This document provides an overview of art in Northern Europe from 1600 to 1700. It discusses the key characteristics of the Baroque style that emerged in this region, including in Holland, France, and England. Representative artists of this period are highlighted, such as Rubens, Van Dyck, Rembrandt, and Vermeer. Architectural works in the Baroque and Rococo styles are also examined, with a focus on structures built under the rule of King Louis XIV in France like the palace of Versailles.
Slideshow is a companion to Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 at Montgomery County Community College. Jean Thobaben - Adjunct Innstructor.
Slideshow is a companion to Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 at Montgomery County Community College. Jean Thobaben - Adjunct Innstructor.
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
Art is Us 5: Baroque, Northern Renaissance, RococoRichard Nelson
This presentation covers artwork from the Baroque, Northern Renaissance, and Rococo periods. The Baroque has many characteristics in common with Hellenistic Greek. Works by Caravaggio, Velázquz, Van Eyck, Rembrandt, Holbein, and others are featured.
Class notes and audio are available at http://dicknelsoncolor.com/2015/art-is-us-2015-week-5/
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
Art is Us 5: Baroque, Northern Renaissance, RococoRichard Nelson
This presentation covers artwork from the Baroque, Northern Renaissance, and Rococo periods. The Baroque has many characteristics in common with Hellenistic Greek. Works by Caravaggio, Velázquz, Van Eyck, Rembrandt, Holbein, and others are featured.
Class notes and audio are available at http://dicknelsoncolor.com/2015/art-is-us-2015-week-5/
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Instructions for Submissions thorugh G- Classroom.pptxJheel Barad
This presentation provides a briefing on how to upload submissions and documents in Google Classroom. It was prepared as part of an orientation for new Sainik School in-service teacher trainees. As a training officer, my goal is to ensure that you are comfortable and proficient with this essential tool for managing assignments and fostering student engagement.
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Palestine last event orientationfvgnh .pptxRaedMohamed3
An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
3. 3
Goals
• Recognize the distinctive characteristics of the Baroque style
• Understand the diversity of cultures and artistic styles throughout
Europe
• Identify representative Baroque artists and their works
• Identify representative Baroque architects and their works
• Recognize the distinctive characteristics of the Rococo style
• Identify representative Rococo artists and their works
• Identify representative Rococo architects and their works
• Recognize and cite artistic terminology from this period
4. 4
20.1 Baroque Art Northern Europe
• Recognize the distinctive characteristics of the Baroque style
in Northern Europe (Holland, France, England)
• Understand the diversity of cultures and artistic styles
throughout Northern Europe
• Identify representative Baroque artists and their works
• Identify representative Baroque architects and their works
• Recognize and cite artistic terminology from this period
5. 5
Figure 20-2 PETER PAUL RUBENS, Elevation of the Cross, from Saint Walburga, Antwerp, 1610. Oil on wood, 15’ 1
7/8” x 11’ 1 1/2” (center panel), 15' 1 7/8" x 4' 11" (each wing). Antwerp Cathedral, Antwerp.
6. 6
Figure 20-3 PETER PAUL RUBENS, Arrival
of Marie de’ Medici at Marseilles, 1622–1625. Oil
on canvas, 12’ 11 1/2” x 9’ 7”. Louvre, Paris.
7. 7
Figure 20-4 PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti,
Florence..
8. 8
Figure 20-5 ANTHONY VAN DYCK,
Charles I Dismounted, ca. 1635. Oil on canvas, 8’
x 11” x 6’ 11 1/2”. Louvre, Paris.
9. 9
Figure 20-6 CLARA PEETERS, Still Life with Flowers, Goblet, Dried Fruit, and Pretzels, 1611. Oil on panel, 1’ 7 3/4” x 2’ 1
1/4”. Museo del Prado, Madrid.
10. 10
Figure 20-7 HENDRICK TER BRUGGHEN, Calling of Saint Matthew, 1621. Oil on canvas, 3’ 4” x 4’ 6”. The Hague.
11. 11
Figure 20-8 GERRIT VAN HONTHORST, Supper Party, 1620. Oil on canvas, 4’ 8” x 7’. Galleria degli Uffizi, Florence.
12. 12
Figure 20-9 FRANS HALS, Archers of Saint Hadrian, ca. 1633. Oil on canvas, approx. 6’ 9” x 11’. Frans Halsmuseum,
Haarlem.
13. 13
Figure 20-10 FRANS HALS, The Women Regents of the Old Men’s Home at Haarlem, 1664. Oil on canvas, 5’ 7” x 8’ 2”. Frans
Halsmuseum, Haarlem.
14. 14
Figure 20-11 JUDITH LEYSTER, Self-Portrait, ca. 1630. Oil on canvas, 2’ 5 3/8” x 2’ 1 5/8”. National Gallery of Art,
Washington, D.C. (gift of Mr. and Mrs. Robert Woods Bliss).
15. 15
Figure 20-12 REMBRANDT VAN RIJN, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5’ 3 3/4” x 7’ 1 1/4”.
Mauritshuis, The Hague.
16. 16
Figure 20-13 REMBRANDT VAN RIJN, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas
(cropped from original size), 11’ 11” x 14’ 4”. Rijksmuseum, Amsterdam.
17. 17
Figure 20-14 REMBRANDT VAN RIJN,
Return of the Prodigal Son, ca. 1665. Oil on
canvas, approx. 8’ 8” x 6’ 9”. Hermitage
Museum, Saint Petersburg.
18. 18
Figure 20-15 REMBRANDT VAN
RIJN, Self-Portrait, ca. 1659–1660. Oil on
canvas, approx. 3’ 8 3/4” x 3’ 1”.
Kenwood House, London (Iveagh
Bequest).
19. 19
Figure 20-16 REMBRANDT VAN RIJN, Christ with the Sick around Him, Receiving the Children (Hundred Guilder Print), ca.
1649. Etching, 11” x 1’ 3 1/4”. Pierpont Morgan Library, New York.
20. 20
Figure 20-17 AELBERT CUYP, A Distant View of Dordrecht, with a Milkmaid and Four Cows, and Other Figures, late 1640s. Oil
on canvas, 5’ 1” x 6’ 4 7/8”. National Gallery, London.
21. 21
Figure 20-18 JACOB VAN RUISDAEL, View of Haarlem from the Dunes at Overveen, ca. 1670. Oil on canvas, 1’ 10” x 2’ 1”.
Mauritshuis, The Hague.
22. 22
Figure 20-1 JAN VERMEER, Allegory of
the Art of Painting, 1670–1675. Oil on
canvas, 4’ 4” x 3’ 8”. Kunsthistorisches
Museum, Vienna.
23. 23
Figure 20-19 JAN VERMEER, The
Letter, 1666. Oil on canvas, 1’ 5 1/4”
x 1’ 3 1/4”. Rijksmuseum,
Amsterdam.
24. 24
Figure 20-20 JAN STEEN, The Feast
of Saint Nicholas, ca. 1660–1665. Oil
on canvas, 2’ 8 1/4” x 2’ 3 3/4”.
Rijksmuseum, Amsterdam.
25. 25
Figure 20-21 PIETER CLAESZ, Vanitas Still Life, 1630s. Oil on panel, 1’ 2” x 1’ 11 1/2”. Germanisches
Nationalmuseum, Nuremberg.
26. 26
Figure 20-22 WILLEM KALF, Still
Life with a Late Ming Ginger Jar, 1669. Oil
on canvas, 2’ 6” x 2’ 1 3/4”.
Indianapolis Museum of Art,
Indianapolis. (gift in commemoration of
the 60th anniversary of the Art
Association of Indianapolis, in memory
of Daniel W. and Elizabeth C.
Marmon).
27. 27
Figure 20-23 RACHEL RUYSCH, Flower
Still Life, after 1700. Oil on canvas, 2’ 5
3/4” x 1’ 11 7/8”. The Toledo Museum of
Art, Toledo (purchased with funds from
the Libbey Endowment, gift of Edward
Drummond Libbey).
28. 28
Figure 20-24 NICOLAS POUSSIN, Et in Arcadia Ego, ca. 1655. Oil on canvas, approx. 2’ 10” x 4’. Louvre, Paris.
29. 29
Figure 20-25 NICOLAS POUSSIN, Burial of Phocion, 1648. Oil on canvas, 3’ 11” x 5’ 10”. Louvre, Paris.
30. 30
Figure 20-26 CLAUDE LORRAIN, Landscape with Cattle and Peasants, 1629. Oil on canvas, 3’ 6” x 4’ 10 1/2”.
Philadelphia Museum of Art, Philadelphia (George W. Elkins Collection).
31. 31
Figure 20-27 LOUIS LE NAIN, Family of Country People, ca. 1640. Oil on canvas, 3’ 8” x 5’ 2”. Louvre, Paris.
32. 32
Figure 20-28 JACQUES CALLOT, Hanging Tree, from the Miseries of War series, 1629–1633. Etching, 3 3/4” x 7 1/4”.
Private collection.
33. 33
Figure 20-29 GEORGES DE LA TOUR, Adoration of the Shepherds, 1645–1650. Oil on canvas, approx. 3’ 6” x 4’ 6”.
Louvre, Paris.
35. 35
Figure 20-31 CLAUDE PERRAULT, LOUIS LE VAU, and CHARLES LE BRUN, east facade of the Louvre, Paris,
France, 1667–1670.
36. 36
Figure 20-32 Aerial view (looking west) of the palace and gardens, Versailles, France, begun 1669.
37. 37
Figure 20-33 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of
Louis XIV, Versailles, France, ca. 1680.
38. 38
Figure 20-34 FRANÇOIS GIRARDON and THOMAS REGNAUDIN, Apollo Attended by the Nymphs, Grotto of Thetis,
Versailles, France, ca. 1666–1672. Marble, life-size.
39. 39
Figure 20-35 JULES HARDOUIN-
MANSART, Royal Chapel, with ceiling
decorations by Antoine Coypel, palace of
Louis XIV, Versailles, France, 1698–1710.
40. 40
Figure 20-36 JULES HARDOUIN-MANSART, Église
de Dôme, Church of the Invalides, Paris, France, 1676–
1706.
41. 41
Figure 20-37 INIGO JONES, Banqueting House at Whitehall, London, England, 1619–1622.
42. 42
Figure 20-38 SIR CHRISTOPHER WREN,
new Saint Paul’s Cathedral, London, England,
1675–1710.
43. 43
Discussion Questions
Compare the values of the 17th
century Dutch Republic to
17th
century France. How did their different values affect
the art created in each culture?
How does 17th
century Dutch art compare to that of 17th
century Italy? 17th
century Spain?
How does 17th
century architecture in the Northern
European countries compare to the architecture of Baroque
Italy? Consider appearance, form, and function.
