6. The Modern magician Blind Love Questioning Gesture Candle for Light and Skull Fascinated Observer Birdcage – if it lives (or dies) Moonlight and the Enlightenment (reference to the Lunar Society) 2 sisters, torn between curiosity and distress The Philosopher The Bird in a glass Bowl which is about to be sealed and air pumped out The Experiment With An Air Pump Our Invitation
21. The baroque style of architecture flourished in Germany in the 18th century. One of the most outstanding German baroque architects was Balthasar Neumann , who favored circular and oval forms and used undulating lines to lend dynamism to his buildings. The Residenz in Würzburg, designed by Neumann, is considered to be one of the finest examples of the German baroque style. The richly decorated Kaisersaal, or Emperor’s Hall, of the Residenz, shown here, is an oval reception room with a domed ceiling and frescoes painted by Italian master Giovanni Battista Tiepolo. Balthasar Neumann (1687 – 1753)
22. Kaisersaal, the Residenz. Weisburg, Germany. 1719-1744 One major design element was rocaille : fanciful stucco ornaments in the shapes of ribbons, leaves, stems, flowers, arabesques, and elongated curving lines applied to walls and ceilings. The effect was to blur the boundary between walls and ceiling and to make solid surfaces look like fleeting illusions. Mirrors further deceived the senses and chandeliers provided jewel-like lighting. All elements worked together to create a glittering, luxurious setting for an ultra-refined society.
47. He that loves a rosy cheek, Or a coral lip admires, Or from star-like eyes doth seek Fuel to maintain his fires: As old Time makes these decay, So his flames must waste away. But a smooth and steadfast mind, Gentle thoughts, and calm desires, Hearts with equal love combined, Kindle never-dying fires: Where these are not, I despise Lovely cheeks or lips or eyes. Thomas Carew Elizabeth Vigée-Le Brun 1755 - 1842
59. The disharmony in the union of two separate classes is revealed by the clash of 'high art' (in the form of a Roman bust) and 'low art' (in the form of various cheap trinkets on the mantelpiece.) Likewise, in the adjacent room, paintings of saints are placed in blasphemous proximity to another painting so lascivious it must be concealed by a curtain. (The prints were made by Thomas Cook after William Hogarth from 1796 to 1797)
60. William Hogarth 1697 – 1764 Creates the “Modern Moral Painting” Worked with French Engravers to ensure technical virtuosity Satirizes arranged marriages and fashionable taste, decadence, impiotency of the aristocracy, and crass social striving of the wealthy merchant class
96. David had originally intended to portray the event faithfully, showing Napoleon crowning himself. The Emperor, remembering the quarrels between the Pope and the Holy Roman Empire, placed the crown on his own head to avoid giving a pledge of obedience of the temporal power to the Pontiff. But he evidently felt that it would not be desirable to perpetuate this somewhat disrespectful action in paint; so David painted the coronation of Josephine by Napoleon, with the Pope blessing the Empress. Grouped round the altar, near Napoleon, are the chief dignitaries — Cambécères, the Lord Chancellor, Marshal Berthier, Grand Veneur, Talleyrand, the Lord Chamberlain, and Lebrun, the Chief Treasurer. Madame de la Rochefoucauld carries the Empress's train; behind her are the Emperor's sisters, and his brothers Louis and Joseph. In front of the central stand are some of the marshals, and in it is Marie Laetitia, Madame Mère (the Emperor's mother), who was in fact not present at the ceremony.
110. Unidentified artist, seventeenth century, Elizabeth Clarke Freake (Mrs. John Freake) and Baby Mary , about 1671 and 1674, oil on canvas, 42 1/2 x 36 3/4 in. Unidentified artist, seventeenth century, John Freake , about 1671 and 1674, oil on canvas, 42 x 36 3/4 in. (108 x 93.3 cm), Worcester Art Museum,
