Art History test #3
Pilgrimage to Cythera
-Antoine Watteau, Oil on canvas, 1717 -Musée du Louvre, Paris -She was known for creating a Rococo painting genre known has fete galante (amorous festival), which depicted the outdoor entertainment of French society. -Rococo art, more ornate and free, delicate emotions -Subject matter: Pilgrimage to the Island of Venus -Island of love, earthly paradise -Fete galante, paradise type setting -Warm colors, pastels -Strove for exquisite shades of color difference, defining in a single stroke where silk would hit somewhere -Diagonal composition
Judith slaying Holofernes
-Artemisia Gentileschi, Oil on canvas, ca. 1620 -Tenebroso present -Diagonals of the person laying down, and the arms of Judith, etc -Baroque artists choose the most dramatic part of the story -Baroque: high drama, high emotion -Heroic women, a theme of hers -Tension and strain shown -Controlled highlights on the action in the foreground and heightened drama, recall Caravaggio's work
Saint Peter's
-Bernini, Baldacchino, Vatican City, Rome. Gilded bronze sculpture, ca. 1633 -Baldacchino "silk from Baghdad" such as a cloth canopy -Serves functional and symbolic purposes -Marks the high altar in the nace and tomb of St. Peter beneath the basilica, and provides dramatic, compelling presence at the crossing -Columns serves as a frame for the elaborate sculpture representing the throne of St. Peter -Symbolically speak to the power of the Catholic Church and of Pope Urban VIII -Spiral columns are Baroque versions of the compostable columns of the ancient baldacchino over the same spot in Old St. Peters , invoking the past -Top of the vines are 4 colossal angels standing guard at the upper corners -Orb and cross are symbols of the Church's triumph -5 sections cast from wood models using the lost-wax process
Saint Peter's
-Bernini, Baldacchino, Vatican City, Rome. Gilded bronze sculpture, ca. 1633 -Churches shape represents the Churches arms welcoming people in -Building material of St. Peters was concrete -Decorative Veneer on inside and outside
Piazza of Saint Peter's
-Bernini, Vatican City, Rome. Marble architecture. 1656-1667 -Dramatic gesture of embrace that Bernini's colonnade makes as worshipers enter St. Peter's piazza symbolizes the welcome the Catholic Church wished to extend during the Counter Reformation -Tuscan columns
Ecstasy of Saint Teresa
-Bernini, marble sculpture. 1650 -Engaged columns with corinthian capitals -Shown barefoot because the group of nuns she belonged to walked barefoot -Saint. Teresa of Avila -Wrote that she had a vision of an angel piercing her heart with a golden arrow, shown in sculpture form -What she experienced and wrote was relatable to the public -The drapery shows drama and have a diagonal composition -Gesamtkunstwerk (German): An artwork that bring something together -Cornaro chapel, Santa Maria della Vittoria, -Rome, Italy -Serves as the chapels focus -Passionate drama depicted in this sculpture correlate with the ideas of Ignatius Loyola, who argued that the re-creation of spiritual experience would encourage devotion and piety.
Calling of St. Matthew
-Caravaggio (Michelangelo Merisi) Oil on canvas, ca. 1597-1601 -Natural art, simple art, no other detail other than the people -Naturalism into the representation of sacred subjects reducing them to dramas -Setting is an example of Caravaggio's mature canvases -Christs extended arm is a representation of Michelangelo's Creation of Adam -Subject: Story from the life of Jesus--Jesus looking and pointing at Matthew asking him to become one of his disciples -Uses pictorial light and dramatic emotion to express the meaning of the story -Selective lighting (spotlight) portrayed, causes drama and contrast -Tenebroso: in darkness, shadowy manner (typically baroque) -Mannerism wanted art to appeal to everyone -Contemporary setting and clothing
Conversion of Saint Paul
-Caravaggio, Oil on canvas, ca. 1601 -Paul was blinded by a light when he was spoken to by God and then became a follower of Jesus afterwards -Quick realization of the correct way -Persuading art to change your mind -Foreshortening through the person on the ground -Recessive diagonal, it recedes giving you a sense of space, illusion of 3D space -Realism shown -Naturalism into representation of sacred subjects, reducing them to human dramas -Figure is heroic, with powerful bodies and delineated contours in the Renaissance tradition Tenebroso used
Entombment
-Caravaggio, Oil on canvas, ca. 1603 -Tenebroso -Naturalism into representation of sacred subjects, reducing them to human dramas
Saint Peter's, eso. Facade
-Carlo Maderno, Vatican City, Rome. Church architecture, 1606-1612 -Facade is an expansion of the elements of Santa Susana's first level -Has compactness and verticality, the large facade counterbalances them -The two bells on each side were not in the original plan -Basilican plan -Lengthening the nave pushed the dome back and when viewed at close range you can barely see the dome -Seen from further back in the piazza the dome appears to have no drum -Can only see Michelangelo's effect he intended by viewing St. Peters from the back
Landscape with Cattle and Peasants
-Claude Lorrain, Oil on Canvas, 1629 -No purpose for the figures in his paintings, appear to be added as an excuse for the landscape itself, painting had one theme for him which was the beauty of a broad sky with the golden light of dawn or sunset glowing through a hazy atmosphere -Well-defined foreground, distinct middle ground, and dim background recede in orderliness until all form dissolves in a mist -Atmospheric and linear perspective reinforce each other to turn into a Claudian vision -Classical landscape -Achieved the effect of light with small paint brush strokes on canvas -Moving through time and space
Marie Antoinette
-Elisabeth Vigee--Lebrun, Oil on Canvas, 1787 -Famous for the force and grace of her portraits of highborn ladies and royalty throughout Europe
Marie Antoinette
-Elisabeth Vigee-Lebrun, Oil on canvas, 1787 -Salon was a showcase where people would show their works by those who mattered in the art world
Glorification of St. Ignatius
-Fra Andrea Pozzo, Ceiling fresco, Sant'Ignazio, Rome. Ca. 1690 -Wrote books about spirituality and religion Ascension of St. Ignatius -Infinite space looking upwards, sense of infinity -Four corners represent the four continents (Africa, America, Europe, Asia), each continent represented by a female figure (all foreshortened) linear perspective foreshortened, America female has a African American headdress on, paying tribute to Jesuit people -Made the ceiling "disappear
San Carlo alle Quattro Fontane
-Francesco Borromini, Rome. Church architecture. 1665 -Rejected the notion that a church should have a flat frontispiece, he set an undulating motion, creating a dynamic counterpoint of concave and convex elements.
The women regents of the old men's home at haarlem
-Frans Hals, Oil on canvas, 1664 -Frans halsmuseum, Haarlem -Stern, puritanical, and composed sensibility suffused Hals's portrayal of thes regents -All distinguished as individuals, gaze out from the painting with expressions ranging from dour disinterest to kindly concern -Monochromatic color palette, with white accents only by the clothing -Different from other paintings and portraits that he was used to doing
David
-Gianlorenzo Bernini, Marble sculpture, 1623. -Lifesize -Full of action and implied movement -When David first sees the enemy -In a lunging position -Diagonal composition -High drama; contains past, present and future -The pedestal was used to place yourself as -goliath in the work (looking up) -Baroque: drama, highest intensity in scene -Counter Reformation -Flexibility in the marble -Different from other Davids because he is shown in the combat itself, and is captured in maximum action.
Triumph of the Name of Jesus
-Giovanni Battista Gaulli, Ceiling fresco, Rome. 1675 -Shows the dramatic impact that Baroque ceiling frescoes could have in ecclesiastical contexts -Architecture opens up to a glimpse of Heaven -Represented Jesus as a barely visible monogram floating heavenward in a blinding radiant light, in contrast, sinners experience a violent descent back to Earth. -Glazed the gilded architecture to suggest shadows -To heighten illusion, he painted many of the sinners on 3D stucco extensions projecting outside the painting's frame
Aurora
-Guido Reni, Ceiling fresco, Rome. 1614 -"The Divine Guido" -Influence of Annibale Carracci and Raphael is evident in Aurora -On the ceiling in the Casino Rospigliosi in Rome -Aurora (Dawn) leads Apollo's chariot, while the Hours dance about it -Conceived Aurora as a quadro riportato, following the format of the paintings in Annibale's Loves of the Gods. -Complex illusionistic frame -Fresco exhibits fluid motion, soft modeling, and sure composition -Sources for the Aurora composition were Roman reliefs and coins depicting emperors in triumphal chariots
Louis XIV
-Hyacinthe Rigaud, Oil on canvas, 1701 -Musée du Louvre, Paris -Draws garment back to to expose his legs (the king was a ballet dancer)
View of Haarlem
-Jacob van Ruisdael, View of Haarlem. Oil on Canvas, ca. 1670 -Flat landscape
Death of Marat
-Jacques-Louis David, Oil on canvas, 1793 -Shows him as a mart -Same composition as Jesus and Madonna statue -Light comes in from upper right, relates to -Caravaggio's work, Calling of St. Matthew -Strong dramatic focus, clarity and simplicity
The Letter
-Jan Vermeer, Oil on Canvas, 1666 -Treatment of light and shadow Receiving a love letter shown by the painting behind her (a seascape-- Dutch compare love to the sea)
George Washington
-Jean-Antoine Houdon, Marble Sculpture, 1788-1792 -Wearing 18th century garb, the statue makes reference to the Roman Republic -The "column" on which Washington leans on is a bundle of rods with an ax attached- the ancient Roman fasces, an emblem of authority -13 rods symbolize 13 original states, plow behind him alludes to Cincinnatus, a patrician of the early Roman Republic
Self-Portrait
-Judith Leyster, Oil on canvas, ca. 1630 -Detailed, precise, and accurate, imbued with the spontaneity found in Hal's work -Depicted herself as an artist, palette in left hand and brush in her right announce the painting as her creation, fiddler and image of herself demonstrate inviting the viewer to evaluate her skills. -Her specialty was comic images -Relaxed pose and eye contact shows self-assurance -Clothes show that she is a member of a well-to-do family
Palace of Versaille and gardens
-Jules Hardouin-Mansart and Charles Le Brun, 1669-1680 -Layout of building is geometrically ordered and symmetrical -Embodiment of absolutism -Enlightenment, all about reason, faith and belief, marked by rationalism. Separation from God, reliance on ourselves. -Puts focus not on God but man himself -Andre Le Notre, Versailles Palace Garden, geometrical shapes (circles, squares etc) --Rationalist geometric order (Enlightenment) -Descartes "I think therefore I am." -Influenced Washington DC -Baroque French -The formal gardens near the palace provide a transition from he frozen architectural forms to the natural living ones
Burial of Phocion
-Nicolas Poussin, Oil on canvas, 1648 -Historical subject -Loyalty, sympathy, empathy, respect, bravery and courage -Expressing idealistic subject matter, History paintings transfers religious subject matter to human values -His art appealed to the intellect -Balance of warm and cool colors -Poussinism, sense of reason and logic that is present -Art consisted of life drawings and paintings -Serene classical landscape beneath a sunny sky
Elevation of the Cross
-Peter Paul Rubens, (Antwerp Altarpiece). Oil on wood, 1610. -Northern European artist showing Italian art influences (Detail, Diagonal views, sense of movement, contrast between light and dark, powerful musculature and tensing of muscles warm reds) -Rubenism, warmth in color usage, drama, painterlism
Triumph of the Barberini
-Pietro da Cortona, Ceiling fresco, Barberini Palace, Rome. 1633 -Tuscan architect -Designed by Francesco Bracciolini -Centered on the accomplishments of the Barberini -Divine providence appears in a halo of radiant light directing Immorality, holding a crown of stars, to bestow eternal life on the family -Virtues Faith, Hope, and Charity hold in a giant wreath (also a symbol of immortality), which frames 3 bees (the Barberini family symbols) -Papal tiara and keys present announcing the personal triumphs of Urban VIII.
Et in Arcadia Ego (I too have been in Arcadia)
-Poussin, Oil on canvas, ca. 1655 -Musée du Louvre, Paris -Features a lofty subject rooted in the classical world and figures based on antique statuary -Emulated the rational order and stability of -Raphael's paintings. Dominating the foreground are three shepherds living in the idyllic land of Arcadia. -The girl symbolizes death to remind them that death occurs even in Arcadia (paradisiacal bliss) -Draped female statues surviving in Italy from -Roman times supplied the models for this figure, and the posture of the youth with one foot resting on a boulder derives from Greco -Roman statues of Neptune -Balanced grouping of figures, light and thoughtfulness are from Poussins classical figure types.
Flower Still Life ruysch
-Rachel Ruysch, Oil on canvas, ca. 1700 -Toledo -Idealized groupings of individually studied flowers, often combining perfect specimens of flowers that bloomed at different times of the year that could never be placed together -Diagonal running from the lower left to the upper right corners of the canvas, offsetting the opposing diagonal of the table edge
Anatomy Lesson of Dr. Tulp
-Rembrandt van Rijn, Oil on canvas, 1632 -Diagonally placed and foreshortened the corpse, activating the space by disrupting the strict horizontal, planar orientation typical of traditional portraiture. -Depicted each of the students individually although they are wearing the same clothes Triangular composition -Open book is an anatomy manual
Christ Healing the Sick
-Rembrandt, (Hundred-Guilder print). Etching, ca. 1649 -Etching/engraving, intaglio -Wax coating on metal base, acid bath -One of the only ones who did religious subjects -Suffused this print with a deep and abiding piety, presenting the viewer not the celestial triumph of the Catholic Church but the humanity and humility of Jesus. -Rich kid with his head in Jesus' hand to show that the wealthy needs to give their possessions to the poor to gain entrance to Heaven -Figs. on the right are in shadow and those on the left are rendered in an outline, in bright light (from the light of Christ himself)
The Company of Captain Frans Banning Cocq (Night watch)
-Rembrandt, Oil on canvas, 1642 -Amsterdam, Netherlands -Dramatic lighting, the paintings darkness is the result of the varnish the artist used, which darkened over time. It was not his intention to show the figures at night. -There are 16 figures in the painting in addition to the front two. Don't know who the girl is to the left despite her prominence in the work. -Goal was to capture the excitement and frenetic activity -Showed the members rushing about in the act of organizing themselves, animating the image -Showed the three stages of using a musket in the painting: loading, firing, and readying the weapon for reloading -Portrayed liveliness, conventional format for Dutch group portraits.
Self-portrait
-Rembrandt, Oil on canvas, 1660 -Has a spiritual quality -Light and dark are reconciled. Merging softly and subtly to produce the visual equivalent of quietness -Mood is a tranquil meditation -Brushwork suggests confidence and self assurance -Circles behind him allude to to a legendary sign of a artistic virtuosity- the ability to draw a circle freehand.
Return of the Prodigal Son
-Rembrandt, Oil on canvas, 1669 -State Hermitage Museum, Saint Petersburg -Forgiveness, tolerance, and love -Tenebroso portrayed -Quiet, deep emotion -Dramatic emotion -Compares to the conversion of St. Paul -Fuzziness in picture -Light mingled with shadow, directs the viewer's attention by illuminating the father and son and largely veiling the witnesses -The focus is the old man, the light touches the contrasting face of the old man -He developed a personal style completely in tune with the simple eloquence of the biblical passage
Arrival of Marie de'Medici at Marseilles
-Rubens, Oil on canvas, 1622-1625 -Flemish artist -Marie disembarks at the southern French port after her sea voyage from Italy. -Allegorical personification of France, draped in a coat decorated with fleur-de-lis (symbol of french royalty) -Neptune and Nereids salute her -Enriched the surfaces with a decorative splendor that pulls the whole composition together
Taj Mahal and gardens
-Ustad Ahmad Lahori, Agra, India. 1632-1647 -Mughal dynasty -Shah Jahan built this building as a tomb for his dead wife, Mumtaz Mahal (my favorite palace) -White marble, almost translucent which makes the building seem light as if were floating -Octagonal ground plan, tall as it is wide, has a domed central plan (like the Pantheon) also like the Hagia Sophia -The four towers are called minarets -Ogee Arch (the arch underneath the dome) -Geometric form of architecture -Four channels of water that meet near the building, meant to represent paradise -Taj Mahal (crowned palace) -Carved decoration, similar to the decoration for the Koran, the ornamentation is inlaid, pietra dura (hard stone inlay), there is inlaid or carved text from the Koran, timeless motifs -Used geometry to express paradise and presence of God
Las Meninas (The maids of honor)
-Velazquez, Oil on canvas, 1656 -Museo del prado, Madrid -The setting is the artists studio in the palace of the Alcazar -The painter represented himself standing before a large canvas -Noteworthy for its visual and narrative complexity -An attempt to elevate both himself and his profession -Painting above the doorway and the mirror, are copies made by Velazquez's son-in-law. Of paintings by Peter Paul Rubens. Paintings dept the immortal gods as the source of art. He sought ennoblement not for himself alone but for his art as well -Portrayed the realities of image on canvas, of mirror image, of optical image, and of the two painted images. -Pictoral depth in both directions
Still Life with a Late Ming Ginger Jar
-Willem Kalf, Oil on canvas, 1669 -Overturned utensils, half peeled fruit -Enjoying the beauty of the objects -Hidden symbolism, the most beautiful things of this earth will eventually die. Don't get caught up in worldly beauty, but be spiritual instead. -Vanitas -The Persian carpet and chinese jar attest to the Dutch maritime trade -Inclusion of a watch suggest that this painting may be a vanitas still life