roundel windows up top show a little baby Jesus flying through the window on golden rays with a cross - shows how she is pure, intact, and immaculately conceived Christ, pooling drapery, on the right panel is a scene of Joseph the carpenter engaged in wood carving - provide for his growing family, making mousetraps - used to draw reference to Christ’s role as the bait to trap the devil, grape press - blood of Christ, celebration of the holy Eucharist

Function: wanted to inspire personal devotion outside of the church within their homes,

Man in a Red Turban, Jan van Eyck, 1430, early Renaissance in the North

Subject: self portrait of the artist, Jan van Eyck

Form: signed the painting at the bottom, 10 in by 7 in, fully utilizes oil on wooden panel, done with egg tempera - had to move fast, very detailed, deep reds, blacks, and oranges, ¾ perspective, staring right at viewer, greater sense of depth and life, intensity in eyes and gaze, incredible red turban on his head, wearing a garment that shows wealth and accomplishment, turban has so much detail and frames his face incredibly, background is black which blends into his coat, complexity in turban speaks to the complex thoughts and ideas he might have had in his head, eyes are very detailed, skin is super realistic with creases/wrinkles, real immediacy of presence,

Function: says at the top: “the best I can do,” way of being modest but also saying he is amazing at what he does

Double Portrait of Giovanni Arnolfini and His Wife, Jan van Eyck, 1430, early Renaissance in the North

Subject: portrait of celebrated individuals, Italian merchant that is very wealthy that settled in Flanders,

Form: domestic interior, interaction is curious, holding hands but he has his hand up as an oath (promise to get married), lots of objects that show symbolic meanings with marriage, little dog shows loyalty, mirror in the background is so detailed that you can see the backs of the individuals as well as other members, there is a signature right above it (signature of Jan Van Eyck as a witness to the betrothal), rosary beads on the back wall - speaks to piety along with mirror, chandelier is incredibly detailed, deep reds, greens, and browns, both wealthy individuals, every different texture displayed is very detailed, has taken his shoes off which are highlighted in the foreground - sacred ground, oranges on the side cabinet and windowsill - speak of wealth and exotic taste/ fruit and fertility, not a lot of body and anatomy under garments but they are really detailed drapery

Function: painting acts as an official document to say they are getting married

Portinari Altarpiece, Hugo van der Goes, 1470, early Renaissance in the North

Subject: altarpiece, triptych, huge display, Portinari family patroned this piece - connected to the Medici, nativity scene, the patrons are on the side panels

Form: patrons are in a state of piety and prayer while witnessing the nativity scene, males are on left and females are on the right, hierarchical scale, some are very large figures like Mary, saints are also big, little angels, somewhat developed background, subtle halos, St. Thomas is patron saint of the family, Saint Anthony for the little boy, St. Margaret is standing above woman and Mary Magdalene above the other girl, very detailed garments and surfaces, oil on panel, extensive images on the sides combine with central image, conflated narrative - left side has the trek to Bethlehem, middle is after Christ is born, and right side is the three magi who are making their way to where the star guides them (lost on their journey) - humanist, atmospheric and intuitive perspective used, little baby Jesus on the ground, Mary is before him, pooling drapery, shepherds, angels in all different clothing, oxen and donkeys, Flemish architecture in the background, lot of shadow work, shoes are off to show sacred ground, flowers in the front show Mary’s love, sorrows, and humility, also speaks to Christ’s passion, wheat is connected to Eucharist, grapes are rendered on the jar

Function: influenced Italian artists with oil and complex composition styles, good example of Northern European Renaissance Art

Isenheim Altarpiece, Matthias Grunewald, 1500, Germany, high Renaissance in the North

Subject: commissioned to serve as the main altarpiece for a monastic hospital, center scene is Christ being crucified, St. Sebastian (plague/health saint on the left), below is Christ being entombed, and St. Anthony Abbott (plague/health saint on the right)

Form: oil medium on wooden panel, thoughtful about his audience and how it would be viewed everyday, polyptych, harsh outside imagery, body types are thinner, not monumental besides Christ - random sizes, Mary Magdalene, John, John the Baptist, and Mary are all grieving - emotional focus of Germans Christ as sacrificial lamb holding a cross and chest is pierced to bleed into a chalice (holy Eucharist), near John the Baptist, dark background makes the figures really stand out, emotional grief while burying Christ, both outside saints are on pedestals, reference to Gothic figures, St. Anthony had internal problems like visions of demons (seen in upper corner in stained glass), great rendering of objects, Christ’s extremities are ugly and harsh - wants everyone to see the harshness of His suffering, thorns sticking out of his body, the twisting of having spikes driven through feet and hands, blood and grey lips, interior are scenes of cleansing and positiveness, complex details and architecture, arms are dislocated, a bit imaginative since the artist could not view examples directly

Function: image is not idealized and meant to fully show the pain and suffering of Christ, hospital treated skin diseases, plague, leprosy, and ergotism (fungus) so the figures on the sides would be called upon to help the people - St. Anthony is also the founder of the order, patients can feel better through Christ and they can know they are not alone (better things will come)

Four Horsemen of the Apocalypse, Albrecht Durer, woodcut, 1500, Germany, high Renaissance in the North

Subject: printmaking, woodcuts - introduction of the printing press, fully developed in the Northern Renaissance way - lots of wonderfully complex busy detail, very small composition, humanity is being knocked down and trampled by the Four Horsemen

Form: one point linear perspective, interested in the scientific rendering of nature, exposed to Italian art, precise carving, uses lines to create shadows, parallel lines to create modeling for forms, 3D forms, figures can stand out from dark background, curly hair, stippling to create texture with dots, shadows created, lot of horses, fear and anger represented, angel from heaven coming down, heaven is represented in top left - divine light coming down, varied aspects of scale and incredibly powerful and dynamic, lion like monster draws reference to the devil, emaciated bodies, plague and famine, war, conquest, and death, sense of urgency and overwhelming - destruction of world

Function: show the masses what the end times may look like according to Biblical prediction (Revelation),

Adam and Eve, Albrecht Durer, engraving, 1500, Germany, high Renaissance in the North

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Garden of Earthly Delights, Hieronymus Bosch, 1500, Netherlands, high Renaissance in the North

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Return of the Hunters, Pieter Bruegel, 1560, Netherlands, high Renaissance in the North

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David, Gianlorenzo Bernini, 1632, Italy, Baroque art and architecture

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Ecstasy of St. Theresa, Gianlorenzo Bernini, 1632, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, Baroque art and architecture

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The Conversion of St. Paul, Caravaggio, 1600, Cerasi Chapel, Santa Maria del Popolo, Rome, Italy, Baroque art and architecture

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Triumph of the Name of Jesus, Giovanni Battista Gaulli, 1670, Il Gesu, Rome, Italy, Baroue art and architecture

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San Carlo alle Quattro Fontane, 1632, Francesco Borromini, Rome, Italy, Baroque art and architecture

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Las Meninas, Diego Velazquez, 1660, Spain, Baroque art and architecture

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Martyrdom of St. Bartholomew, Jusepe de Ribera, 1632, Spain, Baroque art and architecture

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The Raising of the Cross, Peter Paul Rubens,1620, Flanders, Baroque art and architecture

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Henri IV Receiving the Portrait of Marie de Medici, Peter Paul Rubens, 1620, Flanders, Baroque art and architecture

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The Anatomy Lesson of Dr. Nicolaes Tulp, Rembrandt, 1640, Dutch Republic, Baroque art and architecture

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The Night Watch, Rembrandt, 1640, Dutch Republic, Baroque art and architecture

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Woman Holding a Balance, Jan Vermeer, 1660, Dutch Republic, Baroque art and architecture

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The Suitor’s Visit, Gerard ter Borch, 1660, Dutch Republic, Baroque art and architecture

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View of Haarlem from the Dunes at Overveen, Jacob van Ruisdael, 1660, Dutch Republic, Baroque art and architecture

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Palace of Versailles, Louis Le Vau and Jules Hardouin-Mansart, 1660, France, Baroque art and architecture

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Hall of Mirrors, Hardouin-Mansart and Le Brun, 1670, Palace of Versailles, France, Baroque art and architecture

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Landscape with St. John on Patmos, Nicolas Poussin, 1640, France, Baroque art and architecture

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