art history final exam fall 2025

The Burial of the Count of Orgaz

El Greco

1586

Oil on canvas

15 ft. 9 in. × 11 ft. 9¾ in

Self-Portrait with Two Circles

Rembrandt van Rijn

1655– 59.

Oil on canvas

44⅞ × 37 in

The Art of Painting

Johannes Vermeer

1666–68.

Oil on canvas,

47¼ × 39⅜ in

The Oath of the Horatii

Jacques-Louis David

1784

Oil on canvas

10 ft. 10 in. × 13 ft. 11¼ in.

Marie Fargues, Wife of the Artist, in Levantine Costume

Jean-Étienne Liotard

1756–58

Pastel on vellum

40⅞ × 31½ in.

“The Tête à Tête,” from Marriage A-LaMode, c.

William Hogarth

1743.

Oil on canvas

27½ × 35¾ in

Madonna of the Long Neck

Parmigianino

1534

Oil on panel

7 ft. 1 in. × 52 in

The Death of Marat

Jacques-Louis David

1793.

Oil on canvas

5 ft. 5 in. × 50⅜ in

Jean-AugusteDominique Ingres, La Grande Odalisque

1814

Oil on canvas

36 in. × 5 ft. 3 in.

Paul Revere

John Singleton Copley

1768.

Oil on canvas

35⅛ × 28½ in.

The Ambassadors

Hans Holbein the Younger

1533

Oil on panel

6 ft. 9 in. × 6 ft. 10 in.

Am I Not a Man and a Brother?

William Hackwood (modeler) for Wedgwood

1787

White jasper, black basalt, and gilt metal

1¼ in. high

The Stonebreakers,

Gustave Courbet

1849– 50

Oil on canvas

5 ft. 5 in. × 8 ft. 5 in

Formerly Gemäldegalerie, Dresden, Germany (destroyed in the bombing of Dresden, 1945)

The Anatomy Lesson of Dr. Nicolaes Tulp

Rembrandt

1632

The Happy Hazards of the Swing

Jean-Honoré Fragonard

1767. Oil on canvas

31¾ × 25¼ in

Enlightenment

Pendant portraying Queen Idia

• the Iyoba, kingdom of Benin, sixteenth century

• Ivory, iron, copper 

• height 9⅜ in

Rue Transnonain on April 15, 1834

Honoré Daumier

1834

Lithograph, sheet: 13⅜ × 19 in

image: 11¼ × 17⅜ in

The Calling of St Matthew

Michelangelo Merisi da Caravaggio

1599–1600

Oil on canvas

10 ft. 6 in. × 10 ft. 9 in

Considered Baroque naturalism, based on a dark, dramatic, and vividly realistic treatment of his subjects

represents the moment in which Jesus calls Matthew, at that time a tax collector named Levi, to follow him.

The scene is one of spiritual conversion, the moment in which a lost soul is called to Christ

the strong diagonal line created by the light flooding in from an unseen window, is directed at the bearded man

A strong contrast of dark and light, known as tenebrism, adds a sense of drama to the image.

Caravaggio enjoyed visual ambiguity, which allowed the viewer to interpret the work subjectively

Levi sits among a group of opulently dressed but spiritually bankrupt men gathered around a table counting their riches, while Christ and his brawny companion, Peter, are barefoot and dressed as humble travelers.

Lady Sarah Bunbury Sacrificing to the Graces

Joshua Reynolds

1763–65

Oil on canvas

7 ft. 11½ in. × 59¾ in.

Portrait of Citizen Belley, ExRepresentative of the Colonies

Anne-Louis Girodet

1796–97

Oil on canvas

5 ft. 2½ in. × 43¾ in.