Educator’s Resource Guide
History of Western Art
Educator's Guide by: Bill Roberts
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Table of Contents
Table of Contents and Rights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Instructional Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Introduction and Summary of the Series . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
Program One: Light in the Darkness. . . . . . . . . . . . . . . . . . . . 3 - 4
Program Two: A New Dream . . . . . . . . . . . . . . . . . . . . . . . . . .5 - 6
Program Three: The Age of Splendor . . . . . . . . . . . . . . . . . . .6 - 7
Program Four: Reason and Enlightenment. . . . . . . . . . . . . . .7 - 8
Program Five: Passion and Revolution. . . . . . . . . . . . . . . . . . 8 - 9
Program Six: A New Vision . . . . . . . . . . . . . . . . . . . . . . . . . .10 - 11
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INSTRUCTIONAL NOTES
It is suggested that you preview the program and read the related information. By doing so, you will
become familiar with the materials and be better prepared to adapt the program to the needs of your class.
You will probably find it best to follow the programs in the order in which they are presented in this
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Educator’s Guide, but this is not necessary. It is also suggested that the program presentation take place
before the entire class and under your direction. As you review the instructional program outlined in the
Educator’s Guide, you may find it necessary to make some changes, deletions, or additions to fit the
specific needs of your students.
History of Western Art
This series presents a unique survey of some of the greatest achievements in the
history of art, from the Medieval Era through the Renaissance to the post-impressionist
world. Powerful graphic images will entertain and inform the student as well as the art
lover. Landscapes set the backdrop for this encompassing look at great moments in art
history.
Each episode is 30 minutes long
Volume 1: LIGHT IN THE DARKNESS
The Medieval period highlighted the works of Giotto, Van Eyck and others who forged a link with the
religious world, discovered perspective, and ushered in the Renaissance.
Volume 2: A NEW DREAM
The Renaissance was the golden age which inspired the works of Michelangelo, Raphael, DaVinci in Italy
and the secular works of Holbein and others in the North.
Volume 3: THE AGE OF SPLENDOR
The Baroque Era began with great works from Rembrandt, Rubens, Caravaggio, and Bernini, coupled with
new limits of realism and expression.
Volume 4: REASON AND ENLIGHTENMENT
The Rococco period saw emphasis on pastoral themes and strong classical influences which emerged in the
work of Hogarth, Gainsborough, Chardin, and David.
Volume 5: PASSION AND REVOLUTION
As strict classicism of David and Ingres faded, the Romantic Movement and the landscape painters came to
prominence, including Constable, Turner and Goya.
Volume 6: A NEW VISION
The art world was never so completely turned upside down as by the Impressionists and Postimpressionists, Seurat, Manet, Monet, Renoir, Cezanne, and Van Gogh.
PROGRAM 1: LIGHT IN THE DARKNESS (±1300-1500)
Educators are encouraged to preview the film before showing it in class
Artists and some of their works shown
Giotto (di Bondone 1266-1336), of Florence, Lamentation of Christ, 1305-06, fresco, Padua; Death of St.
Francis, c1317, fresco, Florence
Simone Martini (1283-1344), Sant' Ansano Annunciation, 1333, altarpiece, Florence, 9'10"x 8'7"
Filippo Brunalleschi (1377-1446), Dome for Santa Maria del Fiore, Cathedral of Florence
Masaccio (Tomaso Guidi,1401-1428), Holy Trinity, 1425, fresco, Santa Maria Novella, Florence; Tribute
Money, 1427, fresco, Brancacci Chapel, Florence 19'8"x 8'4"
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Leon Battista Alberti (1404-1472), Palazzo Rucellai, 1451-55, building, Florence
Donatello (Donato di Nicollo di Betto Bardi, 1386-1466), St. George, 1417, marble, Bargello Museum,
Florence, 6'10"
Unknown artist/s, Wilton Diptych, 1336, National Gallery, London
Van Eyck brothers (Jan, 1385-1440 & Hubert, 1366-1426), Altarpiece, 1432, panel, St. Bavo, Ghent
(attributed to both) Arnolftni Wedding, 1434, National Gallery, London 33 x 23" (by Ian)
Rogier Van der Weyden (1399-1464), Deposition, c1435, oil, Prado Museum, Madrid, 7'3"x 8'7"
Paolo Uccello (1397-1475), Battle of San Romano, 1455, tempera, London, 6 x 10'6"
Andrea Mantegna (1431-1506), Dead Christ, c1466 (disputed), tempera, Brera, Milan, 27x 32"; Madonna
with Angels, 1457-9, panel, Verona, 7'3" high
Piero, della Francesca (1416-1492), Baptism of Christ, c 1445, panel, Church of San Francisco, Arezzo;
Victory of Constantine, 1456, fresco, San Francisco, Arezzo.
Sandro Botticelli (1444-1510), Birth of Venus, c1480, Uffizi Museum, Florence, 5'9"x 9'2"
Andrea del Verrocchio, General Colleoni, 1483-88, bronze, Venice, 13'.
Some other important artists of the Period
Giovanni Cimabue (c.1240-1301), Italian painter
Lorenzo Ghiberti (1378-1455), Florentine sculptor
Fra Angelico (1387-1455), Florentine monk, painter
Fra Filippo Lippi (1406-1469), Italian monk, painter
Antonio Pollaiuolo (1432-1498), Italian sculptor and painter
Giovanni Bellini (1430-1516), Italian painter
Lucca Signorelli (1441-1523), Italian fresco painter
Pietro Perugino (1446-1523). Florentine fresco painter
Hugo Van der Goes (1435-1482), Dutch painter
Hans Memling (c. 1430-1494) Flemish portraitist
Terms, Considerations and Questions
What is meant by the following?
. genre—type, class, variety, a definite style or form
. secular—temporal rather than spiritual
. humanistic spirit—concern with humans, not theology
From 1348 to 1350 the Plague killed 1/3 of all Europeans. What effect did it have upon religion, society
and the arts?
The period covered in this film saw the beginning of the end of feudalism as well as the construction of
the great cathedrals. What conditions helped bring these about?
Why was Italian art subjects virtually all spiritual while in Northern Europe they were becoming more
temporal?
Compare and contrast the qualities of and techniques of painting with oils versus tempera.
Find out why one-point perspective was so innovative. What is two-point perspective? What other
techniques does the artist employ to create the illusion of perspective?
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How may these have influenced 14th and 15th times: Dante Alighieri, John Huss, Johann Gutenberg?
PROGRAM 2: A NEW DREAM (±1475-1575)
Educators are encouraged to preview the film before showing it in class
Artists and some of their works shown
Masaccio (Tomaso Guidi, 1401-1428), Frescoes, 1427, Brancacci Chapel, Florence
Leonardo da Vinci (1452-1519), Studies of anatomy and architecture, pen drawings; Virgin and Child
with St. Anne, 1506-10, Louvre, 4'7"x 4'2"; Adoration of the Magi, 1481-12, panel, Uffizi, Florence, 24x
30"; The Last Supper, 1495-98, fresco, Santa Maria delle Grazie, Milan; Mona Lisa, 1503-05, oil on wood,
Louvre, Paris, 30 x 21"; She was the wife of Francesco del Giocondo of Naples.
Michaelangelo Buonarroti (1475-1564), Pietà, 1498-1500, marble, St. Peter's, Rome, 5'9"; David, 150104, marble, Academy, Florence, 13'5"; Ceiling, Sistine Chapel, 1508-12, fresco, Vatican, Rome Bound
Slave, 1513-16, marble, Louvre, Paris, 7'; Last Judgment, 1534-41, altar wall, Sistine Chapel, Vatican.
Raphael Sanzio (1483-1520), Pope Leo X, 1518, panel, Uffizi Gallery, Florence, 61x 47"; School of
Athens, 1510-11, fresco, Vatican, Rome, 26 x 18'; Madonna Granducca, 1505, Pitti Gallery, Florence, 33x
22"; Madonna of the Goldfinch, 1505-06, Uffizi Gallery, Florence.
Albrecht Durer (1471-1528), Hare, oil on wood, Kunsthistoriches Museum, Vienna; Adam and Eve, 1504,
engraving, Museum of Fine Arts, Boston; Self Portrait, 1500, panel, Pinakothek Museum, Munich, 26 x
19"
Hans Holbein, the Younger (1497-1543), Virgin, Family & Burgomeister, 1528-29, altarpiece, Darmstadt
Nicholas Kratzer (shown, not mentioned), panel, Louvre, 33 x 26"; The Ambassadors, 1533, oil+tempera,
Nat'l. Gallery, 6'8"x 6'10"
Titian (Tiziano Vicelli, 1477-1576), Assumption of the Virgin, 1516-18, Academy, Venice, 11'8"x22'6";
Venus of Urbino, c1538, oil on canvas, Uffizi, Florence, 47x 65"
Giorgione (da Castlefranco (1478-1510), Sleeping Venus, 1508-10, Dresden Museum, 3'6 x 5'8"; Fête
Champetre (Rustic Concert), c1508, oil, Louvre, 43x54
Other important artists, of the period
Correggio (Antonio Allegri, 1494-1534), Italian painter
Lucas Cranach the Elder (1472-1553), painter of mythology
Matthias Grunewald (1480-1528), German painter
Peter Bruegel, the Elder, (1525-1569), Dutch painter
Hugo Van der Goes (1435-1482), Dutch painter
Tintoretto (Jacopo Robusti, 1518-1594), Italian painter
Paolo Veronese (1528-1588), Italian painter, Venetian school
Andrea Palladio (1518-1580), Italian architect
Terms, Considerations and Questions
What is meant by the following?
. Pietà - Virgin Mary holding and mourning over the dead body of Jesus. It is an oft-used subject.
. spumatto - a smoky, soft paint rendering
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. stylization - to subordinate reality for purposes of design
. Romanesque - transitional style of architecture and art in Europe from the 9th to the 12th centuries.
. pontificate – term of office of a Pope or bishop
. Hellenistic - style of classical Greek art, 5th - 1st cent. B.C.
. chiaroscuro - arrangement of light and dark in painting
. iconography - representation of a given subject (icon)
. Burgomeister - mayor in Holland, Germany, Austria, etc.
. woodcut - printing technique from a woodblock engraving

The Renaissance represented far more than a golden age of art. What else was occurring in
religion, learning, trade, and politics in the 16th century?

Find out why the Last Supper is in such disrepair and what, if anything, is being done about it.
Investigate the Borgia family, Savonarola, Pope Julius II.
PROGRAM 3: THE AGE OF SPLENDOR (±1550-1675)
Educators are encouraged to preview the film before showing it in class
Artists and some of their works shown
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Late Renaissance Artists (works shown but not titled)
Tintoretto (Jacopo Robusti, 1518-1594), Italian painter
Paolo Veronese (1528-1588), Italian painter, Venetian school
Peter Bruegel, the Elder (1525-1569), Dutch painter
Early Baroque in Italy

Annibale Carracci (1560-1609) of Bologna Frescoes, 1597-1601, Galleries of the Farnese
Palace, Rome Pieta, oil, Kunsthistoriches Museum, Venice, 17x 24"

Caravaggio (Michelangelo Meris (1573-1610) Conversion of St. Paul, 1601, Sta. Maria del
Popolo, Rome, 90 x 69" Flagellation of Christ, 1606-10, Santa Domenico, Naples
Later Baroque in Italy and Northern Europe

Gian Lorenzo Bernini (1598-1680) Altar Canopy, 1675, architecture, St. Peter's, Vatican;
Ecstasy of St. Theresa, 1645-52, marble, Rome, life-size

Diego R.dS. Velásquez (1599-1660) Water Seller of Seville, 1619, Wellington Museum, London,
48x32"; Pope Innocent X, 1650, Palozzo Doria, Rome, 55x45"; Las Meninas, 1656, Prado Museum,
Madrid, 10'5"x 9'

Peter Paul Rubens (1577-1640) of Flanders Self Portrait, 1638-40, oil, Kunsthistorisches
Museum, Vienna; The Lion Hunt, 1617-18, Piankothek. Munich, 8'2"x 12'5" Descent from the Cross,
1609-10, tryptich, Antwerp Cathedral; Rape of the Daughters of Leucippus, c1618, Munich, 7'3"x 6'10"

Franz Hals (1580-1666) of Haarlem, Dutch Merchant, 1625, Pinakothek, Munich, 6'8"x3'9";
Laughing Cavalier, 1624, oil, The Wallace Collection, London; Officers of St. Andrew's Company, 1633,
Hals Museum, 11'x 6'10"

Rembrandt van Rijn (1606-1669) of Leyden and Amsterdam, Self Portraits, He painted about
sixty throughout his life; Portrait of Jan Six, 1654, Six Collection, Amsterdam, 3'9"x3'5"; Syndics of the
Cloth Guild, 1654, Rijksmuseum, Amsterdam, 6'2"9'2"; Anatomy Lesson of Dr. Tulp, 1632, Hague
Museum, 5'5"x7'3"; Reconciliation of David & Absolom, 1642, The Hermitage, 2'4"x 2'

Jakob van Ruysdael (1628-1682), View of Haarlem, 1670, Rijksmuseum, Amsterdam, 22 x 25"
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
Jan Vermeer (1632-1675) of Delft, Girl with Water Jug, 1655, Metropolitan Museum, N.Y.,
18x16"; Kitchen Maid Pouring Milk, Rijksmuseum, Amsterdam, 18 x 16"
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Some other important artists of the period
El Greco (Domenikos Theotokopoulos, 1545-1614), Spanish painter
Anthony van Dyck (1599-1641), Dutch portrait painter
Bartolome Estaban Murillo (1617-1682), Spanish painter
Nicolas Poussin (1594-1655), French landscape painter
Claude Lorrain (1600-1682), French landscape painter
Sir Christopher Wren (1632-1723), English architect
Terms, Considerations and Questions
What is meant by the following terms?
. Ovid—(Publius Ovidius 43BC-17AD), Latin romantic poet
. tenebroso—dramatic shadows
. oeuvre—-the sum of an artist's work
. genre—type, class, variety, category of art
. pharisee—one who emphasizes strict observance of law
. chiaroscuro—arrangement of light and dark in painting
. Council of Trent, Italy—council of the Catholic Church, held between 1545 and 1563 which attempted
to find a political solution to the Protestant Reformation, clarify Catholic doctrine, and initiate reforms
within the church. Review how the Reformation affected art both in Catholic countries and Northern
Europe.
The period of art in the Low Countries, called "Baroque" in the film is also considered the Northern
Renaissance by many.
Find out how political and economic conditions in 16th and 17th century Europe affected the art of the
period.
PROGRAM 4: REASON AND ENLIGHTENMENT (±1710-1825)
Educators are encouraged to preview the film before showing it in class
Artists and some of their works shown
Jean Antoine Watteau (1684-1712) Gersaint's Signboard, Staatliche Museum, Berlin, 5'4"x l0'1"
Embarkation for Cythera, 1717, oil, The Louvre, 4'3"x 6'5"
Francoise Boucher (1703-1770) Madame Le Pompadour, 1746, Wallace Collection, London, 34 x 26";
Diana After the Hunt, c1741, The Louvre, Paris, 22 x 28"; Odalisque (Louison), 1743, Musee des Beaux
Arts, Paris; Cupid, a Captive, 1754, Wallace Collection, London, 5'6"x2'10"
Jean Honore Fragonard (1732-1806) The Swing, 1766-69, oil, Wallace Collection, London, 32 x 26"
Giovanni Battista Tiepolo (1696-1770), Banquet of Antony and Cleopatra, fresco, Palazza Labia, Venice
Marriage of Frederick Barbarossa, 1751, Nat. Gallery, 2'5"x l '9"; Ceiling, 1751, fresco, The Kaisersaal
Palace, Wurtzburg
Jean Baptiste Simeon Chardin (1699-1779), The Kitchen Maid, 1739, oil, The Louvre, Paris, 19x 15";
Grace at Table (The Blessing), 1746, The Louvre, 18 x 15".
Jean Baptiste Greuze (1725-1805), The Spoiled Child, 1765, Hermitage, St. Petersburg, The Wicked Son
Punished, 1778, Louvre, Paris
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William Hogarth (1697-1764), Marriage a la Mode, 1743, oil, Tate Gallery, London, 25 x 35"; The Rake's
Progress, 1734, oils + engravings, various museums; The Shrimp Girl, c1748, National Gallery, London,
25x 21"; David Garrick, 1745, National Portrait Gallery, London, 3'4"x l'3".
Thomas Gainsborough (1727-1788), Self Portrait, 1787, Royal Academy of Arts, London, 75x 61"; Miss
Haverfield, c1782, Wallace Collection, London, 4'2"x 3'4", Blue Boy, c1770, Huntington Museum, San
Marino, CA, 70x 48".
Joshua Reynolds (1723-1792), Lord Heathfield, 1787, National Gallery, London; Joseph Baretti, 1774,
Agnew Collection, London, 2'5 "x 2'; Lord Milsington, 1759, Conway Collection, England, 2'6"x 2'1".
Jacques Louis David (1748-1825)
Oath of the Horatii, 1784, The Louvre, 14x ll'; Death of Marat, 1793, oil, Brussels, 65 x 51".
John Singleton Copley (1737-1815), Watson and the Shark, 1778, Mus. of Fine Arts, Boston, 73x 90";
Charles I Demanding Surrender, etc., 1785, Fogg Mus., Harvard.
Some other important artists of the period
Canaletto (Antonio Canale), Italian painter, etcher
Jean Antoine Houdon, French sculptor
Thomas Chippendale, English Georgian furniture maker
George Hepplewhite, English Georgian furniture maker
Thomas Sheraton, English Georgian furniture maker
Inigo Jones, English architect
Robert and James Adam, English architects
Wolfgang Amadeus Mozart, Austrian composer
Terms, Considerations and Questions
What is meant by the following?
. Arcadian World—rustic, peaceful, simple, pastoral
. feckless—lacking purpose or vitality, feeble, ineffective
. coquettish—coquette, a woman who flirts
. Voltaire (F. M. Auroet) —French poet, satirist, historian
. neo-classicism—revival of classical forms of art, literature.

Compare Tiepolo and Chardin, Watteau and Hogarth, David and Boucher. Do these belong in the
same classification, or is it convenient to lump them into one group between the Renaissance and the
revolutions of the 18th and 19th centuries?

How are etchings made? Why did they become important?

How was Watteau a bridge back to the late Renaissance and David a bridge forward to the Heroic
neo-classic?
PROGRAM 5: PASSION AND REVOLUTION (±1825-1875)
Educators are encouraged to preview the film before showing it in class
Artists and some of their works shown
Jacques Louis David (1748-1825) Death of Socrates, 1787, Metropolitan Museum, NY, 59 x 78”; Oath of
the Horatii, 1784, The Louvre, Paris, 14x 11’; Death of Marat, 1793, oil Brussels, 65 x 51"; Napoleon at
the St. Bernard Pass, 1805, Musee de Malmaison
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Baron Antoine Jean Gros (1771-1835), Napoleon in the Pest House at Jaffa, 1804, The Louvre, 17'6"x
23’7"; Napoleon at Arcole, 1796, The Louvre, 30 x 23
Theodore Gericault (1791-1824), Mounted Officer of the Imperial Guard, 1812, Louvre, 97"x 6'5"; Raft
of the Medusa, 1818-19, The Louvre, 16'2"x 23'3"
Eugene Delacroix (1798-1863), Dante and Virgil, 1822, The Louvre, 5'11 "x 7'11"; Massacre at Scio
(Chios), 1822-24, The Louvre, 13'10"x l1’7"; Death of Sardanapalus, 1828, The Louvre, 13'x 16'3";
Liberty Leading the People, 1831, The Louvre, 8'6"x 10'10"
Francisco Goya y Lucientes (1746-1828), Sleep of Reason (from Los Capricios series), 1798, etchings;
Disasters of War, 1810-15, series of aquatint etchings; Saturn Devouring His Children, 1819-23, fresco,
Prado, 4'9"x 2'8"; The Third of May, 1808, Prado, Madrid, 8'8"x ll'4"
John Constable (1776-1837), Salisbury Cathedral (2 shown), National Gallery, London; Boat Building on
the Stour, 1814, Victoria & Albert, 20 x 24"; The Hay Wain, 1821, National Gallery, London, 4'3"x 6'1".
J. M. W. Turner (1775-1851), Hanibal Crossing the Alps, 1812, Tate Gallery, London, 4'9"x 7'9";
Steamship in Snowstorm, 1842, National Gallery, London, 9'2"x 11 '5"; The Slave Ship, 1839, Museum of
Fine Arts, Boston, 36x 48"; Rain, Steam, Speed, 1842, National Gallery, London, 36x 48"
Caspar David Friedrich (1744-1840) Wanderer Above the Mists, c1817-18, Kunsthalle, Munich, 30x 37";
The Polar Sea, 1824, Kunsthalle, Munich, 39 x 50"; Cloister Graveyard in Snow, 1810, destroyed in W. W
.II, 47 x 70"
Some other important artists of the period
Jean A. D. Ingres (1780-1867)-French neo-classical painter
Jean B. C. Corot (1796-1875)-French painter
Honore Daumier (1808-1879)-French painter and illustrator
Jean Francois Millet (1814-1875)-French Barbizon painter
Gustave Courbet (1819-1877)-French realistic painter
Sir Thomas Lawrence (1769-1830)-English portraitist
Gilbert Charles Stuart (1755-1828)-American portraitist
John Trumbull (1756-1843)-American historical painter
Asher Durand (1796-1886)-American painter and engraver
George Inness (1825-1894)-American painter
William Blake (1757-1827)-English engraver, mystic painter
Jean Antoine Houdon (1741-1828)-French sculptor
Ludwig van Beethoven (1770-1827)-German composer
Terms, Considerations and Questions
What is meant by the following?
. salon—large hall for the display of art
. vortex—a fluid flow rotating around an axis
. etching—impression made from an acid-etched metal plate
. aquatint—producing tones in etchings by varying the etching times or by applying a powdered resin
coating on the plate

Research English poet Lord Byron's reason for his involvement in Greek-Turkish war
and the romance surrounding him.

Who was Rousseau and what how did his writings inspire the revolutions in the U.S. and
France? What did he mean by, "Man is born free and lives forever in chains?"

How did the Pompeii's discovery trigger a new genre of art?
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
Explain, "Experience of beauty was a reaction to objects that were simply attractive;
experience of the sublime was a reaction to objects that were in some way repellant."
PROGRAM 6: A NEW VISION (±1860-1920)
Educators are encouraged to preview the film before showing it in class
Artists and some of their works shown in the film
* Works named in the film. Others shown but not named.
The Impressionists (±1860-1890):
Claude Monet (1840-1926)
Camille Monet in Green Dress, 1866, Kunsthalle, Ger., 7'6"x 5'
*Rouen Cathedral (series of 40), around 1894, approx. 3'4"x 2'4"
*Four Poplars, 1891, Metropolitan Mus. of Art, NY, 2'9"x 2'9"
*Gare St Lazare, 1877, Musée d'Orsay, Paris, 2'5"x 3'4"
Camille in Garden, 1873. Private Collection ,1'l1"x 2'8"
Camille Pissarro (1830-1903)
*Lower Norwood, 1870, National Gallery, London, 1 '2"x 2'1"
*Boulevard Les ltaliene, 1897, Hermitage, St. Petersburg, 2'5"x 3"
Edouard Manet (1832-1883)
*The Picnic, 1863, The Louvre, Paris, 6'10"x 8'8", Olympia, 1863, The Louvre, Paris, 4'3" x 6'3"
The Fifer, 1866, The Louvre, Paris, 63 x 38"
Pierre Auguste Renoir (1841-1919)
*Moulin de la Galette, 1876, The Louvre, 2'7"x 3'8"
*Luncheon of the Boating Party, 1881, Phillips Collection, 1 '10"x 2'3"
The Loge (or The Opera Box), 1874, Privately owned, 32 x 25"
La Grenouillere (restaurant), 1869, Stockholm, Sweden, 26 x 31"
Edgar Degas (1834-1917)
*The Tub, 1886, pastel, The Louvre, 24 x 32"
*Prima Ballerina, 1886, The Louvre, 23 x 32"
Dancers in Blue, 1899, Pushkin Museum, Moscow, 2'2"x 2'2"
The Post Impressionists (±1875-1920):
Georges Seurat (1859-1891)
*Sunday Afternoon on the Grande Jatte, 1886, Chicago Art Institute, 6'9"x 15'6"
*The Bathers, 1883-84, National Gallery, London, 6'6"x 9'10"
Paul Cezanne (1839-1906)
*Self Portrait, c1879, Tate Gallery, London, 14 x 11"
*The Bathers, 1898-1906, Pellerin Collection, Paris, 6'10"x 8'3"
*Still Life with Curtain, 1899, Hermitage, St. Petersburg, 1 '9"x 2'4"
*Mont Sainte Victoire (one of many), 1898-1902, The Louvre
Paul (Eugene Henri) Gauguin (1843-1903)
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*Mahana No Atua (Day of God), 1894, Chicago Art Inst, 27”x36"
*Jacob Wrestling With Angel, 1888, Nat’l. Gallery, Scotland , 24” x 37”
*Self Portrait, 1889, National Gallery, Washington, 2'7"x 1'10"
Vincent van Gogh (1853-1890)
*Self Portrait (one of several), 1889, Whitney Collection, 23”x 17"
* Wheat Fields With Cypress Trees, 1889, National Gallery, 29”x 36"
Church at Auvers-sur-Oise, 1890, The Louvre, 3'1"x 2'6"
Van Gogh's Bedroom at Arles, 1888, The Louvre, 23”x 59".
Some other important artists of the Period
Berthe Morisot (1841-1895)-French painter, Manet sister-in-law
Henri de Toulouse Lautrec (1864-1901), French lithographer
Auguste Rodin (1840-1917)-French sculptor
William Morris (1834-1896)-English arts and crafts movement
James McNeill Whistler (1834-1903)-American-French painter
Thomas Eakins (1844-1916)-American painter
Winslow Homer (1836-1910)-American marine and genre painter
Dante Gabriel Rossetti (1828-1882)-English pre-Raphaelite painter
John Singer Sargent (1856-1925)-American portrait painter
Terms, Considerations and Questions
What is meant by the following?

salon—a large hall for viewing art

plein air—painting out of doors

allegorical-symbolic representation of a deeper meaning

Muybridge, Edward—photographer of sequential actions

pointillism—Seurat's style of painting with small dots

juxtaposition—to situate side by side

What was meant by the observation that Monet "painted truth”?

For an understanding of van Gogh's story, his drive and subsequent madness, read his letters to his
brother in "Dear Theo".
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