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Huma > baroque - Italy > Flashcards

baroque - Italy Flashcards

1
Q

historical background

A

Counter-reformation by Catholic Church
shift of cultural center from Rome to France
Holland declared independence

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2
Q

Baroque meaning

A

misshapen pearl

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3
Q

Baroque characteristics

A

exaggerated contrasts, dynamic, dramatic and rich in ornamentation, appealing to senses not intellect

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4
Q

critique

A

over-dramatic, over-sensual and insincere

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5
Q

development

A

development of classicism into classical idealism - give rise to academic theory
realism is combined with drama and movement to serve religious and political purposes
started in italy, spread to spain, france, flanders and netherlands

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6
Q

Major-ism in Italy

A
  1. academic classicism
  2. realism/ Naturalism
  3. Tenebrism
  4. Illusionistic Ceiling frescoes
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7
Q

academic classicism background and characteristics

A
  1. development of art academies
  2. rejects mannerism for its artificiality adn irrationality
  3. follow the grand manner of Renaissance - achieves perfection and harmony through idealization
  4. methodology of artistic creation - drawing based on accurate study and truthful reproduction of nature
    5.combines Florentine linearism and Venetian colourism and drama of composition
  5. point of reference - Da vince, Raphael, Giorgione, Titan
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8
Q

academic classicism - academy

A
  1. academy of drawing (Florence), first art academy
  2. academy of St.Luke (Rome)
  3. academy of the progressives (Bologna) (Annibale Carracci and guido Reni)
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9
Q

Annibale Carracci - girl carrying a basket

A
  1. Carracci family founded the Academy of the Progressives in Bologna - art can be taught systematically
  2. instruction includes learning from classical and Renaissance Traditions
  3. focus - training in anatomy and life drawing
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10
Q

Annibale Carracci - loves of the gods

A
  1. narrative scnes are creatde as “quadri riportati” carried paintings, i.e. fresco inserted into illusionistic picture frames
  2. Triumph of Bacchus and Ariadne - combined Raphael’s drawing style and Titan’s sensuous and animated figures
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11
Q

Annibale Carracci - Flight into Egypt

A

1.birth of “classical ideal landscape”
2. recurrent motifs 0 framed, restful setting, idealized antiquity, gently undulating panes extending to the distant horizon, boat floating on a peaceful river
3. constructed pastoral scene with idealized antiquity and poetic, idyllic life
4. diminished religious figures - narrative becomes subordinate

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12
Q

guido reni - david with the head of goliath

A
  1. trained in Carracci’s academy
    2.met Caravaggio in Rome
  2. Classical moment - calm and thoughtful
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13
Q

Guido Reni - Atalanta and Hippomenes

A
  1. in search of classical beauty and perfection through diagonal composition
  2. movement is balanced by careful composition
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14
Q

realism / naturalism characteristics

A
  1. transform religious and mythological themes into everyday life scenes with rough-looking common people
  2. unidealized figures and obects from contemporary and real life increases the immediacy of human drama and has stronger emotional impact on the viewer
  3. composition occupies mostly the foreground - viewer is confronted by the drama and drawn into the painted space
    dramatic moment - extreme cruelty - depicts pain and sufferings to infect the viewer
    point of reference - flemish painting, Michelangelo
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15
Q

Tenebrism characteristics

A
  1. “shadowy manner”
  2. beyond Michelangelesque chiaroscuro (sculptural figures) to apply extreme chiaroscuro in the composition in order to sharpen the focus of narration
  3. resembles stage lighting effect
  4. builds up theatricality and mystery
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16
Q

Caravaggio background

A
  1. trained in Milan
  2. Active in Rome
  3. frequent legal disputes despite huge success in his career
  4. killed a man and exile in southern italy, malta then sicily
  5. died when returning to rome
  6. most influential baroque painter - spanish painting, dutch utrecht school
17
Q

Caravaggio - boy with a basket of fruit

A

influence form flemish painting - still life rendered with meticulous realism

18
Q

Caravaggio - boy bitten by a lizard

A

1.dramatic expression of reality revealed by strong chiaroscuro
2. Michelangelesque agitation and flemish window and reflection on glass
3. Flemish influences - extremely fine details - meticulous realism on hand, and window + reflection on glass

19
Q

Caravaggio - the fortune teller

A
  1. realism: art inspired by current affairs
20
Q

Caravaggio - repose in the flight into egypt

A
  1. naturalism: immersed in nature, sacred figures are humans with no different from ordinary people
21
Q

Caravaggio - Judith beheading Holofernes

A
  1. dark subject - revenge
  2. atrocity is presented like a stage performance
  3. use of tenebrism to extreme
  4. jewish widow Judith took revenge by killing the Assyrian general Holofernes
  5. extreme cruelty - beheading - leitmotif of Caravaggio’s art
22
Q

Caravaggio - The calling of St.Matthew

A
  1. light directs our attention to matthew without a group of people
  2. resembles stage lighting
    3.hand of christ recalls Gods and Adams hand in Creation of Adam, Sistine Chapel
23
Q

Caravaggio - Deposition

A
  1. Plebeian (common people) figure types, stark use of darks and lights
  2. diagonal composition - heightened drama toward upper right
  3. Stone slab seems to extend into the viewer’s space
  4. referenced Michelangelo’s Pieta (holding the body)
  5. Nicodemus is indicating where to deposit Christ’s body, his hard labour seems to be felt by the viewer
24
Q

Caravaggio - David with the Head of Goliath

A
  1. created when in exile
  2. darkness encroaches more the painted surface in the last phase of exile
  3. Goliath - self-portrait of Caravaggio
25
Q

Artemisia Gentileschi - Judith Beheading Holofernes

A
  1. follower of Caravaggio - a successful female painter
  2. heroic female - her favourite subject
  3. focused composition - all forces directed to the head of Holofernes
26
Q

Illusionistic ceiling frescoes - background and characteristics

A
  1. art became a powerful tool of Counter-Reformation - consolidate catholic faith and conquer new territories (colonies)
  2. trompe-l’oeil ceiling frescoes - sacred drama taking place in front of the viewer
  3. grand scale and at considerable height, viewer is induced with a feeling of awe
  4. quadratura uses elaborate illusionistic architecture to link up heaven and earth - Heaven is reachable
  5. points of reference: andrea Mantegna, Michelangelo
27
Q

Andrea Mantegna - Oculus (illusory ceiling opening)(not baroque)

A
  1. foreshortened architecture opens into a fake naturalistic sky, enlivened by the cheerful gazes of the maids, the puttis and a peacock
    2 perspective di sotto in su - seen from below
28
Q

Petro da cortona

A
  1. painter, sculptor and architect
  2. worked with Gianlorenzo Bernini in some important projects
29
Q

Giovanni Battista Gaulli Pietro da Cortona

A
  1. active in the circle of bernini
30
Q

Andrea Pozzo

A
  1. a Jesuit monk active in northern italy bordering Austria
31
Q

Pietro da Cortona - Triumph of divine Providence

A
  1. quadratura - illusory architectural and sculptural frame blends perfectly with the painting
  2. presents a drama for the propaganda of the papacy of Barberini, Pope Urban VIII
  3. bees - symbol of the Barberini family
  4. divine providence directs immortality to bestow eternal life on the family of the pope
32
Q

Giacomo da Vignola and Giacomo della Porta - mother church of the Jesuit order

A
  1. representative of Counter-reformation
  2. glorify and expand the power of the catholic church
  3. glorify and expand the power of catholic church
  4. transcendental spiritual environment created by architecture, stucco (sculpture)and painting
  5. a total work
    6.. Gian Lorenzo Bernini: architecture is a place for sacred drama to take place
33
Q

Giovanni Battista Gaulli - triumph of the name of jesus

A
  1. nave vault
  2. holy cross and IHS(monogram of jesus) in the center
  3. shades are added on the painted figures to create the illusion of real mass of the painted figures
  4. stucco figures
34
Q

Andrea pozzo - painted dome

A
  1. painted a dome so no need to build it due to lack of budget
  2. illusion works ony at a certain viewpoint
  3. architectural clay model displayed in the church to explain the illusory effect of the painting
  4. projection drawing

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