CHAPTER 16: EXPANDING HORIZONS OF WORLD ART
	The Italian Renaissance was marked by a revival of interest in Ancient Greek and Roman art and culture. EARLY RENAISSANCE ART Figure 16-1: Arena Chapel, interior toward door, 1305–1306. Padua, Italy. The early fourteenth-century Italian artist Giotto revolutionized European painting with his frescoes depicting scenes from the life of Christ and Mary on the walls of the Arena Chapel in Padua. Arena Chapel Arena Chapel Arena Chapel Arena Chapel Figure 16-2: Giotto [Italian, ca. 1266–1337], The Betrayal of Judas, ca. 1305. Fresco. Arena Chapel, Padua, Italy. Giotto’s volumetric figures crowd the foreground, and their gestures and facial expressions heighten the tension of this dramatic scene where Judas betrays Christ with his embrace. The Betrayal of Judas The Betrayal of Judas The Betrayal of Judas Figure 16-3: Masaccio [Italian, 1401–1428], The Tribute Money, ca. 1427. Fresco, 8 ft. 1 in. x 19 ft. 7 in. (2.5 x 6 m). Brancacci Chapel, Santa Maria del Carmine, Florence. A century after Giotto, the fifteenth-century Florentine painter Masaccio introduced linear and atmospheric perspective to create an illusionary three-dimensional setting for his depiction of the encounter between Christ and the tax collector. Fresco Fresco Detail Detail Detail Detail Chapel Chapel Chapel EASTERN LANDSCAPE ART Chinese landscape painting reached its peak in the tenth century under the Sung Dynasty. Figure 16-4: Kuo Hsi [Chinese, eleventh century], Early Spring, 1072. Hanging scroll, ink and color on silk, 62 3/8 in. (158.3 cm) high. Building upon the traditional format of Chinese landscapes paintings, court painter Kuo Hsi shrouded his mountain scenes in an atmospheric mist to depict the transition from winter to spring. Chinese painters used multiple perspective and light sources to enable viewers to discover their own paths through the landscape. Early Spring Early Spring Early Spring Early Spring Figure 16-5: Ni Tsan [Chinese, 1301–1374], The Jung-his Studio. Hanging scroll. Ink on paper, 28 7/8 in. (73.3 cm) high. A parallel tradition of Chinese landscape paintings was developed by amateur poets and scholars who worked independently from the professional court artists. Ni Tsan’s spare landscape with its delicate dry brush strokes, spatial ambiguities, and accompanying commentary is typical of this scholarly style. The Jung-his Studio NORTHERN RENAISSANCE ART Figure 16-6: Jan van Eyck [Flemish, ca. 1390–1441], Madonna of Canon George van der Paele with Sts. Donation and George, 1436. Oil and tempera on wood, 32 1/4 x 23 1/2 in. This work demonstrates the stylistic innovations of fifteenth-century Northern Renaissance artists like Jan van Eyck, who used oil paint to create a rich array of textures and reflective surfaces in microscopic detail. Madonna of Canon George van der Paele Madonna of Canon George van der Paele Madonna of Canon George van der Paele Madonna of Canon George van der Paele Madonna of Canon George van der Paele ITALIAN RENAISSANCE ARCHITECTURE & SCULPTURE The fifteenth-century Italian artist Brunelleschi, who developed the system of linear perspective, was also to the first to base his architectural designs on ancient Roman models. Figure 16-7: Filippo Brunelleschi [Italian, 1377–1446], Florence Cathedral, view of the dome, 1420–1436. Brunelleschi used the ancient Roman Pantheon as a source of inspiration for his design for the double-shelled dome of the Cathedral of Florence. Dome Dome Dome Dome Dome Figure 16-8: Filippo Brunelleschi [Italian, 1377–1446], Santo Spirito, interior, begun 1436. Florence. Brunelleschi’s plan for this Florentine church, based upon the mathematical ratio of 1:1, demonstrated his belief that a harmoniously balanced church building was a reflection of God’s divine plan for the universe. Interior Interior Interior Interior Interior Figure 16-9: Donatello [Italian, 1386?–1466], David, ca. 1428–1432. Bronze, 62 1/4 in. (158.1 cm) high. Donatello’s bronze cast nude of the Biblical giant killer David was based upon classical sculptures. Through his unique treatment of the figure, Donatello added a psychological dimension to this work that was lacking in its ancient prototypes. Archker's Fantasy Art Gallery: David, Donatello Thais: David, Donatello Artchive: Donatello biography Web Gallery of Art: Donatello images
	LATE 15TH CENTURY PAINTING The late fifteenth-century Florentine artist Botticelli developed a personal style of painting that differed from most of his contemporaries with its emphasis on line and pattern. Figure 16-10: Sandro Botticelli [Italian, 1445–1510], Birth of Venus, ca. 1482. Tempera on canvas, approximately 68 x 109 in. (172.7 x 276.9 cm). In this work, which was commissioned by a member of the Medici family, Botticelli depicts the birth of Venus, the goddess of love and beauty, in a graceful style against a flat tapestry like background. Web Gallery of Art: The Birth of Venus, Sandro Botticelli WebMuseum: The Birth of Venus, Sandro Botticelli Artchive: Sandro Botticelli biography Olga's Gallery: Sandro Botticelli images Painting Detail Detail Painting Detail Detail OLMEC, MAYAN & AZTEC ART Many native cultures with distinctive artistic traditions flourished in Central and South America in the centuries prior to the arrival of Europeans. Figure 16-11: [Mayan], Temple I (Temple of the Giant Jaguar), ca. 700. Tikal, El Péten, Guatemala. Beginning in the third century, Mayan people built steep stone pyramids like this one, which was capped with a Temple to the Giant Jaguar. Temple of the Giant Jaguar Temple of the Giant Jaguar Temple of the Giant Jaguar Temple of the Giant Jaguar Temple of the Giant Jaguar Figure 16-12: [Aztec], Coatlicue (Lady of the Skirt of Serpents), fifteenth century. Andesite, 99 in. (257 cm.) high. Stone ritual images like this one, clothed in a skirt of snakes and a necklace of severed hands and hearts, were created by Aztec artists in central Mexico. Mesoweb: Statue of Coatlicue, Aztec, Toltec culture Pomona College: The earliest known evidence of the origins of the Aztecs and history of their formation Rose-Hulman Institute of Technology: The Aztecs Minnesota State University: The Toltecs WEST AFRICAN ART Figure 16-13: [Ife, Nigerian], Head of an Oni, twelfth to fourteenth century. Zinc brass, 12 1/4 in. (31 cm). In the fifteenth century, court artists in the West African kingdom of Benin made bronze cast images representing their Oba or god king using the lost wax process. ITALIAN HIGH RENAISSANCE ART In the early years of the sixteenth century, powerful Popes like Julius II commissioned some of the best artists of the period to execute large-scale art and architectural projects in Rome. These artists sought to emulate the visual harmony of classical art. Figure 16-14: Donato Bramante [Italian, 1444–1514], Medal by Caradosso showing Bramante’s design for St. Peter’s, 1506. Bramante designed a centralized domed structure for the new basilica of St. Peter to replace an older fourth-century church on the same site. Medal by Caradosso showing Bramante’s design for St. Peter’s Medal by Caradosso showing Bramante’s design for St. Peter’s Medal by Caradosso showing Bramante’s design for St. Peter’s Figure 16-15: Donato Bramante [Italian, 1444–1514], Tempietto, 1502. Marble, height 46 ft. (14 m), diameter of colonnade 29 ft. (8.8 m). While Bramante’s plan for the new St. Peter’s was drastically altered by later architects, he did complete this small circular church based upon ancient Roman models. Tempietto Tempietto Tempietto Tempietto Tempietto Figure 16-16: Leonardo da Vinci [Italian, 1452–1519], The Last Supper, 1495–1498. Fresco (oil and tempera on plaster), 13 ft. 9 in. x 29 ft. 10 in. (4.2 x 9.1 m). Leonardo balances the emotional intensity this gathering of Christ and his disciples within the context of mathematically controlled compositional space. University of Pennsylvania: The Last Supper, Leonardo de Vinci Olga's Gallery: The Last Supper, Leonardo de Vinci Leonardo - The Man and His Machines: The Last Supper, Leonardo de Vinci Olga's Gallery: Leonardo de Vinci images Linear perspective of da Vinci Last Supper, Perspective Figure 16-17: Leonardo da Vinci [Italian 1452–1519], Mona Lisa, ca. 1503–1505. Oil on wood, approximately 30 x 21 in. (76.2 x 53.3 cm). In this portrait, Leonardo softened the contours of the figure and the background landscape with a unique application of transparent glazes. Mona Lisa - large image Webmuseum: La Joconde Leonardo: The Man - His Machines Treasures of the World: Theft of the Mona Lisa 1. Mona Lisa, Leonardo da Vinci 2. The Mona Lisa, reflected in its current display Figure 16-18: Raphael [Italian, 1483–1520], The School of Athens, 1509–1511. Fresco, approximately 19 x 27 ft. (5.8 x 8.23 m). Raphael’s painting The School of Athens features sixty classical scholars interacting within an expansive architectural space, which may resemble Bramante’s design for the new St. Peter’s. The School of Athens The School of Athens The School of Athens The School of Athens
	ARTIST AT WORK: LEONARDO DA VINCI Artist at Work: Leonardo da Vinci [Italian, 1452–1519], Self-Portrait, ca. 1512. Chalk on paper, 13 x 8 1/4 in. (33 x 21 cm). Leonardo was trained as both a painter and sculptor in the traditional workshop apprentice system. During his seventeen years as the court artist for the Duke of Milan, he designed fortifications, water systems, and pageant decorations as well as art works. Artist at Work: Leonardo da Vinci [Italian 1452–1519], page from anatomy notebook, 1510. To paint the human figure as realistically as possible, Leonardo studied anatomy and dissected cadavers. He also did numerous drawings of animals, plants and the landscape. Figure 16-19: Titian (Tiziano Vecelli) [Italian, ca. 1488–1576], Bacchus and Ariadne, 1523. Oil on canvas, 69 x 75 in. (175.2 x 190.5 cm). The Venetian artist Titian exploited the sensuous visual qualities of oil paints to recreate the lavish surface textures and colors of skin, fabric, and landscape in mythological scenes like this one of Bacchus rescuing Ariadne. Art 4 U: The School of Athens, Raphael Vatican Museums: The School of Athens, Raphael Athena: The School of Athens, Raphael (details) WebMuseum: Raphael biography and images MICHELANGELO Michelangelo Michelangelo created a unique style of artistic expression in which he fused classical influences with psychological struggle. Figure 16-20: Michelangelo [Italian, 1475–1564], David, 1501–1504. Marble, approximately 13 ft. 5 in. (4.1 m) high. Michelangelo’s huge marble figure reflects both the influence of classical sculpture and the physical prowess and mental focus that enabled David to kill Goliath. Bacchus and Ariadne Bacchus and Ariadne Bacchus and Ariadne Bacchus and Ariadne Bacchus and Ariadne Figure 16-21: Michelangelo [Italian, 1475–1564], Creation of Adam, 1508–1512. Fresco, 18 ft. 8 in. x 9 ft. 2 in. (5.7 x 2.8 m). Michelangelo’s dynamic images of God painted on the Sistine Ceiling also are expressions of the explosive energy of creation. PBS Culture Shock: David, Michelangelo Bluffton College: David, Michelangelo Statue.com: David, Michelangelo Web Gallery of Art: David, Michelangelo View an image of Michelangelo's David in Florence Figure 16-22: Michelangelo [Italian, 1475–1564], exterior of St. Peter’s, west end, 1546–1564. Vatican, Rome. Olga's Gallery: The Creation of Adam, Sistine Chapel, Michelangelo Christus Rex: The Creation of Adam, Sistine Chapel, Michelangelo Web Gallery of Art: Scenes from the Genesis, Sistine Chapel, Michelangelo Olga's Gallery: Michelangelo biography Exploring the Sistine Chapel Ceiling The massive architectural elements that Michelangelo incorporated in his design for the four-hundred-foot dome and apse area of the New St. Peter’s church also reflect his energetic style. NORTHERN HIGH RENAISSANCE ART The German painter and printmaker Dürer made two trips to Italy to study High Renaissance art. Figure 16-23: Albrecht Dürer [German, 1471–1528], Self-Portrait, 1500. Oil on panel, 25 5/8 x 18 7/8 in. (65.1 x 47.9 cm). Dürer depicted himself as a Christ-like figure in this self-portrait, which reinforced the Renaissance idea that the process of artistic creation was directed by divine inspiration. USC: Plan of St. Peter¹s Basilica with adjoining piazza Brigham Young University - Idaho: Plan of St. Peter’s Cathedral, Rome Bartleby: Saint Peter’s Church New Advent - Catholic Encyclopedia: Basilica of St. Peter SPANISH LATE RENAISSANCE From his birthplace on the Island of Crete, El Greco traveled to Italy to observe the work of High Renaissance artists and then to the Spanish town of Toledo where he worked for thirty-seven years as a religious painter. Figure 16-24: El Greco (Doménikos Theotokópoulos) [Spanish, 1541–1614], The Opening of the Fifth Seal of the Apocalypse, from The Vision of Saint John, 1608–1614. Oil on canvas (top truncated), 87 1/2 x 76 in. (222.3 x 193 cm), with added strips 88 1/2 x 78 1/2 in. (224.8 x 199.4 cm). El Greco developed an expressive painting style in which elongated figures are engaged in visionary and mysterious experiences against dimly light backgrounds. The Opening of the Fifth Seal of the Apocalypse The Opening of the Fifth Seal of the Apocalypse The Opening of the Fifth Seal of the Apocalypse CLASSIC HOUSE WEST & EAST The late Renaissance architect Palladio applied the rules of classical architecture in designing villas or country homes on the mainland near Venice. Diagram: Palladio's plan of the Villa Rotunda Figure 16-25: Andrea Palladio [Italian, 1508–1580], Villa Rotonda, ca. 1566–1570. Vicenza, Italy. This symmetrically planned country villa features a central dome over a square space with four equal extensions culminating in classical porches, from which the patron could enjoy views of the surrounding landscape. Exterior Exterior Exterior Exterior Exterior Villa Capra, or Villa Rotunda Another view of the Villa Rotunda Figure 16-26: [Japanese], Katsura Palace, exterior, ca. 1615–1663. Kyoto, Japan. Katsura Imperial Villa Katsura Imperial Villa Katsura Imperial Villa Katsura Imperial Villa Katsura Imperial Villa Figure 16-27: [Japanese], Katsura Palace, interior, ca. 1615–1663. Kyoto, Japan. This early seventeenth-century Japanese palace was designed as a country retreat for the royal family. In contrast to the Villa Rotunda built about the same time, the Katsura palace is constructed of wood on a fluid, irregular floor plan with sliding exterior walls. Katsura Palace Katsura Palace Katsura Palace
	BAROQUE PAINTING A new dynamic and theatrical style of art known as the Baroque developed in the early seventeenth century. Figure 16-28: Caravaggio (Michelangelo Merisi) [Italian, 1573–1610], The Calling of St. Matthew, 1599–1600. Oil on canvas, 133 x 137 in. (322 x 340 cm). The Italian Baroque artist Caravaggio developed a dramatic lighting technique known as tenebrism to heighten the drama of Biblical scenes like this one, in which a shaft of light directs our attention to St. Mathew. painting painting Painting Painting Painting ARTIST AT WORK: CARAVAGGIO Caravaggio attracted the attention of wealthy patrons with his innovative panel paintings, in which he used ordinary people as models. He also developed a new direct approach to painting by working out his designs on the surface of the canvas rather than in traditional preliminary drawings. Artist at Work: Caravaggio (Michelangelo Merisi) [Italian, 1573–1610], St. John the Baptist in the Wilderness, ca. 1605. Oil on canvas, 68 x 52 in. (172.5 x 134.5 cm). This brooding realistic portrayal of a youthful St. John the Baptist wrapped in a red robe demonstrates Caravaggio’s distinctive use of strong contrasting areas of light and shadow. Velázquez was for many years the court artist of the Spanish King Philip IV. Figure 16-29: Diego Velázquez [Spanish, 1599–1660], Las Meninas, 1656. Oil on canvas, approximately 10 ft. 5 in. x 9 ft. (3.2 x 2.7 m). Web Gallery of Art: Las Meninas (The Maids of Honor), Diego Velasquez Artchive: Las Meninas (The Maids of Honor), Diego Velasquez Web Gallery of Art: Diego Velasquez biography Olga's Gallery: Diego Velasquez images Velázquez uses strong contrasts of light and dark to illuminate this scene of the young five-year-old Spanish princess surrounded by her attendants. Velázquez portrays himself working at his easel on the left. Figure 16-30: Peter Paul Rubens [Flemish, 1577–1640], The Coronation of Saint Catherine, 1631 (1633?). Oil on canvas, 105 5/8 x 84 3/8 in. (265.75 x 214.3 cm). The Flemish artist Rubens combines influences from both Titian and Michelangelo respectively and in his lavish use of color and powerful, heroic human figures. The Coronation of Saint Catherine The Coronation of Saint Catherine BAROQUE SCULPTURE Figure 16-31: Gianlorenzo Bernini [1598–1680], The Ecstasy of St. Teresa, 1645–1650. Cornaro Chapel, Santa Maria della Vittoria, Rome. The Italian Baroque architect and sculptor rejected Renaissance classicism in favor of more dramatically charged composition like this image of the Spanish mystic St. Theresa being overcome by the power of divine love, which as she wrote pierced her heart like an arrow. The Ecstasy of St. Teresa The Ecstasy of St. Teresa REMBRANDT & THE GOLDEN AGE OF DUTCH PAINTING Rembrandt developed his own interpretation of the Baroque style in the context of the Protestant culture of the Dutch Republic. Figure 16-32: Rembrandt van Rijn [Dutch, 1606–1669], The Return of the Prodigal Son, ca. 1665. Oil on canvas, approximately 8 ft. 8 in. x 6 ft. 9 in. (2.6 x 2.1 m). In paintings like this one, Rembrandt uses oil paints and glazes to create an inner glow to his canvases. The Return of the Prodigal Son The Return of the Prodigal Son The Return of the Prodigal Son The Return of the Prodigal Son Figure 16-33: Jan Vermeer [Dutch, 1632–1675], Woman with a Water Jug, ca. 1662–1665. Oil on canvas, 18 x 16 in. (45.7 x 40.6 cm). During the seventeenth century, the Dutch artist Vermeer developed genre scenes that portrayed women involved in everyday activities in a carefully constructed domestic environment suffused with light and soft shadows. Italian Culture and History: The Ecstasy of St. Theresa, Cornaro Chapel, Gianlorenzo Bernini Web Gallery of Art: The Ecstasy of St. Theresa, Gianlorenzo Bernini Rome in the Footsteps of a 1750 Traveller: Three chapels by Gian Lorenzo Bernini Web Gallery of Art: Gianlorenzo Bernini biography BAROQUE ARCHITECTURE The Roman artist Borromini was one of the innovators in the development of Baroque architecture. Figure 16-34: Francesco Borromini [Italian, 1599–1667], St. Ivo, exterior, begun 1642. Rome. Painting  Painting  Painting Painting Painting Figure 16-35: Francesco Borromini [Italian, 1599–1667], St. Ivo, interior, begun 1642. Rome. In his design for the small chapel of St. Ivo, Borromini developed an intricate ground plan of overlapping reverse triangles, a design that in turn determined the irregular wall surfaces and ultimately the unique shape of the dome. Stuffelbeam Design: Young Woman with a Water Jug, Jan Vermeer Web Gallery of Art: Young Woman with a Water Jug, Jan Vermeer WebMuseum: Jan Vermeer biography and images Washington State Unversity : Jan Vermeer images Figure 16-36: Louis Le Vau [French, 1612–1670] and Jules Hardouin-Mansart [French, 1646–1708], garden and west facade of the Palace of Versailles, 1669–1685. Versailles, France. The grandiose palace of Versailles, with its ornately decorated rooms and elaborate gardens, was designed as a visual symbol of Louis XIV’s wealth and power. Throughout the palace, from the location of the king’s bedroom in the center of the east façade to the ceiling paintings and garden statuary, the complex was filled with images and symbolism associating the king with the sun god Apollo. Jim Tardio Photography: Palace of Versailles, France, as seen from the garden Palace of Versailles, France Palace of Versailles, France Palace of Versailles Home Page ROCOCO ART The Rococo style, which developed in Paris in the early decades of the eighteenth century, was characterized by the use of light delicate colors, curved lines, and ribbon and shell motifs. Figure 16-37: Germain Boffrand [French, 1667–1754], Salon de la Princesse, 1737–1740. Hôtel de Soubise, Paris. The Rococo style was used for the interior decoration and furnishings of aristocratic town homes where the walls were covered with mirrors, elaborate gilded ribbon and plant designs, and a trellis-like ceiling. Salon de la Princesse Figure 16-38: Antoine Watteau [French, 1684–1721], Pilgrimage on Cythera, 1717–1719. Oil on canvas, approximately 51 x 76 in. (129.5 x 193 cm). Louvre, Paris. Watteau created this painting as the entry work for his acceptance as a member of the French Royal Art Academy. It depicts the soft dream-like atmosphere of the Island of Cythera, where couples have come to visit the shrine of Venus, the goddess of love. Return from Cythera Return from Cythera Return form Cythera Return from Cythera
	NEOCLASSICAL ART The Neoclassical style developed during the Enlightenment in the latter part of the eighteenth century, when scholars emphasized the role of reason in the solution of human problems and believed that art works should serve a moral rather than a decorative function. Figure 16-39: Jacques Louis David [French, 1748–1825], The Oath of the Horatii, 1784. Oil on canvas, approximately 11 x 14 ft. (3.4 x 4.3 m). Louvre, Paris. Neoclassical artists often borrowed themes and visual details from ancient art and culture, as David does in this painting depicting an Ancient Roman story about the virtues of loyalty to the state. The Oath of the Horatii, Jacques-Louis David Boston College: The Oath of the Horatii, Jacques-Louis David Web Museum: Jacques-Louis David biography and images Olga's Gallery: Jacques-Louis David images Jacques-Louis David on ArtCyclopedia Jacques-Louis David on ArtChive Figure 16-40: Thomas Jefferson [American, 1743–1826], Rotunda and courtyard of the University of Virginia, 1817–1826. Charlottesville. Diagram: Jefferson’s plan for the University of Virginia Thomas Jefferson, an architect as well as a politician, demonstrated his admiration for classical architecture in his design for the library at the University of Virginia patterned after the ancient Roman Pantheon. Jefferson also designed other campus buildings, which flank either side of the mall in front of the library to create what he termed an "Academic Village." Rotunda and courtyard of the University of Virginia Rotunda and courtyard of the University of Virginia ROMANTICISM In contrast to Neoclassicism, the Romantic style appealed to viewers’ emotions rather than their reason. Figure 16-41: Caspar David Friedrich [German, 1774–1840], The Monk by the Sea, 1809–1810. Oil on canvas, 42 1/2 x 67 in. (108 x 170 cm). In landscape vistas like this one, Romantic artists created natural scenes that also symbolized the presence of God or divine providence. The Monk by the Sea The Monk by the Sea The Monk by the Sea Figure 16-42: Francisco Goya [Spanish, 1746–1826], The Third of May, 1808, 1814. Oil on canvas, 104 x 135 in. (264.2 x 342.9 cm). Many Romantic works like this one depicted dramatic and sometimes violent subject matter. Here Goya used vivid colors and lighting effects to engage the viewer’s identification with the victims of the military firing squad. Olga's Gallery: The Third of May, 1808, Francisco Goya My Studios: The Third of May, 1808, Francisco Goya Island of Freedom: Francisco Goya biography Olga's Gallery: Francisco Goya images The Executions of May 3, 1808, Francisco Goya, Spain. Figure 16-43: Théodore Géricault [French, 1791–1824], Raft of the Medusa, 1818–1819. Oil on canvas, approximately 16 x 20 ft. (4.9 x 6.1 m). This Romantic painting depicts an actual horrific contemporary event in which a group of shipwrecked passengers were abandoned on a raft in the ocean off the coast of Africa. Géricault used dramatic gestures, strong diagonals, and a stormy sky to heighten the emotional content of this work. Raft of the Medusa Raft of the Medusa Raft of the Medusa Raft of the Medusa Raft of the Medusa Architects working in the Romantic style believed that a revival of Gothic church architecture would spark a Christian renewal. Figure 16-44: Richard Upjohn [American, 1802–1878], Trinity Church, 1839–1846. New York. This New York church, with its stained glass, pointed arches, and soaring spires, was a prototype for Gothic revival architecture in the United States. Trinity Church, New York Trinity Church, New York Trinity Church, New York Figure 16-45: Jean Auguste Dominique Ingres [French, 1781–1867], Jupiter and Thetis, 1811. Oil on canvas, 130 5/8 x 101 1/4 in. (331.8 x 257.2 cm). The nineteenth-century French painter Ingres reinterpreted the Neoclassical style in works like this one in which he juxtaposed an unusually large image of Zeus, clearly based on an ancient Greek sculpture, with a much softer and smaller image of Thesis. Jupiter and Thetis Jupiter and Thetis Jupiter and Thetis Jupiter and Thetis Figure 16-46: Eugène Delacroix [French, 1798–1863], The Death of Sardanapalus, 1826. Oil on canvas, 12 ft. 1 in. x 16 ft. 3 in. (3.7 x 5 m). In his depiction of the death of the Assyrian ruler Sardanapalus, the Romantic painter Delacroix used lavish colors and surface textures to create images of chaos and physical violence. ABC Gallery: The Death of Sardanapalus, Eugene Delacroix My Studio: The Death of Sardanapalus, Eugene Delacroix Olga's Gallery: Eugene Delacroix biography Mt. Holyoke College: Eugene Delacroix images Sardanapalus Sardanapalus Sardanapalus Sketch Detail Sketch Detail REALISM By the middle of the nineteenth century, some artists rejected earlier styles of art, with religious and mythological subject matter, in favor a new more scientific and realistic style of painting that focused on the depiction of scenes taken directly from life. Figure 16-47: Gustave Courbet [French 1819–1877], A Burial at Ornans, 1849. Oil on canvas, approximately 10 x 22 ft. (3 x 6.7 m). The French Realist artist Courbet claimed that he painted only images that he could see with his own eyes like this provincial funeral service. Burial at Ornans Burial at Ornans Burial at Ornans Burial at Ornans Burial at Ornans Figure 16-48: Thomas Eakins [American, 1844–1916], Max Schmidt in a Single Scull (The Champion Single Sculls), 1871. Oil on canvas, 32 1/4 x 46 1/4 in. (81.9 x 117.5 cm). The Philadelphia painter Thomas Eakins demonstrated his commitment to Realism in early works like this one of his friend, a championship racer. Max Schmidt in a Single Scull (The Champion Single Sculls) Max Schmidt in a Single Scull (The Champion Single Sculls)