•            Louis Le Nain, Family of Country People, ca.1640

-interior scene, refelction thinking of social criticism, natural virtues of peasants, always problematic, stark barren, desolate, stoic and painful rather than simple acceptance of ones life as a peasant, less of a celebration, wealthy individuals collect it

•            Jacques Callot, Hanging Tree, from the Large Miseries of War series, 1633

-using art as social cricism, hanging tree, large miseries of war, one print from large series, occur during wars in Lorraine, first pictorial record of human price of war,  others engaged in victory ready for parade contrast to disorder of hangings.

•            Hyacinthe Rigaud, Louis XIV, 1701

-politcal sphere, louis VIV, catorce, chosen by god, divine right of king, selected by god to rule, downfall of French royal rule, the Sun King, divine right of kinds, hung above his throne in his absence supposed to respected as if it were him, magic, only 5 foot 4 shown larger than he was,  fleur de lis, king of ceremonial presence, showing us his thigh, brought high heels into fashion, reminds us of building camoaigns

•            Jules Hardouin-Mansart and Charles Le Brun, Galerie des Glaces, palace of Versailles, ca.1680

-city palace, tripartite division thee streets, meet in center, half a mile gardens with vista,  emphasis on opulence and excessiveness, hall of mirrors, gold marble, control and chosen status of king, court partronage at service of politics, become royal feature become standard of palace,

•            Nicolas Poussin, Et in Arcadia Ego, ca.1655

-enigmatic, 4 figures shown around tomb in pastoral landscape, trying to read inscription, I am an arcadian also, classicizing spirit, painted roman matron, kneeling statue of Neptune, haunting presence of death, ethical intererst in painting, have painting affect ethics of viewer. Painting self reflexively about itself, about interpreting, reading looking

•            Nicolas Poussin, Burial of Phocion, ca.1648

-rigrously academic, scene of burial of phocion, ancient story, interest in classical past unlike Dutch, Athenian general, body is prohibited from being buried by Athenian soil, like Claude there is adherence to formal logic to composition, roads lead us into background with interlocking trianglesm not softened by glowing light, shows funeral and public life, influence by revival of the epoch, larger attitude towards represention, unity of time and action, reveal human consciousness that effect narrative events, archaeological editions, understanding of antique, srve to maintain decorum of story, events that take place in distance from viewer. Authentic replication.

•            Claude Lorrain, Landscape with Cattle and Peasants, 1629

-produced tons of landscapes, no Bibilical matter, connection to dutch painting, typical Claude landscape,seems random, but has formality to it, foreground triangles leading into background triangles leading into water, cows chilling, people in conversation, almost exclusively at sunrise or sunset, golden light filter through landscape. Trees frame picture

•            Jacob van Ruisdael, View of Haarlem from the Dunes at Overveen, ca.1670

-development of landscape as independent subject, no representation of Bibilical stories,  background is cathedral, people bleaching field, connection between landscape in economy, Spanish left land in ruins, making dikes, windmills, landscape less than a third of the composition, skyyyy, light in storms, how light behaves over landscape

•            Pieter Claesz, Vanitas Still Life, 1630

-many like these, objects assembled in artificial arrangement, display of artifice, glass sphere, cracked walnt, traded paper, violing, clock, skull, remind us in the way still lives were used, remind us of transience of life, all die, music is symbol of time, representation of artist, mirror is mimento mori, death, studio conceived inside sphere

•            Jan Vermeer, Allegory of the Art of Painting, ca.1670-5

-early netherlandish commitment to realism, domestic life, interiors, painter and innkeeper, not sole means of income, life and shadow, painting as being almost forgotten, interested in early forms of camera obscura, pinhole box which you can project image onto a surface, aware of fact that shadows are not black, but comprised of color.

-rembrandt has interest in optic light, here we usually see women alone doing domestic things, figure shown posing the muse of history Cleo, trumpet and history, painter seen from behind, Bergundian past, curtain drawn domestic, light from window is realistic light. Shadows of color, map show explorations of Holland, allegorically connected to ways in which painting can shape history. Focus on space of stillness and quiet, interruptance. Similar chandelier, no sense of double meaning in objects

•            Rembrandt van Rijn, Self-Portrait, ca.1659-60

-thinks about painting as printmaking, incising, in contrast to self portait of

•            Judith Leyster, Self-Portrait, ca.1630

-bulky older painter, showing knowledge of painting, background no sign of a studio, but 2 circles, ancient texts on drawing perfect circle freehand, owns his craft, shown with art tools, smock, painters turbin, recalcitrance, challenging, looking down

Judith Leyster, wearing wealthy clothes, social status, emphasizing approachability,  chair turning from painting, reclining, open mouth, happy fiddler, shown as courtly artist of high social standing

Has to do with how artist wants to be remembered. Gender, woman, pleasant approachability, show legitimacy,  seeing it as social status, as a woman in a male dominated art world, looser aggregative approach to brushwork