Renaissance and Baroque Art

The center of Pontormo religious painting The Entombment of Christ is filled with these.

In Van Eyck’s Arnolfini Portrait, this was represented by the single candle in the chandelier.

Rubens King Henry IV Receiving a Portrait of Marie de Medici is an example of this type of painting.

The cherubs at the bottom of Henry IV Receiving the Portrait of Marie de Medici indicates this theme in the painting.

Known for his Catholic faith, this sculpture/playwright designed Ecstacy of St. Teresa to be a theatrical experience.

The Isenheim Altarpiece was dedicated to Saint Anthony, the patron saint of this.

Popular during the Northern Renaissance, artists used this medium to create rich colors and delicate gradations of light

This winter scene by Pieter Bruegel the Elder shows defeated men returning home.

Most artwork from the Baroque period was patronized by this group.

Vermeer’s Woman Holding a Balance is an example of this type of painting.

Rachel Ruysch’s Fruit and Insects is an example of this type of painting.

Embraced by the Renaissance, rejected by the Mannerists, this Brunelleschi technique created the illusion of deep space.

This colossal estate in France was home to several French kings.

Mannerist figures were elongated and generally more stylized, rejecting this Renaissance style of representing people.

A favorite of Rembrandt’s, this printmaking process involves wax coated metal and acid.

Ruisdael’s Jewish Cemetery is an example of this type of painting.

This artist used thin glazes of oil paint to paint Venus of Urbino.

Characterized by flat, floating figures, this painting by Botticelli is one of the most famous Renaissance paintings.

Cranach’s Allegory of Law and Grace was a result of this movement.

Known for his use of light in portrait paintings, this Dutch Baroque artist had frequent disagreements with his patrons.

Michelangelo’s Sistine Ceiling frescoes are an example of this type of painting.

In Caravaggio’s Calling of St. Matthew, this man is shown in front of a window, pointing across the room.

OFTEN PLACED ON THE OPPOSITE SIDE OF THE LAST SUPPER TABLE, DA VINCI PLACED THIS MAN ON THE SAME SIDE AS THE DISCIPLES.

In Vermeer’s Woman Holding a Balance, the woman stands in front of a painting of this religious subject.

Standing next to his student in Raphael’s School of Athens, this man points toward the sky.