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AP Art History Test
Test 4
Henry IV Receiving the Portrait of Marie de’ Medici
• C. 1621• Peter Paul Rubens• Part of Antwep painters’ guild• Worked in the court of the duke of Mantua• He studied Caravaggio and Carracci• He returned to Antwerp and was employed
by Habsburgs • Had powerful, expressive visual language
appropriate for secular rulers and for Catholic Church
• Royal patrons: Philip IV, Marie de’ Medici, Charles I
• Depicts royal engagement• Henri IV falls in love immediately with her
portrait• Cupid and Hymen, and Jupiter and Juno
shown• Personification: abandon war for love• Great energy, highpoint of drama• Shows power of french monarchy• Took Titian’s color and form to new level
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Garden of Love• 1630• Rubens• Continues fete tradition• Fantasy level of love and reality• Venus shown• Subtle playfulness• He paints lots of religious scenes
and fleshy nudes
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Portrait of Charles I Hunting• 1635• Anthony Van Dyck• Collaborated with Rubens• Worked as portraitist• Had his own studio and students• Member of Antwerp’s Guild of St.
Luke• Elegant and artistic refinement• Became court painter to Charles I• He became a knight• Provides sympathetic record of
royal family’s features• He portrayed the king truthfully yet
as an imposing figure• Charles is shown as the tallest
figure• The horse and branches bow
toward him• Great foreshortening• Diagonal composition• Embodies informal royal
portraiture
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Mary Magdalen• 1640• Georges De La Tour• Follower of Carravaggio• Court painter to Louis XIII• Used simplified settings and a light
source w/ in picture - so intense that it seems to be his real subject
• The hand and skull establish the foreground plane
• Sense of intimacy• Light is the unifying element• Mary meditates on the frailty and
vanity of human life• Skull = reminds her of passing life
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The Rape of the Sabine Women• 1636• Nicholas Poussin• Romulus shown standing to the
left• Not so much emphasizing drama• Based on the Abduction of the
Sabine Women by Bernini• Cool philosophical art - requires
higher knowledge• More literary rather than real
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Et in Arcadia Ego• 1637• Poussin• Classical landscape• Arcadia = ideal world• Woman = not real but time
consoling figures• We will all eventually die• Geometric and crisp landscape• Classical narrative
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Embarkation of the Queen of Sheba• 1648• Claude Lorrain• She perfected the idea of
“classical” landscape• Organized natural elements and
figures into idealized compositions• He was intrigued by light• Great visual interest• Meticulous one-point perspective
on the sun• Painted in a zig-zag fashion• Explores lost golden age• Queen of Sheba leads court in
Ethiopia• Unusual subject• Classical drama
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Louis XIV• C. 1701• Hyacinthe Rigaud• He was a favorite of the king• Represents the height of royal
propaganda• = sun King• Far removed from the classical
and Caravaggesque influences at work during his time
• This work was ordered by Louis XIV as a gift for his grandson, Philip V
• Idealizes less attractive characteristics
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East Front of the Louvre• 1670• Claude Perrault• Long and horizontally massed• Thundering power• Was a medieval castle in Paris
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Palais of Versailles• 1668-85• Louis Le Vau and Jules Hardouin-
Mansart• Louis XIV began the enlarging project• The new building was built around the
pre-existing• Consisted of 2 phases• What Le Vau did, and what his
predecessor, Mansart did• Mansart added long lateral wings• 3 story elevation• Enormous arched windows separated by
Ionic pilasters• Sensitive balance of horizontals and
verticals • Great symmetry
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Hall of Mirrors• 1678• Mansart and Charles Le Brun• Enclosed gallery on main level• Architectural symmetry achieved by Venetian glass mirrors• The mirrors reflect the natural light and give the impression of an even larger space• The vaulted ceiling recalls Carracci’s work• Le Brun painted the ceiling - decorated with Louis XIV’s military triumphs• Ultimate design and theme of palace: the glorification of the king as Apollo the Sun
God with whom Louis identified
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Versailles Gardens• 1661-1785• Andre Le Norte• Imposed order using broad
straight avenues radiating from focal points
• Baroque in their vast size and extension
• Classically harmonious
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Church of the Invalides• 1680-91• Jules Hardouin Mansart• Built by Louis XIV as a hospital for
VA’s• Completely baroque
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Officers of the Haarlem Militia Company of St. Adrian
• 1627• Frans Hals• Doesn’t line people up statically• Creates new lively narrative• Militia who fights against Spanish troops• Social organization• Lively, engaging• Love of realism• Inspired by Caravaggio• Tried to recreate optical effects of light• Bold painter• Strong underlying geometry• Perpendicular lines• Fast strokes
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Catharina Hooft and Her Nurse• 1620• Frans Hals• Captured vitality of a gesture and
fleeting moment of time• Intimate individual portrait
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Self Portrait• 1635• Judith Leyster• Competitor of Hals• Influenced by Caravaggio• Adopted Italian naturalism• Theatrically presented everyday
themes• Entered Haarlem’s Guild of St.
Luke• Known for genre scenes• Painted symbols of her success as
an artist• Her subject may be a visual pun• Narrow range of colors• Display piece
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The Anatomy Lesson of Dr. Nicolaes Tulp• 1632• Rembrandt• Worked in Amsterdam• His work reflected his study of science
and nature and Italian Ren. Art• Combination of scientific and
humanistic interests• Group portrait takes on dramatic
interest• Dr. Tulp = head of surgeon’s guild• Composition built on diagonals• Makes use of Caravaggio’s tenebrist
effect
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The Night Watch• 1642• Rembrandt• This work was for the meeting hall
of a wealthy civic-guard company• Carries idea of group portrait
drama even further• Company forms a parade in
Amsterdam’s streets
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