Midterm 2 Flashcards
Crucifixion of St. Peter
Italian Baroque
Caravaggio, 1601
Diagonals (cross)
Foreshortening (feet)
Tenebrism
Gritty naturalism: Farmer’s tan, dirty fingernails, shirt lifting, rear end in face
Feet in your face (like kissing the pope’s feet)
Close cropped figures
Heavenly light
People didn’t like the grittiness, but today it’s beloved
Conversion of St. Paul
Italian Baroque
Caravaggio, 1601
Diagonals (arms)
Foreshortening (Body)
Tenebrism
Gritty naturalism: Farmer’s tan, dirty fingernails, ordinary italian-looking paul, ordinary horse, rear end in face
Close cropped figures
Heavenly light - Light matches the church lighting (bel-composto)
Judith Slaying Holofernes
Italian Baroque
Artemisia Gentileschi, 1620
Caravaggisti
Female artist (Due to apprenticeship, women could not become artists. Artemisia’s Father was an artist. Unfortunately, she was raped, put on trial and stigmatized.)
Story from the apocrypha
Dramatic diagonals, foreshortening, head and blood rolling into yours space, tenebrism, climactic.
Much more violent than Caravaggio’s style.
Saint Peter’s Basilica
Italian Baroque
Gian Lorenzo Bernini, Piazza, Cathedra Petri, Rome, ~1660
Piazza:
Bernini saw the colonnades as the “arms of the church” (pope appears in a tiny window and extends his arms to the crowd)
The facade looks closer than it is because of its size
Oval shaped floor plan
Cathedra Petri:
Cathedral = the church where the bishop is… Cathedra = “throne”
Four fathers of the church : St Augustine, St Andrews, St Jerome, St Gregory (loved by catholics and protestants)
Angels with the crown of the pope and keys
“Simon, son of Jonas, lovest thou me?” Christs’ commission to Peter
Church (unlike most) faces west → Blinding light through the stained glass window
Curving cornices
St Serapion
Spanish Baroque
Francisco de Zubarán, 1628
Spanish church teaches commitment even to the point of death
Caravaggisti: diagonals, closely cropped figure, tenebrism, divine light source
NOT climactic, fewer diagonals
Tomploy “trick of the eye” → looks like real paper pinned to the painting
(Based on the culture of collecting relics and labeling them)
Elevation of the Cross
Flemish Baroque
Peter Paul Rubens, 1610
Caravaggisti: Diagonals, chiaroscuro, foreshortening
Chunky muscles like Michelangelo’s titanic twisted figures
Painterly brush strokes
Replaces the altarpiece that was destroyed by iconoclasts
Old fashioned triptic style
Looks like a mob destroying the image of God
Soldier in contemporary armor = Rubens himself (Baroque idea that sinning makes you like a crucifier and hurts Christ)
Treaty of Westphalia - provides context as to why the original altarpiece was destroyed
Return of the Prodigal Son
Dutch Baroque
Rembrandt Van Rijn, c. 1665
Rembrandt is no longer a beloved artist. Not a mainstream Calvinist.
Rembrandt chooses to portray the repentant son.
Old man is blind
Caravaggisti: Diagonal diamond arms, tenebrism (he likes to edit out the narrative and focus on emotion)
You have a place where you can enter the scene
Very painterly, imposto
Prodigal’s brother on the right is compared to the story of the usurer.
Rembrandt was very catholic
Most paintings of the time were very moralizing and “Finger wagging”
Salon de la Princesse
Rococo
Germain Boffrand, Hotel de Soubise, Paris, ~1740
Different from Louis XIV’s hall of mirrors → Unclear distinction between wall and ceiling, Cornice is undulating and organic
Uses the “C” shape
Oddly shaped paintings
Walls undulate in and out
The walls are transportable ( the room was originally square)
Less busy, lighter
Pastel colors
(White, pink, baby blue)
Invention of comfy chairs
Pilgrimage to the Island of Cythera
Rococo
Antoine Watteau, 1717
Imitates Rubens (acceptable, but not as loved like followers of Poussan)
Diagonals (but not life and death, like baroque)
Red cheeks
Celebrates fleeting infatuation (The kind of thing that the baroque preached AGAINST)
Love of overgrown landscapes (rebellion against the manicured Versailles)
Painterly, fleeting
The Village Bride
Enlightenment
Jean Baptiste Greuze, 1761
Like a play (admiring Diderot’s plays)
Father gives dowry and gestures to daughter (it’s not about money)
Mom and Sister will miss daughter
One little chick leaves the others
Pastel colors
Light painterly feeling
- The seventeenth century was an era of fervent faith, spiritual upheaval, and violent religious conflict. Discuss the way that art AND architecture articulated the values and aspirations of Protestants and Catholics in the wake of the Protestant Reformation, the Counter Reformation, and the political and social circumstances related to them. Your examples should come from FOUR different countries. Conclude your essay with at least ONE work of art from either the Rococo or the Enlightenment (you do not need an example from both) to show how eighteenth-century philosophical and cultural attitudes affected the role of religion in art. Note: Your Rococo/Enlightenment example does NOT count as one of the required four countries. You must have four countries represented in your Baroque examples. Be sure to identify all works by title, artist/architect, and date. In the case of buildings, also include location.
Dramatic, Didactic, devotional
The arms of the mother church bringing you in
Commitment even to the point of death
Repairing what iconoclasts have damaged
Calvinists like to feel superior to the prodigal (Rembrandt is a rebel)
Enlightenment art returns to moral values in their work (after the Rococo)
Spiritual Exercises - Saint Ignatius
Three Sketches by Greuze - Denis Diderot
Canons and decrees of the council of Trent
Crucifixion of St. Peter (Caravaggio, 1601)
St Peter’s Basilica (Gian Lorenzo Bernini, Piazza and Catherdra Petri, 1660)
St. Serapion (Francisco de Zubarán, 1628)
Elevation of the Cross (Rubens, 1610)
Return of the Prodigal Son (Rembrandt, 1665)
The Village Bride (Greuze, 1761)
- The style and subject matter of Caravaggio’s paintings profoundly impacted seventeenth- and even eighteenth-century artists in Italy, Spain, Flanders, France, the Dutch Republic, and England. First, carefully characterize the subject matter, style, mood, argument, and devotional quality of Caravaggio’s painting. In what ways did he respond to the dictates of the Counter Reformation? Then discuss how “Caravaggisti” (followers of Caravaggio) in FOUR different countries both emulated and also departed from his style AND subject matter (Note: although there are six countries you can choose from, you only need to discuss four). Explain how the differing religious, political, economic, and philosophical climates of these countries contributed to their unique variations on Caravaggio’s work. Be sure to identify all works by title, artist, and date.
Caravaggio’s style: (Dramatic, didactic, devotional), Tenebrism, diagonals, heavenly light, gritty naturalism, awkward positions, foreshortening, close cropped figures.
Italy: More violent
Spain: More still
Flanders: More like the renaissance
Dutch Republic: Painterly, imposto, personal
-Spiritual Exercises - Saint Ignatius
Crucifixion of St. Peter (Caravaggio, 1601)
Conversion of Paul (Caravaggio 1610)
Judith Slaying Holofernes (Artemisia Gentileschi 1620)
St. Serapion (Francisco de Zubarán, 1628)
Elevation of the Cross (Rubens, 1610)
Return of the Prodigal Son (Rembrandt, 1665)
- Chronologically, the Rococo occupies an interesting place between the art of the Baroque and the art of the Enlightenment. First, explain how Rococo art AND architecture is both dependent on the Baroque and also markedly independent from it. Second, show how Enlightenment painting builds on the Rococo but also departs from it in important ways. Your discussion should treat style, subject matter, mood, patronage, and technique, as well as relevant political, social, philosophical, literary, and religious influences. Be sure to identify all works by title, artist/architect, and date. In the case of buildings, also include location.
Similarities to Baroque:
Love of odd shaped architecture, where you can’t distinguish between the ceiling and the wall (oval shapes, undulating organic cornice)
Diagonals in painting, but not as intense as baroque, painterly like Rubens
Differences from Baroque:
Odd shaped paintings, pastel colors
Frivolous non-religious subject matter, designed for comfort
Enlightenment art:
Maintains pastel colors
Brings back the moralityThree Sketches by Greuze
-Three Sketches by Greuze
St Peters Bascilica
Elevation of the Cross
Salon de la Princesse
Pilgrimage to the island of Cythera
The Village Bride
The French Aristocrats were trying to escape the rigidity of Versailles
Spiritual Exercises - Saint Ignatius
A rigorous guide to meditative practice that incorporates all the senses (much like baroque art). You visualize scenes like the birth of Christ and the sulfurous smell of hell.
Similar to the baroque style in that it tried to get you to use all your senses in your worship.
Three Sketches by Greuze - Denis Diderot
Denis Diderot praises the sketches of Greuze for being expressive and clear in good moral values.
