vat images Flashcards
Annibale Carraci, The butcher’s shop, 1583-85, oil on canvas, Christ church oxford
“rough imposto” rough application of paint, deliberate layering of oil painting to give texture
Everything is shown as if on a stage like a play
The butchers are clean
Awkward pose of official on the left mimics and mocks the contorted poses of mannerist figures
Annibale takes an every-day scene and injects it with “something more”
Annibale Carraci
Crucifixion, 1583, Oil on C Santa Maria Della Carita in Bologna
Idealized naturalism and focus on precise anatomical rendering of figures and space. No enigmatic poses. How does light fall on 3d objects? Increased drama and energy
BORROWS FROM VENETIAN ART LIKE TITIAN
In early 1590’s annibale began to expand on this style and venetian artists like titian
Figures have taken on sculptural quality of central italian classical art.
Annibale Carraci, Loves of the Gods, 1597-07, Fresco in Galleria Farnese in Pallazo Farnese
paints love as an all powerful force that even gods are not immune to. Influenced by michelangelo’s sistine chapel. Spatial awareness that is characteristic to annibale. “Quadri riportati” carried paintings. Seems to project forward into the viewers space. Playful and erotic. Was scourned by Cardinal Farnese and not paid his rightful sum.
Gianlorenzo Bernini, The Rape of Proserpina (1621-22), Marble, H: 225cm, Rome, Galleria Borghese.
•Gianlorenzo Bernini, Apollo and Daphne (1622-25), Marble, H: 243 cm, Rome, Galleria Borghese
Gian Lorenzo Bernini, David, 1623-24, Marble, H: 170 cm, Rome, Galleria Borghese
Gianlorenzo Bernini, S. Peter’s colonnade
1656-67
roman baroque architecture
Francesco Borromini, San Carlo alle Quattro Fontane 1646
Roman Baroque architecture
church of saint charles at the four fountains. it was his first independent commission. It is an iconic masterpiece of Baroque architecture, built as part of a complex of monastic buildings on the Quirinal Hill for the Spanish Trinitarians, an order dedicated to the freeing of Christian slaves. He received the commission in 1634, under the patronage of Cardinal Francesco Barberini, whose palace was across the road. However, this financial backing did not last and subsequently the building project suffered various financial difficulties.[1] It is one of at least three churches in Rome dedicated to San Carlo, including San Carlo ai Catinari and San Carlo al Corso.
Caravaggio, Incredulity of St Thomas (c. 1601-02: oil on canvas). Potsdam, Sanssouci Palace
shadows and light and drama and tehatrical background
Caravaggio, Death of the Virgin (1605 or 1606: oil on canvas). Paris, Louvre smd scala
Dominance of tone light and shade over color
Portrayed as a normal dead woman with rigor mortis and swollen abdomen, possibly based on body of a drowned prostitute
Undignified for mary morther of god, naturalistic and earthy and humble
Purchased asap by private collecter
Low style, Vernacular, poverty and humility of everyday people
Caravaggio, Cupid Victorious (also called Amor vincit omnia – that is, ‘Love conquers all’) (c. 1603: oil on canvas). Berlin, Gemäldegalerie
Hypersexualized
The painting illustrates the line from Virgil’s Eclogues X.69, Omnia vincit amor et nos cedamus amori (“Love conquers all; let us all yield to love!”)
Bartolomeo Manfredi, Fortune Teller, 1610-15, Detroit Institute of Arts, Detroit, Michigan
Pushes caravaggio’s techniques
Caravaggisti
Artemisia Gentileschi, Judith Beheading Holofernes, 1611-12, Museo e gallerie nazionali di Capodimonte, Naples
Father was an artist as well
Caravaggio techniques high baroque, clear details copied in hers but she intensifies the emotion and the action. No space between the two figures in hers, they are literally on top of him, and maidservant helps hold him down and in caras she is observing. More of a struggle, he is physically resisting her. Judith’s arms look muscular and her muscles are distended, showing her effort.
Gerrit van Honthorst, Smiling Young Man Squeezing Grapes, 1622, Worcester Art Museum, Worcester, Massachusetts
Peter Paul Rubens. Samson and Delilah. c. 1610. Oil on wood, 185 x 205 cm. The National Gallery, London
Peter Paul Rubens. The Adoration of the Magi. 1609-1610; repainted and expanded,1628-1629. Oil on canvas, 355,5 x 493 cm. Museo del Prado, Madrid
Peter Paul Rubens. The Horrors of War. 1637-1638. Oil on canvas, 206 x 342 cm. Palazzo Pitti, Florence
Anthony Van Dyck. Self-Portrait with a Sunflower. 1633. Oil on canvas, 60 x 73 cm. Eaton Hall, Cheshire, Collection of the Duke of Westminster
shows his direct ties to the monarchy
showing off the gold chain given to him by chalres the first
Anthony Van Dyck. Charles I in Three Positions. 1635. Oil on canvas, 84.4 x 99.4 cm. Windsor Castle, Royal Collection
colors of clothes change in each position. Inspired by lorenzo lotto’s portrait of a goldsmith in three positions, allowed sculpture to be made by bernini who could not travel up from rome
Anthony Van Dyck. Charles I at the Hunt. 1635. Oil on canvas, 266 x 207 cm. Musée du Louvre, Paris
Contrived position with titian influences
natural royalty
Diego Velázquez. An Old Woman Cooking Eggs. 1618. Oil on canvas, 100.50 x 119.50 cm. Scottish National Gallery, Edinburgh
look at the amazing textures!!!!
Diego Velázquez. Philip IV of Spain in Brown and Silver. 1631-1632. Oil on canvas, 195 x 110 cm. The National Gallery, London
patterns that look crisp from a distance dissappear as you move closer, precurser to impressionist styles
loose strokes
Diego Velázquez. Las Meninas.1656. Oil on canvas, 318 x 276 cm Museo del Prado, Madrid Claimed to be theology of painting
Las meninas describes a maid
Constructing a narrative to tell us that something is happening
His hand is blurred, signifying the action of painting
Does painting come from hand pr mind?
Shows how he was experimenting with new forms of depiction
Wearing clothes of nobleman and cross of st ames, before he became a knight
Legend that the king painted it on himself after death of the artist
Rembrandt, Anatomy Lesson of Nicolaes Tulp. 1632. Oil on canvas: The Hague, Mauritshuis. Displayed publicly as a chance to get more patrons. Dynamic unfolding scene, revolving around a story rather than just a group of individuals. The surgeon is shown as superior, dressed in bourgeoise amsterdam gear but doing surgery. He is shown working on tendons and flexor muscles. Showing with his left hand how the tendons help fingers to move. Convicted criminal given away for dissection. Makes it a bit of a history painting
Rembrandt, Sacrifice of Isaac. 1635. Oil on canvas: St Petersburg, The New Hermitage
high baroque, based on old testament, first amsterdam period, chiaruscuro. Munich. Three large periods in the front of the picture frame, spotlighting and dehumanizing of isaac’s body by showing the hand over his face, a highly original pose.
Rembrandt, Descent from the Cross. 1633. Oil on panel: Munich, Alte Pinakothek
Bespoke work. compare to ruebens piece of 1611-14
Jan Steen, As the Old Sing, So Pipe the Young, c. 1668-70, oil on canvas. The Hague, Mauritshuis.
proverbs, the sins such as lust gluttonny and pride
netherlandish proverbs
Johannes Vermeer, The Milkmaid, c. 1660-61, oil on canvas. Amsterdam, Rijksmuseum. model of virtue. Act of pouring milk has been likened to a secular right, not religious but nutritional, making food for babies who can’t eat solids. Blue apron likened to Virgin Mary. objects point to suggesting the milkmaid herself is an object of desire. Prominent foot warmer, delft tile, one represents Cupid. Double meaning, to milk in Dutch also means to seduce. Absence of male figure allows viewer to adopt the role of the male gaze. We are complicit in her objectification. The foot warmer isn’t lit- no embers- the severance girl turns her back on that symbol of desire and she isn’t looking at us. Pointilles is shown
Johannes Vermeer, The Love Letter, 1667, oil on canvas. Amsterdam, Rijksmuseum
kept producing until late in his life
interest in lines and archtiecture, lines echoed throughout
Very linear. Lines reoccur, lines in canvases and in the fireplace. Stiff divisions of light and shadow. Maids cap is blinding white
Jean-Antoine Watteau, An Embarrassing Proposal, 1715-16, Hermitage Museum, St. Petersburg, Russia
breaking off of the relationship
oil on canvas
very expressive faces are due to Watteau’s studies
without theatrics and sublime passions as compared to his contemporaries in acedemia, displaying tiny nuances of emotion
Jean-Antoine Watteau, Pilgrimage to Cythera, 1717, Louvre, Paris, France
cythera thought to be birthplace of aphrodite
took him five years to complete the piece due to the amount of comissions he was recieving
fete galante courtly scenes in an idyllic country setting.
he was admitted into the academy
influenced by da vinci and ruebens
Jean-Antoine Watteau, The Shop-Sign of Gersaint, 1721, Schloss Charlottenburg, Berlin, Germany
considered to be his last masterpiece
painted for parisian art dealer edme gersaint
possibly depicts gersaint’s wife
old vs new
William Hogarth, The Painter with his Pug (self-portrait) 1745: oil on canvas (London, Tate Britain)
line of beauty
showing him as his pug
critisised
William Hogarth, O The Roast Beef of Old England(or The Gate of Calais) 1748: oil on canvas (London, Tate Britain)
showing distaste for the french and scotts
William Hogarth, Marriage à la Mode: The Marriage Contractor The Marriage Settlement(c. 1743-45): oil on canvas (London, National Gallery)
Shah Mosque, Isfahan, 1611
Wall painting Shah Tahmasp receives the Mughal emperor, after 1647
Tile panel painted in the cuerda seca technique, Isfahan, first quarter of the 17thcentury (The Metropolitan Museum of Art
• Sinan, Süleymaniye Mosque, Istanbul, 1557
Portrait of Mehmed the Conqueror (after portrait by Gentile Bellini), after 1480
Iznik dish with quatre fleurs, saz leaf, and stylized flowers, Iznik, ca. 1575
Humayun’s tomb, Delhi, 1562–71
85 years before taj mahal
His persian wife Hamida surveryed the construction
Moti Masjid, Delhi, 1662
mosque inside the red fort
translates to the peael mosque
white marble
Shah Jahan receives his eldest sons during his accession ceremonies in the public audience hall in Agra, in the book Padshah-nama, ca. 1640 (Windsor Castle)
Jean-Baptiste-Siméon Chardin, The Soap Bubble, c. 1733-4
soap bubble represents discovery and a new age
Joseph Wright of Derby, A Philosopher Giving a Lecture on the Orrery, in which a Lamp is put in the Pace of the Sun, c. 1766
he was a member of the lunar society
Johann Zoffany, William Hunter Lecture, c. 1770-2
• James Paine and Robert Adam, Kedleston Hall, Derbyshire, England, begun 1757 (entrance front by James Paine, garden front by Robert Adam)
arc of constantine
Robert Adam, Etruscan Dressing Room, Osterley Park, Middlesex, England, begun 1761
interest in pompeii, rediscovered in 1748
Robert Adam, Culzean Castle, Maybole, Strathclyde, Scotland, 1777-92
Antonio Canova, Perseus with the Head of Medusa, 1804-6, Metropolitan Museum of Art, New York, New York, USA
Antonio Canova, Tomb of Maria Christina, 1789-1805, Augustinerkirche, Vienna, Austria
Antonio Canova, Paulina Bonaparte Borghese as Venus, 1805-8, Galleria Borghese, Rome, Italy
comparing herself to the beauty of aphrodite
Valentine Green, after Sir Joshua Reynolds, Sir Joshua Reynolds, mezzotint, 1780
mezzotint is made using a rocker
William Woollett, after Richard Wilson, The Destruction of Niobe’s Children, engraving, 1761
intaglio, made by a copper plate and pressure tramsfered onto damp paper
William Sharp, after Benjamin West, King Lear, engraving, 1792
Reynolds, Lord Heathfield of Gibraltar, 1787. London, National Gallery
Reynolds,Lady Sarah Bunbury Sacrificing to the Graces, 1763-65. Chicago Art Institute
Nathaniel Hone, The Pictorial Conjuror, c.1775. Dublin, National Gallery of Ireland
huge art scandal
art of optical deception
the counjurer is supposed to be joshua reynolds, founder of the royal academy, and the girl is supposed to be angelica kauffman who was said to be a former lover
Allan, Ramsay,Portrait of Margaret Lindsay, c.1758-60. Edinburgh, National Gallery
Thomas Gainsborough, Mr & Mrs Andrews, 1748-49. London, National Gallery
showing off their land
the dog is showing them taming naturen
Gainsborough, ‘The Blue Boy’, 1779. San Marino, CA, Huntington Library
