Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
35 Cards in this Set
- Front
- Back
- 3rd side (hint)
|
Christ Carrying the Cross, Sebastiano del Piombo, 1535-40 |
-meditative imagery; austere side of the Baroque; uses foreshortening, chiaroscuro, emotion; Christ handing the Cross to the viewer -'devotione moderna'; think about every detail of Christ's body; crippling weight of the Cross |
|
|
Crucifixion with Saints, Annibale Carracci, 1583 |
-earliest truly Baroque response to Trent; ordinary people, logical composition -inclusion of different elements of the story; storm |
|
|
The Council of Trent, Pasquale Cati da Iesi, 1588-9 |
-reaffirmation of sacred art; Catholic Reformation/Counter-Reformation -triumphalist; celebrating the council as victory; "Victory of the Church over Heresy" allegorical figure (with other allegories of Faith, the Eucharist, and Charity) |
|
|
Vision of St Thomas Aquinas, Santi di Tito, 1593 |
-Baroque style of confusing the real/unreal; illusionistic, like Trinity by Masaccio; they're walking out into our space -our own personal miracle; St Catherine was put on a wheel to break her back, it broke instead; St Thomas Aquinas, his vision |
|
|
Martyrdom of St Matthew, Michelangelo Merisi da Caravaggio, 1599-1600 |
-bad boy of the Baroque; pauperism, violence, painted right on the canvas; existed between the devout and the profane; impacted his work -added many details to his work that only become apparent with close study; tension between old and young, emotions from guilt to fear to remorse, parallel between the palm leaf and the sword -Caravaggio as witness; guilt of the bystander; pauperism, witnessed lots of violence and death because of riots and plague |
|
|
Domine Quo Vadis, Annibale Carracci, 1601-2 |
-small, meditative painting, 'delectare, dolere, movere', delight, teach, move; beautiful colours, Classical figures; oh wait, that's Peter, fleeing from Rome to avoid crucifixion; take up your cross, stop denying Me -Annibale develops Classical influence by going to Rome, figures become more idealized |
|
|
Michelangelo Merisi da Caravaggio, Madonna of Loreto, c. 1603-6 |
-critiqued for painting Mary poor, barefoot, clean and floating; donors themselves were painted poor, pilgrims; growth in the impoverished population in the city with the fall of the feudal system; poor as deserving as anyone else -hidden symbols; brick is for the Holy house of Loreto, shroud is the one in which He's buried, memento mori |
|
|
image |
Winter Landscape with Skaters, Claes Jansz Visscher, 1613 |
-trained to develop scenes of commercial infrastructure; pretty, local places -no meaning at all, simply nice to look at; appealing to the market -widely distributed, print -the horizon line begins to fall; sky becomes the most expressive part of the painting -nature and human aspects are in balance |
|
|
The Miracles of St Ignatius of Loyola, Peter Paul Rubens, 1617-18 |
-represents the destruction of heresy; possessed by Protestantism -Jesuit; law, order, education, steady |
|
|
Virgin Immaculate, Diego Velázquez, 1618 |
-humanized his Virgin; used his wife as a model; demure, embarrassed by the weight of her responsibility -trained under his father in law, but surpassed him; took the role of the king's painter; championed naturalism instead of the idealism of his father in law; Pacheco did a similar painting, symbols in the background, Woman of the Apocalypse from Revelations; Velázquez did everything he did, but in a sympathetic way |
|
|
Pluto and Proserpina, Gianlorenzo Bernini, 1621-2 |
-pushes the marble to its limit; showing the suppleness of skin; violation of both's flesh, by lust and by repulsion; pulling and pushing; breakdown of paragone; emotion reserved for painting -transformation scene; inspired by being exposed to Greco-Roman sculpture by Pope Paul 5 |
|
|
St. Longinus, Gianlorenzo Bernini, 1629-38 |
-capturing a transformation; conversion; snapshot of that moment -Baroque was about movement; moving into our space to connect; movement to express emotion |
|
|
Iconoclasts in a Church, Dirk van Delen, 1630 |
-impact of the Reformation on art; images should be narrative, not iconic; this would spark the Counter Reformation, and a new, decorum-filled, celebration of religious imagery -Beeldenstorm, iconoclastic attacks in the Low Countries; sets off the civil war between the Spanish Netherlands (Flanders, Catholic) and Holland (Protestant), which would eventually bring the Dutch independence |
|
|
After the Rain, Salomon Van Ruysdael, 1631 |
-most celebrated landscape of the time -looks exciting; clouds; suggests a story -figures are just going about their business; no narrative -expressive quality of nature; like how Bernini treats fabric -humans are part of the landscape -lowered horizon emphasizes the sky; story told through the clouds |
|
|
Glorification of the Reign of Urban VIII, Pietro da Cortona, 1633-9, fresco, Palazzo Barberini, Rome |
-glorifying the Barberini family; golden bees being crowned by Immortality, surrounded by Religion, Rome (carrying the papal tiara), Faith, Charity, and Hope; ok to have pagan artworks if they're private, but not nude -illusionistic; all under one sky; foreshortening to add height; designed by a hired scholar |
|
|
The Surrender of Breda, Diego de Velázquez, 1635 |
-propaganda for the king of Spain; wasn't depicting real events, but instead based off of a play; they hated each other in reality, wouldn't be bowing -contrasting fabrics and emotions between the two sides; made it obvious who won -reality of war shown in the background |
|
|
The Arcadian Shepherds, Nicolas Poussin, 1638-40 |
-meant to look like a utopian pastoral scene, exuding classicism -memento mori; "I too am in Arcadia"; some interpret the woman as death by her lack of worry; man's shadow looks like a scythe |
|
|
Penitent Magdalene, Georges de la Tour, ca 1640-45 |
-ideal meditative image; modesty, place yourself into her place; symbols of her life to identify her: hair, ointment jar, whip; skull for death, rope for Franciscan order (mystical movement for one-on-one devotion, meditation) -influenced by Caravaggio, chiaroscuro, pauperism; uses light to highlight the important parts of the image |
|
|
S Ivo alla Sapienza, Francesco Borromini, 1642-52, Rome |
-wisdom; Sapienza=knowledge; dedicated to the Holy Spirit, grants wisdom; special law degree, tower shaped like a diploma; orb with flames of knowledge; University of Rome's chapel -Borromini was proud of being a builder; architecture was to him what sculpture was to Bernini; all white, focus solely on the architectural elements; catches light; separate levels but his architecture moves in symphony between both (unlike Bernini's Sant Andrea al Quirinale); concave and convex juxtaposition -continuity of the courtyard, but done in his own style; brick is material of the people; dome in a box |
|
|
The Annunciation, Philippe de Champaigne, 1645 |
-emphasis on elegance, "gloire"; unfrightened, courtly, rich, Queen of Heaven; no raw emotion, proper -other styles focus on the earthly, but Champaigne shows the heavenly |
|
|
The Peace of Westphalia, Gerard Terborch, c.1648 |
-treaty signed between the Spanish and the Dutch, declaring freedom of religion (no state religion, no more persecution) -the artist painted himself as present, as a witness; far left, foreground; this was not how it actually happened, there was fighting and shouting; Terborch presents it as ordered |
|
|
Cornaro Chapel, Gianlorenzo Bernini, 1647-1652, Rome |
-wanted to create a space that was a vision; seeing it in your head -breathing architecture; adds drama and emotion -false balconies; figures show you how to react to the vision |
|
|
The Ecstasy of St. Teresa, Gianlorenzo Bernini, 1647-72, Rome |
-turned a painting into a sculpture (Ecstasy of St Margaret) -drapery expresses emotion -natural light -angel is kind, pulling away; no violence (unlike the rape scenes) |
|
|
Haarlem Sea, Jan Van Goyen, 1656 |
-brings the horizon down even more -sky and water and the most expressive elements -limited palette -small human element -clouds are the most important part |
|
|
Apostle Paul, Rembrandt van Rijn, c. 1657 |
-Word over image; author portrait; scripture as sword -Rembrandt's pride; signature |
|
|
Girl Reading a Letter at an Open Window, Jan Vermeer, 1657 |
-meditative quality; mysterious, still, quiet, ethereal -see her face; makes the viewer wonder about a story; reflection could be her inner thoughts -symbols of trading empire: carpets, maps, pottery; pride and wealth |
|
|
Cathedra Petra, Gianlorenzo Bernini, 1657-66, St Peter's Rome |
-bel composto
-inspired by the forty hours' devotion (Carlo Rainaldi design) -ephemera, theater -Bernini's skill: chair floating above the hands of the apostles; chair is empty, waiting for the return of Christ |
|
|
Sant' Andrea al Quirinale, Gianlorenzo Bernini, 1658-72, Rome |
-entire church is meant to act like a miracle; walk to the altar faster than you'd think; St Andrew dying on a cross, his body and soul ascending to heaven; natural light above the painting; the dome acts as the heavenly realm -bel composto -had to work with a small space, with no grand entrance; creates a two-story entryway that bends to welcome you in |
|
|
Self-Portrait, Rembrandt van Rijn, 1659 |
-scholarly, beret, business man; signed everything; impasto to mark his paintings; melancholy=genius; branding himself -painted himself in the image of Baldassare by Castiglione; cultured |
|
|
The World Upside-Down, Jan Steen, 1663 |
-genre painting -loves his characters; moralistic -World Upside Down was a word game -Dutch proverbs (eg: throwing roses before swine) -Nun and a Quaker having an argument; making fun by putting a quacker on a quaker |
|
|
Dome of S Lorenzo, Guarino Guarini, 1668-87, Turin |
-made the space he had seem as big as possible; took away anything that blocked the walls; columns in the round; palladium motif (serliana); removed the wall from the dome to let in the most light
-royal patrons; coloured marble, frescoes, triumphal, large -interweaving ribs on the dome create a rotating effect; referencing Medieval and Islamic motifs) |
|
|
The Triumph of the Name of Jesus, Baciccio, 1676-85, Ceiling of the Gesù, Rome
|
-Jesuits self-congratulating themselves; damned outside of the mandorla, like Loyola casting out the devil -Bernini's student; knows how to mix the mediums; spills out over the cauffering; fake shadows; perspective to direct your gaze |
|
|
Allegory of the Missionary Enterprise of the Society of Jesus, Andrea Pozzo, 1691-94, Sant' Ignazio, Rome |
-the church ran out of money, so they had Pozzo paint fake architecture in the vault using precise perspective -globalization; four corners have represented the four continents known at the time |
|
|
St John Nepomuk, Giovanni Santini, 1719-22, Czech Republic |
-church dedicated to the tongue of St John of Nepomuk that hadn't decomposed; in the middle of the dome; in the shape of a giant tongue
-five stars -opposite of dome in a box; non-structural vaults and tracery |
|
|
Transparente, Diego and Narciso Tomé, 1721-32, Toledo Cathedral |
-uses light to its full advantage; blew open the vault to have natural light; goes through the transparente/gloria to shine on the monstrance (forty hours' devotion); light melts the marble off of the columns, revealing gold underneath, referencing the new Jerusalem -architectural altarpiece/retablo; bel composto -get the full experience by moving |
