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Baroque Questions Flashcards

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1
Q

Describe Louis XIV

A

Hyacinthe Rigaud. 1701. Oil on canvas.

  • proud of his legs
  • idealized subject’s less attractive features
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2
Q

Describe Baldacchino

A

Gianlorenzo Bernini. 1624-33. Gilt bronze.

  • twisted columns = union of OT and NT
  • vine of Eucharist climbing columns of Temple of Solomon
  • mark site of tomb of Saint Peter
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3
Q

Describe David

A

Bernini. 1623. Marble.

  • intrudes in viewer’s space
  • bends at waist and twists
  • more mature, sinewy body
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4
Q

Describe Saint Teresa of Avila in Ecstasy

A

Bernini. 1545-52. Marble.

  • vision in which angel pierced her body repeatedly with arrow, transporting her to state of indescribable pain, religious ecstasy, and sense of oneness with God.
  • seem to float on stucco clouds
  • angel’s clinging draperies contrast with Teresa’s heavy woolen robe
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5
Q

Describe Facade and Interior Dome of Church of San Carlo Alle Quattro Fontane

A

Borromini. 1665-67.

  • one corner cut off for fountain
  • elongated central plan interior space with undulating walls
  • pairs of columns support massive entablature
  • coffers decrease in size near apex
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6
Q

Describe Piazza Navona

A

engraving.

  • popular site for festivals and celebrations
  • church dominates urban space
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7
Q

Describe Fountain of the Four Rivers

A

Bernini and his shop. 1648-51. Travertine and marble.

  • rocky hill seems to be suspended over an open grotto.
  • four rives: Nile, Ganges, Danube, Rio de la Plata
  • center soars towering ancient Roman imitation of Egyptian obelisk crowned with dove, peace and Trinity and pope’s family
  • dual memorial to might and reach of papacy
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8
Q

Describe Ceiling of Gallery, Palazzo Farnese

A

Carracci. 1597-1601. Fresco.

  • scenes of love based on Ovid’s Metamorphosis.
  • celebrates wedding of Duke to the niece of pope
  • primary image is The Triumph of Bacchus and Ariadne, celebrating his love for Ariadne
  • organized using illusionistic devices to create multiple levels of reality
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9
Q

Describe Landscape with the Flight into Egypt

A

Carracci. 1603-04. Oil on canvas.

  • contemplative pastoral landscape filled with golden light (Venetian)
  • trees in left foreground and right middle ground frame the scene
  • collection of ancient buildings in center form stable and protective canopy for flight of family
  • space gradually progresses in diagonal movements
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10
Q

Describe Bacchus

A

Caravaggio. 1595-96. Oil on canvas.

  • highly realistic. painted what he saw.
  • parts of skin that had been exposed to sun are darker than the rest
  • can be allegory of sins of lust and gluttony
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11
Q

Describe The Calling of Saint Matthew

A

Caravaggio. 1599-1600. Oil on canvas.

  • meant to suggest conversion
  • depicts Jesus calling Levi, tax collector, to join his apostles.
  • levi sits at table counting coins for boy at left
  • jesus points and levi imitates by pointing to himself
  • intense light enters from unseen source and spotlights faces of men.
  • Jesus’s outstretched arm reminds of God giving life to Adam. Jesus calling Levi to start a new life
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12
Q

Describe Entombment

A

Caravaggio. 1603-4. Oil on canvas.

  • perspective from burial pit into which Jesus’s body is being lowered
  • figures form large off-center triangle
  • Virgin and Mary Magdalen barely intrude on scene. sturdy-legged laborer carrying Jesus and John the Evangelist as triangle’s apex.
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13
Q

Describe Judith and Maidservant with the Head of Holofernes

A

Artemisia Gentileschi. 1625. Oil on canvas.

  • naturalism and tenebrist effects
  • Judith still holding bloody sword and hiding candle’s light as maid stuffs general’s head into sack
  • dramatic use of light
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14
Q

Describe Self-Portrait as the Allegory of Painting

A

Gentileschi. 1630. Oil on canvas.

  • richly dressed woman with palette and brushes.
  • Iconologia’s influence is revealed in woman’s gold necklace with its mask pendant.
  • mask imitates human face, as painting imitates nature, and gold chain symbolizes continuity and interlocking nature of painting
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15
Q

Describe Aurora

A

Guido Reni. 1613-14. Fresco.

  • illusionistic mythological scenes in quadro riportato.
  • Apollo, escorted by Cupid and Seasons, drives sun chariot. Flying figure of Aurora leads Apollo’s horses at sharp diagonal over dramatic Venetian sky.
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16
Q

Describe Barberini Palace and Square

A

1628-36. Ink and chalk on paper.

-palace, piazza, and city

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17
Q

Describe The Glorification of the Papacy of Urban VIII

A

Pietro da Cortona. 1632-39. Fresco.

  • figures weave in and out of setting in active and complex profusion
  • dramatic illumination fuses ceiling into dense but unified whole
  • elaborate allegory of virtues of the pope.
  • below center of vault, seated at the top of a pyramid of clouds and figures personifying Time and Fates, Divine Providence gestures toward three giant bees surrounded by huge laurel wreaths (Barberini emblems) carried by Faith, Hope, and Charity.
  • Immortality offers crown of stars
  • around figures are scenes of Roman gods and goddesses, who demonstrate pope’s wisdom and virtue by triumphing over the vices
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18
Q

Describe The Triumph of the Name of Jesus and the Fall of the Damned

A

Giovanni Battista Gaulli. 1672-85. Fresco with stucco figures.

  • no sense of architectural division. cant tell if flat or has mass
  • illusion of clouds and angels floating down
  • subject is Last Judgment, with the elect rising joyfully toward name of God and damned plummeting through ceiling toward nave floor.
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19
Q

Describe Still Life with Quince, Cabbage, Melon, and Cucumber

A

Juan Sanchez Cotan. 1602. Oil on canvas.

  • irregular, curved shapes of fruits and vegetables against angular geometry of the ledge
  • long arc
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20
Q

Describe Martyrdom of Saint Bartholomew

A

Jusepe de Ribera. 1634. Oil on canvas.

  • bound Bartholomew looks heavenward as executions tests knife.
  • highlights intensely aged faces with dramatic light of tenebrism and depicts aging wrinkled flesh with painful naturalism (caravaggio)
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21
Q

Describe Saint Serapion

A

Francisco de Zurbaran. 1628. Oil on canvas.

  • member of Mercedarians, Spanish order founded to rescue the christian prisoners of Moors. sacrificed himself in exchange for Christian captives
  • dead man’s pallor, rough hands, and coarse ropes contrast with robe
  • only colors are red and gold on insignia
  • study of fabric and flesh
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22
Q

Describe Water Carrier of Seville

A

Diego Velazquez. 1619. Oil on canvas.

  • study of surfaces and textures of ceramic pots
  • display of light reacting to surfaces. glazed, matte, glass.
  • water and its cultural role
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23
Q

Describe The Surrender at Breda

A

Diego Velazquez. 1634-35. Oil on canvas.

  • theme of triumph and conquest
  • dutch commander hands over keys of Breda to victorious spanish commander
  • exchange seems gracious
  • represents courtly ideal of gentlemanly conduct
  • victors stand at attention. lances are upright
  • defeated dutch stand out of order, pikes and banners drooping
  • landscape is imaginary Netherlands
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24
Q

Describe Las Meninas (The Maids of Honor)

A

Diego Velazquez. 1656. Oil on canvas.

  • King Philip and queen’s reflection can be seen from mirror in back
  • central focus is on Margarita, surrounded by attendants most of whom are identifiable portraits
  • used minimum of underdrawing, building up forms with layers of loosely applied paint and finishing off surfaces with dashing highlights
  • self-portrait standing at easel
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25
Q

Describe The Immaculate Conception

A

Bartolome Esteban Murillo. 1645-50. Oil on canvas.
Mary dressed in white and blue, hands folded in prayer, carried upward by angels
surrounded by unearthly light
stand on crescent moon = woman of the apocalypse
angels often carry palms and symbols of the Virgin like mirror, fountain, roses, and lilies.

26
Q

Describe West Facade, Cathedral of Saint James

A

1667-1680.

  • so much decoration
  • freestanding gable over roof, visually linking two towers
27
Q

Describe Benedictine Monastery Church, Melk

A

1702-36. Austria.

  • vertical
  • built on promontory overlooking Danube
  • complex combines church, monastery, library, and guest quarters
  • complex of buildings
  • wings are joined by curving building and terrace overlooking river
  • colossal pilasters and high, bulbous-domed towers emphasize verticality
  • Interior is yellow and pink and oh gosh gold
28
Q

Describe Rubens House

A

Peter Paul Rubens. 1610-15.

  • large typical Flemish house
  • dude its a house
29
Q

Describe The Raising of the Cross

A

Rubens. 1610-11. Oil on canvas.

  • Flemish tradition of uniting triptych by extending central action and landscape through all three panels
  • center, Herculean figures strain to haul upright wooden cross
  • left, followers of Jesus mourn
  • right, indifferent soldiers supervise execution
30
Q

Describe Henri IV Receiving the Portrait of Marie de’ Medici

A

Rubens. 1621-25. Oil on canvas.

  • Henri falls in love with Marie’s portrait shown to him by Cupid and Hymen, god of marriage
  • Jupiter and Juno look down from clouds
  • personification of France encourages Henri to abandon war for love
  • ripe colors, multiple textures, dramatic diagonals give sustained visual excitement
31
Q

Describe Garden of Love

A

Rubens. 1630-32. Oil on canvas.

  • second wife portrayed
  • putti encourage lovers
32
Q

Describe Charles I at the Hunt

A

Anthony van Dyck. 1635. Oil on canvas.

  • manipulated setting to make short king appear tall
  • casually dressed
  • tree branches now gracefully toward him
33
Q

Describe Still Life with Flowers, Goblet, Dried Fruit, and Pretzels

A

Clara Peeters. 1611. Oil on panel.

  • rich tableware and food gain at neutral, almost black backgrounds, to better emphasize fall of light over contrasting surface textures
  • goblet and bowl contrast with simple stoneware and pewter, like delicate flowers with homey pretzels
34
Q

Describe Saint Sebastian Tended by Saint Irene

A

Hendrick ter Brugghen. 1625. Oil on canvas.

  • suffering and recovery equated to crucifixion
  • sickly green flesh contrast with brilliant red and gold brocade
  • saint Irene, patron saint of nurses, carefully removes one of the arrows that pierce him. Maid about to untie ropes
  • dramatic lighting and tenebrism
35
Q

Describe Allegory of Sight

A

Jan Brueghel and Rubens. 1617-18. Oil on wood panel.
-paintings everywhere
-Venus and Cupid contemplate a painting
-huge globe at right symbolize extent of humanistic learning
Books, prints, ruler, compasses, etc refer to spiritual blindness, for those who look but cannot see

36
Q

Describe Catharina Hooft and her Nurse

A

Frans Hals. 1620. Oil on canvas

  • records great pride of parents in child and also records their wealth in study of fabrics, laces, and expensive toys
  • depicted heartwarming delight of child who seems to acknowledge viewer as family member while nurse tries to distract her with an apple
37
Q

Describe Officers of the Haarlem Militia Company of Saint Adrian

A

Frans Hals. 1627. Oil on canvas.

  • group portrait as lively social event
  • based on strong underlying geometry of diagonal lines balanced by perpendiculars of table, window, banner
  • black suits and hats emphasize color
38
Q

Describe Self-Portrait (Judith Leyster)

A
  1. Oil on canvas.
    - elegant dress and fine chair show her success
    - man playing violin may be pun of painter with palette and brush
    - portrait on easel in lighter tones and soft, loose brushwork
39
Q

Describe The Anatomy Lesson of Dr. Nicolaes Tulp

A

Rembrandt. 1632. Oil on canvas.

  • combined scientific and humanistic interests
  • narrative scene
  • sharp diagonals. Book.
40
Q

Describe Captain Frans Banning Cocq Mustering his Company

A

Rembrandt. 1642. Oil on canvas.

  • carries idea of group portrait as drama
  • company forming for parade, but added several unnecessary figures
  • officers purposely strive forward
  • radiant young girl carrying chicken and wearing money pouch may be pun on the kind of guns that gave the name to company. Chicken legs with claws also part of their coat of arms
  • may stand as symbolic mascot of the militia company
41
Q

Describe Three Crosses

A

Rembrandt. 1653. Dry point and etching.

  • deep consideration of the melanin of life
  • tried to capture moment described in Gospels when darkness covered earth and Jesus cried out
  • in first state, centurion kneels in front of cross while other terrified people run from scene
  • fourth state, completely reworked theme. Reduction of event to its essence
  • shattered hill of Golgotha dominates foreground, but now mass of vertical lines breaks shower of light
42
Q

Describe Self-Portrait (Rembrandt)

A
  1. Oil on canvas.
    - regal pose. At ease with arms and legs and holding staff as if it were baton of command
    - face and eyes seem weary
    - physical tension in fingers and weariness in deep-set eyes
    - one who has suffered but retains dignity
43
Q

Describe View of Delft

A

Jan Vermeer. 1662. Oil on canvas.

  • moved buildings to create ideal landscape
  • stress on horizontal lines, careful placements of buildings, quiet atmosphere, and clear even light that seems to emerge from beneath low lying clouds
44
Q

Describe Woman Holding a Balance

A

Vermeer. 1664. Oil on canvas.

  • perfect equilibrium creates monumental composition and moment of supreme stillness
  • woman contemplates balance in act of weighing and judging
  • image of Christ is in gold aureole in last judgment
45
Q

Describe The Suitor’s Visit

A

Gerard ter Borch. 1658. Oil on canvas.
-well dressed man bows gracefully to elegant woman arrayed in white satin while another woman plays a lute
-prosperous gentleman pays call to woman of equal status, possibly courtship
Stringed instruments = harmony of souls and loving relationship

46
Q

Describe Portuguese Synagogue

A

Emanuel de Witte. 1680. Oil on canvas.

  • rectangular hall divided into one wide central aisle with narrow side aisles
  • shift of viewpoint creates interesting spatial composition
  • caped figure and dog provide scale for architecture and adds human interest
47
Q

Describe The Jewish Cemetery

A

Jacob van Ruisdael. 1655-60. Oil on canvas.

  • thought provoking view of silent tombs, crumbling ruins, and stormy landscape with rainbows
  • concerned with spiritual meanings of landscape
  • suggest allegory of transience
  • melancholy mood lifted by rainbow, traditional symbol of renewal and hope
48
Q

Describe Still Life with a Watch

A

Pieter Claesz. 1636. Oil on panel.

  • organizes dishes in diagonal positions to give strong sense of space
  • gives maximum contrast of textures within color scheme of white, grays, browns
  • watch means human achievement in science and technology
49
Q

Describe Flowers Still Life

A

Rachel Ruysch. 1700. Oil on canvas.

-asymmetrical floral arrangement offset by strong diagonal table.

50
Q

Describe Palais de Versailles

A

1668-85. France.

  • hall of mirrors architectural symmetry and lining glass mirrors the same size as arched windows
  • mirrors reflect natural light from windows and give illusion of bigger space
51
Q

Describe Apollo Attended by the Nymphs of Thetis

A

Francois Girardon. 1666-75. Marble.

  • apollo is attended by nymphs.
  • from Grotto of Thetis.
52
Q

Describe Mary Magdalen with the Smoking Flame

A

Georges de La Tour. 1640. Oil on canvas.

  • light comes from candle.
  • hand and skull, symbols of mortality, establish foreground plane
  • light is unifying element of painting and conveys somber mood
  • Mary has put aside her rich clothing and jewels and meditates on frailty and vanity of human life
53
Q

Describe The Village Piper

A

Antoine Le Nain. 1642. Oil on copper.

  • peasant children gather around flute player
  • simple homespun clothes and undefined setting turn painting into study of neutral colors and rough textures
  • contrast between young and old
54
Q

Describe Landscape with Saint John on Patmos

A

Nicolas Poussin. 1640. Oil on canvas.

  • consistent perspective progression from picture plane back into distance through clearly defined grounds. marked by alternating sunlight and shade.
  • surrounded by ancient ruins of Rome.
  • Saint John writes book of Revelation
  • Second Coming of Christ, suggested by flourishing vegetation
55
Q

Describe Embarkation of the Queen of Sheba

A

Claude Lorrain. 1648. Oil on canvas.

  • zigzag fashion.
  • ruined building with Corinthian cornice and columns on left
  • ships on the water
  • one point perspective on sun
56
Q

Describe Banqueting House, Whitehall Palace

A

Inigo Jones. 1619-22. London.

  • used for court ceremonies and entertainments.
  • superimposed Ionic and Composite orders
  • rhythmic effect in window treatments from triangular and segmental to cornices with volute
  • Interior, painting depicts birth of new nation, flanked by allegorical paintings of heroic strength and virtue overcoming vice
57
Q

Describe Saint Paul’s Cathedral

A

Christopher Wren. 1673. London.

  • central plan with dome
  • long nave and sanctuary
  • dome has oculus and exterior sheathing of lead-covered wood
  • two stages of paired Corinthian columns support carved pediment on facade
  • vertical
58
Q

Describe Blenheim Palace

A

John Vanbrugh. 1705-12. England.

  • imposing and impractical monument to the glory of England
  • palace made national monument as well as residence of dukes
  • formal gardens at each side
  • enormous size and symmetrical plan
59
Q

Describe Parson Capen House

A
  1. Massachusetts.
    - single “great room” and fireplace.
    - two stories, each with great room.
60
Q

Describe Mrs. Freake and Baby Mary.

A

Anonymous. 1674. Oil on canvas.

  • painter clearly self-taught and lacked skills in illusionistic, three-dimensional composition, conveys emotion.
  • maternal pride in infant and hope for future

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