Midterm Images Flashcards by Krystal Hasiak

Sistine Chapel Ceiling
Michelangelo
1508-1512

Bel composto - “beautiful composition”, whole environment of art (painting, sculpture, architecture)
story of the beginning of the Bible - establishes the legitimacy of the papacy visually
- scenes of creation, prophecies, bible stories
Sistine chapel was for the cardinals - meeting place, liturgical services, etc
figures are very sculptural, drawing from the Apollo Belvedere & Torso Belvedere

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Laocoon and his sons
First century BCE

hellenistic style
from Virgils’s Aeneid
Laocoon is a Trojan priest that warns the Trojans against the horse & is punished by the gods
- trojans take this as a sign that the horse is sacred
lot of movement & STRONG emotion
priest, but w/robust musculature
- influential to Michelangelo
theatricality and proportionate in anatomy

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Ignudi
Michelangelo
Sistine Chapel Ceiling

Like the Torso Belvedere
very muscular
massive thighs
very specific pose
very influential for Michelangelo
michelangelo viewed himself as a sculptor instead of a painter
- figures in sistine paintings are very sculptural

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School of Athens
Raphael

In the Stanza della Segnatura
very linear
Portraits of famous people as famous artists
- Zoroaster w/celestial globe
- Raphael in black cap next to Zoroaster
- Aristotle & Plato (da vinci)
- Eucllid
- Pythagoras
all the great thinkers, philosophers, mathematicians, etc. of antiquity
shows the ability to create the figures of famous people with a nod to the artists

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Plan of Rome
Gian Francesco Bordoni
1588

relates to the Burroughs article about the urbanization under Sixtus V
new urbanization = new streets, cult of saints
star shaped in new city plan
- symbol of sixtus’ family
- symbol of the saints
- friendly for the pilgrims (reminiscent of CoR)
- connection of the early pagan christian past to the christian empire
columns of Trajen & Marcus Arelius = antiquities
- emperors - very good & just rulers, expanded the empire
- covered in papyrus design & decorof battle stories
- sixtus keeps the monuments & adds significant apostles of St. Peter & Paul on top
Egyptian obelisks moved to important spots in the city
- in front of early christian churches
- pagan aesthetic is adopted & added to (globe or star & cross on top)
Trident w/3 street split w/obelisk focus
- three streets branch out from the piazza into the city
repaired aqueduct & made new water fountains/sources

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Pantheon, Rome

key element is the dome
arches are built in the masonry of the walls
traditional column front, dome in the back
143ft in height & diameter = widest span in antiquity
shallow dome w/occulous (eye) in center of the room
Dome is “stepped” to lighten the weight
- also drainage advantage
- made of volcanic stone = very strong but light weight material
Interior has coffers in the dome for design & also to lighten weight

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Il Gesù
Façade by Giacomo della Porta
1575-84 (left)

Plan by Giacomo Vignola (right)

IHS=greek abbrev for Jesus, symbol of the Jesuits
Cardinal Alexander Farnese = patron
date is in Roman numerals MDLXXV
- 1,000+500+50+10+10+5 = 1575
della Porta’s facade design is classicized
- scroll work at 2nd floor
- not so much sculptural decoration (no angels)
- not recessed side aisles
- layered half moon arches w/cut outs = very odd for the time
Vignola’s church plan
- large nave absorbs transepts
- multiple altars
- unpainted = undecorated, reflection of the reformation
- small chapels on the side w/ability to travel thru them (side aisles)

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Illustrations from Fontana’s Treatise on Moving Obelisks

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Plans for St. Peter’s

Bramante (Left)

Michelangelo (Right)

Bramane wanted to do a central plan

circular design = no beginning, no end = very holy
divine geometry in nature = harmonious = increased spiriituality
human can fit/be drawn within a circle
secondary spaces, compartmentalizes

Bramante Dies, Michelangelo simplifies the plan

4 corners of the dome were already built
- important b/c it’s the strength & support for the dome
has to work with the already made layout
no compartments
Giant Order of Pillaster
- double story pillaster that continues all the way up & engaged columns
- verticality

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St. Peter’s Basilica, Rome
façade by Carlo Maderno

classic temple elements
required elements (by Sixtus’ demand):
- 5 doors (same as old st peter’s)
  - symbolic significance - some only were open on holy days or even holy YEARS
- benedictine logge - balcony in the middle for the pope to greet the people
building has to be carried all the way to the columns
- instead of columns, space (porch), then doors
view of the dome is sacrificed
- Domenico Fontana & Giacomo della Porta made the dome

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The Bean-Eater
Annibale Carracci
1583-4

lower class man
- clothes, room, beans
- beans are a humble food
finish on the painting is very rough
light on the face from the window & the back is in shadow
Genre painting - range of subject matters, every day scenes
- Carracci is an early adopter of genre painting

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Mystic Marriage of St. Catherine
Annibale Carracci

carracci is known for his religious works
catherine wouldn’t renounce her faith, they tried to kill her
- tried to stretch her on a wheel
- wheel is symbol connected to catherine
catherine is accepting a ring from baby Jesus
- “married” to her faith
- she wouldn’t marry a pagan = true to her faith
SYNTHESIS - taking the best elements of old artists’ styles & seamlessly puts them together
catherine is dressed elaborately
- braided hair, crown of gold & pearls
- facial features are stylistic of Veronese
mary is very plain
- plain dress, sandaled feet
- normal “real” face

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Loves of the Gods/
Triumph of (Sacred) Love
Annibale Carracci
Ceiling of the Gallery, Palazzo Farnese
1597-1601

first “baroque” ceiling painting
commissioned for the Duke Farnese to the niece of Pope Clement = important Papal families connection
Elements of a pagan subject (vs sistine chapel)
stories of drunken frollicking & violence and love
- cautionary tales for the future couple
- stories of the gods getting into trouble
“canvases” = quadro riportato
3D looking paintings in grayscale like sculpture holding up the paintings = grisaille

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Andromeda
Annibale Carracci
Ceiling of Gallery at Palazzo Farnese
1597-1601

From Ovid’s Metamorphoses - stories of physical transformations
paragone - artistic debate about which of the arts is most superior
- specifically here a comparison of sculpture & painting
andromeda looks like a statue b/c she is beautiful, perfect, & pale
- perseus says her flowing hair and tears made her real
sea serpent is being turned into stone by medusa’s head
paintings above are references to the sculptures below (in the gallery)

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Perseus and Phineas
Annibale Carracci
Ceiling of Gallery at Palazzo Farnese
1597-1601

Phineas is angry b/c he was supposed to marry andromeda, shows up at marriage banquet
perseus turns Phineas & his guys into stone w/medusa’s head
referring to sculptures below as if the sculptures below were once “real” people, turned to stone

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Cardsharps
Caravaggio
1595

intended for general audience = every day scene
not emulating a classical style
painting of regular people
clothes of 2 guys are attempting to look dandy, but holes in gloves gives it away
young guy is being duped by the men
- one is over the shoulder, signalling the other
- other is pulling cards from his belt
very little info of the background
attention to detail w/oil painting
- shine of satiny clothes, polished nails, glint on the hilt of sword
many characters had swords b/c caravaggio was kinda violent, got into a lot of fights

Calling of St. Matthew
Caravaggio
Contarelli Chapel
S. Luigi dei Francesi, Rome
1599-1600

commissioned for a French church for St. Louis that’s in Rome
2 power groups vying for control - orders like the Franciscans & the Oratorians that were for the poor vs orders that wanted things that would dazzle the “mysteries” of religion = glory of god & splendor
- Caravaggio was pro 1st party
Christ & st peter are coming in from the right, christ has just a hint of halo
light & dark (tenebrism) is very exaggerated, info is lost/hidden
picture can be split in to
- left side has figures that looks like the card sharps = real
- right side has figures dressed like old biblical = historical
christ’s extended hand looks like the hand of God from creation of Adam, sistine chapel
Guys are surprised = truth
some don’t look = ignorance
identity of matthew is not sure
- caravaggio liked to be deliberately vague

Judith and Holofernes
Artemisia Gentilischi
c. 1620

Inspired by Caravaggio, especially with the use of tenebrism
likes the biblical story of Judith & Holofernes b/c it’s a strong female heroine
Artemisia was raped by Agostino Tassi & it made her paint a lot of strong heroines & victims
anatomy is soft - general is not as muscular
“real”-women are having to work at holding him down & beheading him; clothes are all disheveled, blood everywhere
symbolic
- women are overpowering the man both real & spatially
- sword makes a cross = biblical reference

Conversion of St. Paul
Caravaggio
Cerasi Chapel
c. 1600

was known as saul, a persecutor of Christians
blinded by a bright light/God as punishment
tell the people what he saw, that he’s a believer, sight is restored
Dramatic movement
- paul has fallen off of horse & reaches out w/closed eyes in blindness
- horse & servant look confused
dramatic light
- tenebrism - no background, looks like paul is in spotlight
strong diagonal
part of 3 images about one’s faith

Assumption of the Virgin
Annibale Carracci
Cerasi Chapel, Rome
1600

Known as “classical baroque” or “academic baroque”
- emphasis on tradition & color
- smoother finish like Raphael
the “non-divine” people have very surprised looks
shows real reactions, really dramatic, they’re shocked
bridging the abstract idea of virgin ascending into Heaven & the reality of how ppl would react
facial types are varied and real
figures are twisting & moving
Mary has fuller, rounder face, simple hairstyle, simplle flowing clothes
Body is huge in the painting - looks like she’s going to hit the frame (with direct view)
altar piece w/two caravaggio paintings on each side (crucifixion of st peter & conversion of st paul)
all 3 tell story of person’s faith -
- even if you are a great sinner you can change/be saved (paul)
- ultimate sacrifice for one’s faith (peter)
- if you are good, you will rise up w/the angels to god (virgin)

Salome with the head of John the Baptist
Guido Reni
1630-35

beautiful woman, very peaceful & serene
classical face, soft light
john’s head on a plate isn’t gruesome
- looks like he’s sleeping
- saucer hides the gruesome, no blood or cut
taking something gruesome & making it pretty, serene

Aurora
Guido Reni
Casino Rospigliosi, Rome
1613-14

tied into meanings of the specific family
aurora is the personification of dawn
first representation of Aurora as an icon of time/dawn
putti are blowing winds at the edges
Apollo in chariot is moving the sun across the sky
A new day, a new time
Represents a new “dawn”/era under the Rospigliosi family
Women around Apollo are based on sculpture relief of the Borghese Dancers
horses layered in very similar coloring, also referencing the style of how depth was created in sculptural reliefs

Aurora
Guercino and Agostino Tassi
Villa Ludovisi, Rome
1621-23

aka Triumph of Aurora
guercino was the main artist, Tassi was the architectural specialit
aurora is also an icon of dawn & time
the “Hore” or Hours are in front
di sotto in su = from below, upwards, looking at the underside of the horses, the chariot, aurora looks over the side
ceiling programs are a “panegyric celebraation of the Ludovisi Family”
- new dawn/new era under the Ludovisi papacy
small building in painting represents the Ludovisi vinyard
Lunettes on eitheer side of the painting
- personification of day (Il Giorno) is classicized, mythological. dynamic visually w/light consistent w/middle painting
- personification of night (la notte) is not nice, exhausted looking woman, open book on lap with closed eyes = ignorance & spiritual destitution. symbol of what has come before & what the dawn will fix. architecture is same as day but dilapidated & cave like. dawn & others peek in

Allegory of Fame
Guercino and Agostino Tassi
Villa Ludovisi, Rome

narrative continuing from ground floor
personifications of honor & virtue
angel bringing 2 crowns - laurel & ducal
Bird is a phoenix, symbol of rebirth and also in mythology the bringer of the sun/dawn
- colored in red & gold - colors of the ludovisi family
Aurora heads east on chariot, conquers night, and the virtuous triump is shown in Allegory of Fame
3 rays of light connect 2nd & ground floors, while also referencing the family tree

**Apollo and Daphne** Gian Lorenzo Bernini 1622-25 * * * * cupid makes apollo fall madly in love with daphne * daphne is fleeing from him & asks her river god father for help * father transforms her into a laurel tree * apollo still loves the tree, hugs it and kisses it and says that her leaves will decorate the heads of leaders & gives it his youth & immortality (making it an evergreen) * laurel is symbol of immortality for rulers, etc * sculpture is of moment when apollo is gaining on daphne & she is transforming * hands turning into branches & leaves, feet/toes are growing roots

**David** Gian Lorenzo Bernini * * * * right in the moment of release - twisted pose * thinking face (furrowed brow & pursed lips) & physical movement (twisting for the wind up) = balance = action of body & mind * armor at his feet = spoils of war = victory/triumph over goliath * beginning POV is at the feet w/military elements = seen as military defeat/triumph * moving around the statue, long diagonals of the leg & drapery * 360 narrative by twisting the coposition * The way we see the statues now (removed & placed elsewhere) is not how they were meant to be seen * Kenseth thinks more like 200 or 180 degree view * visual models - polyphemus & borghese gladiator * textures are awesome * thought to be a bit of a self portrait

**Costanza Bonarelli** Bernini 1635

**Portrait of Louis XIV** Bernini 1665

**Portrait of Scipione Borghese** Bernini

# Define the term, and give an example of a piece of art. **quadro riportato**

***Definition:*** is the Italian phrase for "carried picture" or "transported paintings". It is used in art to describe gold-framed easel paintings or framed paintings that are seen in a normal perspective and painted into a fresco. The ceiling is intended to look as if a framed painting has been placed overhead. ***Example*:** Ceiling of the Gallery, Palazzo Farnese Annibale Carracci Loves of the Gods/ Triumph of (Sacred) Love 1597-1601

# Define the term, and give an example of a piece of art. **di sotto in su**

***Definition:*** means "seen from below" or "from below, upward" in Italian ***Example*:** Aurora Guercino and Agostino Tassi, Villa Ludovisi, Rome 1621-23

# Define the term, and give an example of a piece of art. **panegyric**

***Definition:*** a formal public speech, or (in later use) written verse, delivered in high praise of a person or thing. ***Example*:** ceiling paintings in the Villa Ludovisi (like Aurora), praising the family & the new "dawn" or era of the papacy.

# Define the term, and give an example of a piece of art. **paragone**

***Definition:*** Italian, meaning comparison, is a debate from the Italian Renaissance in which one form of art (architecture, sculpture or painting) is championed as superior to all others. ***Example*: "**Andromeda" Annibale Carracci 1597-1601 Ceiling of Gallery at Palazzo Farnese

# Define the term, and give an example of a piece of art. **grisaille**

***Definition:*** A method of painting in gray monochrome, typically to imitate sculpture. Decoration in tones of a single color and especially gray designed to produce a three-dimensional effect. ***Example:*** Ceiling of the Gallery, Palazzo Farnese Annibale Carracci Loves of the Gods/ Triumph of (Sacred) Love 1597-1601

# Define the term, and give an example of a piece of art. **tenebrism**

***Definition:*** from the Italian tenebroso (murky), also called dramatic illumination, is a style of painting using very pronounced chiaroscuro (extreme contrasts of light and dark) and darkness becomes a dominating feature of the image. Caravaggio, a Baroque artist, is generally credited with the invention of the style & Artemisia Gentileschi was a big user also. ***Examples*:** Calling of St. Matthew Caravaggio Contarelli Chapel S. Luigi dei Francesi Rome 1599-1600 Judith and Holofernes Artemisia Gentileschi c. 1620

**Michelangelo**

* 1475-1564 * Italian Renaissance artist * Thought of himself as a sculptor * Painted sistine chapel * designed St. Peter's basillica * sculptor, painter, architect * as he got older he became increasingly religious

**Annibale Carracci**

* 1560-1609 * died young @ 36 * Known for his religious work * Assumption of the Virgin * "Classical Baroque" * Triangular composition * More idealized * Softer, diffused light * one of 3 Carracci family artists * Annibale & brother Agostino, and cousin Ludivico * Created an acadamy for art w/other 2 * 1577 Carracci Academy in Rome * emphasis on drawing

**Michelangelo Merisi da Caravaggio**

* 1571-1610 * died young @ 38 * paintings from class all 1600 * contemporary of Carracci * early years aren't known except for criminal record * known for his tenebrism (dramatic use in lighting) in paintings * very little info in the background, usually black or blank * attention to details (textures, light, dirt = real) * DIAGONALS * realism/naturalism of people & situations come from low background, being around "real" people * Influenced artists like Artemisia Gentileschi

**Artemisia Gentileschi**

* 1593-1656 * father was a famous painter * trained his daughter * Assistant was Agostino Tassi * father didn't get along with Caravaggio * known for her tenebrism * highly realistic portrayals * the first female painter to become a member of the Accademia di Arte del Disegno in Florence * painted many pictures of strong and suffering women from myth and the Bible * victims, suicides, warriors * loved the story of Judith * raped by father's assistant * trial affected her feminist attitude * scenes of defiant and violent women were excused b/c of the understanding of what happened to her