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All of the information I add here is from my professor. I do not claim to be an expert, so do not take me at my word.
Oldest Work
590 – 580 B.C.
Kouros, Unknown Artist
This Archaic/Greek piece is chiseled from marble. Inspired by Egyptian art, this sculpture does not hold contrapposto. Instead, this sculpture is very stiff. Stylized is the key aspect of the sculpture. His proportions do not mimic an ordinary human’s, his eyes engulf parts of his face, and his hair lacks strong detail. While he is an idealized image, he lacks the naturalism reminiscent of Grecian times. Further, he was supposedly used as a tomb marker.
450 – 440 B.C.
Doryphoros, Polykleitos
This Roman-copied Grecian statue mimics much of the concepts we would expect today. He holds contrapposto, leaning forward and in movement, especially by the lifting of his hand. The strut helps to balance part of his weight. Further, we can see much of idealized naturalism. His abs are chiseled, his muscles defined, and his hair detailed. This is a Roman copy of a Greek bronze. We would expect him to be polychrome in nature rather than this white marble. Further, he is in the nude, a key detail from the Classical period, especially for heroes.
447 – 432 B.C.
Parthenon, Ikitonos and Kallikrates
This Classical piece made of white marble took about 15 years to create. With doric style columns and an ionic interior, this building uses mathematical precision and intense precision of detail. Three different techniques are utilized to make it appear straight, including entasis, inclination, and curvature. Although there have been many roles for this building and it has been rebuilt many times, this building can best be traced to the Greco-Persian wars. Sitting on top of an Acropolis (a huge mountain overlooking the city), one would be right in suggesting this piece took a lot of work to make, with workers having to lug up all this marble on top of the mountain. Once polychrome, this white marble building is no longer is known for its color.
440 B.C.
Battle of Centaurs and Lapiths, Pheidias
Made of white marble in the Classical period, this 2D high-relief piece includes depictions of Centaurs and Lapiths. Typically metopes depict mythological experiences and battles, and one could even argue here we are seeing a depiction of Greeks and Persians. Once more do we see a depiction of idealized naturalism and the heroic nude, from the Lapith having nothing on—not even a pair of pants. These two figures are in motion with one another, hooves lifted, legs bent. You would find this on the metope from the Doric order.
442 – 438 B.C.
Frieze, Pheidias
This 2D low relief marble sculpture stands high atop the columns within the Parthenon in the Ionic order. Depicting what is believed to be the Panhellic Precession, this sculpture depicts an oddity—the everyday. This formerly polychrome piece is now a soft white marble and it is styled in the form of idealized naturalism. Men and horses are moving throughout this piece.
437 – 432 B.C.
Three Goddesses from the East Pediment
Sculpted in white marble in the round, this multidimensional piece represents three goddesses. As they lie on top of one another, they do so in the classical style of idealized naturalism. Their draped dresses highlight the curvature of their body. This piece is sculpted in the round, most importantly, due to it being a “realm to the Gods.” Their triangle-shaped bodies are fit to be stored within the pediment
Begun 785 C.E.
Mosque-Cathedral, Cordoba
This once-Islamic mosque now Cathedral is located in Cordoba. A Qibla wall stands, which, although it is meant to be facing the Mecca, it instead faces south. There have been three expansions throughout its tenure including a temple, a church, and a mosque. There is a greenery serving as a public gathering space and it is centrally located within the city.
785 C.E.
Great Mosque, Cordoba
Columns hold a horseshoe arch. This round arch is constructed from a voussoir wedge which shaped the arch with red and white limestone. The pier is spolia, reused materials from different elements from the surrounding Roman areas, each being unique in structure. There is a tendency of cultural preservation. While there is continuity and structure, there is not perfection.
961 – 976
Great Mosque,maqsura and mahrab, Cordoba
This part of the mosque is adorned with gold details and Arabic lettering. There is a sense of divinity and holiness as this is lit by the natural light of the surroudning windows. Although previously used for an Islamic ruler, this area has stood the test of time through different religious rulers. This a part of the Qibla wall. The mihrab is a niche in the wall of the mosque that indicates the direction of prayer and is reserved for a ruler and associates. A dome encloses the mihrab.
Begun 1220
Cathedral of Notre-Dame, Amiens
This Gothic style stone building serves as a Cathedral for the church wherein it contains the seat of the bishop. Associated with the Middle Ages, this is the visigoth and barbaric parts of Europe. Different religious figures line the building with intense detail. The Gothic period is best known for “showing not telling,” meaning the architecture includes stories of the time. The mathematic precision within this building is best understood from the Golden Ratio. This grand building provides an immense amount of scale and is overwhelming.
Begun 1220s
Cathedral of Notre-Dame interior, Amiens
Inside the Cathedral, which again serves as a place for the seat of the bishop, you see lots of evidence of the Gothic architecture. The Grand scale with the lights flooding from above provide a sense of divinity. Inside holds the relic of St. John the Baptist’s head, something many would make a pilgrimage for. There includes a Nave, a Vault, Aisels, a Choir, and an Ambulatory. In Amiens, the ambulatory consists of four straight bays on either side.
1240
The Last Judgement Portal at the Cathedral of Notre-Dame, Amiens
As the Golden Ratio dominates this stone building, we can see much of the Gothic influence taking place within this portal. This portal is intended to depict a story about God and the Last Judgement. There are structuring hierarchies, with God most often being depicted outwards to the viewer. There is a dychtomy within the order and the chaos within the piece. While each of the angels and religious figures are lined up on the wall in a triangle shape, there are clutters of humans within the center. As man descends into the Jaws of Hell or to salvation, St. Michael is weighing the souls.
1434
The Arfolini Portrait, Jan Van Eyck
A piece indicative of the Northern Renaissance utilizes strong color and composition to create the piece of the two central figures and their dog. The figures are posed and stiff, despite being in movement. Most importantly, a small mirror displays the whole room, including the artist, a key feature at the time. By using oil paint, Eyck using the technique of glazing to build contrast and feelings within the piece. The bronze lighting source to the beaded necklace, to the tiny oranges with a reflection against the wall each provide an entrance into the painting.
1434 – 1440
David, Donatello
An early Italian Renaissance piece depicting a young boy with a grotesque head from a Biblical tale. As he stands in a contrappasto-ish way, he depicts a sort of idealized naturalism from Classical times. Although mostly depicted in a heroic nude, the boy is covered with a hat and shoes and has longer hair. Further, his hand on hip provides a flamboyant element to the piece. Yet, he appears in motion. The bronze statue is much like a Grecian bronze, only we are used to seeing the Roman style of it all. Despite other depictions, this boy is show as just that–a boy with a nimble body. He has held many different roles during his lifetime as a statue.
1498-1500
Pieta, Michaelangelo
This marble stature from the Renaissance depicts mother Mary and her son Jesus as he is dying. This Bibllical story depicts an idealized naturalistic version of Jesus, his head laid backwards, his feet heavy onto his mother, and his body human-like. Light highlights the mother and son duo while shadows accentuate the folds of her drapery. While texture is used to define her shape, most of the marble is smooth.
1501- 1504
David, Michaelangelo
A marble from the Italian Renaissance which depicts the Biblical tale of David, only now in a much stronger way. Idealized Naturalism dominates the man–no longer a boy. His abs are chiseled, jaw tight, and he holds a stance within a contrapposto. This is a sole figure in movement, and is being balanced by the strut besides him. His gaze looks outward.
1504
Marriage of the Virgin, Raphael
Using one-point perspective, Raphael creates an oil painting of three central figures for the Marriage of the Virgin. Much of his details stem from symmetry (6 men, 6 women, 1 priest) and this Italian Renaissance piece makes use of color, from the rich blue and pink robes, to the fuzzy landscape far beyond. His signature is on display right above the Jewish/Italian-esque building. Lines aid in creating the one-point perspective and much inspiration is drawn from the classical Greek aesthetic. This includes the movement of the figures, the placing of the ring, the breaking of the stick, the figures in the background. Further, interlocutors on the left and the right are a hallmark of Raphael.
1507
Entombment/Deposition, Raphael
This oil painting of the Italian Renaissance depicts the biblical context of Jesus being carried to his tomb. Using perspective, Raphael pushes inwards, wherein a foggy scene can be seen in the background. Raphael’s use of color provides a bright element to the piece, with Jesus’s pale skin contrasting with his pink loin cloth and his carrier’s deep blue shirt. Once more Raphael’s use of symmetry is ever-present, with five figures on either side. Although inspired by idealized naturalism, the heroic nude isn’t as on display, with Jesus’s manhood being covered. Nonetheless, these figures are in movement. Yet, they stray from the stoic faces we might be accustomed too in the Classical period, rather their anguish is depicted.
1509 – 1511
School of Athens, Raphael
This fresco mural painting depicts great thinkers related to Plato and Aristotle. This Renaissance painting manages order, balance and harmony, depicting the Classical past. Yet, he depicts himself within the piece, serving as an interlocutor. Using linear perspective, Raphael creates a symmetric piece. This painting was for the pope. Raphael’s use of symmetry is evident as each figure provides balance to one another. Two figures, the great thinkers, split center. Raphael still uses idealized naturalism, only he strays from the heroic nude. But every individual is in motion and waiting for their next move. This is an unreal scene—an amalgamation of people who would never be together.
1520 – 1523
Awakening Prisoner, Michaelangelo
This marble statue is created during the Renaissance. Although unknown if this was meant to be the final product, this statue depicts a singular man in motion. We see the Classical-esque movement and the idealized naturalism aspect of the figure with his strong body and detailed beard. As this is a statue, they utilized a subtracted technique wherein you could expect to walk around it to feel the full embodiment. The use of texture, though perhaps unintentionally, contrasts against each other. With the smooth body versus the rough marble, it creates a depiction of a man truly encased within it.
1555
The Chess Game, Sofonisba
Four figures are depicted within this oil-on-canvas painting within the Renaissance. Idealized naturalism provides a sense of movement for the three young girls, yet the old woman to the right is contrasted with a sense of realism. The rich use of color helps understand the wealth the girls had, with the deep oranges and golds illuminating the piece. The oldest serves as an interlocutor, bringing one into the painting.
1556
The Self Portrait at the Easel, Sofonisba
Idealized naturalism is still present in this Renaissance oil on canvas. Sofonisba is serving as the interlocutor as we stare at her in motion, her hands painting a Biblical painting. Using chiascuro and tight brushwork, Sofonisba strongly contrasts between the brights and darks of the painting. This painting-within-painting includes Sofonisba wearing clothing we might understand represents her occupation. This is a woman portrait, which may have been uncommon at the time. The tight brushwork is evident in her details, yet she dollops part of her paint onto the canvas. Here, we could say she is calling attention to the detail this painting is of paint.
1611
Still Life, Clara Peeters
This oil painting is a depiction of Northern Europe. The tradition of the painter within the canvas can be seen by tiny self-portraits of her along the golden chalice. Peeters uses techniques of glazing to provide glassiness to the images, making it appear more real. Yet, Peeters creates small imperfections within the painting, including the dead flowers and chipped table which provide a sense of temporality. Realism is used to depict each detail.
1615
Still Life, Clara Peeters
This oil painting is another depiction of Northern Europe. She creates tiny self-portraits of herself to be identified, even if only in the lid of a part of a wine. Peeters once more uses glazing to provide depth to the wine glass, crumbs to the cheese, and imperfections to the table. Realism is used to depict each detail.
1622
David, Bernini
A marble statue in the Baroque period is known for its theatricality. Although he still uses idealized naturalism to depict the strong muscle, and the contrapposto movement, David, a biblical figure, is still here being depicted as ready to move. He is not an underdog as he could be depicted, rather a strong man. Bernini is known for his textures, with the suit of armor serving as both a strut for David and a part of the narrative. With his jaw clenched and eyebrows furrowed, David is ready to move.
1640
Self-Portrait, Rembrandt
In an early work from Rembrandt, this oil on canvas uses many techniques that he will later move away from or rather use differently. This Baroque-era painting is a bit theatrical and dramatic. Though, one might attribute this work to have more of a spezzatura, an effortless grace or style. There is a materiality reflected in the making of the clothing and hat, similar to another artist before. His 3/4 profile is depicted with chiascuro, a blending of light and dark, and his signature blends into obscurity. Rembrandt is an interlocutor—he looks at us as we look at him. There is a sense of realism depicted.
1642
Night Watch, Rembrandt
This Baroque era oil-on-canvas piece includes much of the theatricality of its time. The faces are illuminated while each individual is depicted as in motion. Although a daytime scene, there is an absence of light within the background. Chiascuro is used to contrast the lights of the faces to the dark of the surroundings. There is a hierarchy within the painting as the two men split center and a young brightened girl is to their right (our left). This is a multiple portrait of a militia group commissioned for the Amsterdam Civic Guard. Although visualized ordered, the figures are in chaos.
1647-1651
The Ectasy of St. Theresa, Bernini
This Italian Baroque marble sculpture depicts a biblical scene theatrically. As the contrast in texture with the soft yet dynamic drapery against the smooth marble of St. Theresa’s skin and the fluffy cloud is illuminated, we can understand how Bernini uses texture. Although understood as a metaphor of sex, there is a divinity to it with the directionality of light and the highlights of her skin and the golden rays of gilded bronze. The two figures utilize their gaze the best to depict the moment.
1654
Portrait of Jan Six, Rembrandt
This Northern Baroque oil painting represents theatricality and drama. The use of chiaroscuro and impasto (applying a thick layer of paint one at a time) provides a stylized depiction of this wealthy figure. This is a realistic depiction that includes movement in the hands, and expressiveness within the eyes. There is a spezzatura, or effortlessness, within the work.
1690
The Ectasy of Mary Magdalene, Roldan
This Baroque polychrome wood figure uses color to depict parrot-like wings and Mary Magdalene’s reddish brown hair. This sculpture is in movement, with wings flapping, and a cherub holding up Mary’s arms. The use of texture helps provide another element, as smooth skin contrasts with the textured wings. This is a Biblical depiction.
1692
St. Michael and the Devil, Roldan
This Spanish Baroque Polychrome Wood sculpture represents an angel and a device. There is a sense of theatricality of the era from the “excessive” use of color to the blend of naturalism and realism. There is an idealized angel who is clothed and a grotesque Devil with horns and chains. There is a strong sense of movement as the poses are exaggerated and unnatural.
1692- 1700
Jesus Carrying the Cross, Roldan
This large Polychrome wood sculpture is a Spanish Baroque figure. There is both a Biblical story and a theatricality to the piece, from the dynamic motion of the leaning Christ to the realistic depiction of the blood of his crown of thorns. The use of texture from a real fabric allows the figure to appear more “alive.” The colors highlight the skin and the blood. This was once used as an active tool of worship, although its role has changed throughout the years.
Newest Work
Editor’s Note: This article has been updated for grammatical accuracy and accuracy to notes.
Images via Wikimedia Commons
Header via Bwarchives
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