Chapter 1 Flashcards
Barocci
The Deposition
1567-9
Cathedral, Perugia
First major artist to respond to the demands of the Counter-Reformation Church by replacing nudity and eroticism with decorum and emotional stimuli
Barocci
Madonna del Popolo
1575-9
Woman to the lower left symbolizes Charity. Traditionally she would have been shown as a woman suckling two infants, but in response to the Church’s insistence on modesty and decorum, she is clothed and the action is shifted to devotion
Barocci
The Last Supper
1590-9
Cathedral, Urbino
- Pays homage to Leonardo’s Last Supper
- X-shaped composition
- The wine and bread are at the painting’s center: Underscores the importance of the Last Supper as the first mass
- Reinforces the central role of the Eucharist in Catholicism, as well as the doctrine of transubstantiation
Ludovico Carracci
The Annunciation
1583-84
Pinacoteca Nazionale, Balogna
Sweet, idealized faces and faceted drapery patterns show his inspiration from Correggio
Ludovico Carracci
The Holy Family with St. Francis and Donors
1591
Pinacoteca Civica, Cento
- Format is taken from high renaissance venetian painting
- Patrons are off to the corner
- Holy figures are presented as real people involved in action; emphasis on the naturalism of the group
Annibale Carracci
The Assumption of the Virgin
Cerasi Chapel, Santa Maria del Popolo, Rome
The virgin glowing with light contrasts the darkness of the Caravaggio paintings that is beside it in the Cerasi Chapel
Annibale Carracci
Triumph of Bacchus and Ariadne
Farnese Gallery ceiling
1597-1600
Modeled after the method of the Sistine Chapel
Annibale Carracci
Landscape with the Flight into Egypt
before 1603
- Raises the level of importance of landscape painting by including a scene from history
- Similar to theatre background, consistent with Baroque era
Agostino Carracci
The Last Communion of St. Jerome
1594-5
Color absorbed from Venetian painting
Caravaggio
The Lute Player
1595-6
The boy’s gaze meets the viewer’s, thus creating a psychological bond between the two
Caravaggio
Young Bacchus
1597
Ripples can be seen the glass of wine that he is offering the viewer
Uncomfortably inviting
Caravaggio
The Gypsy Fortuneteller
1596-7
Satirizing human foibles, if you’re stupid enough to fall for the trick, then you deserve it
Caravaggio
Basket of Fruit
1595-1601
Basket is slightly off the table coming into the viewer’s space
Caravaggio
Judith and Holofernes
1599
Use of tenebrism reflects his training as a north Italian artist
Caravaggio
The Calling of St. Matthew
1599-1600
Contarelli Chapel, S. Luigi dei Francesi, Rome
- Hand of Christ is a direct lift from the Sistine chapel
- The figure with his back to the viewer invites us into the scene
- St. Peter is representing the church and embodies political underpinnings that are going on
Caravaggio
The Conversion of St.Paul
1604-05
Cerasi Chapel, Santa Maria del Popolo, Rome
Paul’s body is pushing into the viewer’s space, and is the most powerful even though he appears smallest because he is not facing the viewer, he is on the ground, and his body is foreshortened
Caravaggio
St. Francis in Ecstacy
1594-5
Uses tenebrism
Caravaggio’s angels are the least ‘angelic’ you’ll ever see, they are more realistic looking
Caravaggio
St. Catherine of Alexandria
1597-98
The red blade is reflecting the red pillow literally, although the red color on the blade does represent her martyrdom
The way she is stroking the blade is suggestive of sexual masochism
Tenebrism become even more extreme
His first halo
The model was a good friend of his, possibly his mistress, who was also a cortisone
Pretty much no drawing underneath, worked by the live model directly on the canvas
Caravaggio
The Entombment of Christ
1602-4
Pinacoteca Vaticana, Vatican
Dealing with the classical tradition of ancient sculptures
Caravaggio
The Death of the Virgin
1602-4
While the assumption of the virgin is a popular scene that is depicted, her death is not’
She is presented as a corpse and it looks like an ordinary death
Rumor is that Caravaggio used one of his friends as the Virgin and did not disguise her and this was a public altarpiece and that upset many
Caravaggio
The Seven Acts of Mercy
1606
Pio Monte della Misericordia, Naples
Focuses on two specifically catholic and non-protestant subjects: the virgin and the corporal works of mercy
