Baroque Flashcards
Annibale Caracci, Farnese Gallery, 1597-1601-ceiling painting to compete with Sistine Chapel, glorify family
Roman classicism + Venetian interactive drama
quadro riportato- painting to look like easel paintings “carried up” to celing; fictive scenes from Ovid’s Metamorphoses- mythological storied not Bible
Theme=amor vincit omnia- gods in love, acting like fools
centered around “Triumph of Bacchus & Ariadne”- organization from Roman sarcophagi, bright, local color palette
“Polyphemus Furioso”- hypertrophied muscle from Farnese Hercules, but dramatic composition, diagonals and counter-diagonals, emphasizes motion interacts with viewer, breaks picture plane
Nicholas Poussin, Et in Arcadia Ego, 1655
French Baroque style, classicizing approach, tended towards primary colors, intellectual, unusual themes/narratives; L to R, symmetrical, static
shepherd sees shadow of companion on tomb, traces with finger, art of painting is discovered, shadow also symbol of death; death is also in Arcadia
art is symbolized by beautiful maiden- art; death’s claim to rule Arcadia challenged by art
Caravaggio, The Calling of St. Matthew, 1599-1600
1st public commission, Contarelli Chapel, Rome
reformatory appeal to senses- relatable setting+ naturalistic features= accessible Christian message
figures in contemporary attire, cellar lighting, plebian types
Two figures in ancient garb- Christ & Peter, both point at Matthew, who points to self- light represents truth of God’s message falling upon Matthew
limp hand of Christ recalls hand of Adam in Sistine Chapel- typological reference- Christ= new Adam
everyday scenes with moralizing tone already common in Northern genre painting- C. brings to Rome
Artemesia Gentileschi, Judith Beheading Holofernes, 1620
Carravagista- follower of Caravaggio
uses brutal naturalism, plebian types, tenebrism
Book of Judith- Assyrian general of Nebuchadnezzar besieges Bethulia
realistic personnages (not “types” like Caravaggio’s beautiful Judith), hides male body, draws attention to center, visual weight is on Holofernes’ head, about to roll into our space; Judith more believable in intent than Caravaggio’s, more realistic arterial blood spurt
Gianlorenzo Bernini, David, 1623
Baroque conunterpoint to Renaissance David examples, interactive approach to narrative, dramatic narrative climax- moment of stone’s release not before or after
in face- clenched jaw= moment of action; engagement in physical not intellectial
like Myron’s Diskobolos- action- but Myron’s does not move, perfectly balanced around central axis; David is more like Caracci Polyphemus, projectile seems to be released into our space
Carlo Moderno, Facade of St. Peter’s, 1606-12
began with Michelangelo’s Greek cross plan and extended nave outward in Latin cross, adding narthex- doubling length- 730’ long, 500’ wide
extended nave allows larger crowds
temple front- engaged columns, entablature, pediment- draws eye to center of structure, Baroque interaction- facade moves into viewer’s space
entablature identifies Paul V as patron
Louis Le Vau & Jules Hardouin-Mansart, Palace of Versailles, 1669-85
commissioned by Louis XIV, absolutist “Sun God” king, as sumptuous display of power & wealth, largest architectural undertaking of 17th century- converting 35 square miles of woodlands/hunting grounds
5000 aristocrats in palace, 14,000 servants/military, horseshoe-shaped central section- Louis’s bedroom-he is power center- 700 rooms
Galerie de Glaces (17 mirror-clad arches with 21 mirrors) overlooks carefully manicured gardens (200,000 trees, 50 fountains), interior with carved furniture, chandeliers, paintings- Le Brun
Peter Paul Rubens, The Elevation of the Cross, 1610
For Antwerp Cathedral, capital of Flanders, massive triptych, his largest work, originally 20 steps above nave & 35’ high with frame
1st time in history depicting climactic moment of Cruxifiction, scene built radically around diagonals and counter-diagonals, dramatic presention, heroic musculature, Christ modelled after Laocoon, pelican=Christ feeding us with side wound
Northern naturalism (attention to details of nature- flora, fauna, dog, eclipse)+ Italian classicism
engages with viewer physically & emotionally- hole for cross is in our space, we feel Christ’s pain
Rembrandt, The Company of Captain Franz Banning Cocq (Night Watch), 1642
most famous work and symbol of Holland today, acted out as tableau viavant- unified composition for Great Room in Town Hall, symbol of Dutch ferocity and commitment to freedom and liberty; massive group portrait of civic guard
less formal, more lively & entertaining than most group portraits of time (e.g. by Hals)
mascot: hen; company’s emblem of chicken leg & pun on leader’s name
Diego Velasquez, Las Meninas (Maids of Honour), 1656- set in artist’s studio in Alcazar, Madrid; massive painting & most famous work- 10’ tall, 9’ wide
gift to king to hang in personal office; celebrates the importance of the artist to the royal family & the importance of painting
centers around Infanta Margarita (sole heir) and her maids, King Philip & Queen Mariana reflected in back; influence of van Eyck in use of mirror & texture
Order of Santiago added later, confirms nobility
copies of paintings by Rubens in background (Arachne, Apollo & Midas), mortals challenging artistic achievements of gods, warning against hubris
