chapter 24

Question 1

Answer 1

GIANLORENZO BERNINI, Fountain of the Four Rivers, Piazza Navona, Rome, Italy, 1648–1651. Travertine and marble figures, granite obelisk.

Question 2

Answer 2

Figure 24-2 CARLO MADERNO, facade of Santa Susanna, Rome, Italy, 1597–1603.

Question 3

Answer 3

Figure 24-3 CARLO MADERNO, facade of Saint Peter’s, Vatican City, Rome, Italy, 1606–1612.

Question 4

Answer 4

Figure 24-5 GIANLORENZO BERNINI, baldacchino, Saint Peter’s, Vatican City, Rome, Italy, 1624–1633. Gilded bronze, 100’ high.

Question 5

Answer 5

Figure 24-6 GIANLORENZO BERNINI, David, 1623. Marble, 5’ 7” high. Galleria Borghese, Rome.

Question 6

Answer 6

Figure 24-7 GIANLORENZO BERNINI, Ecstasy of Saint Teresa, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy, 1645–1652. Marble, height of group 11’ 6”.

Question 7

Answer 7

Figure 24-8 GIANLORENZO BERNINI, inerior of the Cornaro Chapel, Santa Maria della vittoria, Rome, Italy, 1645-1652.

Question 8

Answer 8

Figure 24-9 FRANCESCO BORROMINI, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1638–1641.

Question 9

Answer 9

Figure 24-11 FRANCESCO BORROMINI, San Carlo alle Quattro Fontane (view into dome), Rome, Italy, 1638-1641.

Question 10

Answer 10

Figure 24-12 FRANCESCO BORROMINI, Chapel of Saint Ivo, College of the Sapienza, Rome, Italy, begun 1642.

Question 11

Answer 11

Figure 24-14 FRANCESCO BORROMINI, Chapel of Saint Ivo (view into dome), College of the Sapienza, Rome, Italy, begun 1642.

Question 12

Answer 12

Figure 24-15 ANNIBALE CARRACCI, Flight into Egypt, 1603–1604. Oil on canvas, 4’ x 7’ 6”. Galleria Doria Pamphili, Rome.

Question 13

Answer 13

Figure 24-16 ANNIBALE CARRACCI, Loves of the Gods, ceiling frescoes in the gallery, Palazzo Farnese, Rome, Italy, 1597–1601.

Question 14

Answer 14

Figure 24-17 CARAVAGGIO, Calling of Saint Matthew, ca. 1597–1601. Oil on canvas, 11’ 1” x 11’ 5”. Contarelli Chapel, San Luigi dei Francesi, Rome

Question 15

Answer 15

Figure 24-18 CARAVAGGIO, The Conversion on the Way to Damascus, ca. 1601. Oil on canvas, 7’ 6” x 5’ 9”. Cerasi Chapel, Santa Maria del Popolo, Rome.

Question 16

Answer 16

Figure 24-19 ARTEMISIA GENTILESCHI, Judith Slaying Holofernes, ca. 1614–1620. Oil on canvas, 6’ 6 1/3” x 5’ 4”. Galleria degli Uffizi, Florence.

Question 17

Answer 17

24-20 ARTEMISIA GENTILESCHI, Self-Portrait as the Allegory of Painting, ca. 1638–1639. Oil on canvas, 3’ 2 7/8” X 2’ 5 5/8”. Royal Collection, Kensington Palace, London.

Question 18

Answer 18

Figure 24-21 GUIDO RENI, Aurora, ceiling fresco in the Casino Rospigliosi, Rome, Italy, 1613–1614.

Question 19

Answer 19

Figure 24-22 PIETRO DA CORTONA, Triumph of the Barberini, ceiling fresco in the Gran Salone, Palazzo Barberini, Rome, Italy, 1633–1639.

Question 20

Answer 20

Figure 24-23 GIOVANNI BATTISTA GAULLI, Triumph of the Name of Jesus, ceiling fresco with stucco figures in the nave vault of Il Gesù, Rome, Italy, 1676–1679.

Question 21

Answer 21

Figure 24-24 FRA ANDREA POZZO, Glorification of Saint Ignatius, ceiling fresco in the nave of Sant’Ignazio, Rome, Italy, 1691–1694.

Question 22

Answer 22

24-25 JUAN SÁNCHEZ COTÁN, Still Life with Game Fowl, ca. 1600–1603. Oil on canvas, 2’ 2 3/4” X 2’ 10 7/8”. Art Institute of Chicago, Chicago (gift of Mr. and Mrs. Leigh B. Block).

Question 23

Answer 23

Figure 24-26 JOSÉ DE RIBERA, Martyrdom of Saint Philip, ca. 1639. Oil on canvas, 7’ 8” x 7’ 8”. Museo del Prado, Madrid.

Question 24

Answer 24

Figure 24-27 FRANCISCO DE ZURBARÁN, Saint Serapion, 1628. Oil on canvas, 3’ 11 1/2” x 3’ 4 3/4”. Wadsworth Atheneum, Hartford (The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund).

Question 25

Answer 25

Figure 24-28 DIEGO VELÁZQUEZ, Water Carrier of Seville, ca. 1619. Oil on canvas, 3’ 5 1/2” x 2’ 7 1/2”. Victoria & Albert Museum, London.

Question 26

Answer 26

Figure 24-29 DIEGO VELÁZQUEZ, Surrender of Breda, 1634–1635. Oil on canvas, 10’ 1” x 12’ 1/2”. Museo del Prado, Madrid.

Question 27

Answer 27

Figure 24-30 DIEGO VELÁZQUEZ, Las Meninas (The Maids of Honor), 1656. Oil on canvas, approx. 10’ 5” x 9’. Museo del Prado, Madrid.

Question 28

Define Baroque.

Answer 28

It is a style of exuberance and sweeping motion, utilizing clear details to promote tension, drama, and grandeur.

Question 29

What are two devices used in the painting The Conversion on the Way to Damascus?

Answer 29

Caravaggio used perspective, chiaroscuro, and dramatic lighting

Question 30

What specific device creates a sense of distance for the outermost figures in Glorification of Saint Ignatius?

Answer 30

atmospheric perspective

Question 31

How did Bernini’s David differ from previous ones?

Answer 31

Instead of depicting the static figure after killing Goliath (as had Donatello and Verrocchio) or the measured strain of the act itself (as had Michelangelo), Bernini once again countered with the dynamic charge of the spiral form

Unlike the earlier sculptures, Bernini’s hero has a shepherd’s pouch around his neck which already contains pebbles ready to use in the deadly sling which he will use against Goliath

Action Pose

Question 32

What is the name of one of Borromini’s architectural works, and a detail about it?

Answer 32

facade of San Carlo alle Quattro Fontane .In place of a traditional round dome, he capped the interior with a deeply coffered oval dome that seems to float on the light entering through windows hidden in its base

Question 33

Describe the Surrender of Breda?

Answer 33

The two military leaders - the defeated commandant of Breda handing over the keys of the fortress to the Spanish commander Spinola - are immediately recognizable as the protagonists because the view opens up behind them towards the otherwise hidden background, whereas to the right and left the respective military entourage is grouped like stage extras.

Yet Velázquez does not portray them as anonymous soldiers. Amongst the group of Spanish victors brandishing their lances, we can make out just as many individual expressions of exhaustion as we can amongst the resigned group of defeated Dutch soldiers.

Question 34

What is an obelisk, and what did it represent in the Fountain of the Four Rivers?

Answer 34

A vertical monument that has 4 sides and a pyramid a top, The fountain represents the four continents and their rivers, the obelisk in the center is the symbol of Christ and the triumphing Roman Catholic Church over the whole world

Question 35

What female artist’s favorite theme were heroic women?

Answer 35

ARTEMISIA GENTILESCHI

Question 36

Describe the sculpture Ecstasy of Saint Teresa

Answer 36

The sculpture shows how Saint Teresa responds to the blessing she recieved from god like seeing and knowing what he knows

Question 37

How did Gaulli heighten the illusion of glimpsing Heaven in his Triumph of the Name of Jesus?

Answer 37

To heighten the illusion, Gaulli painted figures on stucco extensions that project outside the painting’s frame.

Question 38

What is an artwork called that depicts an assortment of grouped objects, and give an example from this period?

Answer 38

Still Life. JUAN SÁNCHEZ COTÁN, Still Life with Game Fowl

Question 39

What makes Las Meninas (The Maids of Honor) an intriguing puzzle to look at?

Answer 39

An almost infinite number of interpretations have now been proposed for the scene it shows

Velazquez intended this huge and complex work, with its cunning contrasts of real, mirrored, and picture spaces