art history 2: exam 2

Caravaggio, Calling of Saint Matthew, Baroque, ITALY

Interior of the Contarelli Chapel, San Luigi dei Francei, Rome The small chapel was originally commissioned by the French cardinal Mathieu Cointrel (or Matteo Contarelli in Italian) to venerate St. Matthew, who was his name-saint. The contract for a cycle of three paintings representing the life and martyrdom of St. Matthew was originally awarded to the Venetian artist, Girolamo Muziano in 1565. However, the project stalled for three decades thereafter. In fact, when Cardinal Contarelli died in 1585, he had seen none of the paintings come to fruition. In 1599, at the order of Contarelli's heirs, Caravaggio was commissioned to decorate the chapel. Still in situ (or on site), Caravaggio's three paintings represent The Calling of St. Matthew, The Inspiration of St. Matthew, and The Martyrdom of St. Matthew. Of the three paintings, The Calling of St. Matthew is usually singled out for its striking, realistic formulation of religious subject matter. The subject of the Calling of St. Matthew comes from the Gospel of Matthew (9:9-13). Matthew (then known as Levi), a tax-collector, sits in his office with a group of armed men who are his cohorts. Christ (who wears a faint halo) points to Matthew and summons him to become one of his followers. The painting illustrates three major elements that are characteristic of Baroque painting: the diagonal, the dynamic, and the didactic. If we follow Caravaggio's composition closely, the figures are placed close to the viewer in the foreground. They are seated behind a table and are clustered to the left of the composition, while Christ and Peter are placed to the right emerging from the shadows. The light source of the painting comes from the upper right corner and follows a diagonal path. It falls selectively on the figures of Christ, Peter, Matthew, and two young men at the table looking at Christ. Matthew dramatically points to himself and asks: "Who me?" Although there is a window that could be a light source, light actually comes from an unseen source in the upper right corner of the painting. Thereby, light takes on a spiritual quality with the power to illuminate both one's eyes and soul. Those who follow Christ are proverbially in the light and those who do not dwell in darkness. Calling of Saint Matthew -Paired with the Martyrdom of Saint Matthew, by Carravaggio -Theme of the work is conversion- typical for the counter reformation -The money reminds us that Matthew was a tax collector, he was a jew, and clearly frames his choice between the way of the world and the way of Christ -Two men (Christ and Saint Peter) approach Matthew and point at him, and he points to himself -Christ and peter wear ancient garb, everyone else wears contemporary garb- highlights the difference between them -Stream of light helps to establish this characteristic tenebrism -Tiny hint of a halo above Jesus -Caravaggio eludes to The Creation of Adam in the sistine chapel -The truth is plain, everything is here, Christ is the truth- come home to Rome -Instant in which the choice is offered which speaks to the Catholic belief in free will, as opposed to the protestant view of predestination -If Matthew follows Jesus, he will follow him into the light

Rubenistes

Line vs. (Color): follower of Rubens' use of light and color

Historical Context

The Catholic church's strategy centered on the three sessions of the Council of Trent (1545-63), which included a discussion on the potential of art to help their cause and instruct the laity. In sum, works of art should contain clear messages that abide by the church's decorum, should be edifying or didactic in purpose, and also delight and persuade the viewer. The church disdained Mannerist art as it contained overly intellectualizing references presented in a style marked by artifice and ambiguity. Recall works by Parmigianino or Pontormo. These Mannerist painters posed their figures in contorted poses and often made arcane literary references in their works—conventions that were all frowned upon by the Church after the Council of Trent. Michelangelo's monumental nudes in the Sistine Chapel were covered because nudity in religious art was disallowed. The church encouraged a style of the art that was clear for the viewer to understand and therefore effective communication of its tenets. It is for this reason that religious art of this period is associated with the notion of persuasion, or, that its message should convince the laity of the church's authority and importance. The major political conflict that divided Europe during this period was the Thirty Years' War (1618-48) that involved Spain, France, Sweden, Denmark, the Netherlands, Germany, Austria, Poland, the Ottoman Empire, and the Holy Roman Empire. The war was rooted largely in sectarian conflicts between Protestants and Catholics but there were also political, dynastic and nationalistic concerns and motivations. In many ways, the Baroque movement is a response to the Renaissance, which had dominated artistic production for over two centuries. Though some elements of the Renaissance style will be carried over into the Baroque (particularly in the works of more classically inspired artists like the painter Annibale Carracci), the movement is largely seen as a rejection of Renaissance stylistic dictates and an innovative approach to engaging the viewer emotionally rather than intellectually

David, Oath of the Horatii, Neoclassicism, FRANCE

The art of Jacques-Louis David also belongs to the Enlightenment, reflecting the period's strong interest in Neoclassicism. Appreciation for the ancients was instilled in David from a young age, his bourgeois background permitted him to have a classical education. He trained in the studio of Joseph-Marie Vien, an acknowledged admirer of the ancient world. In 1774, David won the Prix de Rome, the premier student prize awarded by the successive state-sponsored academies in Paris. This allowed David to study at the Académie de France in Rome for five years. While there, David absorbed the visual culture around him, which affected the level of archaeological exactitude in future commissions such as Oath of the Horatii. In Oath of the Horatii, David grafted the genre of history painting with Neoclassical sensibilities. In fact, the Horatii's brothers' poses may have been inspired by antique sculptures that David would have seen in Rome in the Farnese collection. The subject matter of the painting also took inspiration from ancient Roman history. It tells an archaic tale that had recently become the subject of contemporary theater. In the center is Horace, who is the father to the three young men on the left and the patriarch of the Horatii family. The young men are swearing their allegiance to protect Rome to the death from an enemy family, the Curiatii. To the right are the Horatii women and children. Among them are Horace's daughter, Camilla—who is engaged to a member of the Curiatii family, and daughter-in-law, Sabina—who comes from the Curiatii family. Much has been said about the contrast between the male and female figures. However, the moralizing message—valuing your duty to your country above all other obligations including love and family—pronounces the work as history painting. Given that this work was due to the royal patronage of Louis XVI, upon the revolution in France in 1789, this painting served as a rallying point for republicans. Watch the video analysis of the work below: It depicts a scene from a Roman legend about a dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for one's country. Instead of the two cities sending their armies to war, they agree to choose three men from each city; the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown saluting their father who holds their swords out for them.[1] Of the three Horatii brothers, only one shall survive the confrontation. However, it is the surviving brother who is able to kill the other three fighters from Alba Longa: he chases the three fighters, causing them to separate from each other, and then, in turn, kills each Curiatii brother. Aside from the three brothers depicted, David also represents, in the bottom right corner, a woman crying whilst sitting down. She is Camilla, a sister of the Horatii brothers, who is also betrothed to one of the Curiatii fighters, and thus she weeps in the realisation that, in any case, she will lose someone she loves.

tenebrism

The use of tenebrism (dramatic use of light and dark using a direct light source that creates a spot-light effect) adds to the drama and tension of the scene, making the figures and forms highly tangible

Fete gallante

amorous festival (seen in Return to/Embarkation at Cythera), activity done for romance's sake, usually outdoors

Camera Obscura

dark room technique - pinhole on side of closed box breaks up image & projects onto wall

Quadro riportato

"transferred framed painting", use of trompe l'oeil to give impression of framed paintings mounted onto a ceiling, suggestion of transported easel paintings

Poussinistes

(Line) vs. Color: follower of Poussin & the Royal Academy, Grand Manner, traditionalist

Ruisdale, View or Haarlem from the Dunes at Overveen, Baroque, DUTCH REPUBLIC

Artists were quick to realize that the art-buying public might find landscape painting particularly desirable, given the Dutch peoples' close connection with their land. Not only had the Dutch just recently won their territory back from Spain, but they also went about many land reclamation and improvement projects to make their land profitable. Moreover, many Dutch citizens owned and worked their own land, as the development of a Feudal system that would otherwise be owned by a few privileged individuals was stymied by the swampy nature of the countryside. Jacob van Ruisdael captures the Dutch pride in their landscape with his painting View of Haarlem from the Dunes at Overveen. In this quiet landscape Ruisdael carefully and proudly documents his homeland with great precision. Details such as the massive cathedral of St Bavo, the iconic Dutch windmills, and the tiny people in the foreground bleaching linen in the sun are all lovingly depicted. Note that there is no extra narrative imposed upon this scene (such as a Biblical tale or a mythological story). It seems to be one of the first times wherein we view a landscape simply for the sake of the landscape. weather, time, and specificity//// its a moment of time. the change in time is very baroque. theres just so much movement going on

Francesco Borromini

Borromini was perhaps the most innovative architect of the Italian Baroque, establishing its most well-known qualities. While Bernini's architecture tends be more traditional and classicizing, Borromini's architecture is full of drama and dynamism. He worked in Bernini's studio and assisted him with the Baldacchino, before later becoming his rival. He designed the small church of San Carlo of the Four Fountains (named because of the fountains in the corners of the church).

David, The Death of Marat, Neoclassicism, FRANCE

David continues in a Neoclassical style when painting his other best known piece, The Death of Marat, though here he documents a contemporary moment that relates to the French Revolution and the Reign of Terror (1793-1794) The painting is just one of several that David created while serving as the Minister of Propaganda for the radical revolutionary sect known as the Jacobins. David was fiercely anti-monarchy and even signed the document calling for the beheading of Kind Louis XVI. His devotion to the fledgling republic and the Jacobin's conservative values is evident in The Death of Marat, which makes a contemporary martyr of one of the most brutal members of the Jacobin sect David joins the Jacobins and becomes a sort of minister of propaganda. He does rallies and stage events; fills the roll. Marat is a revolutionary and writer and friend of David's. He has a skin condition that makes his skin uncomfortable and so he spends a lot of time in the bath. Charlotte Corday gets in (with a note) and she stabs him and kills him. She blamed him for the September massacres. She was tried and killed. He is portrayed by David as being a martyr for the cause: like Jesus. Now, he's not saying Marat is Jesus, but that imagery is in the Western psyche: all you have to do is tap into it. Emotional piece. The entire death in the bathtub: Could you be more defenseless? They snuck in, got him while he was bathing and naked -- how could he defend himself? You end up feeling for him. Humanist: he died while doing his work.

Diego Velazquez

Diego Velázquez is generally considered the greatest painter of the Spanish Golden Age. He painted religious pictures and genre pictures called bodegones (scenes from everyday life) emphasizing great naturalism in his early career. When he was made the official painter to King Philip IV, painted mostly portraits. Velázquez was appointed as the official chamberlain of the palace (a position of high rank) and decorated the royal complexes with paintings and sculptures that he would purchase on behalf of the king. Velázquez showed considerable talent in relaying vibrant, seemingly un-posed moments in the day-to-day lives of ordinary people

Ala prima/wet on wet technique

Wet-on-wet, or alla prima (Italian, meaning at first attempt), is a painting technique, used mostly in oil painting, in which layers of wet paint are applied to previously administered layers of wet paint.

Bernini, Ecstasy of St. Teresa, Baroque, ITALY

depicts the Carmelite nun, Saint Teresa (a recently canonized saint during Bernini's day). Teresa of Avila was known for her trances and visions, during which she reported feeling acute physical pain. She believed the pain was sourced from the fire-tipped arrow of divine love that an angel repeatedly thrust into her heart. She described the event as follows: "Beside me, on the left, appeared an angel in bodily form.... He was not tall but short, and very beautiful; and his face was so aflame that he appeared to be one of the highest rank of angels, who seem to be all on fire.... In his hands I saw a great golden spear, and at the iron tip there appeared to be a point of fire. This he plunged into my heart several times so that it penetrated to my entrails. When he pulled it out I felt that he took them with it, and left me utterly consumed by the great love of God. The pain was so severe that it made me utter several moans. The sweetness caused by this intense pain is so extreme that one cannot possibly wish it to cease, nor is one's soul content with anything but God. This is not a physical but a spiritual pain, though the body has some share in it—even a considerable share." -stained glass, colored fresco on the ceiling, colored marble -entire installation piece..involve viewer, inspire faith ....artist refused to limit the sculpture to a spatial settings Interior of the Cornaro Chapel: Ecstasy of Saint Theresa -Gianlorenzo Bernini -commissioned by Federico Cornaro as his funerary chapel -Santa Maria della Vittoria, Rome, Italy -1645-1652 -combines painting, sculpture, and architecture to have an even more dramatic effect -Angel and Theresa are carved from the same piece of marble -balcony included members of the Cornaro family -visage is highly emotional -drapery adds to the emotion of the image -image is very sexually charged -very dramatic moment is captured -viewer is very involved in this work of art--> counter reformation

Ignatius of Loyola

founder of Jesuits, wrote Spiritual Exercises

Industrial Revolution

rise of industry, factories, mass production; large social & economic revolution, new technology: steam

Watteau, Pilgrimage to Cythera, Rococo, FRANCE

Jean-Antoine Watteau's Return from Cythera belongs to the early Rococo period. Currently, scholars believe that the painting depicts couples leaving Cythera—a mythical island of love—after spending the day there. If one understands the composition as moving right to left, the couple seated closest to the Aphrodite herm (a tapering four-sided shaft surmounted by a bust) seem to still be under Aphrodite's spell as their heads are close together in conversation. As the couples move further away from the herm that spell becomes lifted. Moving towards the left, the next couple is beginning to rise, and the couple next to them is walking away, with the lady looking longingly over her shoulder at the first, seated couple. Down the hill, the spell of love is completely broken. Figures engage in social conversation, not the intimate type exemplified by the couple closest to the herm. This type of enchanted scene, usually involving love, was common in the early eighteenth century. Cythera, and its effects, were depicted in theatrical productions and described in contemporary literature. Watteau created this large oil on canvas painting to be presented to the Royal Academy as his reception piece, under the categorization of history painting. However, this painting's importance stems from its ability to defy categorization within the existing hierarchy of genres (1-history painting, 2-portraiture, 3-landscape, 4-still life). Looking closely at the work. Simply put, this does not depict a religious or historical event with either an uplifting or moralizing message. Indeed, it refers to a trip to a world of illicit sexuality—though quite demurely represented. Incorporating classical details, such as the Aphrodite herm, makes the painting more than a landscape. Therefore, the genre of history painting was crossed out and was sagely replaced with fête galante, which translates to mean "elite elegant outdoor entertainment." Watch the video analysis of the work below to hear more about how this painting was received by the French Royal Academy and the manner in which the style of the Rococo created a rift in the Academy's population: Watteau Rococo -uses pastel colors -painter's guild new painting: fete galant. Extravagant, demonstrating aristocratic activities. -Cythera is the mythical island of love. -First, and most obviously, the painting is full of elegantly dressed men and women. -They seem to be acting out some sort of amorous progression. -The man on the far right is whispering into a woman's ear. -Cupids can be seen flying around and allusions to classical art can be seen in the statues -irony: Cythera was an island under no rule, ideal liberty, could have ben a criticism of French government. -Emphasizes the frivolity and playfulness in the life of nobles. Rococo period. Showed affinity for Rubens, painter of Southern Netherlands. Moved to Paris and made drawing styled after Rubens' French works. Idyllic images of aristocratic life with elegant figures, sometimes he incorporated theatrical figures in stage like settings. His fantasies had little historical basis, so they broke many academic rules and the academy created a new classification of painting. This is the reception piece for the academy and is an evocation of love. It includes images from mythology - birth of Aphrodite, who rose from the sea. Unclear whether the couples are arriving or leaving. Pale colors suggest gentle nature of lovers' relationship. Delightful but melancholy effect.

Anthony Van Dyck, Charles at the Hunt, Baroque, FLANDERS

-By Van Dyke, 17th Century -Meant to be an image of the Monarch resting during the hunt- he looks aristocratic, not Kingly- he looks like a gentleman -Everything flows as a whole- with the King, the inquiries, the animal, and the landscape -He is an elegant coutier, but also a statement or royal grandeur -The latin inscription says "Charles I of Great Britain" -We realize that the King dresses much to formally for hunting- this is stylized -He wears a wide brim hat and a shiny silver coat- this shows us that he is the King -He also looks a bit God-like in the way he is framed -He is looking out over a coastal landscape- representing his diverse wealth -Gentlemanly nonchalance and regal assurance -Low angle view point underscores his status

Le Vau, Le Brun, Le Notre, Versailles, Baroque, FRANCE

A quarter mile long building with 123 windows in each story. Louis XIV (9) forced all members of the nobility to live in Versailles' 700 rooms each trying to be closer to the king. Hall of Mirrors used mirrors, sunlight and candles to illuminate the hall. The ceiling is lined with paintings of Louis's victories. Characterized the last gasp of Baroque sensibility. Thanks to the team of Louis le Vau (architect to the aristocracy), André le Nôtre (landscape designer extraordinaire), and Charles le Brun (über-fashionable interior decorator and painter), Louis XIV's enormous and stylish palace was completed 21 years after it was begun in 1661 allowing Louis (and his closest friends, family, courtiers, servants and soldiers—all 20,000 of them) to officially set up court there (by that point, the next superstar architect, Jules Hardouin Mansart, had taken up the design reins). Enormous is no joke. The place has 700 rooms, 2,153 windows, and takes up 67,000 square meters of floor space (for those of you keeping track at home, that's over 12 American football fields or a bit more than 9 soccer pitches).

Gentileschi, Judith Slaying Holofernes, Baroque, ITALY

Artemisia's most reproduced image is that of Judith and Holofernes, a narrative that she paints numerous times over the course of her life. Here too we see the reference to Caravaggio, as he produced his own striking representation of this violent religious subject. The story of Judith comes from the book of Judith in the Old Testament. She was a widow who saved her people from the oppressive forces of the Assyrian general Holofernes. In order to do so, she comes up with a ruse to "seduce" Holofernes. Dressed in her finest and accompanied by her maidservant, Judith enters Holofernes' tent, and while he is asleep, Judith beheads him -old testament -it shows the force of how much it took to hold him down, verses caravaggios painting, where judith looks very dainty

Poussin, Et in Arcadia Ego, Baroque, FRANCE

His painting, Et in Arcadia Ego, exemplifies his classical approach to both subject and style. Given his proclivities for classicism, Poussin is a rare seventeenth-century artist that does not fit well with the stylistic description of the Baroque put forth by scholars like Heinrich Wolfflin. Where Poussin prefers monumental figures that fill the picture plane in Et in Arcadia Ego, other works of his make use of small figures barely recognizable in the vast landscapes that contain them. The fact that so many of Poussin's paintings seem to emphasize landscape is strange, given his dismissal of the subject matter in his Treatise on Painting, wherein he describes the so-called Grand Manner. "even death is in arcadia" is what theyre pointing at

Anthony Van Dyck

In his efforts to produce the huge number of paintings demanded by his patrons, Rubens employed and trained many apprentices to aid him in his Antwerp workshop. The most famous of his pupils was Anthony Van Dyck, a Flemish painter who left the workshop of Rubens as a young man and ultimately went on to be the favorite portraitist of Charles I, King of England. Like many Northern Baroque painters, Van Dyke was skilled in a variety of subjects yet chose to specialize in order to carve out a niche for himself. Portraiture became his forte, and he was well regarded throughout Europe for his courtly and elegant style.

Neoclassism

Seen as a counterpoint to the frivolity and extravagance of the Rococo, Neoclassicism was a predominant artistic style in Europe and North America at the end of the eighteenth century and early part of the nineteenth century. Though Neoclassicism is a movement borne of the Enlightenment, what is distinctive about this particular classical revival was the emphasis on archaeological exactitude. The amazingly preserved ancient Roman towns of Pompeii and Herculaneum were first excavated in the mid-1700s (1738 and 1748), stimulating a fascination with classical antiquity all throughout Europe. The scientific studying of artifacts filled many publications, and this interest eventually filtered into the realms of art, architecture, and interior design.

Hogarth, Breakfast Scene from Marriage a La Mode, Enlightenment, ENGLAND

The Enlightenment also spurred a critical revision of accepted art styles in England as well. One of the key painters and printmakers of the era was William Hogarth. A satirist who made most of his income by poking fun at the Rococo sensibilities of the newly prosperous middle class, all while co-opting the Rococo style of painting. Hogarth is best known for his painting and printmaking series that tell the stories of the depraved lives of the well to do. His most noteworthy series is Marriage à la Mode, a sequence of six paintings with each work meant to be read like a chapter in a book. Watch the video analysis of this series below Hogarth's "Marriage å la Mode... -fun, but full of morals -for middle class -"modern marriage" -tell about marriage of middle class couplewhos marriage was for economic reasons -in this painitng, artist is commmenting on immorality of the couple -love itself is being ruined -It's a moral indictment of hypocrisy, indulgence and greed among the upper class

Boffrand, Salon de la Princess, Rococo, FRANCE

The aristocracy—only a small percentage of the population of France—owned over 90% of its wealth. A small, but growing middle class will not sit still with this for long (remember the French Revolution of 1789).This served as a center of social life, especially during the Rococo time period. It displayed the social and cultural shift from the Baroque to the Rococo time period. The insides were absolutely stunning with furniture, small sculptures, mirror frames, ceramics and silver, small paintings, and tapestries which all complimented the architecture. DT = social shift, cultural shift, rocaille shells, cornices, single ensemble, tapestries, ornamentation I = The cultural and social shift from the Baroque to the Rococo time period were shown through the architecture of the salons in the houses of people. Things that complimented the great status of wealth were sculpture, mirror frames, ceramics, etc. M = This shows us that social status was extremely important and the house, especially the salon in the house, represented that.

baroque

The art of seventeenth-century Europe is traditionally referred to as Baroque. Derived from the Portuguese and Italian words barocco, meaning an irregularly shaped pearl, it is a problematic term because it is too generic in describing the complex global events and diverse artistic traditions of the era. The word was used disparagingly in the eighteenth and nineteenth centuries based on the misperception that the art and architecture lacked the grace and substance of the High Renaissance art and instead was overly theatrical and superficial. The negative connotations of the word have faded and now the term can be used in a more neutral way. The art of the seventeenth century is difficult to unpack since there are multiple styles that define the period. For example, the art of Caravaggio and Bernini is full of drama, dynamism, expression and grandiloquence. In contrast, artists like Annibale Carracci created a rational, classicizing style that is based on the art of antiquity and the High Renaissance.

Artemisia Gentileschi

The most famous of the Caravaggisti was Artemisia Gentileschi (1593-1656), a female artist trained by her father, Orazio Gentileschi. Orazio was a friend and follower of Caravaggio and one of the most prominent painters in Rome at the time. Artemisia is best known for her painted depictions of different Biblical subjects primarily starring female protagonists such as Susanna, Bathsheba, and Judith. Her religious themes are not only filled with violence but also frequently bear overt erotic overtones. Moreover, her depictions of Old Testament heroines have been suggested to be autobiographical because she was raped by her teacher and father's collaborator as a young woman.

Treaty of Westphalia

The war was finally concluded with the Treaty of Westphalia in 1648, which was largely responsible for the political restructuring of Europe. Many territorial and geopolitical changes occurred as a result of the treaty, but its most compelling effect was the granting of freedom of religious choice throughout Europe, thus abandoning the idea of a united Christian Europe. 1648, bans war between Protestants and Catholics, Europe gives up on idea of a united religion

Rembrandt, Anatomy Lesson of Dr. Tulp, Baroque, DUTCH REPUBLIC

The work that launched his career in this specialty was his Anatomy Lesson of Dr. Tulp, a group portrait of the surgeons' guild in Amsterdam. Here we see Rembrandt take the innovations of someone like Hals and push them even further to create the illusion of a shared moment, in which we participate as we gaze at the men's faces. The painting is not only a masterpiece of verisimilitude in portraiture, but also in the incredible accuracy of the muscles and tendons shown dissected from the forearm of the cadaver. Even today scholars are unsure of how Rembrandt obtained such an accurate understanding of the anatomy displayed in this work....activated the space by foreshortening the corpse. poses and facial expressions of students vary with personalitey.

Jefferson, Monticello, Neoclassicism, UNITED STATES

Thomas Jefferson Neoclassical -serves as architectural biography, monticello means "little mountain" in italian..has 43 rooms -His stately self-designed home in Virginia became a model of American architecture -The building is made of brick, which lends a sense of solidity. -There is a lot of emphasis on symmetry, carried out through the use of lots of classical columns. -It is similar to Chiswick House in London. - pediment & large octagonal -The dome has fenestration around it, and inside there is a small apartment, which was not used for practical reasons of it being hard to access and being exposed to both heat and cold. -Depicted on the back of the nickle

Flanders

We will start our exploration of the Northern Baroque in Flanders, the Catholic portion of the Netherlands that arose after the split between northern and southern Netherlands due to the oppressive regime of Philip II of Spain.

Vanitas painting

material wealth contrasted with death (popular with Calvinists), mostly seen in Dutch still lifes

Jean Jacques Rousseau

philosopher, idea of natural man: we are born innocent & free but over a lifetime our education & culture corrupts us; reject society & take refuge in nature (Rousseau's ideas seen in Portrait of Marie Antoinette & Saying Grace)

Etching

printing that improves upon engraving, wax coats plate & carved into then dipped into acid which creates crisp uniform lines on plate

Memento mori

reminder of death

recognize baroque art

ren: serenity, eternal, stability, horizontal/vertical, calm nobility, more reserved and distant, idealized baroque: emotional intensity, a moment in time, dynamism, diagnols, energy/movement, involving/close, real and not idealized

Salon

sitting room/formal dining room, communicates reputation/social ambitions, place where social alliances of elites are created

Genre painting

slice of everyday life, figures don't acknowledge the viewer

Solomonic column

spiral columns on Baldacchino, thought to be in Temple of Solomon

Reign of Terror

the historic period (1793-94) during the French Revolution when thousands were executed

The Spiritual Exercises

written by St. Ignatius, advocated for physical connection with religion, e.g. to feel the fires of hell put your hand in flames, to feel Christ's flagellation whip yourself (employed by Bernini's Ecstasy of St. Theresa)

Counter Reformation

Catholic attempts to prove legitimacy vs. Protestants, art should be used to teach/show connection to religion

Council of Trent

Catholic inquisitional board, determined appropriateness of religious art, nothing provocative

Carracci/ Caravaggio

Though the painter Annibale Carracci is considered by art historians to be a central force in introducing the Baroque style to the realm of painting, it is the work of one of his contemporaries, Michelangelo Merisi da Caravaggio, that is perhaps most associated with Italian Baroque painting -One of the most striking elements of Caravaggio's paintings (particularly when compared with the serene idealism of the High Renaissance) is the manner in which he treats his subjects as innately real and tangible. - Caravaggio's figures are modeled realistically and wear contemporary costumes to make them relatable to their audience -caravaggio used live models in his studio -Caravaggio's naturalism was rooted in Northern Italian pictorial tradition (compare to the naturalism of Leonardo who also worked often in the North) -Caravaggio's art was controversial during its time because his non-idealized religious images were seen as lacking decorum, (i.e.,. the propriety and reverence demanded of religious subjects) -Although his detractors claimed that his work "killed" the art of painting, Caravaggio's paintings were some of the most influential in Europe throughout the first three decades of the seventeenth century. Caravaggio's combination of both drama and intense naturalism appealed to both patrons and other artists. In fact, so many artists took substantial influence from Caravaggio in producing their own work that today they are known collectively as the Caravaggisti, or the followers of Caravaggio.

Kauffmann, Cornelia Presenting Her Children as Her Treasures, Neoclassicism, ENGLAND

A classic example of Kauffmann's moralistic pictures is Cornelia Presenting Her Children as Her Treasures (Mother of the Gracchi) of about 1785. Here she champions child-rearing and family duty over materialism. While portraying a woman as a mother, she nonetheless counters traditional male stereotyping by presenting her subject as proactive and in control. In this second-century bce story from Roman history, a visiting friend has just shown off her jewelry to Cornelia Gracchus. Instead of displaying her own gems, Cornelia proudly presents her children, two of whom, Tiberius and Gaius, would become great politicians. To prepare her sons for leadership, Cornelia acquired the finest tutors in the world, and it was said that she "weaned" them on conversation, not her breasts. She remained an ally and advisor to both, and in addition to her reputation for virtue and intelligence, she was one of the most powerful women in the history of the Roman Republic. Kauffmann, a woman artist struggling in a man's world, must have identified with the successful Cornelia, whose features in the painting resemble the artist's own. In Cornelia Presenting Her Children, Kauffmann has created an austere and monumental painting that reinforces the strength and nobility of the mother. The picture is dominated by the bareness of the floor and walls, the carefully modeled statuesque figures, and a stable composition anchored by a solid triangle culminating in Cornelia. The Cornelia theme was not unique to Kauffmann, but was quite popular with other artists. Not only did it illustrate virtue, it also reflected the new interest in the importance of the family unit that stemmed from the Enlightenment teachings of Jean-Jacques Rousseau, who advocated that parents should nurture their children at home, rather than sending them off to wet nurses and nannies until they were adolescents. Trying to show a message/a lesson.The story that is represented must also improve the viewer and impart a moralizing message...If you compare Kauffmann's simple presentation to the previous Rococo genre, with the lush landscapes, frothy pastel pink frocks, and chubby frolicking cherubs, it is clear that art is going in a different direction. This painting is an exemplum virtutis, or a model of virtue.

Carracci, Loves of the Gods, Baroque, ITALY

Annibale Carracci - "The Loves of the Gods" 1601 Farnese Palace Fresco Palace, Rome a new grand manner of monumental fresco painting key painters to revive the classical style reflect a significant change in painting style away from sixteenth century Mannerism to anticipation of the development of Baroque and Classicism in Rome during the seventeenth century -Carracci, 16th Century, Fresco from the Farnese Palace, Rome -Ceiling decorated the long hall meant to house a wedding... interpretations of the varieties of earthly love. based on Ovid's Metamorphoses...has quadro riportato (fake frames) figures all resemble marble statues -Less dramatic and more decorative than Caravaggio -Lot of classical statues around, so the paintings do not violate the classical style -Overall effect of multiple levels of reality Central panel is the triumph of Bacchus for Ariadne- classical theology

Bernini, Baldacchino, Baroque, ITALY

As a sculptor and architect to various popes, Bernini spent most his career working at New St. Peter's. His first commission for the interior of St. Peter's, made between 1624 and 1633, was the baldacchino (or canopy-like structure) that marks the site where St. Peter is buried and the high altar of the church. The structure is almost 100 feet tall and also acts as a frame for the Cathedra Petri (the bronze throne of St. Peter in the apse that was also designed by Bernini). The symbolism of the Baldacchino speaks to the power of the Catholic Church and of the pope (then Urban VIII). The four spiral columns (gilded, partially fluted and covered with vines and bees) recall those on an ancient canopy that marked that same spot in old St. Peter's, invoking the past to reinforce the current authority of the Church. At the top of the cornice of the columns stand four colossal angels and at the apex of the canopy stand four serpentine brackets (volutes) that elevate the orb and the cross, symbols of the Church's triumph. Multitudes of swarming bees covering the monument are symbols of the Barberini, the papal family. As the patron of the baldacchino, Pope Urban VIII wanted to be recognized as Christ's representative on earth. Overall, the structure illustrates the triumph of Catholicism and the papal claim to doctrinal supremacy -right below michelangelos dome -almost 100 ft tall - pope may leave mass here -st. peter is first pope - reassurtion of catholic church after reformation - columbs are spiral, refer to colums of old saint solomen, dates back to constantine -orb on tomb symbol of power...triumph of the church

Caravaggio, Entombment, Baroque, ITALY

Caravaggio Entombment of Jesus ~ forms leading to christ ~diagonal composition ~ momentary event, eye follows Jesus all the way to ground, co-extensive space ~ Guy Holding Jesus' legs looking at viewer asking viewer to engage,help, interlockteur ~ forced chioroscura ~ Jesus' feet are dirty, connects to lower class...this is a human drama, makes sacred subjects very harsh and dingy. unidealized! used streets of italy...was effective because it was familiar. Caravaggio organized the composition so that it looks like the body of Christ is being lowered right into our space, as though we were standing in the tomb. One of the most important goals of Baroque art is to involve the viewer.

Anonymous art market

Dutch Republic: artists create work without a commission and sell completed works; artists specialize and pander to unknown patrons with universal themes: landscapes, still lifes, portraits The growth of this new anonymous art market meant that for one of the first times in art history, many artworks were being created without a commission in the hopes that they would eventually sell to an unknown art buyer (kind of like the way most art is made and purchased today). Due to this enormous shift in how art was bought and sold, many artists began to turn their attention to subjects that would appeal to a diverse audience. Landscape painting is one such subject.

Thirty Years War

Europe in the 17th century was marked by continual political and religious friction. Remember the Reformation and the Counter-Reformation are chugging along, causing pronounced tension between areas that are predominantly Protestant (mostly the North) and those that are Catholic (primarily Italy and Spain). This tension led to far-reaching warfare. As your textbook mentions, between 1562 and 1721, all of Europe was at peace for just four years. The major conflict during this period was the Thirty Years War which entangled virtually all of Europe. When the war began, it was predictably centered on skirmishes between militant Catholics and militant Protestants. Later, however, the focus of the war shifted to secular, dynastic, and nationalistic concerns. Many political entities were vying for expanded territory, power, and authority in Europe. At the very same time that the geopolitical nightmare of the Thirty Years Wars was unfolding, the economic situation in many parts of Europe (the North in particular) was improving. The 17th century brought heightened economic competition to Europe, and things like changes in financial systems, lifestyles, and trading patterns, along with expanding colonialism fueled creation of worldwide marketplace. 1600's: all major European powers at war, initially Catholic vs. Protestant, later became grab for territory

Rigaud, Louis XIV, Baroque, FRANCE

For France, the seventeenth-century is marked by an almost total transformation from a war-torn and weakened state to a unified nation controlled by a powerful monarchy. No figure looms larger in the seventeenth-century than Louis XIV, the so-called "Roi Soleil," or Sun King, and king of France. Louis XIV ruled France somewhat in the guise of Apollo, the ancient Greek god of culture, civilization, and principles of rationality. For Louis, this nickname was not only auspicious in its ability to tether him to a great figure from ancient myth, but also in its suggestion that he, like the sun, was perceived to be at the center of the universe, and around him all things revolved. Louis did not rely on clever appellations alone to tout his importance, he was a brilliant propagandist who knew well the power of images. Consider, for instance, his official portrait painted by court painter Hyacinthe Rigaud. Here, Louis stands before the viewer as the total authority. Cloaked in a voluminous ermine-lined drapery that has been embroidered with a delicate fleur de lis pattern, Louis towers before the viewer with one hand on his hip near the hilt of his sword, and the other casually clutching a scepter, the symbol of power and authority. It is not by chance that his scepter draws our eyes to the crown perched atop a small ottoman behind his form. In all ways, this is a portait that is meant to unequivocally convince the viewer of Louis' divine right to rule and give pictorial form to his famous quip, "L'etat, c'est moi" or "I am the State."

Rembrandt, Night Watch, Baroque, DUTCH REPUBLIC

Here again Rembrandt favors a group portrait that depicts more than just the sitters' likenesses. Once more the artist renders a moment in time, in typical Baroque fashion. This moment is one of preparations for a parade that is likely just about to begin. One of the many militia groups of Amsterdam convenes in an indeterminate space and seemingly prepares to walk in a procession through the city streets in order to greet the citizens of their city and remind the people of the role they play in protecting the area from invaders. Though the subject is a familiar one in Dutch Baroque painting, scholars remain uncertain of the full meaning behind the work. In particular, the prominently placed young girl has stymied easy interpretation. W-Rembrandt, Oil on Canvas, 17th Century -Commissioned for the banqueting hall of the company in question -Figures are nearly life size, very large -It aggrandizes the subject- these guys are worthy of our admiration and to be the subjects of history painting -The canvas bustles with activity -Most interesting group portrait -Marked darkness in much of this painting -Chiaroscuro (light-dark) is seen here The militiamen appear to be emerging from the arch -Captain and lieutenant are in the foreground -Little girl is shown in light in the background, but it is probably Saskia- rembrandt's dead wife

Vigee-Le Brun, Portrait of Marie Antoinette, Enlightenment, FRANCE

In France, Enlightenment painting took on a different form. Rather than emphasizing the mystery and allure of scientific discovery, the French focused on the teachings of a prominent Enlightenment philosopher, Jean-Jacques Rousseau. You can read about Rousseau's theories on "natural man" in your textbook on pages 774-775. Given Rousseau's disdain for society and its ability to "pervert," "corrupt," and "deprave" human beings -- a statement which seem to condemn the frivolity and ostentation of the Rococo -- it might be surprising to learn that one of his fiercest adherents was none other than the last French queen, Marie Antoinette (a woman who was often associated with corruption and frivolity). One can note the ways in which Marie Antoinette took inspiration from Rousseau particularly in her small hamlet, built on the grounds of Versailles, where she would go to escape the toils of royal life and renew herself in "nature" and the simple life of a shepherdess. Even though the subject is royalty, she is portrayed very naturalistically. This portrait was meant to counter some of the negative ideas about the queen by portraying her as a loving mother sitiing with her loving children. Antionette was hated because she was young, rich and frivolous, which people didn't like. The French hated her bc she was Austrian. The idea of good mothers being educated comes from the enlightenment, which is what Vigee-LeBrun references here. She is portrayed in hall of mirrors in her home at Versailles. Originally meant to be shown in the salon, this piece was pulled by the artist bc people still had such negative opinions of the queen. It is not only here that we see Marie's desire for a more natural and less controlled existence. If we examine the royal portraits created by court painter Élisabeth Louise Vigée-Lebrun, we can see the careful way in which Marie's image is tweaked to suit a more Rousseau-esque notion of the queen. Vigée-Lebrun's portraits of Marie Antoinette are marked by a casual freshness and natural charm that does not often appear in royal portraiture. Though these portraits might contradict our ordinary expectations of royal imagery (recall the pomp and circumstance of Louis XIV's official portrait), they did little to ingratiate the queen with her subjects. Watch the video analysis of Vigée-Lebrun's Portrait of Marie Antoinette with her Children below to hear more about the way in which even these carefully painted pieces of propaganda could not save the queen from the guillotine: (watch video later)

the dutch republic

In the Protestant countries, and especially in the newly-independent Dutch Republic (modern-day Holland), the artistic climate changed radically in the aftermath of the Reformation. Two of the wealthiest sources of patronage—the monarchy and the Church—were now gone. In their stead arose an increasingly prosperous middle class eager to express its status and its new sense of national pride through the purchase of art. By the middle of the 17th century, a new anonymous art market had emerged to meet the artistic tastes of this class. The demand was now for smaller-scale paintings suitable for display in private homes. These paintings included religious subjects for private contemplation, as seen in Rembrandt's poignant paintings and prints of biblical narratives, as well as portraits documenting individual likenesses. You can read about the enormous shifts in the way art was produced, marketed, and sold during this period in the Netherlands on page 738 of your textbook. Perhaps the greatest change in the market was the dramatic increase in the popularity of landscapes, still-lifes, portraits, and scenes of everyday life—known as genre painting. Indeed, the proliferation of these subjects as independent artistic genres was one of the 17th century's most significant contributions to the history of Western art. In all of these genres, artists revealed a keen interest in replicating observed reality—whether it be the light on the Dutch landscape, the momentary expression on a face, or the varied textures and materials of the objects the Dutch collected as they reaped the benefits of their expanding mercantile empire. These works demonstrated as much artistic virtuosity and physical immediacy as the grand decorations of the palaces and churches of Catholic Europe.

Poussin, Landscape with Saint Saint John on Patmos, Baroque, FRANCE

Landscape with Saint John on Patmos. Look at the way in which Poussin has structured his landscape -- this is not the natural world as you and I know it, but rather the classical landscape wherein nature is not transcribed but perfected. Watch the video analysis of the Landscape with Saint John on Patmos below, and consider the way in which Poussin manage to both create a landscape scene and adhere to the Grand Manner and his hierarchy of painting: at the same time as the decorative baroqu, we have the classicism, the peacefulness and logicalness of poussin. st. john is writing about the end of time/the second coming of christ. ideal landscape artists are poussianists...poussin demonstrates passgage of time with ruins of rome

Joseph Wright of Derby, Experiment on a Bird, Enlightenment, ENGLAND

One of the artists most associated with Enlightenment ideals is Joseph Wright of Derby, a painter who, though previously ignored by art historians as a minor provincial, has come to be seen as a forerunner in re-framing scientific discovery as a new form of spirituality in Enlightenment Europe. the girls in the left corner cant bare to watch this bird die, a scientist is depriving it of oxygen...an experiment. the father, directs their attention to it reguardless, trying to turn their attention toward knowledge and truth. the enlightenment is a movement society went through to be less emotional and more logical! dove is said to represent the holy spirit...is god dying? is science taking away fear or giving us new fears?

Peter Paul Rubens

Painting was the primary artistic medium of Flanders, and the master of this medium was undoubtedly Peter Paul Rubens. Rubens, a towering figure in the history of Western art, is known for work that was in high demand by nearly every King, Queen and aristocrat in Catholic Europe. Rubens was a master of color, dramatic compositions, and movement. Although he was from Northern Europe, he traveled to Italy and absorbed the art of the Renaissance, of classical antiquity, and of Caravaggio. He painted nearly every type of subject—landscapes, portraits, mythology, and history paintings. You may read more about Rubens skill and prolific career on pages 732-733 of your textbook.

Claesz, Vanitas Still Life, Baroque, DUTCH REPUBLIC

Perhaps the most popular of all subjects depicted by Dutch Baroque artists, still life comes into its own during the seventeenth century. Dutch patrons purchased still life paintings in droves, not only as a celebration of their prosperity, but perhaps also as a reminder of the transience of life and its bounty. This latter message is most distinctively conveyed in the rich tradition of vanitas still lifes, like those painted by Pieter Claesz and Willem Works like Claesz's Vanitas Still Life draw the viewer in with the rich descriptions of desirable objects, and maintain our interest with the hidden commentary on the passage of time and the reminder of death (memento mori). You can read about the tradition of vanitas painting in your textbook on page 748. Though vanitas symbolism abounds in Dutch still lifes, art historians have questioned the tendency to interpret all Dutch still lifes as conveying a reminder of death. Consider, for instance, the work of Willem Kalf. Kalf was a a still life painter who pursued a sub-specialty of depicting so-called pronkstilleven, or "display still lifes" that contain luxury items. Kalf's works intoxicate the viewer with objects of exotic opulence and enormous expense. In fact, most Dutch citizens of the seventeenth-century could only dream of possessing items of this quality, despite the republic's incredible wealth. These pronkstilleven are as impressive for the objects they display as they are for Kalf's virtuosity in convincing the viewer that those objects are almost truly tangible, awaiting us to pluck them from the canvas and hold them in our hands. Some art historians have suggested that even though these works do not hit us over the head with clear memento mori symbolism, as does Claesz's work, they are nonetheless meant to be interpreted as vanitas images due to details like the peeled fruit and the opened pocket watches.

The Grand Manner/Hierarchy of subject matter

Poussin's treatise/curriculum for French Royal Academy: only certain subjects are Grand/appropriate, other details are "trifling" Note the way in which Poussin's Grand Manner emphasizes subject matter first and foremost, stating that it must be grand, "as are battles, heroic actions, and divine things." In laying this out, Poussin hints at a hierarchy of acceptable subject matter; meaning that some things are perceived to be worthy of depicting in art, and others are not. Poussin's hierarchy might look something like this: In the above diagram, the three subjects on the bottom are what Poussin refers to as "mean subjects," which he claims are practiced exclusively by incapable artists whose lack of skill prevents them from creating "grand" images. This sort of structuring of art is at the very heart of the Royal Academy's curriculum, and, at the Academy, Poussin's name ranked second only to that of Raphael. He was the model set before the students, for whom his works served as essential reference points on the nature of art.

Jacobin

Radical republicans during the French Revolution. They were led by Maximilien Robespierre from 1793 to 1794. A French political leader of the eighteenth century. A Jacobin, he was one of the most radical leaders of the French Revolution. He was in charge of the government during the Reign of Terror, when thousands of persons were executed without trial. After a public reaction against his extreme policies, he was executed without trial

Rubens, Elevation of the Cross, Baroque, FLANDERS

Rubens became a master in 1598 and departed to Italy, where he remained until 1608. It was during these years that he formulated the foundations of his style. Shortly after he returned home to the North, he painted The Elevation of the Cross altarpiece, which is a considered to be masterpiece of Baroque painting. The work was originally installed on the high altar of the Church of St. Walburga in Antwerp (since destroyed), and is now located in the Cathedral of Our Lady in Antwerp. This triptych is impressive in its size, measuring 15 feet in height and 21 feet wide when open. The original frame, unfortunately lost, would have made the painting even more imposing. Due to its very size, Rubens actually painted it on-site behind a curtain. Four saints associated with the church of St. Walburga can be found on the exterior of the wings (visible when the altarpiece is closed): Saints Amandus and Walburga on the left and Saints Catherine of Alexandria and Eligius on the right. Fittingly, at the center of the composition of the opened altarpiece is Christ, nailed to the cross and in the midst of being lifted upright. To illustrate the sheer force and strength that this act would require, Rubens' scene brings together tremendous straining forces and counterforces as heavily muscled men labor to lift the cross. Seemingly, the artist uses this compositional arrangement to show his mastery of anatomical foreshortening and the contortions of violent action. Moreover, Rubens employs the common Baroque compositional arrangement of the diagonal to create a dynamic scene that draws the viewer's eye back into the space. Rubens acquired many of these approaches to painting only after his visit to Italy. In particular, the influence of artists like Michelangelo and Caravaggio are evident in this work. In what way do you see Rubens making reference to these Italian masters? To hear a discussion of this and other elements in the work, watch the video analysis of the work below: -Rubens, Oil on Canvas, 17th Century -Combines Italian influence (Caravaggio)- --Heroic nudity, intense emotionality, lighting effects, diagonal composition -Flemish idea of one subject along a tryptic -Physical strain vs. emotional strain is very clear -Christ is represented with an illuminated spirituality -Drama, emotionalism, interest in tenebrism, palette is clear -Virtuosic foreshortening -Characteristically fleshy figures

Rubens, Consequences of War, Baroque, FLANDERS

Rubens later creates another work for a member of the Medici family, and it is his Consequences of War wherein we see something of Rubens' own personal attitudes regarding the function of art. Though the painting is undoubtedly beautiful with its Rubenesque, voluptuous figures and the incredible open brushwork of his alla prima (or wet on wet) technique, the painting is most compelling for its deeply allegorical commentary on the political unrest of Europe during the Thirty Years War. Rubens wanted to ensure that no detail went misunderstood by the potential viewers of this painting, so he actually penned a missive explaining the iconographical significance of the work (read and watch later)

Chardin, Saying Grace, Enlightenment, FRANCE

Saying Grace -Jean-Baptiste-Simeon Chardin -1740 -The Enlightenment -owned by Louis XVI -Oil on Canvas -Embraced naturalism as opposed to the artificial - He usually painted quiet scenes of domestic life - Trying to praise the simple goodness of ordinary people -Moment of social instruction -Mother and older sister are showing the younger sister how to thank God for the meal -Modest room; hushed setting -neutral color -Tries to show the painter's honesty and insight rather than the artificial antithesis to Rococo painting, Chardin embraced naturalism and celebrated the simple goodness of everyday people, especially mothers and children far from the frivolity of Rococo. Rococo is slowly phased out as the lower classes grow and this style becomes more popular during the coming of the French Revolution. Chardin still portrays middle-upper class people, but they are doing morally right things now instead of the silly antics of Rococo. Here, a comfortably iddle class woman instructs her children on how to say grace.

Kalf, Still Life with Late Ming Ginger Jar, Baroque, DUTCH REPUBLIC

Still-life painting occasionally registers the pride that contemporaries took in global trade and colonial endeavour. Like the botanical gardens and finest collections, still-lifes gathered disparate objects from all reaches of Dutch trade, and brought them home, re-presenting them in European terms of science and collecting, without specific concern about their origin. In this painting of fine household items, Willem Kalf effortlessly combined Venetian and Dutch glassware, a recently made Chinese jar for luxury ginger, a Dutch silver dish, a Mediterranean peach, and a half-peeled lemon, the object of citrus trade and of medicinal treatises. He displayed them on an Indian floral carpet, in a dramatic spotlight that invites contemplation and admiration, for the fine wares as well as the artist's recrafting of them. Kalf's jewel technique evokes their value and unifies them in an arrangement, that, however lifelike for each individual object, is clearly pictorial. ...open watch means this still might be a vanitas painting

Velazquez, Surrender of Breda, Baroque, SPAIN

Surrender of Breda -By Diego Velázquez, Oil on canvas, 17th Century -Propaganda at its finest, contrasts with earlier military images -Portrays a Spanish victory over Dutch -They are very civil and cordially as the Dutch hand the keys to the city to the Spanish commander, the victors hold their lancets erect, and the loosers droop a bit -Impressive because the artist is able to arrange a larger number of figures and objects to tell a cohesive story -Cross inscribed in the lake symbolizes the catholic triumph over the protestants -Horses rear end symbolizes a homage to his inspiration- carravagio The Surrender of Breda revolutionized the genre of military painting precisely by emphasizing that to win with elegance and magnanimity is what defines a great leader, and not merely the ferocious capacity to triumph in combat. The numerous spears create a sense that there are more Spanish troops than we can actually see and, because of their ordered arrangement, they emphasize the military competence of the Spanish soldiers. The painting presents a humane encounter in the midst of the chaos and cruelty of war. But we should not think that there are no ulterior motives for the presentation of this seemingly virtuous moment. Spinola, the Spanish troops, and by extension Philip IV, are presented as powerful and honorable. Thus the painting operates at multiple levels: it is a rhetorical exaltation of Spanish national identity, a symbol of Philip IV and his army, and a tribute to Spinola, a personal friend of Velázquez who had died a few years before the commission of the painting.

Borromini, San Carlo Alle Quatro Fontane, Baroque, ITALY

The façade of the church is divided into two levels that are composed of convex and concave shapes, giving the façade a sense of undulation. The deep recesses of the façade's niches emphasizes its three-dimensional effects. The plan consists of a pinched oval with a long axis between the entrance and the apse that provides an innovative variation to the centrally planned church, resembling a compressed Greek cross. The side walls move in an undulating motion that reverses the flow of the façade. The large projecting columns and molded interior spaces are capped by a deeply coffered dome that appears to float on the light entering through the windows hidden in its base. The variations on basic geometric shapes such as ovals create dynamic interior spaces that meant to inspire wonder in the viewer. is like reniassance because theres an appeal to intellect -varaiations of oval - balance = mathematics. balance of concave - holy trinity...trinitarian church, thats why it is oval. -complex shapes resolves into simple shape, more mathematics -cherubs stone cut into buildings -white and sunlight unifies whole building-Francesco Borromini -1665-1678 -Rome, Italy -built where there were wide avenues where there were fountains--> where it got its name -Unusually small site -Alternating convex and concave patterns and undulating volumns in ground plan and facade help with the play of light and dark -classical columns and -rejection of the flat surface, very undulating surface -facade higher than the rest of the building -interior side chapels merge into central space -interior dome oval shaped and coffered -walls treated sculpturally -Borromini worked in shades of white avoided colors used in many Baroque buildings -cross with globe on top shows the effect of Christianity on the world--> counter reformation

Fragonard, The Swing, Rococo, FRANCE

There is a great difference between the demure sexuality depicted in Watteau's work and the innuendo depicted in the late-Rococo painting by Jean-Honoré Fragonard entitled The Swing. Commissioned by a wealthy man for his petite maison (pleasure house) the composition depicts an enclosed garden (as evidenced by a wall and gardening tools lying in the foreground) occupied by three figures: an older male figure pushing a swing, a lovely young lady who is swinging, and a young gentleman hidden in the bushes The sculptures, the little white barking dog at the older man's feet, and other details hint to the relationships between these three figures. The dog, a traditional symbol of fidelity, is located closest to the older man who is probably in a formal relationship with the young lady. The barking dog (who seems angry) is looking at the lady, which leads the viewer to surmise that the dog (and not the older man) is aware of the lady's infidelity. From there it becomes obvious that the object of the lady's affection is the younger man hiding in the brush. The sculpture above the young man cautions for quiet, and the two putti figures below the lady glance at her and glare at the dog. The young man is perfectly positioned to catch a glimpse of the lady's legs as she is swinging. Though rather tame and charming perhaps by today's standards, for the period this is a work that contains rather overt and shocking sexual connotations.

18th century art

This week we delve into the multifaceted art and architecture of the eighteenth-century. Where before entre centuries could be classified as adhering to one major movement of visual culture (e.g., the sixteenth-century is known for the refinement of the Renaissance, the seventeenth-century is dominated by the Baroque, etc.), the same cannot be said for the eighteenth-century. This is a century wherein we find multiple different -- and often contradictory -- movements existing side by side. The reasons for the multifaceted nature of the eighteenth-century's visual culture are likely multifaceted themselves, but one undoubtedly significant factor is the incredible political tumult of the era. At the beginning of the eighteenth-century in Europe, Louis XIV is ruling from Versailles as an all-powerful monarch; by the end of the century, the French monarchy has been overthrown by revolutionaries and the king and queen, Louis XVI and Marie Antoinette, have been publicly executed on the steps of the guillotine. In the New World, American revolutionaries have also overthrown their monarchy and established their independence as a sovereign nation. Moreover, not only are these major political revolutions unfolding over the course of the 1700s, huge changes are also occurring in the realm of economics, science, and technology in the form of the Industrial Revolution. As we will see, this shifts in broader society will be reflected in art. We will cover three major movements in art history from the eighteenth-century -- the Rococo, the Enlightenment, and Neoclassicism.

Rembrandt

Though artists like Hals and Leyster carved out successful careers for themselves as portraitists in the Netherlands, their fame was undoubtedly eclipsed by their younger contemporary, Rembrandt Van Rijn. Rembrandt was the leading Dutch painter of his day and remains regarded as an undisputed genius. He moved to Amsterdam as a very young man and immediately cast off his training as a history painter to instead delve into the realm of portraiture, which could earn him a much higher salary. Rembrandt's Anatomy Lesson launched his career in the city of Amsterdam and he quickly found himself to be in very high demand as a portraitist. His most famous group portrait (and perhaps his most famous painting) is a work that has come to be known, rather erroneously, as The Night Watch. Rembrandt's most popular works were undoubtedly his portraits, though he also proved himself to be a unique interpreter of the Protestant faith in his paintings. Generally, as we have learned in the past, Protestantism does not support the creation or use of images for fear of distraction and potentially even idolatry. Rembrandt did not let these injunctions against images prevent him from creating faith-based work, though. In fact, some of his best known works are those that contain imagery from the Bible. A good example is The Return of the Prodigal Son, a work that depicts an New Testament story of forgiveness and humility. As you look at the painting, consider how Rembrandt carefully packages this narrative so as to fit with the Protestant ethos. In many ways, this is not the traditional religious scene we have come to expect in the Baroque. What has he done differently? Watch the Art Sleuth video examination of this work below to see some of these queries teased out (watch video later) In addition to creating religious imagery in painting, Rembrandt also created familiar scenes of Christian narrative in his myriad prints. He was considered to be one of the most accomplished printmakers of the time, and the popularity of his prints considerably augmented his living. Though we often think of prints as being affordable due to their mass-production and the use of affordable materials, Rembrandt's prints were so highly sought after that he was able to charge enormous sums for them, as was the case with the so-called "Hundred Guilder Print." Though Rembrandt was a very skilled engraver, works like the Hundred Guilder Print were made through using the relatively new technology of etching

Vermeer, Woman Holding a Balance, Baroque, DUTCH REPUBLIC

Though many of Vermeer's genre scenes simply uphold the Dutch tradition of accurately describing a space, some seem to hint at a deeper message and significance. Consider, for instance, his work Woman Holding A Balance. The scene initially strikes the viewer as being documentary in nature -- we have a woman caught in the moment of preparing to weigh her jewelry with a set of fine scales in hand. However, as we view the work more carefully and consider the details painstakingly inserted by Vermeer, perhaps a hidden message becomes evident. -woman is upper merchant class in holland..maybe shes about to weight the jewelry thats n front of her. jesus as judge over all souls painting is just behind her head. her head dvides blessed from damned... painting is a reminder of changes happening. relationship between wealth and piety/spirituality. attending to wealth other than spiritual behind her...it can be cautionary. In addition to imbuing his work with extra significance and iconography, Vermeer is also known for the incredible optical accuracy of his painted worlds. He not only creates amazing significance and mood with his treatment of light and shadow, but also incredible pictorial effects. He was one of the first artists, for instance, to recognize that shadows are not just uniform shades of grey but rather are comprised of many different and changing colors. These sorts of optical effects are thought to have been achieved due to Vermeer's use of a camera obscura in his painting process. The camera obscura is the predecessor of today's modern still camera, and it would have allowed Vermeer an opportunity to document the distinctive effects of light with a sense of poignancy and accuracy not yet achieved by other artists.

Velazquez, Las Meninas, Baroque, SPAIN

Velázquez had an extraordinary career in the court of Philip IV. He traveled to Italy twice, first in 1629 to 1631 and then in 1649 to 1651. After Velázquez returned from Rome to the Spanish court in Madrid in 1651, he painted what has been considered his greatest work: Las Meninas. The room represented in the painting is the artist's studio in the palace of the Alcazar, which was converted into a studio after the death of the crown prince Balthasar Carlos. This painting is of such visual and narrative complexity that it precludes a definitive interpretation. One of the central questions one can raise is: what is taking place here? Watch the video analysis below (and read about the painting in your textbook) to consider some of the possible interpretations: -a painting with a painting inside of it, the artist is shown painting the picture were actually looking at, its also a self portrait -By Diego Velázquez, Oil on Canvas, 17th Century, The Maids of Honor -The painter himself is one of the main figures -The Queen attended by her two maids of honor and two royal dwarfs- records specific and real people, and the dog -In the doorway stands the usher of the Queen's household who attended the queen at all time -Queen and King are seen in the mirror being painted-the viewer is in the position of the King and Queen-message about the status of the viewer -Velazquez is a main figure, and wears a cross of nobility, message about his own status as an artist- and he is the biggest figure in the painting -The viewer works with the artist to create a personal meaning of the work -Effect of an instantaneous moment- snapshot of the scene -Unique level of trust in the royal household is communicated -The technique in this painting is slightly different......in book, it says that the mystery is: is this a portrait of the king and queen of the mirror and they are in the same space as the viewer? or is the mirror a reflection of what velaquez is painting

The Enlightenment

broad social movement, backlash against aristocracy & Rococo, leads to cultural/political revolutions & focus on science, absent of religion & social structure The Rococo was an era of aristocratic patronage. Towards the later-eighteenth century it gave way to its counterpoint, the Enlightenment. The Enlightenment, which was united by beliefs in progress and the power of reason, was concerned more with understanding and rationalizing our world through study. For the natural world it meant systematizing nature and the creation of menageries, for others it meant the careful observation and documentation of the Classical and Renaissance pasts. The creation of publications that document these findings expedited this spread of knowledge, at least amongst those who had money and could read. The Enlightenment took on different forms in different countries based on an artist's/patron's education and interests.

Pozzo, Glorification of Saint Ignatius, Baroque, ITALY

ceiling painting in the Baroque took on ever grander and more dramatic compositions. Trompe l'oeil effects of visually extending the vaults upwards and into the sky took on a great vogue in the seventeenth century. Moreover, while the considerable height and expansive scale of most ceilings already introduced and element of awe, illusionistic ceiling painting only heightened this effect. The illusion of the vault of the church giving way to the heavenly realm is even more convincing and theatrical in the work of Fra Andrea Pozzo. His Glorification of Saint Ignatius in the nave of Sant'Ignazio is one of the more impressive feats of perspectival illusionism in Western art. View the video analysis below to see the way in which Pozzo brings his narrative into the space of the church: video: -the painting continues up into the ceiling -its a great illusion -transition seems that it rises infinitly into the heavens -artists renders figures so realisticly -saint ignatious is being accepted into heaven by christ -four great contienents of the earth...expanse of catholisms is central to painting -reassert catholics belief in miracle -two sides of reformation...attack those who went against the church

Wolfflin's terms/distinctions

concepts first put forth by the Swiss art historian, Heinrich Wölfflin. In 1915 Wölfflin published his book, Principles of Art History, which has since become one of the seminal texts of the discipline. It was in this book that Wölfflin formulated five pairs of opposed or contrary precepts in the form and style of art of the sixteenth (Renaissance) and seventeenth (Baroque) centuries which demonstrated a shift in the nature of artistic vision between the two periods. Wölfflin's stylistic distinctions between Renaissance and Baroque art are as follows: It is important to keep in mind that Wölfflin's analysis is based strictly in style and form, not content and meaning. Also, given the diversity of Baroque art, some classically inspired artists (e.g., Carracci and Poussin) do not fit well with Wölfflin's Baroque tenets.

Rococo

defined by the elite, panders to aristocratic tastes, highly decorative & ornamented, no deep meaning but meant to project happiness At the death of Louis XIV, le Roi Soleil, in 1715, there occurred a transition from the classicism and "Grand Manner" that had dominated French art of the preceding fifty years, toward a new style known as the Rococo. It was a style of art and decoration characterized by lightness, pastel colors, grace, playfulness, and intimacy. Though the Rococo first emerged in France, it would eventually spread across most of Europe until the style loses steam in the late eighteenth century. The Rococo first began primarily as an interior design movement, though it eventually came to be embodied in painting and sculpture as well. In these media, artists moved away from the serious subject matter of the Baroque. When the Enlightenment occurred in France, the Rococo came under fire because it was deemed to have no intellectual underpinning. It was a movement intended for the lighthearted tastes of wealthy aristocrats, who had abandoned the Palace of Versailles after the death of Louis XIV and once again took up residence in Paris. A shift away from the monarchy, toward the aristocracy characterizes the art of this period.

Bernini, David, Baroque, ITALY

endition of a now familiar figure, David in his fight with the giant Goliath This statue was commissioned by Cardinal Scipione Borghese, a major patron of the arts and nephew of Pope Paul V and was placed at the entrance of the Galleria Borghese. Compared to the Davids depicted by Donatello and Michelangelo, Bernini catches the figure of David in the dramatic moment in which he is about to fling the stone at Goliath. This is a good moment to review all three statues carefully. Bernini's David has taken off his cuirass with his feet firmly in place and bites his lip to convey his intense concentration. However, his lower body is covered with a drape to maintain a sense of decorum. Rather than showing a figure frozen in action (compare to the classical Greek sculptor Myron's Discobolos), his stance implies a sequence of poses and energetic continuous movement. Traditionally, it has been also argued that David's features might be based on Bernini's own. -realism in his body, the way hes biting his lip. -tension and concentration David -By Bernini, 17th Century, Baroque Sculpture, Marble -His work follows all the generalization of the period -Conscious of time, captures an instant, point of drama and action Sense of explosive movement, subject is a human counterpart- hid body is like a coiled spring released -Moves in time and space- it seems to demand space -No inscribing this figure in a perfect geometrical form- this david rejects order harmony and symmetry- resists confinement -Ferocious concentration- connection between braun and the value of emotion -No sexual ambiguity -Doesn't exclude the value of brains- his harp is at the ground, but not made a priority like emotion, feeling, and raw might

Gian Lorenzo Bernini

one of the great innovators of the Baroque. His prolific career as a sculptor, architect, painter, stage-designer, and writer spanned most of the seventeenth century. His major patrons were cardinals and popes who admired his expressive interpretations of religious subjects, dramatic use of forms, and novel combinations of media. Given these aspects of his career, he is perhaps one of the artists most often associated with the Italian Baroque. Bernini utilizes the full capabilities of architecture, painting, and sculpture to charge the entire area with a palpable religious power. To do so, he drew on his considerable knowledge of the theater. In fact, Bernini worked as both a playwright and a stage designer throughout his career. He was said to be very skilled at this - causing the audiences to sometimes feel very real terror when he created things such as floods and fires for his plays.

Academies (Bolognese, French, etc)

place of educating artists formally rather than by apprenticeship, focused on Classical ideas As the social and political aspects of French life came ever more under the control of the monarchy, French artistic production was also becoming further regulated and governed. In 1648, Louis XIV founded the French Royal Academy of Painting and Sculpture, based in part on the model of similar academies of art making developed in Italy (such as the Bolognese Academy founded by the Carracci brothers and the Accademia di San Luca in Rome). The primary purpose of the Academy was to professionalize the artists working for the French court and to regularize the style of the French Baroque. One of the most influential figures in the establishment of the academy's curriculum and its heavy focus on classicism was the painter Nicolas Poussin. Though born in Normandy, Poussin spent most of his life living and working in Rome. It was here that he became extraordinarily well-versed in Italian classicism. One can see the influence of painters such as Raphael and Titian in some of Poussin's best-loved works. Additionally, Poussin was great scholar of antiquity and often made reference to classical statuary in his paintings.