Baroque Art Midterm

Cardsharps by Caravaggio 1595 (late 16th)

- Able to capture the attention of a powerful figure: Cardinal Francesco Maria del Monte purchased this, also a new subject - At least 30 known copies of this painting, very popular - Horizontal format, three quarter length figures in contemporary outfits against a simple background - Innocent guy in black is so immersed in his cards, he does not realize the trickery happening around him - Gloves are torn to indicate that the man could feel marked cards more clearly

Last Communion of St. Jerome by Agostino Carracci 1590 (late 16th) for a monastery in Bologna

- Agostino was originally a tailor but abandoned his profession to be a painter + also trained under Fontana - For a a large chapel in the name of a Carthusian-monastic church - Subject: St. Jerome (one of the four Latin Fathers, they defined Catholic doctrine) Translated the Bible into Latin, very important during the Counter Reformation, declared by the Council of Trent to be the official Catholic version of the Bible - Aged saint kneeling to receive his last communion, accompanied by his attribute (the lion, his identifying symbol) → the beast became St. Jerome's constant companion after he extracted a thorn from its paw - Scene: When the saint was 90 and near death, he refused to receive his last communion in bed, and struggled to his knees to receive it -- Shows humility before Christ Important for Counter Reformation → the Protestants objected to the sacraments of the Catholic Church - Emphasizing the Eucharist (in the center of the composition, St. Jerome staring at Eucharist) → underscores the importance of the Eucharist to get to heaven - This commission was very difficult for Agostino because there was no pictorial precedent - Clearly articulated space, colors, balanced composition - Still dramatic, though, foreshortened arm of Carthusian monk, pushing the candlestick into our space

Boy Bitten by a Lizard by Caravaggio 1595 (late 16th)

- Annibale created a similar work called "Children Teasing a Cat" in 1588 - Annibale was responding to a drawing by Sophonisba Anguissola - Caravaggio's figure explores a range of human emotion, dramatic → facial expression, contracting brow, mouth opened in pain, contracting hands and shoulder (clear that he studied a real person as his model) - Study of expression + an allegory (sense of touch or the pains of love -- lizard is frolicking in the sensuous fruit) - This is a real looking depiction of an intense moment, gives us a hint as to what he will produce later in his career - Two versions of this painting, indicating that perhaps he's repeating himself to satisfy demand (one in Florence and one in London)

Hercules at the Crossroads by Annibale Carracci 1596 (late 16th) For Farnese, now in Naples Oil painting that was inserted into the ceiling

- Annibale was called to Rome to work on the Farnese Palace for Odoardo Farnese - First room Annibale did was for the Camerino Farnese (ceiling of the Cardinal's privates study) → the room this painting is in - Subject: Hercules is shown between virtue (left) and vice (right) → Pegasus in upper left, connected to virtue and fame → Man in front with book and wreath on his head (taking the right path will lead one to fame) -- probably about the Cardinal Farnese, illustrate his virtue - Theme of Hercules may have been chosen b/c of a statue in the Camerino, called the Hercules Farnese (looking at classical statues as opposed to Venetian artists he saw in Bologna) - Tighter brushwork (bringing ancient and modern Roman classicism into his style, emulate Raphael's style that he saw in Rome)

Mary Magdalene in Ecstasy by Orazio Gentileschi 1621-23 (early 17th)

- Comparison to Caravaggio's Magdalene in Ecstasy -- Orazio's: depicted half in the nude, landscape, classical elements - Multiple versions of this paintings known (Orazio would sell these versions, which shows the demand for these + gives insight into collecting practices back then -- collectors wanted what they knew, recognizable masterpieces) - Sometimes these later copies were done when he wasn't even in Rome, done through tracings to create works

The Martyrdom of St. Matthew by Caravaggio 1599-1600 (late 16th to early 17th) Contarelli Chapel, S. Luigi dei Francesi, Rome

- Contarelli wanted this scene to show "a temple like structure with an altar on four or five steps..." - When doing infrared reflectography, end result is significantly different from what he initially started out with - Very little architecture, Caravaggio depicts himself in the back - Matthew is on the ground, blood streaming out of his body (he's already been stabbed once and is about to receive the fatal blow from the swordsman) - No women present, bride is not there, no babies -- only scantily clad youths, including the assassin - Some say that the representation of the skin helps highlight the figures + dramatize them, create strong contrast (projects the figures forward) - How did he create these emotional expressions? (anger, fear, resignation) -- He posed real models -- To create bright light, he found a way to paint figures against the darkness of a closed room, taking high lamp that hung vertically over the principal parts of the body, leaving the rest in shadow

St. Longinus by Bernini St. Peter's, Rome 1631-38 (early 17th)

- Context: Bernini was asked to design a Reliquary for each of the four holy relics at St. Peter's (they surround the Baldacchino) - A relic is a remain of a Saint or a possession of a Saint (holds important spiritual powers). A reliquary is a container for that remain. - St. Peter's tomb is the most important relic in the church (Baldacchino marks that). - Around the Baldacchino, there is Veronica, Helen, Andrew, Longinus -- The lower niche had a statue that depicted the Saint + his or her relic and there's a balcony above where the relic could be displaced during the Holy Week -- Bernini only carved one himself: Longinus - Subject: Longinus was a Roman soldier who pierced the side of Christ as he was being led to the crucifixion. Instantly he recognized that Christ was the Son of God and converted to Christianity - Depicting exact moment when Longinus is converting to Christianity (gaze is transfixed onto an invisible Christ) - Diagonals - immediacy, one moment in time - Ability to create different textures (clothing, hair, skin)

Sant Gennaro Frees Naples from the Plague by Luca Giordana Commissioned by a viceroy for the Church of Santa Maria del Pianto 1658-60 (mid 17th)

- Context: Plague of 1656 that killed over half the population of Naples + ravaged the place for over six months (killed 10,000 people a day) -- Huge economic effects, viceroys that remained brought reforms but the traumatic horrors of the plague brought about changes in painting in the second half of the century - Student of Ribera's -- later became inspired by Titian, Reni + Peter Paul Reubens - Almost every church in Naples contains at least one of his works, very very popular - This painting hung with a pendant of the patron saint adorning the Crucifix - The church this painting was placed in was built over a cave in which many victims of the plague had been buried

St. Francis by Francisco de Herrara the Younger Seville 1657 (mid 17th)

- Decline in Ecclesiastical clients in Seville around 1640 + the arise of the American market were accompanied by other changes in regards to the aesthetics of paintings - New taste in religious art that became prominent in Seville -- Before, great emphasis placed on the scripture, the interpretation of the doctrine to inspire devotion - This work, though, is about emotion, exuberance, and sweetness

Calling of St. Matthew by Caravaggio 1599-1600 (late 16th to early 17th) Contarelli Chapel, S. Luigi dei Francesi, Rome

- Del Monte most likely helped Caravaggio get his first public commission (all his previous ones were private commissions) - Shows when Matthew abandoned his job as a tax collector to follow Christ -- According to the gospel, Christ saw him sitting in the tax office and said "follow me" - Instead of typical daylight scene within defined architectural space, here there is a tax office with only a window and table - Focus on figures (very natural) - Christ isn't quite as individualized as the other figures (the figure on the far right at the end of the table) - Beam of light coming diagonally from upper right to lower left (uses natural light to create this one moment of spiritual calling) - Follows Christ's hand and guides the viewer's eye to Matthew - Emphasizes the immediacy of this conversion - Gesture of Christ pointing to Matthew is reminiscent of Adam's figure in the Sistine Chapel - Christ is often referred to as the second Adam (Christ being the one who saved humankind from its original sin) - People were completely wowed by his realistic, emotional approach (dramatic, light and dark contrast)

Surrender of Breda by Velazquez Court of Philip IV - Hall of Realms, Madrid 1634 (early 17th)

- Depicts an important military victory that happened 10 years before the picture was painted -- Shows the Spanish conquest of a Dutch town of Breda in 1625 (happened during the 80 Year's War) -- Breda was one of the border fortresses of the Netherlands, so it was very important -- Spanish General, Spinola, learned that the Dutch were in terrible shape + proposed to the Dutch commander, Justin Nassau (?), that they just surrender to avoid the imminent bloodshed - Velazquez depicts this surrender between the Spanish and Dutch generals -- Spanish on the right + Dutch on the left (Dutch general handing over the keys to the city) -- Amicable surrender, Spinola has his arm on Justin's shoulder (not humiliating) - Meant to show the might of the Spanish -- this important, fortress town is now controlled by the Spanish - Rich and vivid colors, Velazquez had seen many works by Titian

Sacred Conquering Profane Love by Baglione both 1601 (early 17th) Cardinal Benedetto Giustiniani

- Figure in the lower right is Cupid, youthful + nude (similar to Love Conquers All by Caravaggio) - Created this for Giustiniani's brother as a gift (competing with Caravaggio) -- Caravaggio's joyful cupid figure in Love Conquers All is being conquered by sacred love - Sacred love is wearing the armor that is in the foreground of Caravaggio's painting - Caravaggio accuses Baglione of plagiarism, so Baglione creates another version (the one on the right) -- Caravaggio is now the face of Satan in this new painting

St. Gines de la Jara by Luisa Ignacia Roldan called La Roldana painter: Tomas de los Arcos (her brother in law) 1692 (late 17th)

- First female sculptor documented in Spain - Learned from her father - Probably for the Spanish court in Madrid - The figure is a French saint from the 4th century; he was decapitated in Southern France + his head was taken and thrown into the river -- The head was carried to the coast of southeastern Spain + preserved there as a relic - The saint is in the middle of preaching (ajar mouth, hands wide) - Accessible, life-size, very life-like as well

Repentant Magdalene by Caravaggio 1597 (late 16th) Cardinal del Monte

- First known religious painting - Similar to a genre painting -- her pose and hands are similar to Boy Peeling a Fruit - Utilizes wedge of light in the top right corner to pierce the dark room and as a symbol of her conversion (very popular subject during Counter Reformation)

Crucifixion by Annibale Carracci 1583 (late 16th) Santa Maria della Carita, Bologna

- First major dated altarpiece, shocked and dismayed local audience → too real, too informal and "sketchy" for this refined of a subject matter; also too direct for a publicly displayed religious work - Greater sense of immediacy - Commission was first offered to Ludovico, but he was not offered enough money - Comparison to Mannerist representation: →Same cast of characters, but in Annibale's there are fewer figures cluttering and crowding the scene, less chaotic → The saint holding the Book of Writing gestures towards Christ, San Bernardino → 12th century St. Francis kneeling at the feet of Christ 4th century bearded saint Patroneous, patron saint of Bologna - Composition is simplified, facial expressions make narrative clear (figures are closer to viewer)

The Conversion of Paul by Caravaggio 1600-01 (early 17th) Cerasi Chapel, S. Maria dei Popolo, Rome

- First rejected painting - Church was for nobles and major religious figures - Always used oil paint to create those dramatic, chiaroscuro effects + so he could look to real models while painting (his style was not conducive for using fresco) - Conversions were very popular during the Counter Reformation (from Saul to Paul, becomes an ardent follower of Christ) - The second version of this painting (the one we're studying) gets rid of Christ as the voice -- this beam of light comes down and acts as this heavenly voice -- more natural, can make out the dirt under Paul's fingernails + the veins in his arms - If one didn't know the subject, one could mistake it as a scene where a man has fallen off his horse

The Bargellini Madonna by Ludovico Carracci 1588 (late 16th) for a church in Bologna

- First signed altarpiece, considered to be his most successful - Scene of Virgin and Child, engaged in sacred conversation - Angels + saints + donor (come from different time periods) - Placed Virgin and Child in upper right (instead of the center), creates a dynamic diagonal, more exuberant (this type of compositional arrangement becomes standard for those in the Academy) - Towers of Bologna in the distance, brings biblical scene into the natural world - Shows influence of Titian and the Pesaro Altarpiece - Compare to Mannerist version by Fontana (Holy Family with Saints)

The Musicians by Caravaggio 1594-96 (late 16th) Del Monte

- First work that Caravaggio painted for Cardinal Del Monte - Del Monte was a fan of music, he owned five paintings titled "Musica" (he also held musical soirees, had a resident male soprano) - More complex than his previous works, more depth -- Foreshortening of space, figures are based off of posed models - Not an entirely new subject → concert scenes had been produced in Venice since the late 15th century - Man with the horn like instrument is Caravaggio (self portrait) -- wearing classical garb -- figure on left hand side with wings is Cupid, very classical + idealized -- seems as if real people are acting out this allegory (combination of abstract world of allegory and contemporary musical practice)

Adoration of the Shepherds by Ribera 1650 (mid 17th) Naples

- In 1634, Ribera's oldest daughter married a judge + rose in social status -- Right around this time, Ribera suffered from some illness + couldn't paint (he just oversaw his workshop and gave commands) -- This painting is from that time period - Subject: shepherds are giving the gift of the lamb to the newborn Christ - Emphasized the face of everyone, even simple shepherds (very popular in the 17th century in all Catholic centers) - Something atypical about this portrayal, is that this it takes place during the day instead of the day - Ribera is turning away from those dramatic scenes + concentrates more on peaceful subjects like this - Large painting so probably for a private chapel in a palace or a church - Style wise, it is much more classical and idealized (idealization of the Virgin and baby's face, some naturalism in the figures of the peasants, but the composition is more balanced, less dynamic and less dramatic) -- Less of those Caravaggesque tendencies - Merging naturalism + classicism (characteristic of his late works) -- Gestures are clear, expressions are elegant + figures are tranquil

Dead Christ by Gregorio Fernandez 1625-30 (early 17th)

- In Seville, painting + sculpture were closely aligned and on a similar level, which is different from what we saw in Rome - Statues were carved in vivid detail from wood, core is wood, then painted and adorned with glass eyes, real hair, blood made out of cork and realistic elements + real clothing -- Total different approach to sculpture - Polychrome sculpture: three dimensional sculpture made of wood

Immaculate Conception by Zurbaran 1630 (early 17th)

- In Seville, the most popular subject was the immaculate conception - The immaculate conception is actually about the Virgin Mary being conceived without sin -- The doctrine of sanctification is the argument that Mary was conceived with sin + then purified by God in the womb - Supporters of the doctrine of immaculate conception wanted to elevate it to a status of a dogma (Spanish kings in the 16th + 17th c. petitioned for the Pope to rule in favor of this) - This type of representation that we see in the painting comes from the book of Revelation (woman clothed with the sun, the moon under the feet, and a crown of 12 stars on her head) - Pacheco (wrote a treatise on art), described by some as the "Vasari of Seville," said that the Virgin should be a beautiful 12 or 13 year old girl with fine and serious eyes (this is what Zurbaran represents)

Immaculate Conception by Murillo 1678 (late 17th)

- In Seville, there was a change in aesthetics (look at Zurbaran's vs Murillo's) - One of the most frequently depicted subjects in 17th century Spain - In 1615, the Pope officially declared that the immaculate conception was true + b/c of this, it becomes a very popular subject - Mary's face is turned upwards towards heaven (more ethereal) + the colors are much lighter and warm toned - Murillo was the only Spanish painter widely known outside of Spain (he had lots of followers well into the 19th century) -- English + French patrons loved him - Murillo was from Seville + started in a tenebrist style (Caravaggesque), probably influenced by Zurbaran - By 1650, he is creating commissions for the Cathedral in Seville + in 1660 he helped found the Seville Academy with Herrara the Younger - The sweetness of his paintings is linked to his personality - Produced almost 30 copies of the Immaculate Conception

David by Bernini For Cardinal Scipione Borghese Borghese Palace, Rome 1623-4

- In action, about to sling the stone + various textures (can differentiate textures of the skin versus the garment) - One moment (rocking back + about to throw sling) -- Brow is furrowed, lips are pursed (conveys the emotion of the action) - Apparently Cardinal Barbarini held a mirror with his own hands so Bernini could sculpt his own features as this David - Whole narrative reveals itself as you walk around the sculpture - Goliath is not included, but can still devise where Goliath is due the David's posturing -- Viewer interacts with the space (second figure, Goliath, is applied, but not a physical part of the exhibit) -- Debate over if it's meant to be viewed from the right or left: is it meant to be viewed from the right?? follow slingshot and as you move around, you see the target of the slingshot (first see it from David's perspective) left?? narrative unfolds before your eyes

Allegory of Divine Wisdom by Andrea Sacchi Palazzo Barberini, Rome 1629-33 (early 17th)

- In the reception room - Allegory of divine wisdom -- Urban 8 is connecting himself to King Solomon + his great wisdom - Personification of wisdom is seated on the throne in the center of knowledge -- She is surrounded by 11 female virtues that embody virtues -- Each virtue is related to a constellation that relates to the night of Urban's election as Pope - This painting was done around the time when Galileo had published and challenged the whole theories of the earth + sun (inclusion of the earth and sun in this painting) - Difference in style between Sacchi's and Pozzo's, despite the similar message: -- Sacchi's is much more clear and readable, not as many figures clutter the space - Sacchi publicly criticized Cortona's paintings + there was a series of debates presented to the public that took place at the Academy of St. Luke -- Sacchi said it was too exuberant, too much going on -- detracts from narrative -- Also said that every figure needs to have a clearly readable, distinctive, appropriate expression (understand gesture and movements)

Sons of Jacob by Zurbaran 1640 (mid 17th)

- Market for these Ecclesiastical commissions collapses around 1640, so after 1640 he was only asked to produce one major series of paintings for a religious order in Seville -- so he started producing more paintings to export to the Spanish colonies in the Americas - Part of a series of 13 paintings, life size figures - This subject is not super typical in Seville - Commonly believed that the indigenous people in the Americas were descended from the lost tribes of Israel, so this was a popular subject there -- The religious orders in the Americas decorated the churches with paintings and statues - For the production of these paintings, Zurbaran gave these to a ship captain to sell + when the captain returned, he would take a commission + give the rest of the proceeds to Zurbaran -- Some issues were that Zurbaran did not know this audience + did not know what they appreciated -- Also, there was a risk that the paintings would be lost at sea or taken by pirates - The major initial series of Jacob and His Sons turned up in England in the 18th century

Philip IV at Fraga by Velazquez 1644 (mid 17th)

- Philip IV was very religious, very Catholic, but also conflicted -- Wrote letters to a nun about behavior he felt was unworthy (he had many mistresses, even more than Louis XIV) - An outfit Philip IV would wear in a military campaign - On campaign in 1644 to lead the troops to an important victory over the French + Velazquez went with him on campaign -- Velazquez painted this three days in the town of Fraga (battle was raging around him, had to create a makeshift studio) - Portrait was a total success when it got sent back to Madrid

Bust of Costanza Bonarelli by Bernini 1635 (early 17th)

- Pioneered what's been calling a "speaking likeness" (capturing a person in action or just at the point where they're about to speak) - Her lips are a bit ajar, she's turned + slightly disheveled -- Eyes slightly turned + mouth open (same as the Bust of Scipione Borghese) - She was the wife of one of Bernini's assistants + Bernini fell in love with her (Investigated + caught his brother in an affair with this woman) - Who would be viewing this portrait? -- This was a personal portrait for him (at the time, buying a block of marble for oneself would be very expensive, and would require extensive time to create)

Pluto and Persephone (Rape of Persephone) by Bernini For Cardinal Scipione Borghese Palace, Rome, then he gave it away to curry favor with the new Cardinal nephew Now back at the Borghese Gallery 1621-22 (early 17th)

- Pluto abducted Persephone and took her to Hades; on their way they needed to pass Cerberus - (Naturalism) Making marble into real flesh: skin of Pluto's face as it's being displaced by Persephone's hand, along w/indents and pressure marks on Persephone as Pluto holds her -- Persephone - tears run down her face as she screams in panic - Bernini was very much into orchestrating how one was meant to view his sculptural groups → the story unfolds as one makes his/her way around - This sculpture was meant to be set against the wall → meant to be viewed from 180 degrees, move around sculpture as the narrative unfolds (start from the left + as you move to the front you see Persephone + then as you move around, you see Cererbus) - Bozzetti: earliest of Bernini's statues for which preparatory drawings and models in terra-cotta exist - By the time Bernini finished the work, Pope Paul was dead and Scipione Borghese was no longer in power as the cardinal nephew + so he gave it to the new one - Scipione gave this to Cardinal Barbarini (future Pope Urban 8), and he added an inscription: "Oh you who, pick the flowers of the earth, heed the one who was carried to the dwelling of wild Pluto"

St. Peter's Piazza by Bernini Vatican, Rome Pope Alexander 7 1656-67 (mid 17th)

- Pope Alexander 7 gave this job to Bernini on the first day of his papacy - Bernini loved staging experiences (as seen from his previous works) - In Bernini's time, the Ponte Sant'Angelo was the only bridge that spanned the Tiber river between the old city of Rome and Vatican City - Bernini took the Ponte Sant'Angelo + added angels (carrying objects of Christ's passion on both sides + also lowered the railing so one could view St. Peter's from half a mile away from the west) - Upon crossing the bridge, you entered a rambling maze of streets (however today it does not look like this) - Bernini had a number of issues he had to consider when designing the Piazza: -- It had to hold the maximum number of people to be able to see the Pope from the benediction loggia -- Also, had to be able to see the Pope from the papal apartments, which are located on the northern side of the Piazza (when the Pope blessed pilgrims) -- Part of the square had to include areas that were covered for the processions that would take place at St. Peter's -- Obelisk was already there from Sixtus V + a fountain by Maderno on one side - Bernini combines two shapes to create an effective shape: trapezoidal shape (near the entrance to the basilica) + this elliptical shape (obelisk is in the exact center of this + he put in another fountain to balance out Maderno's) - Main elements of the square are the colonnades, they encircle the Piazza Obliqua (the elliptical shape one) -- Made up of four rows of columns + the area between the columns is wide enough for a carriage or car to pass through -- Colonnade supports statues of saints + martyrs, who are welcoming pilgrims into the piazza + guiding them to St. Peter's (these statues are 12-15 feet tall) - Colonnades worked, as Bernini said, to be the motherly arms of the church that stretch out to receive Catholics -- Think of dome as the head, facade as the torso, the colonnades look like perfect arms - Bernini originally designed the square to be comprised of three colonnades, instead of just two (his vision was that one would not be able to see the facade of St. Peter's until one passed through the third colonnade) - Colonnades play with light and vision (two circles located in the Piazza that connect the fountains to the obelisk to the columns so that the columns line up to a single set of columns instead of four)

Amor Vincit Omnia by Caravaggio (Love Conquers All) 1601 (early 17th) Cardinal Benedetto Giustiniani

- Private work, monumental figure - From Virgil, common subject but unusual representation of it - Normally Cupid is trampling on music, science, war and government but here, Cupid is very real looking (grin looks very lifelike) - The model for the figure of the boy is Caravaggio's servant who may have helped him out in his studio - This was Giustiniani's prized work, he kept it behind a curtain

Rape of Europa by Guido Reni 1637 (early 17th)

- Reni allowed the patron to determine the worth of the painting after viewing the finished result + would receive his payment based on that - He was trained by a Mannerist artist in Bologna + then moved to the Carracci studio in Rome; he briefly fell under the sway of Caravaggio during this time - He emulated Caravaggio's style for some time + Caravaggio threatened to kill him - From 1617 and on, Reni didn't focus so much on creating large altarpieces, but smaller paintings for private collections - Subject: Zeus spots and becomes enamored by Europa, transforms into a bull + abducts and rapes her - Reni's portrayal -- he avoids the drama, no expression on her face, very idealized - Reni had a gambling addiction + was fastidious about hygiene -- however his personality quirks most likely did not impact his depiction of women + style of his art (the women look almost as if they're made of marble, same expressions on their face, cold, frigid)

Martyrdom of Saint Philip by Jusepe de Ribera 1639 (early/mid 17th)

- Ribera spent his whole life in Naples, but his paintings were taken to Spain + were very popular there - He was especially was favored by the royal collection - Some speculate that this work was done for King Philip IV of Spain; Saint Philip would have been his patron saint - For awhile this painting was thought to represent St. Bartholomew - Subject: Philip was preaching the gospel in Turkey + there are many versions of how he died - Straining forces of the ropes, strong contrast of light, big diagonal as they are yanking his body up - Philip IV eventually accumulated more paintings by Ribera than any other Spanish artist (around 100 paintings)

Landscape with Tobias and the Angel by Salvator Rosa 1670 (late 17th)

- Rosa wrote a satirical poem who scorned those who painted figures like that of the Boy with the Club Foot + scorned those who bought figures like it too -- To him, the interest showed the gap between the wealthy and misery + taste and morality (basically saying that patrons would spend money on the painting + frames, but would not spend money on the actual people being depicted who were in need) -- Conclusion: "What they abhor in life, they love to see in pictures" - He studied with Ribera but was not really influenced by him - Wild landscape, craggy rocks splintered trees, and dark threatening sky -- Quite different from Annibale's Flight into Egypt - Subject: comes from book of Tobit, Tobit was blinded when a bird dropping fell in his eyes + his son, led by an the angel Raphael, went on a journey + collected a fish (used the gall to cure his father's blindness) -- Small figures within a stormy landscape

Cleopatra by Guido Reni 1635-40 (early/mid 17th century)

- Sent a a present to Cardinal Leopoldo de'Medici - Located in Palazzo Pitti in Florence - History painting, belongs to the last period of Reni -- Delicate, pale + refined color -- Appears as "one of the most striking testimonies of the surprising poetical evolution of Reni in the last years of his life" (Cavalli) - Being celebrated, it was carried off to Paris by the Napoleonic army from 1799-1815

St. Serapion by Zurbaran for the Order of La Merced Calzada (Mercedarians) Seville 1628 (early 17th)

- St. Serapion was from the 12th c. + traveled everywhere to free Christians (many legends about his martyrdom) - This particular scene corresponds to this legend: he was captured by pirates in Scotland, bound by two poles, beaten, dismembered + disemboweled, his head was so severely severed that his neck was just dangling - On the chest of his cape is a red, white and gold shield (the shield of the Mercedarian order) - Quite a peaceful scene, only two drops of blood (on his eyelid and lip), can barely make out the poles of the tree, no bystanders -- The time and the place of this incident is ignored, more so focuses on this quiet acceptance of his death (still intense, with this minimalist, abstract quality) - Meant for meditation in the funerary chapel where the bodies of the members of the order were laid out - This painting was not mentioned in the boxwood cloister for Peter Nolasco, potentially was a trial piece to see if Zurbaran was up for the job

St. Andrew by Guido Reni Oratorio di Sant'Andrea, Rome 1608 (early 17th)

- Subject: Andrew is kneeling in prayer before being led to the cross, which is in the upper right hand corner - Contrast with Domenichino's depiction of this subject - Both paintings have a woman and child in one of the corners -- These witnesses are passive, not reactive -- In Domenichino's, there's a frightened child making eye contact with the viewer (mother + child become the link between the narrative drama and the action + the audience)

Hippomenes and Atalata by Guido Reni 1622-25 (early 17th)

- Subject: Atalata was a hunter, opposed to marriage, so she challenged anyone who wanted to marry her to a footrace; Hippomenes prayed to Aphrodite + she gave him three golden apples and told him to drop them near her during the race - Doesn't really express the narrative, more like a poetic dance, an idealized stiff encounter (no physicality) - There are two versions of this paining, one in Naples and another in Madrid, and recently there have been heated debates about both their autography and dating. While most scholars recognize the Madrid canvas as an autograph work, there have been serious reservations about the Neapolitan canvas, deemed it a workshop copy - Combination of the idealized physicality of the Renaissance and the exaggerated drama of the Baroque (dynamism of the moment, tension + overflowing energy)

Aurora by Guido Reni 1613 (early 17th) Casino, or garden house, adjacent to the Palazzo Pallavicini Rospigliosi, in Rome Fresco

- Subject: Aurora leads Apollo, the god of light - In contrast to Guercino's, Reni's is just a picture that's placed on the ceiling (this can also be seen on the Carracci/Farnese ceiling) -- This is called quadro riportato (it means painting taken elsewhere)

Aurora by Il Guercino Casino Ludovisi, Rome Fresco 1621 (early 17th)

- Subject: Aurora, the goddess of dawn, is being brought in on a chariot to usher in a new day - This is a deliberate challenge to Guido Reni, who created a painting with this subject for Cardinal Scipione Borghese's summer house - Contrast to Reni's: Underneath the horse, dawn leaves the chariot above us as sort of an illusion (gives us the illusion that the whole ceiling is opening up, a continuation of the architecture) -- quadratura: form of illusionistic mural painting where images of architectural features are painted onto walls or ceilings so they seem to extend the real architecture of the room into an imaginary space beyond the confines of the actual wall/ceiling

Martyrdom of St. Bartholomew by Jusepe de Ribera 1618 (early 17th)

- Themes of violence are typical of the Counter Reformation, but Ribera takes it to the extreme -- One critic called his works the "poetry of the repulsive" - Created at least 10 versions of this subject - According to legend, Bartholomew was skinned to death - Very brutal + harsh -- his studies also mirror this (sketches of mouths screaming in pain along with a sketch of a person suspended by their wrists, tied behind their backs)

St. Mary of Egypt by Jusepe de Ribera 1651 (mid 17th)

- This is not the penitent Mary Magdalene - Mary of Egypt was a hermit who died in the 5th century, she was lower than a prostitute (had an insatiable lust + anti pilgrimage, tried to seduce pilgrims) - She saw the light and went to her death with three loaves of bread (this bread is present next to the skull) - Three quarters length, eyes raised to heaven as she weeps, hands clasped in prayer - Some believed that this was the likeness of Ribera's daughter, who was said to have an affair with with Don Juan of Austria (the illegitimate son of the King of Spain)

Water Carrier of Seville by Velazquez painted in Seville, took it with him to Madrid 1619-20 (early 17th)

- Velazquez was born in Seville + was apprenticed to Pacheco (later married Pacheco's daughter) - Bodegone, genre painting (scene from every day life) -- named Bodegone from a tavern where one would eat and drink - Young boy in Old Woman Cooking Eggs could be the same boy in this painting - This water seller is a real person in Seville - Glass the boy is holding has a black object in it, and it is most likely a fig (they would use figs to make the water taste better) - Some think that this was for a foreign merchant (Seville was an important port), or maybe it does have a hidden, religious message (one of the seven acts of mercy) OR is could be an allegory of the three ages of man -- Allegory for the three ages of man: young boy, middle aged man, then the older man (going through actions of having water, drinking water and giving water) -- This could be about a demonstration in skills (showing he can render various ages + different textures from the burlap on the garment to the porcelain jar; all three figures are depicted from different angles: profile, three quarters and frontal)

The Martyrdom of Saint Gennaro in the Amphitheatre by Artemisia Gentileschi 1636 (early 17th) Cathedral in Pozzuoli, Naples, Italy

- Went to Naples in 1630 to escape the plague + stayed there for 25 years - Neapolitan artists were not very acceptive of foreign artists, but she did not have a problem - One of three paintings she did for a Cathedral in Pozzuoli - Gennaro is the patron saint of Naples; he and other Christians were persecuted by the Roman Emperor and were thrown into an amphitheater to be eaten by wild animals - Seems more subdued (no dramatic diagonals) - Architecture + figures balance the composition and frame the main character, St. Gennaro -- This subdued style may be a response to Bolognese Classicism, which was dominant at this point -- Could also have to do with the intended final location of this painting, adjusting the style to suit it (middle painting along the left hand wall of the choir)

The Triumph of Divine Providence by Pietro da Cortona Palazzo Barberini, Rome Gran Salone, Barbarin patrons (Pope Urban 8) 1633-39 (early 17th)

- Whole point of the ceiling frescos was to glorify the Barbarini family + Pope Urban 8 - Palace is shaped like an H and connected by the center room, the Gran Salone - Includes over a 100 figures that are embedded in an very illusion-like painted, architectural frame - Much of what we know about the iconography (subject + symbolism) comes from a servant of the palace, -- According to him, anyone who was appropriately dressed could visit the Gran Salone -- Servant got sick of people asking about the iconography, so he wrote a pamphlet to give to visitors - The allegory of divine providence is seated on clouds, holding a royal scepter, receiving a stellar crown of immortality -- Gesturing up towards three bees (good emblems of divine providence + the Barbarini coats of arms) -- These bees are surrounded by a laurel wreath, which stands for victory and alludes to the talents of a poet (Barbarini was an intellectual, a poet) - Immortality wears the coat of arms of the Barbarini family -- The message: the Pope was elected through divine providence

Ecstasy of St. Teresa by Bernini Cornaro Chapel, inside Santa Maria della Vittoria, Rome 1647-52 (mid 17th)

- At the end of 1645 there were three cracks on the facade of St. Peter's + had to dissemble the towers and save the stone (not favored by Pope Innocent) -- Cardinal Cornaro capitalized on this moment - Makes the vision of St. Teresa come alive → divinity's effect on the human body - Diagonals, a split second in time, angel about to jab fiery arrow through St. Teresa - Emotion on her face, further illuminated through the natural light that comes down the bronze rays and highlights the sculptural group - Light is symbolically significant → appears to float there, and give the impression of divinity - To the right and left of the sculptural group, there are boxes with members of the Cornaro family sculpted in them (some of the members react + discuss the experience of witnessing St. Teresa) -- as this is a family chapel, this honors the family and the deceased - As the viewer stands before the sculpture, the entire experience of "seeing" brings one into the scene - Above this sculptural group is an illusionistic fresco → cherub filled sky with the Holy Spirit to heighten the experience - Called this the "least bad thing he has ever done"

Hillanderas (Spinners), also known as Fable of Arachne by Velazquez Court of Philip IV, Madrid 1650 (mid 17th)

- At this point, he's very busy with court duties + some think he's having a mid life crisis -- Scholars have interpreted two paintings in the last years of his life in terms of life + in terms of depicting the nobility of the art of painting in general (Las Hillanderas is the first of these paintings) - "Spinners" describes what's happening int he foreground: five figures of varying ages dressed in contemporary clothing -- Area is full of debris that's associated with spinning (kind of reminiscent of those bodegones, or "genre scenes," that he did earlier in his career) - Painting was originally thought to represent a tapestry factory until the middle of the 20th century -- The wool industry was very important to the Spanish economy + all the appropriate tools associated w/a tapestry factory are present (ie. yarn winding, spinning, etc) - Scene in the background: a tapestry along the wall with five figures standing in front of this tapestry -- In many ways, it's kind of the opposite in terms of style to the foreground room (background is much more brightly lit, fewer shadows + light comes in from the left instead of the right; brushstrokes are also looser + the colors are brighter) -- The tapestry is recognizable: It is Titian's Abduction of Europa (part of the Spanish Royal Collection, so accessible to Velazquez) - What is happening in the background? -- Three carefully coiffed figures in elegant, contemporary gowns surround two figures who are wearing different garb (one is wearing armor + the other is in a classical dress; they gesture towards each other) -- Found an inventory that identified this as the Fable of Arachne - The subject of the Fable of Arachne comes from Ovid's Metamorphosis (Arachne says that she was so talented at weaving + was better than Athena, the goddess of weaving. Athena was outraged + appears to her as an old woman + tells Arachne that she shouldn't be so arrogant; Arachne ridicules her + then they have a "weave off") -- In this "weave off," Athena weaves gods in a landscape with humans, who are suffering terrible punishments from offending the gods; Arachne depicts gods deceiving mortals, like Europa being conned by Zeus who was disguised by a bull (Athena couldn't find a flaw in Arachne's tapestry, so she tears it up + beats Arachne with the instrument used to weave; then Arachne hangs herself. She is pitied + turned into a spider so she can always weave her designs) - What we see in the background is not traditionally represented for this fable; here, Arachne seems to be showing her tapestry of Europa + the bull. Athena is the armored figure + the owl (her attribute) hovers over her head. - Perhaps the contest is being held in the foreground + the judgment in the background (however, the women are spinning, not weaving, so it's a bit odd) - Or maybe this is the moment of triumph human capabilities are seen to rival the gods (contest of the arts + triumph of the artist)

St. Francis by Baglione 1601 (early 17th)

- Baglione wrote a biography of Caravaggio - He trained with a Mannerist -- style changed when he saw Caravaggio's Contarelli Chapel paintings - Dynamic diagonals, foreshortened knee and arm, figures are close to picture plane + occupying entire space, use of light + dark - Had a very intense rivalry with Caravaggio

Death of the Virgin by Caravaggio 1606 (early 17th) rejected by the church (Santa Maria della Scala) who commissioned it

- Biographers tell us that he used a drowned prostitute since he wanted a very convincing dead Virgin Mary - Church was built to honor the miraculous image of the Virgin and Child (part of the Carmelites) - Rejected + they did not invite Caravaggio to create a replacement - Virgin Mary looks disheveled (one arm flung up), can see her bare feet (very indecorous) - The Virgin should be around 70 years old, but she looks very young and attractive; no manifestation of the divine (tiny hint of a halo, but other than that, looks like people mourning over a death) - The Apostles are devastated in an unsophisticated way, fists in their eyes (rather than sending her off peacefully to heaven)

Judith Triumphant by Elisabetta Sirani 1658 (mid 17th)

- Bolognese Master -- Trained with her father, who was a pupil of Reni's - Influenced by Reni, died an early death (may have been due to poison from a jealous maid) + was buried right next to Reni - Bologna was especially famous for its liberal attitudes towards women's education + creativity - Created over 200 works (ranging from altarpieces to smaller devotional works) - Similar to Artemisia's choice of subjects: history paintings - Large scale (around 8 feet tall) - Some see feminist leanings in her depictions of female subjects like this (courageous, strong) - She often rejected the traditional way of representing a subject, portrayed subjects that represented virtues (like intelligence) - Subject: Back with the Israelites with the head of Holofernes (this is a moment that is typically not depicted) -- More virtuous + chaste than Artemisia's (removed from the whole bedroom, seduction scene); celebrates her being a female heroine (no gore) -- Crescent shaped moon is associated with Diana, may allude to Judith's virtue as well - Unlike Artemisia, she stayed in Bologna her whole career - Sirani may have been responding to Artemisia's works -- potentially through selection of subjects + moments portrayed (issue with this b/c Artemisia worked in Florence while Sirani was in Bologna)

Sense of Touch by Jusepe de Ribera 1615 (early 17th)

- Born and trained in Spain + then moved to Rome and joined the academy of St. Luke in 1613 - Arrived too late to have known Caravaggio, but could have studied Caravaggio's Roman works - One of a series of five works he produced in Rome -- Caravaggesque elements -- Based on a real model that was dressed as a scholar -- Dark background, figure is illuminated (Ribera even asked his landlord if he could cut a hole in the ceiling so natural light would come in) - Not a typical depiction of the senses; in the 16th and 17th century, they were often allegorical - Subject: man is touching a sculpture + on the table, there is a painting -- Ribera is inviting a comparison of the visual of this painting and the visual of the painting of touch + the tactile (showing a rivalry between art forms, painting + sculpture) - makes a statement of the preeminence of painting over sculpture

Glorification of St. Ignatius by Fra Pozzo Church of Saint'Ignazio, Rome 1690s (late 17th)

- Built half a century later than Il Gesu - Window is true architecture but everything else is painted (creates an illusion to make the ceiling look 3 times higher than it actually is) -- Trompe l'oeil: illusion that is so real looking that fools our eye into thinking the ceiling is open here - Fresco itself represents the glorification of St. Ignatius -- Beam of light shooting towards St. Ignatius -- Pozzo described the scene saying, "Jesus illuminates the heart of St. Ignatius w/a ray of light which he then transmits to the corners of the world" - Light is emitted from Jesus, going to the four corners of the world (goes to each of the four known continents) -- Continents are all represented with symbols (Asia with a camel, America with a mountain lion, Africa with a crocodile + Europe with the horse - all of them are pushing these "giants" or these "heretics" down) -- Pozzo tells us that these figures are in the act of eating out the deformed monsters of idolatry or heresy (all the giants are "monsters," the people who are not conforming to Catholicism) - Disk that marks the spot where the viewer should stand to get the full effect of the optical illusion - Dome to the side of the fresco, except it's a total illusion (painted dome) -- This is called a quadratura, which is in contrast with what we saw with Carracci who stuck paintings on the ceiling

Judith Decapitating Holofernes by Caravaggio 1602 (early 17th)

- Caravaggio was certainly aware of Judith's traditional identity as a symbol of triumph over tyranny, but he presented the subject primarily as a melodrama, choosing the relatively rarely represented climactic moment of the actual beheading of Holofernes. - Judith, young, beautiful, and physically weak, draws back distastefully as she seizes Holofernes's hair and cleaves through his neck with his own sword. Holofernes, on his bed, powerful but drunk, nude, and bellowing helplessly, has frozen in the futile struggle of his last instant of consciousness - Ghastly image, with primary interest in the protagonists' states of mind: the old woman's grim satisfaction, Holofernes's shock, and Judith's sense of determination - Caravaggio intensifies the body language not only in the poses, gestures, and facial expressions but also in the clenched hands - The picture resembles a photograph taken with a wide-angle lens, unfolding panoramically rather than penetrating depth within a single frame of vision. -- The starting point, strangely enough, is the least important figure, the servant, whose precisely profiled head- in relief rather than fully rounded - implies a viewpoint from in front of the right edge of the painting rather than from the center

Tavern Scene with a Lute Player by Manfredi 1621 (early 17th)

- Caravaggio's main Roman follower of genre works is Manfredi (he was from Mantua in Northern Italy) - Most of his works have been attributed to Caravaggio + Manfredi didn't sign his works - Popularizes these tavern scenes more so than Caravaggio (Manfredi specialized in gambling and drinking scenes) - Does appear to use real models as well

Saint Matthew and the Angel by Caravaggio 1602-3 (early 17th) Contarelli Chapel, S. Luigi dei Francesi, Rome

- Church asked Caravaggio to replace the same subject Colbert (??) would have done as a painting instead of a sculpture (the main altarpiece was initially supposed to be a sculpture) - Both figures of Saint Matthew look like Caravaggio -- but why two paintings? (one was rejected) - Collector Giustiniani acquired the rejected one for his collection (one on the right) - Second version was finished in 1603 and it was accepted - Matthew became an avid follower of Christ, so Caravaggio was to represent Matthew's inspiration for writing the gospel - One on the right, Saint Matthew is not depicted in the most flattering light (strained eyes, balding, thick neck, dirty foot coming right into the viewer's space) - One on the left is more noble looking -- Matthew pauses to hear the angel's words + is inspired (immediacy with the foot over the ledge)

Abraham Casting out Hagar and Ishmael by Il Guercino 1658 (mid 17th century)

- City of Cento commissioned this painting, which was then presented to the Cardinal of Ferrara - Represents one of the high points of Guercino's mature style - Built up on a measured circular rhythm + the prominent gestures of the figures are emphasized - Little Ishmael is crying + leaning his head against Hagar, who is consoling him + holding out a handkerchief -- She turns towards Abraham, who stands stern and sill, making a gesture of repudiation - Sarah, seen from behind, appears to be moving away from the scene - The more muted, subtle colors help avoid any rhetorical suggestion + the slow rhythm of the composition creates a sense of inevitability

The Flight into Egypt by Annibale Carracci 1603 (early 17th) Galleria Doria Pamphili, Rome

- Commissioned by Cardinal Aldobrandini (nephew of Clement 8) - Subject: Mary, Joseph and Christ Child are all fleeing to Egypt to escape Herod - Focuses on the landscape; however, many Flemish artists were active in Rome, Paulus Brill painted many landscapes, but stylistically very different - Carracci: look at the landscape more directly instead of from bird's eye view, no contrived colors (more naturalistic) - Carefully calculated (trees establish a frame, another set of trees that lead one's eye methodically back in the distance) - City does look natural, but more so geometric forms of a city (Pantheon like dome in the center); controlled motion of figures, everything moves in methodical manner - Mixture of natural (hills, fields, streams) but also structural order (classical and idealized in organization) - the "ideal landscape"

Bozzetti for Louis XIV Equestrian Statue and Equestrian Statue of Louis XIV by Bernini 1669-70 (mid/late 17th century)

- Commissioned by Louis XIV -- he is older, 73, and dressed as a general; at the last minute, Bernini carved him smiling - Designed for a site near the King's palace in Versailles - Bozzetti, terra-cotta version (model) of the sculpture itself - Difference between bozzetti and actual structure: -- In the bozzetti, the face does not look like Louis XIV (also no helmet + in the sculpture, the horse looks as if it's jumping over fire) - When the King saw the sculpture, he hated it (he was fine with the bozzetti) -- Bernini then re-carved the face into an image of a Greek general (Marcus Curtius) - When the French Revolution occurred, they destroyed all representations of the king, except for this statue since it did not have the king's likeness - As a whole, France did not go well for Bernini (was denied the commission for designing the Louvre)

Baldacchino by Bernini St. Peter's, Rome Pope Urban 8 1624-33 (early 17th)

- Context: The start of Bernini's true career: In 1632, Maffeo Barbarini (Bernini's friend + patron) becomes Pope Urban VII, and Bernini receives many papal commissions (not just sculpture but entire architectural environments) - Barbarini made Bernini the chief architect of St. Peter's Basilica - The first major commission was for the Baldacchino + the decoration of the Crossing (area around the Baldacchino under the dome), 1624-33 - Baldacchino was very important - sits over Peter's tomb in the center of the church under the dome + is the location of the high altar where the main ceremonies would take place - Pope commissioned Bernini to design a Baldacchino to replace the temporary one -- The position was important because St. Peter was the first pope + was directly chosen by Jesus. Thus, the first year of Barbarini's papacy was to highlight that he was chosen by the divine right. -- Very costly construction - it was a tenth of the Catholic Church's income for that year (95 feet tall and 93 tons -- architect Borromini is given credit for the engineering of the structure) - Comprised of four massive columns of twisted bronze, the design of the columns mimics the design of the original Baldacchino, which was rumored to have come from the temple of Jerusalem -- Decorated with branches, pouti, lizards, and bees (lots of bees b/c they were symbols of the Barbarini family) - Technique: lost wax casting (columns were cast in five parts: base, three column pieces + the capital on top) -- Creates a hollow shell for the bronze, wax was applied to the outside of a heat resistant model + the details were created in the wax and covered with an outer heat resistant coating, so when the wax melted out + was replaced with molten bronze, the bronze then formed the place sandwiched between those two molds - Took the bronze from the dome of St. Peter + from the coffers in the ceiling of the Pantheon - The canopy was incredible + shocking for the time, violated the rules of what architecture was supposed to be for the time (included bronze tassels w/many bees of the Barbarini family) - Four angels hold up the canopy with a garland of flowers + crowning the whole structure is globe with a cross on top (symbolizes Christ as the ruler of the world and mirrors the cross on top of the dome above) - The base includes the coat of arms of the Barbarini family. There are various faces on the bases too, which go from fairly calm to more agonized (final face is that of a Cherub) -- like his statues for the Borghese, have to walk around the sculpture to read the narrative - The whole process took nine years + was a masterpiece of Pope Urban's reign

Visitation by Federico Barocci Santa Maria Vallicella (Chiesa Nuova), Rome 1586 (late 16th)

- Counter Reformation dictated goals to transform art from artificial, lascivious and confusing to clear, natural and living - Federico Barocci: First major artist to conform to the tenets of the Counter Reformation (although he is sometimes considered to be a Mannerist) - Go to Italian painter of the 16th century (one of the highest paid painters in Italy) - For the Santa Maria Vallicella (Chiesa Nuova), Rome - One of two altarpieces painted for the main church of the Oratorians - So popular that people lined up for three days just to get a glimpse of it - Philip Neri would sit in front of this altarpiece and would be "wrapped in the sweetest ecstasy" for hours - Subject: Virgin Mary on the right and Elizabeth embrace (both realize they're pregnant, miraculously) - Comparison to Mannerist style of same subject: robes of figures flow awkwardly, bright and artificial colors - Barocci's: figures themselves are more natural, sharing tender gazes, realistic details (basket of chickens, the straw hat of the onlooker, the brass pot in the foreground with Joseph) - clearly Barocci studied models from life Scale: six feet tall (rather big altarpiece) - 3000 preparatory drawings Barocci used for painting → consisted of drawings from nature, range of drawings of figures, repetition with minute changes - Barocci would also sketch his studio assistants (critical to the process) - Barocci captured the attention from Michelangelo - However, Michelangelo and all of his colleagues were jealous of Barocci, invited him to a picnic and fed him poisoned food that left him with a lifelong stomach ailment - Returned to Urbino from Rome after the poison incident

Cathedra Petri (The Throne of Saint Peter) by Bernini 1657-66 (mid 17th) St. Peter's, Rome Pope Urban 8

- Created a reliquary for St. Peter's chair (for Pope Alexander 7) - Encased in a bronze statue in the shape of a throne - Held aloft by the four doctors of the church (theologian whose teaching had a great impact on the formation of Christianity) - Above the chair is a dove + the rays (which is called the glory) - a window that emits natural light, creates otherworldly radiance, a divine glow - Baldacchino creates a perfect frame for the Cathedra Petri + the glory (can view upon entering the cathedral)

Beheading of Saint John the Baptist by Caravaggio 1608 (early 17th) for the Church of St. John, Valletta, Malta

- Created this work for the oratory that's attached to the order's main church of St. John in the capital of Malta, Valletta - Many believe that this work was given as a gift when he was made a knight (typical of nobles to give a portion of their wealth as a gift when made knights) - Subject: St. John the Baptist had criticized the marriage between Herodius's daughter and Herod -- Executioner has already killed St. John w/a large sword, reaches back to grab a dagger to complete the decapitation that would then be presented to the serving girl (some speculate the serving girl is Salome and the older girl to the right of her is Herodius) - This is the only painting that has Caravaggio's signature, but the signature is in the blood of the severed head of St. John (the "f" in front of his name could signify his status as a knight, which is why many speculate that this was given as a gift to the knight's order) - Balance between lights and darks are much more subtle, moment of decapitation is subdued - Absence of dramatic diagonals, much more architecture and space - Symmetrical arrangement of figures, balance between two moments in time (killing + the actual decapitation) → evidence his style changed

David with the Head of Goliath by Caravaggio 1610 (early 17th) Cardinal Scipione Borghese?

- David appears to be more sympathetic towards the head of Goliath - Head of Goliath → in that head, Caravaggio wished to portray himself and in the boy, he wished to portray his servant (heightened focus on Goliath as opposed to David) - Isn't firm evidence that it's a self portrait, but the likeness is very similar - If it is a self portrait, why is it so brutal? -- Some speculate that this was one of his last works -- Dark, brooding, melancholic - Velori tells us that it was painted for Scipione Borghese, who was in Rome, although Caravaggio never returned back to Rome; Cardinal Borghese was a huge proponent of Caravaggio's works. He was instrumental in trying to get that papal pardon for Caravaggio - Perhaps this painting is a show of Caravaggio's repentance (his plea for forgiveness so he could come back to Rome)

Apostle Peter Appearing to St. Peter Nolasco by Zurbaran for the Order of la Merced Calzada (Mercedarians) Seville 1629 (early 17th)

- Did 22 paintings for this monastery + completed them all in one year - Meant to be hung in what was called the boxwood cloister + the order had strict control over the whole project -- He had to "put into each painting the figures + other things that the Father orders me to do" - Context of this order: -- Founded in Barcelona by Peter Nolasco (in the 13th century), but at this time the whole Iberian Peninsula was under Muslim rule so the Christians wanted to reconquer this area -- By the late 15th century, the Muslims in this area had to convert or be exiled -- In addition to traditional vows of poverty, chasity, etc, the monks of this order had to take a vow called the redemption of blood (redeem Christian prisoners) - The problem is that Peter Nolasco was not well known so there was no visual tradition that exists for the subject of this commission - The order hired an artist to create prints of 25 scenes depicting Zurbaran's life - Subject: Peter Nolasco was devoted to St. Peter + saw St. Peter in a vision, who told him to stay in Spain and continue his work - Zurbaran's figures were painted from live models (emotion of surprise on Nolasco's face as he sees St. Peter)

Judith Slaying Holofernes by Artemisia Gentileschi 1612-13 (early 17th)

- Did five large works depicting this subject - Completed in Florence (where she comes into her own style) - Judith saved the Israelites by seducing and killing the commander of the Assyrian army, Holofernes - Her violent and real portrayal of this subject has prompted some scholars to argue that Artemisia identified with Judith + her painting is informed by her own traumatic experience - In 1612, Orazio accused another artist, Agostino Tassi, of raping his 17 year old daughter + destroying her honor - During the trial, Tassi defended himself by trying to blacken Artemisia's reputation (procured several witnesses saying she had many lovers) - Artemisia graphically describes the assault in the transcript + to ensure she told the truth, she was tortured with cords wrapped around her fingers and pulled tight -- Under the pain of this, she kept repeating "It's true." -- Tassi was found guilty but never served his sentence, which was very lenient (he was a repeat offender, committed incest + tried to shoot a pregnant lover) - Artemisia painted this violent scene after the assault -- blood gushes out from Holofernes' neck, Judith's eyebrows are knit together, lips pursed at the effort of decapitating him - Judith was a great symbol of virtue in the Counter Reformation + a symbol of victory over non-believers - Many believe that the portrayal of cutting Holofernes' head off, it based on Caravaggio's depiction of Judith and Holofernes (unclear how she would have had access to this work) - Her version is more violent and momentary though (as opposed to Caravaggio's female figures, Artemisia's have real force, they are not just standing back) -- Doesn't highlight her beauty and vulnerability -- They are fully immersed in the bloody deed

Study of a Nude Man by Annibale Carracci 1582 (late 16th)

- Drawing of a model posed on boxes with a piece of cloth draped over - Based on a real-life model

Facade and three bays of the nave by Carlo Maderno (Bramante and Michelangelo rest of structure and dome) St. Peter's, Rome 1607-15 (early 17th) Pope Paul V wanted changes

- Emperor Nero was the worst at persecuting Christians, he would throw Christians into a stadium (his circus) with wild animals - 4th c. Emperor (Constantine, first Christian emperor) built the original St. Peter's over St. Peter's tomb - In the 16th c., Pope Julius II (High Renaissance Pope) decided to rebuild the whole structure + hired Bramante -- When Bramante died, Michelangelo took over (under Pope Paul III) -- Both devised a central plan, Michelangelo's was slightly more open than Bramante's (in the High Renaissance, everything was about symmetry, order, harmony + the design of St. Peter's reflected these ideals) - In 17th century, Pope Paul I decides that central plan is not good (associations with paganism, for example, the Pantheon) -- Also in a central plan, how do you separate the priests from the congregation? - Then Pope Paul V decided to add three bays to the structure to convert it from a central plan to a longitudinal plan, or a Basilica plan (this helped link the church to the Vatican Palace, which was to the church's right) -- Pope hired Maderno who added three bays + gave the building a new facade (in some ways, the facade follows the pattern that had already been established by Michelangelo) -- However, he dramatizes the facade + adds movement (two flat pilaster, one pushes the other out into space, then a flat pilaster with a column that causes the column to protrude more) -- This creates this dynamic movement

Rokeby Venus (Venus and Cupid) by Velazquez For court of Philip IV - maybe Gaspar de Haro, Madrid 1650 (mid 17th)

- Epitomizes the sensual mood - Called Rokeby Venus because it comes from a collection in Rokeby Park in England - Velazquez may have created this work in Italy, but was first recorded in June, 1651 in a collection in Spain (from a son of the PM of Spain) - The nude in Spanish art: -- In Seville, it was illegal to create a nude, the Inquisition had their eyes everywhere (could be fined, excommunicated, or spend a year in exile) -- This is the only nude to be by a Spanish artist until 1800 when Goya created one (another reason why it was thought he created this in Italy) - King + other collectors had many nudes in his palace (by foreign artists) - This painting was kept in a room where "his majesty retired after eating" -- It was intended for the male viewer, it would be covered when the Queen would pass by - Really no precedent for this b/c Venus is seen from the back instead of the front here -- May have been painted in response to a painting of Venus in a landscape -- This nude of Venus by Velazquez seems to reverse everything in the Venus in a landscape painting (in Velazquez's, Venus is laying inside, her back towards the viewer, etc) - Venus looks out at the viewer through a reflection in the mirror (however it's blurred, can't really distinguish her facial features) -- Also her reflection is larger than it should be + the angle is incorrect and should actually be showing her body (Velazquez ignores the laws of optics to show the face + the backside) - Velazquez looked at a statue of Sleeping Hermaphroditas in Scipione Borghese's collection (classical statue) -- He had a copy made

Apollo and Marsyas by Jusepe de Ribera 1637 (early 17th)

- Extreme physical suffering also showed up in his mythological scenes - He painted this subject multiple times throughout this career - This particular work was painted for a major collector who was reputed to be the richest man in Naples (Gaspar Rumor) - Subject: Marsyas dominated the flute + challenged Apollo to a musical contest (Marsyas lost + Apollo punished Marsyas by tying him to a tree + flayed him) - Marsyas is screaming in agony - This subject itself is all about the challenge of the arts, artistic rivalry (engages sense of touch, sight, but also sound as the viewer can imagine the sound of skin being ripped off)

St. Andrew by Domenichino Oratorio di Sant'Andrea, Rome 1608 (early 17th)

- From Bologna and also trained with a Mannerist - Went to the academy in Ludovico's studio in 1595 + then went to Rome - Worked with Annibale on a few projects, including the Farnese Gallery - Subject: St. Andrew was an apostle who is the brother of Peter, was crucified on an X shaped cross b/c he did not feel worthy of dying on the same cross shape as Jesus - In this image, St. Andrew is being tortured before he is crucified - Incident that underscores the contrast between Reni's and Domenichino's style -- A woman took her daughter to visit the Oratory, looked at Domenichino's fresco first + she pointed out the details to her daughter and then bursted into tears -- Then when she looked at Reni's, she looked at the painting and left - Received considerable praise by Annibale, which initiated an even more hostile conflict with Reni

Butcher's Shop by Annibale Carracci 1580s (late 16th) Bologna

- Genre painting - Bartolomeo Passarotti → many people think that this is Annibale's first teacher, especially since he completed many butcher scenes - Comparison to Passarotti's "Butcher's Shop" (1580s) -- Represents activities that typically take place in a butcher stall (flaying and hanging the carcass, fetching meat for a client, etc) - Details are carefully observed → work-shirt, lace tie at the collar, can distinguish between different types of meat - Preparatory sketches that show Annibale's careful observations of the butcher shop → Annibale's uncle also owned a butcher shop in Bologna - Painting is 8 feet wide, large scale, which suggests it's a commission - Butcher's Guild was very powerful in Bologna → some thought of this as a promotion for the Butcher's Guild - Kneeling figure slaughtering lamb is based on a painting by Raphael (Sacrifice of Noah, ram being slaughtered, kneeling figure)

Boy with a Club Foot by Ribera 1642 (mid 17th)

- Genre scene, a scene of every day life - This boy is holding out a paper that says, "Give me alms for the love of God." - Is this a figure we should feel sorry for? -- Figure's representation does not necessarily evoke sorrow or pity from the viewer -- Full length, fills the canvas, viewer's point of view is low (his figure is also bold against the light filled sky in the background) -- Toothy grin on his face, carries a crutch on his shoulder like a soldier in a parade + almost like a martyr (displaying his wounds) -- Seems to glorify him, monumentalize + empower him - What was the purpose of this painting? -- May have been for Flemish patrons who liked these types of subjects

St. Jerome by Orazio Gentileschi 1610/11 (early 17th)

- He was accused for libel - Came to Rome in 1578 - Friends with Caravaggio, shared props with him - Almost every Caravaggesque painter, painted this type of subject - Dramatic lighting, looking at a real model, figure close to the picture plane -- Model had to assume a position he could hold for a long time

Last Communion of St. Jerome by Domenichino 1614 (early 17th) Patron: Lay Confraternity dedicated to charitable activities

- In 1608, Annibale favored Domenichino over Lan Franco and in 1620, it blew up -- Both were competing for the same commission to paint the dome in a church; Domenichino won most of the commission + Lan Franco brought a charge of plagiarism against Domenichino (it was for a painting that he painted 10 years earlier, in 1610, his first signed altarpiece in Rome: Last Communion of St. Jerome) -- Lan Franco said that it was a bad imitation of Agostino Carracci's Last Comminion of St. Jerome for a church in Bologna -- Lan Franco had a friend create a print of Agostino's composition + circulated that print in Rome since Agostino's work was in Bologna - So is this plagiarism? -- Depends on whether the audience was aware of the original (Domenichino imitated a work that was unfamiliar and inaccessible to the people in Rome) -- Lan Franco's attempt to destroy Domenichino's reputation backfired + instead legitimizes Domenichino's "borrowing" -- His composition is different from Agostino's; he made 43 drawings showing he's exploring the composition - Domenichino's is much more dramatic + content is different -- In Carracci's, Jerome is only surrounded by men + they are dressed in liturgical garb; Domenichino's includes men, women and child (also the Eucharistic wafer stands out in this painting -- one of the charitable activities this lay confraternity participated in was giving bread to the poor every Sunday) -- In Carracci's the giving of the wafer is emphasized since it was for a church of Carthusians for a monastic order

Fountain of the Four Rivers by Bernini Piazza Navone, Rome 1647-50 (mid 17th)

- Innocent X wanted to transform a square called the Piazza Navone that included the family palace + wanted to make it a statement of his family glory - Part of this was a magnificent fountain that would be the centerpiece of the Piazza (obelisk needed to be incorporated, that was the only requirement) - Innocent X did not care for Bernini b/c he was rivals with the previous Pope Urban; Urban was a huge patron and proponent for Bernini. - Bernini designed a model of the fountain out of silver + the model was placed in an obvious spot where the Pope would see it (Innocent X held a "contest" of sorts for who could design the best fountain + invited artists to participate + Bernini was not included) - Four river gods that represent the four rivers of the world, associated with the four known continents of the time -- Danube (Europe), gesturing towards the papal coat of arms, which was at the base of the obelisk (represented by a horse) -- Rio Plata (America) sitting on a pile of coins to show the riches of the new world, armadillo -- Ganges (Asia) carries a long oar, representing the river's navigability -- Nile (Africa), covers his face with a cloth to indicate that they had not figured out the source of the Nile at the time -- Four continents are united under one giant obelisk, dove on the obelisk (family emblem + the Holy Spirit); this shows that Christianity dominates the power and the triumph of the church under Pope Innocent X - Considered his greatest public work although Bernini did not agree with this

Il Gesu by Giacomo della Porta consecrated 1584 (late 16th) interior decor later in century and subsequent centuries

- Italian architect during the latter part of the 16th century - Chief Roman architect - Follower of Michelangelo - Added to the facade of Giacomo da Vignola's Gesu -- became the model of many Baroque church facades - Made the facade dramatic and lively by gradually increasing the number of architectural elements towards the center of his design -- This created a sense of tension released by the entrance into the building's interior - Ceiling fresco serves to illustrate the beliefs of the Jesuits - It was funded by Cardinal Farnese, who was the Pope's grandson - Church is located in the center of old Rome, very close to the Pantheon and Roman Forum

Las Meninas by Velazquez Private room of Philip IV (Pieza del Despacho), Madrid 1656 (mid 17th)

- Las Meninas means the maids in waiting - Why would it be called this? -- Earlier discussions of these paintings called it the Portrait of the Infanta Margarita -- Las Meninas became the title in the 19th century - Our eye is first drawn to the figure in the center, first to her dress and then to her face (young girl is looking at us, her face is inviting) -- The light coming through the window illuminates her + she is placed close to the center of the composition - The young girl is the princess (the Infanta Margarita) + the man to the left of her is Velazquez himself (this room is actually Velazquez's studio) -- the Infanta is the daughter of the King + his second wife - Maid in waiting is holding out a drink of water on a platter in a red cup -- Cup comes from the East Indies + supposed to eat it afterwards, helps with the pallor of the skin -- Maid is kneeling down as a sign of respect, etiquette - What is Velazquez working on? -- There is a mirror in the background w/a reflection of what is on Velazquez's easel, it is the King and the Queen, which implies that they are across from the mirror (reminds us of the Arnolfini Portrait, which was in the Spanish Collection for Velazquez to see) -- All the figures look out as if the King and the Queen are present - Whole painting does not look like a traditional portrait, seems more like a narrative -- Perhaps he's painting the Infanta + the King and Queen arrive - The Infanta is placed slightly to the left of the center + the door is the vanishing point, which creates more of an informal atmosphere - Velazquez's mirror is different from the Arnolfini Portrait b/c we don't see the reflections of other people, just the King and the Queen -- However, this reflection could be a reflection of another painting that Velazquez is working on (the red cloth in the mirror is typical of a royal portrait) -- Reflection of art or reflection of nature? -- Dog in the foreground is the breed that Philip IV favored (the dog always followed the King around) + if the King and Queen aren't there, they why is the door opener in the back? - Velazquez wears a belt that has a key to the King's chambers + to have these keys shows one's importance in the court -- He is being potentially visited by the Infanta + in some capacity, the King and Queen -- Wearing the cross of the Order of Santiago (had to be a noble to become a member + needed to have three generations of noble lineage) - Court historian says that Philip ordered for the emblem of knighthood to be painted as evidence of his own esteem for Velazquez OR perhaps the King came in and painted it on himself - This painting could also be referring to the nobility of painting, like Las Hillanderas -- Paintings on the back wall of his studio were painted by Velazquez's son in law + they represent (show the punishment of Arachne + this dispute between Marysas and Apolla) -- Both paintings are contests of the arts (god vs. human) - Velazquez is making a statement about the importance + nobility of the arts - About five years after Velazquez's death, his work fell into total disfavor + in the 18th century he was almost completely forgotten b/c a fire burned almost all his works (in the 19th century, there was increased interest in Spanish art again) -- Part of his falling in disfavor was due to the change in aesthetic

Hercules Strangling the Nemean Lion by Zurbaran 1634 (early 17th)

- Madrid was the other major art center in Spain; clientele is very different, not all about the religious institutions, but about the Spanish Court - Spanish Kings were huge patrons of the arts, but in the 15th and 16th c. they were not big advocates of Spanish artists (drawn towards foreign works) - Philip II created an art center in Madrid in the mid 16th century, but it wasn't until the 17th century when local Spanish artists dominate the court (Philip III and IV make the court the epitome of culture, art and court etiquette) - Zurbaran was called to the Spanish Court by Philip IV - Philip IV wanted to decorate the Hall of Realms in his palace -- Hercules was the mythical ancestor of the Spanish Hapsburgs - Zurbaran does 10 Hercules scenes -- Different from art of Seville b/c we are seeing mythological scenes instead of just religious works - Body of Hercules + the lion looks slightly awkward + unnatural (Zurbaran's style is more suited for religious works) - Zurbaran doesn't stay in Madrid though, and Velazquez ends up becoming the court artist

Los Borrachos, the Drinkers by Velazquez Court of Philip IV, Madrid (hung in his bedroom at summer palace) 1628-9 (early 17th)

- Mythological subjects were a big part of King Philip IV's collection - Earliest mythological scene Velazquez created when he got to the court - Subject: Represents Bacchus, not the traditional depiction of Bacchus - Difference between Bacchus + his followers: -- Idealized figure of Bacchus wearing classical garb + his followers are not idealized and are wearing contemporary clothing (creates a juxtaposition) - Painting style is also different (in regards to the brushstrokes): uses tighter, smoother brushstrokes on Bacchus + uses looser brushstrokes on the surrounding figures - Figures are closer to the picture plane, directly engaging viewer, figures are embedded in the scene - Commission that was given to Velazquez by Philip IV + was meant to hang in the palace - Because of this atypical combination of smooth + rough painting styles, real + idealized figures, the painting itself has sometimes been viewed as an attempt to demystify the mythological subject -- Some also say this painting was about court rivalry (other court painters said Velazquez was only good at painting natural heads, portraits of real figures -- "One should paint histories, lofty, majestic, exemplary and worthy of emulations" - The original title of this painting in the 17th century was Bacchus Crowning the Members of his Brotherhood + by the 19th century it was Bacchus Crowning some Drunkards -- Literature that indiates this second title was positive (In Ovid's Metamorphosis , there's an account of Bacchus giving wine to the mortals to help them forget their misery) -- Also could be Velazquez making fun of the loft, high minded subjects his rivals were discussing -- Could also relate to the beliefs of the Bentveugels (People from Northern Netherlands who were followers of Caravaggio, would come to Rome + hold rituals and would parody religious + other serious genres, put on classical outfits + drink a lot + would put on laurel wreaths) - Large scale

Assumption of the Virgin by Il Guercino 1655 (mid 17th)

- One of the four disciples of Carracci, called the "4 Evangelists of Painting" (Il Guercino, Domenichino, Reni and Albani) - He had a methodical, business like attitude towards marketing his works (determined the cost of his paintings by the number of figures + their size) - In this painting, there is a full length figure but he only got paid the half length fee (this was due to the smaller scale of the painting)

Portrait of Jose Rates Dalmau by Juan de Pareja 1660 (mid 17th)

- Pareja's earliest paintings were history paintings, but he was more of a portraitist - Dalmau was a well known architect at the time (the tools of his trade are next to him) -- He has great presence, spontaneity + life life look

Raising of Lazarus by Caravaggio 1608-9 (early 17th) Messina

- Patron: Giovanni Battista de Lazzari - Altarpiece for a church in Messina - Style: blank walls reminiscent of Lucy - Some of the figures supposedly were modeled on figures in the community (one account said that Caravaggio exhumed a corpse + posed it) - Caravaggio seems a bit unhinged at this point (some say that he slashed the painting and started over) - Christ in this painting is basically a reversed image of the Christ in the Calling of Matthew in the Contarelli Chapel

Polyphemus and Galatea by Annibale Carracci Ceiling Fresco, Grand Gallery 1597-1602 (late 16th to early 17th) Palazzo Farnese, Rome

- Patron: Ranuccio Farnese - Velori tells us that the scene should be read as an allegory of the struggle between heavenly and earthly love (sacred love is triumphant over heavenly and earthly) - Also may have been painted to celebrate the marriage of Odoardo;s brother, Duke Ranuccio Farnese. He married a woman named Margarita Brandini (terrible marriage, both sides were extremely well connected and thought they could do better than the other) - She was 12 years old, he was 30 y/o (he wanted to marry Maria de Medici and she wanted to marry Henry IV, King of France)

Triumph of Bacchus by Annibale Carracci Ceiling Fresco, Grand Gallery 1597-1602 (late 16th to early 17th) Palazzo Farnese, Rome

- Patron: Ranuccio Farnese - Very similar to Michelangelo's Sistine Chapel, but definite distinctions as well: scenes about the loves of the gods, pagan mythology as opposed to Biblical scenes (also more exuberant and illusionistic) - Bacchus and Ariadne in chariot, pulled by procession of nymphs (she has a crown of stars, wedding gift he gave her) - Monumental figures are classical in idealization - While triumphant, composition is very balanced and planned in a high Renaissance way (clear colors, strong lightings, illuminates the figures)

Susanna and the Elders by Artemisia Gentileschi 1610 (early 17th)

- She was born in Rome + had to deal with her father who had an "utterly savage temperament" - Had little or no education + helped out in Orazio's studio with her siblings (could have seen Caravaggio's work by visiting churches + may have learned of other artists' works through prints -- women were not allowed to leave the house w/o an escort, and could only go to certain sanctioned spaces) - This is her first signed and dated painting - Subject: While Susanna is bathing, two older men approached her for sexual favors, saying that if she did not comply, they would say they spotted her with a young lover -- Susanna's story makes her a model of virtue and fidelity -- In art from the Renaissance and Baroque, she is typically represented as an alluring, naked temptress - Artemisia's Susanna twists away from the men's menacing advances, emphasized by their proximity (no lovely garden setting, but a solid wall confining her to the foreground of the painting) - One scholar, Mary Gerard, an advocate of a biographical interpretation of Artemisia's works describes the true subject as the heroine's plight - Here she shows that at a young age, she's mastered Orazio's style - Very large scale, space dominated by monumental forms of the figures - Artemisia often focuses on female figures in biblical, mythological and allegorical paintings -- called history paintings, focused on large scale narratives (not typical of a woman artist) -- First female Italian artist to make a successful career from history paintings -- History painting was the most complex type of painting b/c it required knowledge of complex narratives, the ability to create convincing three dimensional space, and the convincing depiction of bodies in motion and facial expression (mathematics, anatomy + literature)

Self Portrait as the Allegory of Painting (La Pittura) by Artemisia Gentileschi 1638-9 (early 17th) (London)

- She was invited by the King of England, Charles I, several times, till around 1638 she goes - This is the only certain work that survives from her time in England - In Charles I's inventory, it's described as an allegory of painting -- Artemisia seems to follow the description of Painting in Cesare Ripa's Iconologia -- a guide used by artists and poets: "A beautiful woman with full black hair, dishevelled and twisted in various ways..." - Artemisia leaves out mask and the inscription that was included in Ripa's description - Conflates the two identities to align herself with the female personification of painting - Is some debate as to the dating and meaning of the painting -- is it a self portrait? to what degree?

Sant'Andrea al Quirinale by Bernini Rome 1658-70 (mid 17th)

- Small, limited space + a block away from Borromini's Sant Carlo - Commissioned by Alexander 12 + was a small Jesuit church -- Like Borromini, he was given full artistic reign -- Exterior bubbles out with use of columns, curved wall, not quite as complex as Borromini's in terms of the interplay between concave and convex - Interior is dynamic like Borromini's, but different -- In Borromini's, the altar is at the long axis of the oval - The statue of Andrew above the altar was sculpted by a pupil - His last major commission + he considered this work to be his best, it was perfect - Interior has different colored marbles (manipulating a response from the audience with painting + sculpture)

Cleopatra by Gentileschi? 1610-12 (early 17th)

- Some scholars attribute this to Orazio - Cleopatra commits suicide with the poison of a snake bite after the death of Marc Antony - Dated to the height of Orazio's Caravaggesque phase - Large figure, close to picture plane, drama, strong diagonal, life-like resemblance of Cleopatra's figure - The painting is mentioned in the 18th c. in a guidebook that Orazio completed it, along with three other paintings (however, one of the other three paintings mentioned, Lucretia, is now attributed to Artemisia, not Orazio) - Some believe that b/c the figure was so real looking that it was based off his own daughter (pigment dealer said this) - Cleopatra's features look similar to part of a fresco he created earlier, where his daughter may also have been the model - When looking back at his Mary Magdalene or Danae is not as natural as the figure in Cleopatra - Thus, most scholars now don't attribute it to Orazio, but to Artemisia (her depiction of the female nude is much more natural than Orazio's)

S. Carlo alla Quatro Fontane by Borromini Rome for the Trinitarians 1634-41

- Son of a master stone mason + moved to Rome to study under Carlo Maderno (met Bernini is 1634 and worked on St. Peter's for 9 years) - Then when Maderno passed, Bernini was offered the job of chief architect of St. Peter's and of the Barberini Palace - This was his first independent commission after he set out on his own -- build a church in a monastery for an impoverished Spanish order of the Trinitarians -- Borromini waved his fee so he could have free license (he just wanted create for his work) - Difficult to create this kind of architectural movement in the facade because the site is irregular in size and shape -- Two streets are at obtuse angels, one corner is cut off by a fountain that Sixtus V had placed earlier -- Structure bubbles in and out, punctuated by columns + niches with statues (creates movement throughout) - Inside, there is similar movement with columns and niches (based on a play of circles - eternity of God, ovals and triangles - three Trinitys) -- Window in the dome that allows natural light to come in, perforated to be light and airy (everything is led upwards) - Interior is dramatic, but lack of color (all white and interspersed with altarpieces) -- All about the effects of lighting

Crucifixion of St. Peter by Caravaggio 1600-01 (early 17th) Cerasi Chapel, S. Maria dei Popolo, Rome

- St. Peter was crucified upside down to be different from Christ - Typically, this is a daytime scene with many witnesses - Caravaggio has gotten rid of the architecture that is usually present in these scenes; just the four figures, take up the entire picture plane -- utilized staged models - All the attention is on St. Peter due to the lighting (most illuminated, his face is the only one that's fully visible) - Left rock in the composition: "Upon this rock I shall build this church." - Attention to the details: bulging veins, rope digging into man's back, etc

Apollo and Daphne by Bernini For Cardinal Scipione Borghese For Borghese Palace, Rome 1622-25 (early 17th)

- Took three years, partly due to the fact that he was working on another statue - Apollo made fun of Cupid. Cupid made two arrows (one gold and one lead). The gold one made Apollo falls madly in love with Daphne, and pursues her, but she does not return his affections. She begs her father to change her body + he turns her into a laurel tree. - Able to take hard, cold marble and transform it into warm, pliant flesh (fingers digging into the flesh on Daphne's waist) - Detail -- leaves start to sprout on her fingers or bark curving around her leg - Viewing: First would see Apollo from behind + then the viewer would be enticed to move around the rest of the figure (see the metamorphosis unfold: becomes clear he's chasing after Daphne, then view her turning into a tree, then see his stunned expression) - It is said that the attractiveness of Daphne upset a later Cardinal, who claimed it was much too titillating to be in his house. -- Luckily there is a moral inscription that justifies the presence of this attractive pagan myth: "Those who love to pursue fleeting forms of pleasure only find leaves and bitter berries in their hands"

The Lamentation by Ludovico Carracci 1582 (late 16th)

- Traditional stylistic elements that stray from his training w/Mannerist artist Prospero Fontana - Figure of Christ is much more natural than the Mannerist style - Drawing based of a model posed on boxes with a piece of cloth draped over; different angle from the one shown in composition, so likely that another drawing was made slightly to the right - Likely that a number of artist were drawing the same model from many different angles (reminiscent of drawing academies) - Part of the Carracci reform of painting was drawing from life (drew models in studios and also ventured out into real life) - 1582, the Carracci opened an Art Academy in the studio of Ludovico (real position as reformers was solidified) - First started out as The Academy of Those Desirous of Fame, and then years later it was renamed as the Academy of Those Who Have Set Off on Their Way

Finding of Moses by Orazio Gentileschi 1630s (early 17th)

- Two versions of this - Style wise, very symmetrical and balanced, elegant - Style shift, seems very posed, more artificial looking than previous naturalism we've seen (bright colors + elegant attire + smooth finish) - Seems like the antithesis of Caravaggesque elements - Large scale - In 1612, Orazio went to the outskirts of Rome + kept traveling from there (Paris, London, etc) - This painting was for the Queen of England, Henrietta Maria, probably to celebrate the birth of their son Charles II - The other version of this was for King Philip IV, also to celebrate the birth of a child

Pope Innocent X by Velazquez For Innocent X, Rome, during second trip to Italy 1650 (mid 17th)

- Velazquez only executed 11 paintings in the 1640s b/c he was appointed to be a Court Chamberlain + Head of Royal Collections and Buildings - Oversaw the royal palace in Madrid + went back to Italy to buy paintings and sculpture for the decor - This portrait is considered to be one of the greatest portraits of his career -- Difficult to make Pope Innocent X look good due to his ugly and sullen physical appearance -- Tough eyes + choleric pinkness of his face actually gives the Pope strength (Velazquez took what was seen as negative qualities + turned them into positives) - Velazquez looked to earlier traditions for inspiration -- Titian's Paul III and Raphael's Julius II (red capes over the white liturgical under-vestments) - Varying hues of reds seen in the cape, hat, chair + background unifies the composition while animating the scene - One contemporary wrote that Velazquez uses red to achieve an "effect so terrible, so strong while at the same time, so harmonious that it's a great pity for all the pictures that are displayed around it. The pale Madonna adoring the child by Guido Reni suffers in particular" - The Pope was initially not impressed when he saw this, but later gave Velazquez a gold chain (Velazquez took a copy of this portrait back to Spain)

Don Diego de Acedo ("El Primo") by Velazquez Court of Philip IV, Madrid 1644 (mid 17th)

- Velazquez painted a number of attendants of the court (at least 10) - Not unusual to represent the entourage of the court (in the 15th and 16th c, paintings of royal celebrations, attendants are included -- by Veronese and Mantegna) - Philip IV had at least 100 jesters and dwarves + there is a lot of debate about the identity of these court attendants and the provenance of the artworks - Acedo was a servant in the palace + one of his jobs was the Royal Seal Officer (responsible for stamping a replica of the King's signature) -- This explains the writing material present in the foreground + the paper Acedo is holding (surrounded by the instruments of his job) - Acedo has a pensive expression + furrowed brow, which emphasize his intellect -- Viewed from below, so his figure is more monumental - No identification on the painting, but his outfit corroborates his identity (nickname El Primo means the cousin + might be derived from the fact that this is how the King addressed the grandees -- the grandees were allowed to keep their hats on in the presence of the King) -- In this portrait, the figure is wearing a hat - Also an entry in an account book from around 1645 that records a black suit that El Primo received from the King for his birthday - Believed to have been created in Fraga, document that records the payment for a box to ship the painting of El Primo to Madrid from Fraga - Some say that Velazquez painted this portrait as a preparatory exercise for his portrait of Philip IV in Fraga - However, in recent years there has been more debate about the identity of the man in the painting -- Velazquez's painting, Sebastian de Morra is thought to be El Primo b/c the canvas material is the exact same as the canvas (made from the same cloth) that the portrait of Philip IV at Fraga was painted on

Juan de Pareja by Velazquez 1650 (mid 17th)

- Velazquez supposedly painted this portrait to get practice before tackling the job of the Pope's portrait - Juan de Pareja was Velazquez's slave + b/c Velazquez did not allow his slaves to study painting, Pareja would practice in secret + learned the skills by watching Velazquez -- It is said that Pareja left a painting out for the King to see + when the King noticed it, he insisted Pareja be freed due to his talent (however this story is doubtful) - According to an eye witness, this was displayed in an exhibit in the Pantheon in Rome during a celebration of the Feast of St. Joseph -- Artists were wowed by the powerful painting, one claimed that while "all the other paintings were art, this one was truth"

Christ in the House of Mary and Martha by Velazquez 1618 (early 17th)

- Young and old woman, using the same mortar and pestle that is seen in Old Woman Cooking Eggs -- Both wear contemporary clothing + relate to the viewer (looks out at the viewer) -- Fish, eggs, chili + garlic on the table - Using real models - Background scene depicts a religious narrative while the foreground depicts a genre scene; the man gesturing towards the two women is Christ -- Difference in style: figures in the back are wearing more classical, biblical clothing -- The subject in the background is Christ in the house of Mary and Martha (Mary is listening attentively while Martha complains about Mary + how she needs to help out with the chores) -- Christ looks towards Martha + silences her with his hand (listening to his word is more important than domestic actions, contemplative life versus the active life) - Velazquez creates a visual analog: -- Mary is wearing a gold garb, and the younger woman in the foreground is also wearing a gold garb -- The older woman in the front points towards the younger woman; Martha points towards Mary in the back - Velazquez is experimenting with optical ambiguities -- Flemish paintings of the 16th century (Aertsen + Beukelaer) also show genre scenes/domestic scenes in the foreground + religious scenes in the background

St. Francis at Prayer by Zurbaran 1659 (mid 17th)

- Zurbaran may have learned his craft initially painting polychrome sculptures - To accommodate the changes in aesthetics for painting, Zurbaran approaches the subject of St. Francis in a much different manner than previously - Lightens up the intense imagery (much softer)

Saint Francis Standing in Ecstasy by Zurbaran 1640 (mid 17th)

- Zurbaran trained in Seville (apprenticeship and workshop was much more controlled in Seville) - Did multiple versions of Saint Francis -- St. Francis' nickname was the little pauper b/c he gave up all of his belongings + founded the Franciscan order (poverty, chastity + obedience) - The three knots on his robe symbolizes poverty, chastity and obedience (real rope) - Eyes looking up towards heaven - Statue of Saint Francis by Pedro de Mena may have been inspired by this work - St. Francis is a great example of the Counter Reformation in Spain

Philip IV in Black by Velazquez Court of Philip IV, Madrid 1626-8 (early 17th)

Context: - 1622 Velazquez goes to Madrid and tries to get work from Philip IV, but his first attempt is not successful - Friends of Pacheco's at the court help him gain Philip IV's favor (Philip's Chief Minister was originally from Seville) - Unsure what his first portrait was, but apparently the portrait was so great that Velazquez was appointed to be a court painter, so he moves to Madrid + takes the Water Seller with him (this adds to the speculation that this painting was a demonstration of his skills, like "look what I can do") - Once he's at court, the direction of his work changes (no more bodegones, but more court appropriate works) -- For the next six years his job was to paint portraits of the King + his family -- Here, he is also exposed to the huge royal collection like Titian + other Venetian artists -- Over the years he paints 40 portraits of the king Portrait: - This portrait was painted shortly after he arrived in Madrid - Rather austere image (no jewels, curtains, armor) -- nothing that distracts from him - Could be a subtle reference to his status + the responsibilities of the court - The hat in the back is in other paintings of Philip II -- shows Philip IV is a descendent of Philip II - His hand is on the hilt of a military sword (signifies how he will defend his kingdom) - At his waist, there's a slash (golden fleece) -- alludes to his royal lineage - In his hand, he holds a paper that shows his administrative works - In comparison to Philip III's outfit (which was more ostentatious), Philip IV's outfit is very plain; this might have been a symbol of his desire for more reform in austerity in the court, increased attention to public welfare (Philip III squandered a lot of money) - Philip IV looks dour + has a very prominent jaw called the Hapsburg jaw -- despite his chin, he was set on scrupulous accuracy in his portrait - By looking at infrared refractography, we can see that Velazquez actually made the chin a bit smaller at first

Erminia Finding Wounded Tancred by Il Guercino left: 1652 (mid 17th) right: 1618-19 (early 17th)

Earlier version - Mainly self taught + loved the work of Ludovico Carracci - Private commission he completed in Rome - Subject: From an epic poem about the Crusades, Tancred is wounded + Erminia rushes to his side - Combination of Venetian brushwork + Caravaggesque elements (figures close to picture plane, strong contrast of light, also a little bit of idealization he may have picked up from Caracci) Later version - Shift from exuberant + dramatic manner to calm and classicizing manner (palette is lighter, calmed animated style -- in the second half of the century, the Italian aesthetic is going this direction) - Reni accused Il Guercino of stealing his style (Reni also saw the shift in styles)