Midterm Flashcards
Bacchus by Caravaggio
For Contarelli Chapel, oil on canvas- never did fresco.
The Contarelli Chapel in San Luigi dei Francesi in Rome Three paintings by Caravaggio on the subject of St. Matthew
Caravaggio, calling of St Matthew,
in The Contarelli Chapel in San Luigi dei Francesi in Rome
God= ligt coming rhough the window,
1st religious comission followed Council of trent
Curent clothes resonate in society, saints being made still
Diagonals, Tenebrism,
The Martyrdom of Saint Matthew in Contarelli Chapel
Caravaggio
Drastic Tenebrism, Tight brushwork, dramatic diagonals and motion
Highdrama and emiotion, no backgorund-focus on pushed up forground
REPOUSSOIR figure breaks the picture plane into the viewers space. foil for illusion of depth.
Saint Matthew and the Angel
Caravaggio, originally for Contarelli Chapel
rejected, and redone
caravaggio st matthew and the angel
redone version
The Entombment of Christ
Caravaggio
Vittrici Chappel, Rome
People at the foot of the painting, and christ. Stimulus to peity, above the alrat, the setting is ambiguous.
The literal body of Christ reflects the practice of transubstantiation
The Death of the Virgin (1606)
Caravaggio
Rejected, the virgin looks like a drowned prostitute.
Normally there are angles and assumption into heaven/ light from above.
Rejects the elegance of the high renaissance, embracing the spiritual through our world.
Susanna and The Elders
Artemisia Gentileschi
Naturalism of the female body is new, usually based on male (Michelangelo)
Popular subject, but new way of humanizing Susanna.
Not just showing a feisty Susanna or promuscous woman, no eroticism, just expressions of her internal monologue after being raped.
Judith and Holofernes 1611
Artemisia Gentileschi
arguably “not functioning as a feminist”
Counter refformation would have embracced this topic.
based on caravaggio’s; she was a caravagisti.
Struggle= Judith as the church/Holofernes as the reformation/protestents
Judith and Her Maidservant
artemisia gentileschi
Palazzo Farnese
Renaissance palace in Rome
by Carracci
Annibale Carracci, Ceiling of the Farnese Palace
mural= quadro reportato (designed as if it was hung on a verticle surface, then lifted up)
like Michelangelo, muscular nude Italian Ren spirit.
Comissioned for private enjoyment vs public consumption
Triumph of Bacchus and Ariadne - Annibale Carracci.
Farnese Gallery, Rome
Quadri riportati,(designed vertically then hung up)
private comissions vs public consumption
Ren= muscular male nudes, mirror images, balanced angels, nymph and satyr in forground balanced,
Baroque=using sculptures on teh outside as a frame, moment before/inbetween action diagonal, motion, more illusion than Michelangelo
detail of Jupiter and Juno
Farnese Gallery
Palazzo Barberini, in Rome,
Ceiling Fresco, Pietro de Cortona
Allegory of Devine providence (Allegory=concrete representation of abstract idea, usualy a human figure)
De sotto en su (spaciall accurate, forshortening)
Architectural frame work but more organic.
Glorification Pope Urban VIII’s Reign (Palazzo Barberini) Pietro da Cortona
stimulus to piety, truthful realism, Pope Urban is an allegory of devine providence. bees= imortality to barberini family, crowned with laurel wreath by faith hope and charity. Keys of St Peter= religion
il gesu
mother church of the Society of Jesus, a Roman Catholic religious order also known as the Jesuits.
Council of Trent= alter traditional plan, no narthax, reduces distraction from the altar.
Triumph of the Name of Jesus: Ceiling of Il Gesù.
Giovanni Battista Gaulli
truthful foreshortening, literally glorifing Jesus,
Shade= figures falling from heaven/not glorfying Jesus.
Il Gesù - Rome, Italy
same as the other, shade= falling from heaven
glorification of Jesus
Apollo and Daphne (Bernini)
Villa Borghese, Rome
BAroque: Technically proficient, dramatic, realistic, in the moment of motion, organic base.
Conceptually- teh exact moment TRANSITORY QUALITY
360 viewing rather than just straight.
expressions on faces, not posed.
David
Gian Lorenzo Bernini
Biblical realism, attention to detail: age, determination, dynamic pose,
CT, “art should be literal and truthful”
Armor on ground and slingshot=defult, organic way to stablize the sculpture,
Cloths are a nod to counter reformation
Invisible complement.
“wanted to make sculpture do what paintings did”
Ecstasy of Saint Teresa
bernini, cornaro chapel
Family Chapels usually had paintings, the architecture mirrored teh church.
creating an environment=new.
Ecstasy of Saint Teresa
Cornaro chapel Rome, Bernini
Baroque, design and architecture=intigrated, unified
Ecstasy of Saint Teresa
bernini cornaro chapel, Rome
ST Teresa= reformed Caramolite order, discalaced nuns.
Ecstasy from contemplating divine things, Counterreformation trend of quickly cannonizing saints
Dynamic draper, high relief etc
Cornaro family chapel, Santa Maria della Vittoria, Rome
BAckground in theater, builds theater box with ancestors into the architecture.
Fountain of the four Rivers with Egyptian obelisk, in the middle of Piazza Navona.
4 rivers fountain, Bernini,
Fountains =source of water, Popal initiave to refresh Rome
tricked into seeing the designs Bernini had created for the Piazza, city planing, could see the whole courtyard
Fountain of the four Rivers, Piazza Navona. Bernini
previouslly all were rectangular. No stand, looks like rock, gushes out and plays with water and sound.
The four riveres, contrapasto and symmetry.
Represents four rivers of the known contenents.
Triton Fountain
Bernini for Pope Urban VIII
Piazza Barberini, Rome
papal insignia and the Barberini coat of arms
St. Peter’s Basilica, Rome
st peter’s basilica Nave
looking toward Baladacchino
St Peter’s Basilica, Baldacchino by Bernini
100 ft high, gilt bronze, draws attention w/out obscuring view. Plays with the idea of a canopy- traditionally used.
Coppied columns from early Christain
Bernini, St. Peter’s Square (Piazza San Pietro),
throne of st peter 17th
Bernini= gilt bronze, rays of light catch it from the window, Reliquarey for the Carolingian throne under all the elaborate Baroque decoration
Throne, defiew weight and solididty, angles holding the throne
Borromini, San Carlo alle Quattro Fontane
first independent commission.
iconic masterpiece of Baroque architecture,
narrow intersection- facade is taller than the church, tall wave like
Statues interact with the architecture and viewer
angles lifting the image of San Carlo up to heaven
Colosal order, columns into small space
San Carlo alle Quattro Fontane
Boromini
Cornice runs around entire interrior
ovoid, based on an oval, surface on building curviniliear
San Carlo alle Quattro Fontane
Boromini
White interrior to paly on light, everything is sculptural and carved
convex and concave illusions instead of pained program. All mathematically perfect
San Carlo alle Quattro Fontane
Boromini
Ceiling= emotional and sensory experience of Christian faith.
San Carlo Alle Quattro, Rome, Boromini
