Indigenous American Art, 1000 BCE–1980 CE

By depicting scenes from the Buddha's life on its gateways.

Through a monolithic statue of Buddha at its center.

By using inscriptions that detail Buddhist teachings on its walls.

Through symbolic architecture representing the universe and path to enlightenment.

Using marble aligns with Baroque trends favoring simple materials over ornate ones.

Marble's color symbolizes purity which underscores Saint Teresa's virtuous character.

The heaviness of marble conveys the weight of religious experiences on earthly beings.

Marble's ability to be finely carved allows for detailed expression of ecstasy on Saint Teresa's face.

An explicit protest against gender inequality highlighting women's empowerment during Renaissance Italy.

An objective study of human anatomy intended purely for scientific exploration by scholars.

A portrayal of idealized female beauty aligned with contemporary views on love and marriage.

A diplomatic gift meant to forge alliances between powerful Italian city-states through art exchanges.

Depictions of foreign landscapes indicate an admiration for exotic cultures despite Japan's seclusion policy during this time.

Focusing on universal human experiences suggests opposition toward isolationist policies common throughout Edo period artwork.

They illustrate pleasure quarters as self-contained worlds emphasizing Japan's cultural autonomy separated from foreign influences.

Usage of Chinese-influenced artistic techniques implies a desire for cultural exchange contrary to sakoku edicts restricting contact with China.

Chartres Cathedral stained glass windows.

Arena (Scrovegni) Chapel frescos.

Virgin (Theotokos) and Child between Saints Theodore and George icon.

Alhambra palace’s Court of Lions.

Employment of symmetrical compositions with clear geometric arrangements preferred in High Renaissance periods.

Implementation of idealized human forms akin to classical sculptures found in earlier Renaissance works.

Focus on scenes from mythology and allegorical representation common during Mannerist movements following the Renaissance.

Use of dramatic tenebrism, highlighting figures with sharp light contrasts against dark backgrounds.

Unlike Bernini’s sculpture, “Kritios Boy” incorporates elaborate garments detailed with deep folds to convey movement.

The "Kritios Boy" mirrors the dynamic motion seen in "Ecstasy of Saint Teresa," capturing a moment of spiritual awakening.

Bernini's work displays a dynamic expression of ecstasy with flowing drapery, while "Kritios Boy" exhibits restrained emotion and balanced stance.

Both works exhibit extreme levels of emotional intensity through exaggerated facial expressions and dramatic body language.

By being carved out of bronze rather than marble for public admiration versus private study collection.

Featuring complete nudity instead of partial drapery to show divine inspiration against athletic discipline.

Employing chisel marks for texture variation contrasting with polished surfaces for idealized beauty representation.

With a more pronounced twist in the torso conveying tension before battle versus balanced military training posture.

Classical Greco-Roman friezes depicting biblical narratives.

Use of linear perspective in depicting Christ's Ascension.

The combination of a central dome with traditional basilica structure.

Gothic pointed arches framing Byzantine mosaic icons.

Both paintings employ uniform lighting across their compositions to evoke clarity within their respective religious themes.

Caravaggio uses sharp contrasts for dramatic narrative purposes unlike La Tour’s softer illumination that focuses on introspective stillness.

Like de La Tour, Caravaggio also uses candlelight as a singular light source to create intimate scenes with spiritual significance.

De La Tour adopts Caravaggio’s method by highlighting secondary characters to enhance the storytelling effect within his painting.