Southern Baroque Flashcards

1
Q

Characteristics of Baroque

A
  • Dynamic
  • Theatrical
  • Tenebrism (Caravaggio)- Extreme/intense between light and dark
  • Recommendations of the Council of Trent (counter-reformation) are followed in Christian countries (Italy, Flanders)
  • Emphasis on secular genres such as portraiture, group portraits especially in Protestant countries (Dutch Republic)
  • Grandiose Naturalism / Realism
  • Lots of details
  • Compositional complexity
  • Animation
  • Drama
  • Often emotionally charged subjects
  • Painterliness, colorism
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2
Q
A

Bernini, Pluto and Persephone, 1622

Bernini catches the moment where he takes Persephone -Catches the drama: The struggle, Violence, Stress, Fear. Bernini/baroque does 360 sculpture. Viewers gets a different part of the scene from every angle. Persephone’s hand Difficolta

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3
Q
A

Bernini, Ecstasy of St. Theresa, 1645-1652

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4
Q
A

Bernini, David, 1623

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5
Q
A

Caravaggio, Basket of Fruit, c. 1596

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6
Q
A

Caravaggio, Boy Bitten by a Lizard, c.1594

DRAMA Pain and flowers may be an allegory to the pain of love. Study on pain and hear AND the effect of light on water

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7
Q
A

Caravaggio, Medusa, c. 1597

Considered one of the strangest works of art of all time; Convex surface-painted on a real shield
• Because of this, snakes on head actually seem to be alive as viewer walks around it; term: Trump L’oeil-to deceive the eye
Probably used his own face to study dramatic facial expressions
• Asymmetrical expression in Medusa
Originally shown in the armory of the Medici not in the paintings collection

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8
Q
A

Caravaggio, Judith and Holofernes, c. 1598

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9
Q
A

Caravaggio, Calling of St. Matthew, c. 1600

Caravaggio captures the moment of transition “As Jesus went on from there, he saw a man named Matthew sitting at the tax collector’s booth. ‘Follow me,’ he told him, and Matthew got up and followed him.” –Matthew 9:9 Figures look “earthbound”; Caravaggio catches a moment in time; Naturalism: The faithful depiction of the natural world; God pointing to Matthew mimics Michelangelo’s creation of Adam

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10
Q
A

Artemisia Gentileschi, Judith Slaying Holofernes, ca. 1610

Tale from the old testament from the book of Judith ; Story of a heroic woman; Judith is a Jewish widow; Holofernes is a general of the army that invades town; To save town, Judith dresses herself up to attract Holofernes and crosses enemy lines; Beheads him with his sword; Very baroque; deep tenebrism (dark/style); Very highlighted figures in the foreground, strong use of lighting ; Gets across the violence and distress of scene; H’s body is radically foreshortened

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11
Q
A

Juan Sanchez Cotan, Still Life with Game Fowl, 1600-1603

One of the greatest still life’s in European tradition; Naturalism and trump l’oeil; Mastering observed reality; Details create action in painting; Great balance of composition; Also meant to show the glory of God’s creation

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12
Q
A

Diego Velazquez, Las Meninas (Maids of Honors), 1656

Most famous painting; Centered on Margaret Theresa of Spain, daughter of the King and Queen of Spain She is in a large room in the Madrid palace; Surrounded by maids of honor, guards, and a dog; Velazquez portrays himself working on a large canvas; Mirror in the background reflects the King and Queen

  • reflection of the painting Velazquez is working on?
  • King and queen are in the place of the viewer of the painting?
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13
Q

Traits Of Bernini’s Art

A
  • Coordination of painting, sculpture, architecture alongside still other arts.
  • Tricking the eye through optical, perspectival effects. Introducing painterly methods to the other arts, especially sculpture and architecture.
  • Virtual reality: boundary between art and life seemingly dissolved leading to the emotional involvement of the spectator. Drama.
  • Virtuosity
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14
Q

Traits of Caravaggio’s Style:

A
  • Intense and dramatic chiaroscuro (light and shadow)—tenebrism
  • Extreme naturalism
  • Interest in lowlife subject matter
  • Emphasis on the contemporary–in dress and setting
  • Focuses on critical moments in his dramas to increase their impact (while at the same time harboring in them a sort of meditative self-reflective absorption).
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