2. Caravaggio, Supper at Emmaus 1601 Oil on canvas, 141 x 196 cm National Gallery, London
1. Brothers Limbourg, Les tres riches heures du Duc de Berry: Fevrier (February)
1412-16
Manuscript (Ms. 65), 294 x 210 mm
Musйe Condй, Chantill
2. Caravaggio, Supper at Emmaus
1601
Oil on canvas, 141 x 196 cm
National Gallery, London
3. Francesco Borromini, San Carlo alle Quattro Fontane: Cupola
1638-41
Photo
Via del Quirinale, Rome
4. Sandro Botticelli, The Birth of Venus
c. 1485
Tempera on canvas, 172.5 x 278.5 cm
Galleria degli Uffizi, Florence
5. BOUCHER, Francois , The Toilet of Venus
1751
Oil on canvas, 108 x 85 cm
Metropolitan Museum of Art, New York
6. Pieter Brueghel the Elder, The Hunters in the Snow (January)
1565
Oil on panel, 117 x 162 cm
Kunsthistorisches Museum, Vienna
7. Johannes Vermeer, The Milkmaid
c. 1658
Oil on canvas, 45,5 x 41 cm
Rijksmuseum, Amsterdam
8. Joachim Patinier, Landscape with the Flight into Egypt
Oil on panel, 17 x 21 cm
Koninklijk Museum voor Schone Kunsten, Antwerp
9. Raphael, The School of Athens,
1509-1511, fresco, Vatican City
10. Rogier van der Weyden, Deposition
c. 1435
Oil on oak panel, 220 x 262 cm
Museo del Prado, Madrid
11. Robert Campin (master of Flemalle), Merode Altarpiece
c. 1427
Oil on wood, 64,1 x 117,8 cm
Metropolitan Museum of Art, New York
12. Jan Van Eyck, Portrait of Giovanni Arnolfini and his Wife
1434
Oil on oak, 82 x 60 cm
National Gallery, London
13. Chi-Rho page from the Book of Kells,
Scriptorium of Columban monastery,
Ca. 800 AD
14. Camille Pissaro, Boulevard Montmartre on a Cloudy Morning
1897
Oil on canvas, 73 x 92 cm
National Gallery of Victoria, Melbourne
15. Georges Seurat, A Sunday Afternoon on the Ile de la Grande Jatte
1884-86
Oil on canvas, 208 x 308 cm
Art Institute, Chicago
16. Tahitian Pastorals
1892
Oil on canvas, 86 x 113 cm
The Hermitage, St. Petersburg
17. Vincent van Gogh, Harvest at La Crau (The Blue Cart)
June 1888, Arles
Oil on canvas, 73 x 92 cm
Rijksmuseum Vincent van Gogh, Amsterdam
18. Claude Monet, Impression, Sunrise
1873
Oil on canvas, 48 x 63 cm
Musйe Marmottan Monet, Paris
19. Edouart Manet, Boating
1874
Oil on canvas, 97 x 130 cm
Metropolitan Museum of Art, New York
20. Pablo Picasso, 1905, Acrobate à la Boule (Acrobat on a Ball), oil on canvas, 147 x 95 cm, The Pushkin Museum, Moscow
21. The Conversation , c.1911, The Hermitage, St. Petersburg, Russia
22. Picasso's Les Demoiselles d'Avignon(1907, oil on canvas, 243.9 × 233.7 cm., New York,Museum of Modern Art)
GLOSSARY
altarpiece
A picture or sculpture that stands on or is set up behind an altar. The term reredos is used for an ornamental screen or partition, not directly attached to the altar table but affixed to the wall behind it. A diptych is an altarpiece consisting of two panels, a triptych one of three panels, and a polyptych one of four or more panels.
From the 14th to 16th century, the altarpiece was one of the most important commissions in European art; it was through the altarpiece that some of the most decisive developments in painting and sculpture came about.
ambulatory
Semicircular or polygonal circulation space enclosing an apse or a straight-ended sanctuary.
anamorphosis
Device commonly used in 16th-century paintings and drawings whereby a figure or object is depicted not parallel to the pictorial plane but projected at an oblique angle to it, and so highly distorted. The viewer resolves the optical distortion of form that results by looking at the picture at the same oblique angle.
barrel vault
A ceiling that is like a continuous circular arch or tunnel, contrasted with vaults that are supported on ribs or a series of arches. Also tunnel vault.
basilica (Gk. stoa basilike, "king's hall")
a church building, usually facing east, with a tall main nave and two or four side aisles of lesser height. There may also be a transept between the nave and the choir, which is reserved for the clergy. Originally, the basilica was an ancient Greek administrative building, and the Romans used this form for markets and law courts; it then became a place of assembly for the early Christians, and thus a church.
buttress
A mass of stone built up to support a wall, usually necessary to strengthen those of great height. See flying buttress.
chiaroscuro (It. "light dark")
In painting, the modelling of form (the creation of a sense of three-dimensionality in objects) through the use of light and shade. The introduction of oil paints in the 15th century, replacing tempera, encouraged the development of chiaroscuro, for oil paint allowed a far greater range and control of tone. The term chiaroscuro is used in particular for the dramatic contrasts of light and dark introduced by Caravaggio. When the contrast of light and dark is strong, chiaroscuro becomes an important element of composition.
dome
in architecture, hemispherical structure evolved from the arch, usually forming a ceiling or roof.
easel
Stand on which a painting is supported while the artist works on it.
fluted
of a column or pillar, carved with closely spaced parallel grooves cut vertically.
fresco (It. "fresh")
Wall painting technique in which pigments are applied to wet (fresh) plaster (intonaco). The pigments bind with the drying plaster to form a very durable image. Only a small area can be painted in a day, and these areas, drying to a slightly different tint, can in time be seen. Small amounts of retouching and detail work could be carried out on the dry plaster, a technique known as a secco fresco.
glaze
paint applied so thinly that the base beneath it is visible through the layer.
iconoclasm
the destruction of works of art on the grounds that they are impious. During the 16th century, Calvinist iconoclasts destroyed a great many religious art works in the Netherlands.
iconography ((Gk. eikon, "likeness", and graphein, "description")
The systematic study and identification of the subject-matter and symbolism of art works, as opposed to their style; the set of symbolic forms on which a given work is based.
illuminated manuscripts
Books written by hand, decorated with paintings and ornament of different kinds.
impasto
Paint applied in thick or heavy layers.
initial (Lat. initialis, "at the beginning")
the first letter of the text in medieval manuscripts and early printed books, made to stand out emphatically by its colour, size, and ornamentation.
narthex
entrance porches in early basilican churches, and for interior vestibules across the western end of later churches.
nave (from Lat. navis, "ship")
the main interior space of a church building. It may have parallel aisles on each side, often separated from it by pillars, and is intersected by the transept, which cuts across it at the point
panel Term in painting for a support of wood, metal, or other rigid substance, as distinct from canvas.
where the choir begins.
parchment
Writing material made from the skins of sheep or calf, less frequently pig, goat,, and other animals;
perspective (Lat. perspicere, "to see through, see clearly")
The method of representing three-dimensional objects on a flat surface. Perspective gives a picture a sense of depth. The most important form of perspective in the Renaissance was linear perspective (first formulated by the architect Brunelleschi in the early 15th century), in which the real or suggested lines of objects converge on a vanishing point on the horizon, often in the middle of the composition (centralized perspective). The first artist to make a systematic use of linear perspective was Masaccio, and its principles were set out by the architect Alberti in a book published in 1436. The use of linear perspective had a profound effect on the development of Western art and remained unchallenged until the 20th century.
pigment (Lat. pigmentum, "colour substance")
coloured powder mixed with binding agents such as oil, glue, or resin to make paint.
plein-air painting (French; plein air "in the open air")
In contrast to painting in an atelier, this painting is done outdoors, under the sky, with the intention of realistically reproducing the natural features of a landscape, its atmosphere, and changes in light.
pointed (lancet) arch
In architecture, an arch rising to a point (instead of being round, as in classical architecture). The pointed arch is characteristic of Gothic architecture.
Pointillism
Painting style that appeared in France toward the end of the nineteenth century. The technique of the Neo-Impressionists of applying pure colours next to each other in order to create the actual colour only from a distance through optical mixing in the eye of the beholder was declared to be the supreme principle in painting by Georges Seurat, who rigorously developed it further by applying unbroken colours next to each other in a strict pattern of points or commas. This new technique, called Divisionism by Seurat, was exhibited to the public for the first time in 1884 in Paris at an exhibition of the Indйpendents.
vanishing point
In perspective, the point on the horizon at which sets of lines representing parallel lines will converge.
vanitas (Lat. "emptiness")
A painting (or element in painting) that acts as a reminder of the inevitabiliry of death, and the pointlessness of earthly ambitions and achievements. Common vanitas-symbols include skulls, guttering candles, hour-glasses and clocks, overturned vessels, and even flowers (which will soon fade). The vanitas theme became popular during the Baroque, with the vanitas still life flourishing in Dutch art.
vault
A roof or ceiling whose structure is based on the arch. There are a wide range of forms, including the barrel (or tunnel) vault, formed by a continuous semi-circular arch; the groin vault, formed when two barrel vaults intersect; and the rib vault, consistong of a framework of diagonal ribs supporting interlocking arches. The development of the various forms was of great structural and aesthetic importance in the development of church architecture during the Middle Ages.