1) The document discusses the Baroque style in Northern Europe in the 17th century, focusing on artists like Rubens, Ter Brugghen, Van Honthorst, Hals, Leyster, Rembrandt, and Vermeer in the Netherlands. 2) It then covers the development of the Rococo and Neoclassical styles in the 18th century across Europe and America. This included ornate interiors, a taste for the natural, and grand royal projects like Versailles. 3) Key artists discussed are Boucher, Fragonard representing the Rococo in France, and American painters West and Copley capturing the natural taste in the new United States.

1. Gardner’s Art Through the Ages,
14e
Chapter 20
The Baroque in Northern Europe
1

2. Europe in the 17th Century
2

3. 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.
3

4. 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.
4

5. Figure 20-4 PETER PAUL RUBENS, Consequences of War, 1638–1639. Oil on canvas, 6’ 9” x 11’ 3 7/8”. Palazzo Pitti,
Florence..
5

6. Figure 20-7 HENDRICK TER BRUGGHEN, Calling of Saint Matthew, 1621. Oil on canvas, 3’ 4” x 4’ 6”. The Hague.
6

7. Figure 20-8 GERRIT VAN HONTHORST, Supper Party, 1620. Oil on canvas, 4’ 8” x 7’. Galleria degli Uffizi, Florence.
7

8. Figure 20-9 FRANS HALS, Archers of Saint Hadrian, ca. 1633. Oil on canvas, approx. 6’ 9” x 11’. Frans Halsmuseum,
Haarlem.
8

9. 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.
9

10. 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).
10

11. 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.
11

12. 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.
12

13. 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.
13

14. 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).
14

15. 20-15A REMBRANDT VAN RIJN, Self-Portrait, 1658. Oil on canvas, 4’ 4 5/8” X 3’ 4 7/8”. Frick Collection, New York.
15

16. 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.
16

17. Figure 20-20 JAN VERMEER, Allegory
of the Art of Painting, 1670–1675. Oil on
canvas, 4’ 4” x 3’ 8”. Kunsthistorisches
Museum, Vienna.
17

18. Figure 20-20A JAN VERMEER,
The Letter, 1666. Oil on canvas, 1’ 5
1/4” x 1’ 3 1/4”. Rijksmuseum,
Amsterdam.
18

19. 20-18B JAN VERMEER, View of Delft, ca. 1661. Oil on canvas, 3’ 2 1/2” X 3’ 10 1/4”. Mauritshuis, The Hague.
19

20. 20-19 JAN VERMEER, Woman Holding a
Balance, ca. 1664. Oil on canvas, 1’ 3 7/8” X 1’
2”. National Gallery of Art, Washington, D.C.
(Widener Collection).
20

21. 21

22. The Music Lesson
22

23. Figure 20-21 JAN STEEN, The Feast
of Saint Nicholas, ca. 1660–1665. Oil
on canvas, 2’ 8 1/4” x 2’ 3 3/4”.
Rijksmuseum, Amsterdam.
23

24. Figure 20-24 HYACINTHE RIGAUD, Louis XIV,
1701. Oil on canvas, 9’ 2” x 6’ 3”. Louvre, Paris.
24

25. Figure 20-26 Aerial view (looking west) of the palace and gardens, Versailles, France, begun 1669.
25

26. Figure 20-27 JULES HARDOUIN-MANSART and CHARLES LE BRUN, Galerie des Glaces (Hall of Mirrors), palace of
Louis XIV, Versailles, France, ca. 1680.
26

27. Figure 20-29 JULES HARDOUIN-
MANSART, Royal Chapel, with ceiling
decorations by Antoine Coypel, palace of
Louis XIV, Versailles, France, 1698–1710.
27

28. Figure 20-28 FRANÇOIS GIRARDON and THOMAS REGNAUDIN, Apollo Attended by the Nymphs, Grotto of Thetis,
Versailles, France, ca. 1666–1672. Marble, life-size.
28

29. Gardner’s Art Through the Ages,
14e
Chapter 21
Rococo to Neoclassicism: The 18th Century
in Europe and America
29

30. Columbus 1492
Pilgrims 1620
Colonial America becomes
The Independent United States 1776
30

31. Figure 21-2 GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and
sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740.
31

32. Figure 21-3 FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich,
Germany, early 18th century.
32

33. Figure 21-4 & 215 BALTHASAR NEUMANN, interior (left) and plan (right) of the pilgrimage church of
Vierzehnheiligen, near Staffelstein, Germany, 1743-1772.
33

34. Figure 21-8 FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on
canvas, 5’ 6” x 2’ 10”. The Wallace Collection, London.
34

35. Figure 21-9 JEAN-HONORÉ
FRAGONARD, The Swing, 1766. Oil on
canvas, approx. 2’ 8 5/8” x 2’ 2”. Wallace
Collection, London.
35

36. Figure 21-12 ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England, 1776–
1779.
36

37. 21.3 The Taste for the Natural
• Examine the philosophy of Jean-Jacques Rousseau, in
contrast to Voltaire, his interest in the ‘natural’ as opposed to
the ‘artificial,’ and artistic expression of these ideas.
• Understand the different styles of the “natural” in France,
England, the United States, and in Italy.
• Examine choices of ‘ordinary’ life, the natural world, and
sentimentality as subjects in art.
37

38. Figure 21-13 JEAN-BAPTISTE-SIMÉON
CHARDIN, Saying Grace, 1740. Oil on
canvas, 1’ 7” x 1’ 3”. Louvre, Paris.
38

39. Figure 21-14 JEAN-BAPTISTE GREUZE, Village Bride, 1761. Oil on canvas, 3’ x 3’ 10 1/2”. Louvre, Paris.
39

40. The Natural Taste in France
• Examine the subject matter and formal elements in the
“natural taste” in France.
40

41. Figure 21-15 ÉLISABETH LOUISE
VIGÉE-LEBRUN, Self-Portrait, 1790. Oil on
canvas, 8’ 4” x 6’ 9”. Galleria degli Uffizi,
Florence.
41

42. 21-15A ÉLISABETH-LOUISE VIGÉE-
LEBRUN, Marie Antoinette and Her Children,
1787. Oil on canvas, 9’ 1/2” X 7’ 5/8”.
Musée National du Château de Versailles,
Versailles.
42

43. 21-16 ADÉLAÏDE LABILLE-GUIARD, Self-
Portrait with Two Pupils, 1785. Oil on canvas, 6’
11” X 4’ 11 1/2”. Metropolitan Museum of Art,
New York (gift of Julia A. Berwind, 1953).
43

44. Natural Taste in the United States
• Examine the American taste for “downrightness” and
plainness in art.
44

45. Figure 21-20 BENJAMIN WEST, Death of General Wolfe, 1771. Oil on canvas, approx. 4’ 11” x 7’ National Gallery of
Canada, Ottawa (gift of the Duke of Westminster, 1918).
45

46. Figure 21-21 JOHN SINGLETON
COPLEY, Portrait of Paul Revere, ca. 1768–
1770. Oil on canvas, 2’ 11 1/8” x 2’ 4”.
Museum of Fine Arts, Boston (gift of
Joseph W., William B., and Edward H. R.
Revere). 46

47. Italian Natural Taste and Tourism
• Understand the concept of the “Grand Tour” and the
expression of the “picturesque” in art.
The British Grand Tour in the 18th Century
Eighteenth-century British Grand Tourists to Italy generally followed a standardized
itinerary from London to Rome and Naples. From London, travelers crossed the
English Channel to Calais, and continued across France, usually with a lengthy stop in
Paris. There were two options for crossing into Italy. One could either cross the Alps
or book a sea voyage from southern France to Leghorn (today’s Livorno). On their
return to England, tourists often traveled through Germany and the Low Countries.
European tours of this sort typically lasted a year or more. The eighteenth-century
itinerary remained popular well into the nineteenth century, and was also the model
for later nineteenth-century American to
47

48. 48

49. Figure 21-22 ANTONIO CANALETTO, Riva degli Schiavoni, Venice, ca. 1735-1740. Oil on canvas, 1’ 6 ½”
X 2’ 7/8”. Toledo Museum of Art, Toledo.
49

50. 21.4 Neoclassicism
• Understand how the discovery of Herculaneum and Pompeii
create an interest in classical art.
• Understand the formal elements of classical art and their
revival in 19th century art and architecture.
• Examine Neoclassical art and architecture in France,
England, and in the United States.
• Examine the adaptation of classical and mythological subject
matter in Neoclassical art.
50

51. Figure 21-23 ROBERT ADAM, Etruscan Room, Osterley Park House, Middlesex, England, begun 1761. Victoria and Albert
Museum, London.
51

52. Figure 21-24 ANGELICA KAUFFMANN, Cornelia Presenting Her Children as Her Treasures, or Mother of the Gracchi, ca. 1785.
Oil on canvas, 3’ 4” x 4’ 2”. Virginia Museum of Fine Arts, Richmond (the Adolph D. and Wilkins C. Williams Fund).
52

53. Figure 21-25 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris.
53

54. Figure 21-26 JACQUES-LOUIS DAVID,
The Death of Marat, 1793. Oil on canvas,. 5’ 5”
x 4’ 2 1/2”. Musées Royaux des Beaux-Arts de
Belgique, Brussels.
54

55. Figure 21-32 JEAN-ANTOINE HOUDON, George
Washington, 1788-1792. Marble, 6’ 2” high. State
Capitol, Richmond.
55

56. Figure 21-33 HORATIO GREENOUGH,
George Washington, 1840. Marble, 11’ 4” high.
Smithsonian American Art Museum,
Washington, D.C.
56

57. The Neoclassical in the United States
a.k.a. Federal Style
• Examine Neoclassical or Federal Style as the national style of
architecture in the United States in the early 19th century.
57

58. Figure 21-30 THOMAS JEFFERSON, Monticello, Charlottesville, United States, 1770–1806.
58

59. Figure 21-31 THOMAS JEFFERSON, Rotunda and Lawn, University of Virginia, Charlottesville, Virginia, 1819-1826.
59

60. Gardner’s Art Through the Ages,
14e
Chapter 22
Romanticism, Realism, Photography:
Europe and America, 1800 to 1870
60

61. Napoleonic Europe 1800-1815
61

62. 62

63. Figure 22-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”.
Louvre, Paris.
63

64. 22-1A JACQUES-LOUIS
DAVID, Napoleon Crossing the
Saint-Bernard Pass, 1800–1801. Oil
on canvas, 8’ 11" X 7’ 11”.
Musée National du Château de
Versailles, Versailles.
64

65. 22-2A JEAN-AUGUSTE-DOMINIQUE INGRES,
Napoleon on His Imperial Throne, 1806. Oil on canvas, 8’ 8
5/8” X 5’ 3”. Musée de l’Armée, Palais des Invalides,
Paris.
65

66. Foreshadowing Romanticism
• Notice how David’s students retained Neoclassical features in
their paintings
• Realize that some of David’s students began to include subject
matter and stylistic features that foreshadowed Romanticism
66

67. Figure 22-1 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. Oil on canvas, 17’ 5” x 23’ 7”. Louvre, Paris.
67

68. Figure 22-6 JEAN-AUGUSTE-DOMINIQUE INGRES, Apotheosis of Homer, 1827. Oil on canvas, 12’ 8” x 16’ 10 3/4”.
Louvre, Paris. 68

69. Figure 22-7 JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814. Oil on canvas, approx. 2’ 11 7/8” x 5’
4”. Louvre, Paris.
69

70. JEAN-AUGUSTE-DOMINIQUE INGRES
Josephine-Eleonore-Marie-Pauline de Galard de
Brassac de Bearn, Princesse de Broglie
70

71. Features of Romanticism : P. I. N. E.
• P. I. N. E.
– Past – longing for the medieval past, pre-industrial Europe
(Gothic architecture will be revived)
– Irrational/ Inner mind / Insanity – Romantic artists depict
the human psyche and topics that transcend the use of
reason. One Romantic artist, Gericault chose to do portraits
of people in an insane asylum.
– Nature – longing for the purity of nature, which defies
human rationality
– Emotion/ Exotic – Romantics favored emotion and passion
over reason. Exotic themes and locales were also popular
because they did not adhere to European emphasis on
rationality.
71

72. Figure 22-8 HENRY FUSELI, The Nightmare, 1781. Oil on canvas, 3’ 4 3/4” x 4’ 1 1/2”. The Detroit Institute of the Arts
(Founders Society Purchase with funds from Mr. and Mrs. Bert L. Smokler and Mr. and Mrs. Lawrence A. Fleishman).
72

73. Figure 22-9 WILLIAM BLAKE, Ancient of Days,
frontispiece of Europe: A Prophecy, 1794. Metal
relief etching, hand colored, 9 1/2” x 6 3/4”. The
Whitworth Art Gallery, Pierpont Morgan Library,
New York.
73

74. Figure 22-10 FRANCISCO GOYA, The Sleep of Reason
Produces Monsters, from Los Caprichos, ca. 1798. Etching
and aquatint, 8 1/2” x 5 7/8”. Metropolitan Museum of
Art, New York (gift of M. Knoedler & Co., 1918).
74

75. Figure 22-10A FRANCISCO GOYA, The Family of Charles IV, 1800. Oil on canvas, approx. 9’ 2” x 11’. Museo del Prado,
Madrid.
75

76. Figure 22-11 FRANCISCO GOYA, Third of May, 1808, 1814. Oil on canvas, 8’ 9” x 13’ 4”. Museo del Prado, Madrid.
76

77. Two Old People Eating
Figure 22-12 FRANCISCO GOYA, Saturn Devouring One of His
Children, 1819–1823. Detached fresco mounted on canvas, 4’ 9
1/8” x 2’ 8 5/8”. Museo del Prado, Madrid.
77

78. Figure 22-13 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819. Oil on canvas, 16’ 1” x 23’ 6”. Louvre, Paris.
78

79. 22-13A THÉODORE GÉRICAULT,
Charging Chasseur, 1812. Oil on canvas, 11’
5” X 8’ 8 3/4". Louvre, Paris.
79

80. Figure 22-14 THÉODORE
GÉRICAULT, Insane Woman 1822–1823.
Oil on canvas, 2’ 4” x 1’ 9”. Musée des
Beaux-Arts, Lyons.
80

81. Figure 22-15 EUGÈNE DELACROIX, Death of Sardanapalus, 1827. Oil on canvas, 12’ 1 1/2” x 16’ 2 7/8”. Louvre, Paris.
81

82. Figure 22-16 EUGÈNE DELACROIX, Liberty Leading the People, 1830. Oil on canvas, 8’ 6” x 10’ 8”. Louvre, Paris.
82

83. Figure 22-17 EUGÈNE DELACROIX, Tiger Hunt, 1854. Oil on canvas, 2’ 5” x 3’. Musée d’Orsay, Paris.
83

84. Figure 22-19 CASPAR DAVID FRIEDRICH, Abbey in the Oak Forest, 1810. Oil on canvas, 3' 7 1/2" X 5' 7 1/4".
Nationalgalerie, Staatliche Museen zu Berlin, Berlin.
84

85. 22-20 CASPAR DAVID FRIEDRICH,
Wanderer above a Sea of Mist, 1817–1818.
Oil on canvas, 3’ 1 3/4" X 2’ 5 3/8”.
Hamburger Kunsthalle, Hamburg.
85

86. Romantic Landscape Painting
• Understand the romantic interest in the landscape as an
independent and respected genre in Germany, England, and
the United States.
86

87. Figure 22-22 JOSEPH MALLORD WILLIAM TURNER, The Slave Ship (Slavers Throwing Overboard the Dead and Dying,
Typhoon Coming On), 1840. Oil on canvas, 2’ 11 11/16” x 4’ 5/16”. Museum of Fine Arts, Boston (Henry Lillie Pierce
Fund). 87

88. Figure 22-23 THOMAS COLE, The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm), 1836.
Oil on canvas, 4’ 3 1/2” x 6’ 4”. Metropolitan Museum of Art, New York (gift of Mrs. Russell Sage, 1908).
88

89. Figure 22-24 ALBERT BIERSTADT, Among the Sierra Nevada Mountains, California, 1868. Oil on canvas, 6’ x 10’. National
Museum of American Art, Smithsonian Institution, Washington, D.C.
89

90. Figure 22-25 FREDERIC EDWIN CHURCH, Twilight In the Wilderness, 1860s. Oil on canvas, 3’ 4” x 5’ 4”. Cleveland
Museum of Art, Cleveland (Mr. and Mrs. William H. Marlatt Fund, 1965.233).
90

91. 22.3 Modernism and Realism
• Examine the meanings of “Modernism” and “Realism” and
the rejection of Renaissance illusionistic space.
• Understand the changes in Realist art in form, style, and
content.
• Examine the use of art – especially photography and
printmaking -- to provide social commentary.
91

92. Figure 22-26 GUSTAVE COURBET, The Stone Breakers, 1849. Oil on canvas, 5’ 3” x 8’ 6”. Formerly at Gemäldegalerie,
Dresden (destroyed in 1945).
92

93. Figure 22-27 GUSTAVE COURBET, Burial at Ornans, 1849. Oil on canvas, 10’ 3 1/2” x 22’ 9 1/2”. Musée d’Orsay,
Paris.
93