Chapter 2 Flashcards
Orazio Gentileschi
Judith and Her Maidservent with the Head of Holofernes
1611
chooses to depict the moment after Caravaggio’s painting, when Judith and her servant conceal the head in the basket
Artemisia Gentileschi
Self Portaint as the Allegory of Painting (La Pittura)
1638
incorporated the traditional attributes of unruly hair, a multi-colored garment, and a goldchain with a pendant mask
Artemisia Gentileschi
Judith Beheading Holofernes
1619-20
Gentileschi drew herself as Judith and her mentor Agostino Tassi, who was tried in court for her rape, as Holofernes
Artemia Gentileschi
Judith and Her Maidservsnt
1625-7
Judith sheilds her eyes from the glare of the flame, so that a shadow is cast across her face-a daringly lifelike motif that Carvaggio had used in The Calling of St. Matthew
Reni
Aurora
1613-14
Casino dell’Aurora, Palazzo Pallavicini-Rospigliosi, Rome
the fresco belongs to the category of ceiling painting called the transferred easel type (quadro riportato): the image is surrounded by a three-dimensional stucco frame attached to the cault
no concern for the illusionistic extension of the viewer’s space
Reni
St.Sebastian
1610-16
St. Sebastian assisted Christians and refused to deny his faith; inital effort to kill him by shooting him with arrows failed when St. Irene found his near-dead body and nure
Reni
St. Cecilia
1606
St. Cecilia is the patron of church music which is why she is depicted with violin and organ in the background
Reni
The Abduction of Helen
1631
Inspired by high Renaissance masters, espcially Raphael, with the result that he shifted to a style characterized by serene purity
Domenichino
The Last Communion of St. Jerome
1612-14
Pinacoteca Vaticana, Vatican (Rome)
to suggest near eastern locale, it includes a turbaned figure
Domenichino
Diana and Her Nymphs
1616
alculated changes in tone towards the pale blue mountains by using increasingly subtle glazings, which indicate a new interest in Leonardo’s theories in aerial perspective
Lanfranco
The Ecstasy of the Blessed Magaret of Cortona
1622
the active postures of the figures and the perfected forms made believable by naturalistic details show he was inspired by Correggio, Barocci, and Ludovico
Guercino
The Penitent Magdalen with Two Angels
1622
Pinacoteca Vaticana, Vatican (Rome)
A saint worthy of extreme devotion
Alter piece for a convent that served reformed prostitutes
Guercino
Aurora
1621-23
Casino Ludovisi, Rome
Unlike other celiling paintings, this is tempera (specifically used for the color)
Pietro da Cortona
Divine Providence
1632-39
Gran Salone, Palazzo Barberini, Rome
the work blurs the boundaries between two basic types of ceiling painting: straightforward illusionism and the tranferred easel picture
Pietro da Cortona
Apollo Instructs the Prince
1641-47
Sala di Apollo, Palazzo Pitti, Florence
Opulent ceiling decoration like this set the standard for European palaces well into the 18th century; the most prominent example being designs for the Planetary Rooms at Versailles
Gauli
Adoration of the Holy Name of Jesus
1676-79
Il Gesù, Rome
Bel composto (a total work of art that is multi media)
Pozzo
The Glorification of St. Ignatius and the Worldwide Mission of the Jesuits
1691-94
Sant’Ignazio, Rome
the entire ceiling is painting although some figures seem to exist in the viewer’s space and it is difficult to tell if a shadow is real or just illusion
