Art History 106 // Test 2 Study Guide Quizlet: Chapters 22-27
24.23: Giovanni Battista Gaulli, Triumph of the Name of Jesus, 1676-79. Fresco with stucco figuresIl. Gesù, Rome.
- Was done in the church of Gesu - Bernini had a hand in this. Various media working together to form a greater whole (like Bernini's Ecstasy of Saint Teresa)
25.1: Pieter Claesz, Vanitas Still Life, 1630s. Oil on panel, 1' 2" x 1' 11 1/2". Germanisches Nationalmuseum, Nuremberg.
- A painting that contains symbolic images to remind viewers that earthly life is temporary but spiritual life is eternal and worldly goods and pleasures do not matter. - Skull represents mortality. Music represents pleasure and learning a new instrument represents pride. Quill represents human knowledge. The orb that reflects the room, including the artist's self-portrait represents pride.
26.11: Joseph Wright of Derby, A Philosopher Giving a Lecture on an Orrery, c. 1763-1765. Oil on canvas, 4' 10" x 6' 8". Derby Museums and Art Gallery
- Age of the enlightenment. Reason and logic rather than enslavement to dogma. People at this time believed that they could make a better world for themselves if they followed logic and reason rather than emotion.
26.1: Angelica Kauffman, Cornelia Presenting Her Children as Her Treasures, c. 1785. Oil on canvas, 3' 4" x 4' 2". Virginia Museum of Fine Arts, Richmond.
- An example of a typical neo-classical painting. The piece is simple, legible, and the figures are in a horizontal arrangement close to the picture plane (frieze arrangement) - A didactic Roman story. The lady in red is showing Cornelia her treasures, the lady in red then asked Cornelia where her treasures are and Cornelia presents her children
25.13: Rembrandt van Rijn, The Company of Captain Frans Banning Cocq (Night Watch), 1642. Oil on canvas, 11' 11" x 14' 4" (trimmed from original size). Rijksmuseum, Amsterdam. [BOLDED]
- Another unconventional painting of a militia - The main figure is the guy in all black - The lady in the back who appears to be glowing was added later for practical reasons. Without her there the main figure would blend in with the others. - Very detailed, it is thought that he used some sort of optical aid - Was cut on all sides in order to get it to fit
26.25: Jacques-Louis David, Oath of the Horatii, 1784. Oil on canvas, 10' 10" x 13' 11". Musée du Louvre, Paris. [BOLDED]
- Based on Roman legend/history. This play was very popular in Paris and that's was inspired David to make this painting - Another example of a frieze arrangement. The painting looks very much like a relief sculpture, horizontal and clean - Features classical architecture - During this time the french revolution was underway and resonated(Idk if that's the right word) with the revolutionary party. This was not intended by David, but once it happened David embraced it and became a major player in the french revolution.
26.35: Jean-Antoine Houdon, George Washington, 1788-1792. Marble, 6' 2" high. State Capitol, Richmond.6.33: Thomas Jefferson, Monticello, Charlottesville, Virginia, 1770-1806.
- Benjamin Franklin and Thomas Jefferson wanted the artist to be American, but there was nobody they could use in America, so they used Houdon instead - A portrait of state. Washington leans on a bundle of rods which represents dominion and fortitude. There are 13 rods, which represent the 13 colonies Washington has a sword but it's not in reach, showing that they are currently at peace. The plow behind him references his time as a farmer. - Houdon incorporated all of the elements of the official portrait of state, but adapted it to a new country (America)
24.8: Francesco Borromini, Façade of San Carlo alle Quattro Fontane, 1638-41. Rome. [BOLDED]
- Bernini had a lock on commissions so the solution was to either work for him or move towns. Borromini worked for Bernini on the Baldacchino and is now thought to be the real genius behind the Baldacchino. - Very imaginative architecture, nobody was doing it like him at the time
26.7: Antoine Watteau, Pilgrimage to Cythera, 1717. Oil on canvas, 4' 3" x 6' 4 1/2". Musée du Louvre, Paris.
- During this time, the French Royal Academy of Painting and Sculpture arranged commissions, so you could not be an artist in Frances without going to this academy. - This painting was Watteau's senior project. The criteria were to create a historical piece. Watteau argued that this is a historical painting because it's a group of aristocrats on the island of Cythera, the birth place of Venus. - A statue of Venus on the right-hand side consumed by flowers
25.23: Rachel Ruysch, Flower Still Life, after 1700. Oil on canvas, 2' 5 3/4" x 1' 11 7/8". Toledo Museum of Art, Toledo
- Dutch people were fanatic gardeners, so Rysch's paintings were very popular - Because the dutch were so knowledgeable about flowers, they would know that this arrangement was impossible because these flowers all bloomed at different times - Poppy represents sleep and death. The bee on the poppy represents new life. Together they represent the circle of life.
26.9 Jean-Honoré Fragonard, The Swing, 1766. Oil on canvas, 2' 8 5/8" x 2' 2". Wallace Collection, London.
- Erotic subject matter, the lady kicks her shoe towards the statue of cupid while her boyfriend gets a good view from below - The guy in the back pushing the swing is often thought to be an innocent bystander being tricked into pushing the swing higher and higher so her boyfriend can get a better view, but actually, he may be the one pulling the strings
25.27: Jules Hardouin-Mansart and Charles Le Brun, Hall of Mirrors at the Palace of Versailles, c. 1680.
- Facing each door is a mirror - At this time, mirrors were very expensive, so this was a huge display of wealth and power
24.16: Annibale Carracci, Loves of the Gods, 1597-1601. Fresco, c. 68' x 21'. Palazzo Farnese, Rome.
- Family residence not a sacred site so they could paint whatever they wanted - Ceiling fresco, an homage to the Sistine chapel
25.2: Peter Paul Rubens, Elevation of the Cross, 1610. Oil on wood, center panel 15' 1 7/8" x 11' 1 1/2", each wing 15' 1 7/8" x 4' 11". Antwerp Cathedral. [BOLDED]
- Flanders was iconoclasts so religious art was destroyed. When Flanders returned to Catholicism there was a market for artists to replace destroyed art. - Dynamic baroque. High energy and lots of motion. The composition is driven by diagonals - Feels like a continuous scene (though it's not) - Stylistically Ruben was aware of everything. He took in all of it but synthesized it so completely that it's hard to distinguish what is what.
25.9: Frans Hals, Archers of Saint Hadrian, c. 1633. Oil on canvas, 6' 9" x 11'. Frans Halsmuseum, Haarlem.
- Portraiture of people who are not royal becomes popular - Typically portraits were very uniform and conventional. A typical portrait of a civic militia would depict them lined up and standing in ¾ position. - Frans decided to do something different. The painting is lively and full of personality and everybody can be identified by their faces and clothes.
27.1: Antoine-Jean Gros, Napoleon Visiting the Plague-Stricken in Jaffa, 1804. Oil on canvas, 17' 5" x 23' 7". Musée du Louvre, Paris.
- Gros was a student of David and was referred by David to. - Napoleon to be his painter. Napoleon used art as propaganda. He really needed the PR because people were either dead from guillotines or sent to war and people weren't happy about that. - This painting is a reaction to the neo-classical movement. People started saying that truth didn't lie in logic and reason but instead in the heart. Gros places an emphasis on death, suffering, and other intense emotions which were thought to be where you found truth (the sublime). This belief is referred to as Romanticism. - Stylistically painters put less value on legibility, and instead leaned towards more of a chaotic composition. Also used my bolder colors - Europeans started to become more aware of other cultures, which was then incorporated into art. This scene takes place in an exotic background with Islamic architecture - Napoleon is shown to be fearless amongst the sick patients, while his soldiers are covering their noses. He is meant to resemble a christ-like figure.
23.3: Albrecht Dürer, Self-Portrait, 1500. Oil on wood, 2' 2 1/4" x 1' 7 1/4". Alte Pinakothek, Munich. [BOLDED]
- He did a couple of self-portraits that are well known but this one is the one of 1500 (important to know the date) - Famous also for his work in printed media - He presented himself as a Christ-like figure, made his image like that of Jesus ~ the long hair, beard, frontal centrality (like an icon), still, stares forward, gestures with a hand like a benediction (meaning like a blessing) ~ proclaiming the status of an artist (as a creator)
24.9: Francesco Borromini, San Carlo alle Quattro Fontanne, 1638-41. Rome. [BOLDED]
- He utilized classical elements but always with a twist - The church that commissioned Borromini belonged to the trinitarian order. They are an order devoted to the holy trinity which is represented by a triangle. And the triangle shape was implemented in the plan of the church
25.15: Rembrandt van Rijn, Self-Portrait, c. 1659-60. Oil on canvas, 3' 8 3/4" x 3' 1". Kenwood House, London
- Late self-portrait - van Rijn is saying he's an artist. He's addressing the viewer directly while holding a palette and paintbrush. He also has a headwrap on his head. - Behind him are two circles. Back then it was thought to be the ultimate test of skill if you could draw a perfect circle (free hand). So the circles behind him are a testament to his skill as an artist.
24.4: Gian Lorenzo Bernini, Piazza for St. Peter's Basilica, 1656-67. Vatican (Rome).
- Lorenzo concentrated on sculpture and architecture but was also a painter - The atrium has a trapezoid + oval shape which is something that would not be seen done during the Renaissance - "The opening arms of the mother church" are used to describe the colonnades
24.29: Diego Velázquez, Water Carrier of Seville, c. 1619. Oil on canvas, 3' 5 1/2" x 2' 7 1/2". Victoria & Albert Museum, London
- Lots of attention to detail on the water jugs and the glass of water
26.26: Jacques-Louis David, Death of Marat, 1793. Oil on canvas, 5' 5" x 4' 2 1/2". Musées Royaux des Beaux-Arts de Belgique, Brussels. [BOLDED]
- Marat was in charge of creating the list of people who were to be sent to the guillotine. Marat also had a skin condition that required him to soak in the bathtub. That's why there is a wooden table near the bathtub, so he can soak while continuing to make his guillotine list. - At this point, David is fully embedded in the french revolution and he was also friends with Marat. After Marat was assassinated, David was called upon to memorialize him - Reference to religious visual language. David turned Marat into a martyr for the french revolution. The wooden table also resembles a tomb. - Fully conceived as a piece of political propaganda. - Carravaggio infulence with the use of tenebrism
24.6: Gian Lorenzo Bernini, David, 1623. Marble, 5' 7" high. Galleria Borghese, Rome. [BOLDED]
- Michelangelo and Donatello's David was standing in repose, while Bernini's David is in motion at the height of the action. - As you move around the figure you get the sense that it is moving - The face is thought to be a self-portrait of Bernini
25.19: Johannes Vermeer, Woman Holding a Balance, c. 1664. Oil on canvas, 1' 3 7/8" x 1' 2". National Gallery of Art, Washington, D.C. [BOLDED]
- Most of Vermeer's paintings depict people in a quiet atmosphere, and the light always comes from a window on the left - Used to be called the woman weighing pearls until historians realized that they can't actually see what she is weighing/balancing - Work of art within a work of art. Historians use that as a clue to tell what is really going on within a painting - Behind the woman is a painting of the last judgment. Typically in those paintings, Archangel Micheal is weighing souls to see if they are saved or damned. The woman is blocking Micheal but she is weighing/balancing something, giving this a deeper meaning
24.17B: Caravaggio, Entombment, c. 1603. Oil on canvas, 9' 10 1/8" x 6' 7 7/8". Pinacoteca, Musei Vaticani, Rome.
- Nobody is idealized. These are all regular people who could be recognized, which adds to the realness. - Body of Christ is sturdy and heavy, doesn't have the elongated delicacy of other paintings depicting a similar scene - The figures create a continual ark of downward movement - Popular among the intellectuals of Rome
25.18B: Johannes Vermeer, View of Delft, c. 1661. Oil on canvas, 3' 2 1/2" x 3' 10 1/4". Mauritshuis, The Hague
- Normally Vermeer paints people in interiors, this is one of his few landscapes - Real view of the city, but not quite because the building's spacial relation to each other isn't quite right. He probably did that for aesthetic reasons.
25.4: Peter Paul Rubens, Arrival of Marie de' Medici at Marseilles, 1622-1625. From the Marie de' Medici Cycle. Oil on canvas, 12' 11 1/2" x 9' 7". Musée du Louvre, Paris. [BOLDED]
- One of many panels that chronicle her life. This one, in particular, depicts her arrival in France - She had these paintings created as PR - This painting is full of allegory and personifications. The figure in blue is the personification of France, and the ocean and sky celebrate her arrival. - Very opulent
25.24: Hyacinthe Rigaud, Louis XIV, 1701. Oil on canvas, 9' 2" x 6' 3". Musée du Louvre, Paris. [BOLDED]
- Portrait of state, you cannot separate Louis from the nation of France - red drapery represents divine protection and nobility. - Sword insheathe shows that they are at peace, but can provide protection if needed - Was very proud of his legs
25.14: Rembrandt van Rijn, Return of the Prodigal Son, c. 1665. Oil on canvas, 8' 8" x 6' 9". State Hermitage Museum, Saint Petersburg. [BOLDED]
- Religious paintings like madonna and child or paintings depiction saints were not allowed. However, it was okay to do illustrations of bible stories - Was done later in his life, when artists start becoming introspective. This can really be seen with his sketchy atmospheric effect
25.16: Rembrandt van Rijn, Christ among the Sick (Hundred-Guilder Print), c. 1649. Etching and engraving, 11" x 1' 3 1/4". Pierpont Morgan Library, New York.
- Rembrandt was also a very good printmaker - The shadowy sketchy effect in this print was achieved by giving the plate an acid bath - Rembrandt often used his Rabbi friend as a model for Jesus
24.1: Gian Lorenzo Bernini, Ecstasy of St. Teresa, Conaro Chapel, 1647-52. Marble, stucco, gilt bronze, and fresco. Saint Teresa and Angel, 11' 6" high. Santa Maria della Vittoria, Rome. [BOLDED]
- Saint Teresa was a mystic who wrote about her visions. This is a depiction of one of her visions. She was in a deep state of prayer and she saw an angel who then plunged a fire arrow into her chest and she was overcome with love for God. - Sculpture that functions as an altarpiece - Bernini controlled everything, from the architecture of the chapel to the frescos, and even the stucco statuary. It was all conceived as one overall composition. - On the left and right side, there appear to be people in a theater box - The rays of lights are actual rods + light shining on them so they really do light up
23.19: Pieter Bruegel the Elder, Netherlandish Proverbs, 1559. Oil on wood, 3' 10" x 5' 4 1/8". Gemäldegalerie, Staatliche Museen zu Berlin.
- Seems as if Bruegel does not think highly of people - Proverbs displayed in this painting ~ example: bottom right corner, man burying the hatchet ~ displayed throughout the piece
24.28: Juan Martínez Montañés, Battle of Demons and Angels, 1609-13. Polychromed and gilded wood. San Miguel, Jerez de la Frontera.
- Spanish Catholicism was very intense
26.13: Jean-Baptiste-Siméon Chardin, Grace, 1740. Oil on canvas, 1' 7" x 1' 3". Musée du Louvre, Paris.
- Studied under Boucher but took his subject matter in a different direction. Rather than the indulgent lifestyle of the aristocracy, his work celebrated the simple life of the middle class.
24.7: Gian Lorenzo Bernini, Fountain of the Four Rivers, 1648-51. Piazza Navona, Rome
- The commission was already given to another artist. So Bernini made a model out of silver and then gave his Vatican friend the model and then his friend placed the model in a place where he knew the pope would see it and after the pope saw it he hired Bernini. - Personifications of rivers from 4 major continents. This represents the mission of the church which was to convert and bring the world into the church. - An actual Egyptian obelisk, which was taken when Rome took over Egypt (?.) it was damaged but together for this project, which is meant to represent Rome being great again - Provided water for household use
24.10: Francesco Borromini, Dome of San Carlo alle Quattro Fontane, 1638-41. Rome. [BOLDED]
- The dome is stretched into an oval. This makes practical sense as he was working with a limited space - The hexagonal shapes in the dome start off big and then gradually gets smaller as it reaches the top. This is a forced perspective because it makes the dome look bigger than it actually is - Dome of the church= the dome of heaven, church domes are typically sphere. At the time Johannes Kepler, a German astronomer discovered that the planets move around in an ecllipse (oval) rather than a perfect circle. It is possible that Borromini may have heard of this and decided to make them dome an oval rather than a sphere. But at the time the Italian translations of Johannes's work weren't out yet.
26.17: William Hogarth, Breakfast Scene, from Marriage à la Mode, c. 1745. Oil on canvas, 2' 4" x 3'. National Gallery, London.
- The entire painting is full of clues that reveal how messy their relationship and household are. - The lady who is now a noble just finished hosting a salon. Her husband stuffs a bonnet from another lady in his pocket. And the guy on the left is holding a stack of unpaid bills - Hogarth made several prints of his work. People started to copy his work to make money. Hogarth did not like that and prompted a law to be created to protect artists from having their work stolen.
24.24: Fra Andrea Pozzo, Glorification of Saint Ignatius and the Worldwide Mission of the Jesuits, 1691-94. Fresco. Sant'Ignazio, Rome.
- The painted architecture blends in with the actual architecture of the building and it's very hard to distinguish what is real and fake - He was also a mathematician which definitely helped to work these illusions out
23.4: Albrecht Dürer, Fall of Man, 1504. Engraving, 9 7/8" x 7 5/8". Museum of Fine Arts, Boston [BOLDED]
- The process of making an engraving starts with a metal plate - Variations in tones, shadow work, texture ~ achieved through scratching on the metal plate by a sharp metal piece ~ extremely technical
24.19: Artemisia Gentileschi, Judith Slaying Holofernes, c. 1614-1620. Oil on canvas, 6' 6 1/3" x 5' 4". Galleria degli Uffizi, Florence.
- This subject matter was something that artists were visiting at the time, but none of them depicted this scene as visceral as she did. - As a woman, she was not allowed to study life anatomy so sometimes her anatomy is a bit off but she was really good at recreating fabric - Tenebrism inspired by Caravaggio
26.2: Germain Boffrand, Salon de la Princesse, with paintings by Charles-Joseph Natoire and sculptures by Jean-Baptiste Lemoyne, Hôtel de Soubise, Paris, 1737-1740.
- To the french aristocrats who just moved back to Paris after living in Versailles, this type of room was very casual to them. - Not like an actual hotel but more like a townhouse. There were multiple floors and the higher the floor the cheaper it was. - Held social events led by aristocratic women. The guest list consisted of important artists, philosophers, and musicians.
23.12: Hans Holbein the Younger, The French Ambassadors, 1533. Oil and tempera on wood, 6' 8" x 6' 9 1/2". National Gallery, London.
- Two British ambassadors - Elephant in the room: the skull, at a certain angle can be seen as a 3D skull ~ telling you "doesn't matter, you're gonna die" - Voluptuous clothing
24.29A: Diego Velázquez, Christ on the Cross, c. 1631-1632. Oil on canvas, 8' 1 5/8" x 5' 6 1/2". Museo del Prado, Madrid.
- Very high level of reality
24.21: Guido Reni, Aurora, 1613-14. Fresco. Casino Rospigliosi, Rome.
- Was known as the divine guido - A ceiling fresco but it looks like a panel painting that was hung on the ceiling because it does not attempt to give a false illusion - Subtle use of primary colors - Fully realized figures with classical anatomy
25.26: Jules Hardouin-Mansart, Charles Le Brun, and André le Nôtre Aerial view of the palace and gardens of Versailles, begun 1669.
- Was originally a royal hunting lodge, but for security reasons, Louis decided to expand the plan and move his entire headquarters to Versailles.
24.17: Caravaggio, Calling of Saint Matthew, c. 1597-1601. Oil on canvas, 11' 1" x 11' 5". Contarelli Chapel, San Luigi dei Francesi, Rome. [BOLDED]
- Was painted in the Contarelli chapel, the church of the french community. - Caravaggio brings his art to the here and now, you do not feel like you're in another world. In this painting, Christ is recruiting(?) Levi, a tax collector, in a contemporary setting. This was revolutionary to the Romans - Tenebrism (Idk if I spelled this right) is the extreme contrast of dark and light. This is a staple of Caravaggio's work. - Christ's outstretched hand is a reference to the Creation of Adam. It is his way of calling attention to his abilities as an artist - At the time, the King of France was flip-flopping being Catholicism and protestant and he finally decided on Catholicism. Saint Peter's (considered to be the first pope) position/presence was meant to be a representative of that - Caravaggio was famous for his painting of bare feet. It was controversial because it was considered disrespectful to show bare feet on an altarpiece at the time - Christ's foot position shows that he is in motion - The figure who has his back to us invites the viewer to take part of the action
23.3A: Albrecht Dürer, Great Piece of Turf, 1503. Watercolor, 1' 3 3/4" x 1' 3/8". Albertina, Vienna.
- Watercolor painting with an extreme level of precision ~ watercolor does not lend itself to precision easily - Not a big painting - Close observation of a plot of dirt and some weeds, scientific observation with clarity
24.5: Gian Lorenzo Bernini, Baldacchino, 1624-33. Bronze, partially gilt on marble pedestals, height c. 96'6". Saint Peter's Basilica, Vatican (Rome).
- When a person of high status would travel, they were carried in those tent-like things which displayed their importance - Made of gilded bronze and is about 100 feet tall - The bronze comes from the pantheon - The columns are twisted because that's how they thought the columns in the temple of Solomon looked like - Covered in lots of relief sculptures of foliage and bumble bees. The bumble bees are a reference to the pope who was from the Barberini family and their family insignia were bees - Bernini's work is inherently theatrical because he was into theatre - Marked the spot of saint peter's burial
23.13: Hieronymus Bosch, Garden of Earthly Delights, c. 1505-10. Oil on wood, center panel 7' 2 5/8" x 6' 4 3/4", each wing 7' 2 5/8" x 3' 2 1/4". Museo del Prado, Madrid.
- [left panel]: hell, [middle panel]: Earth, [right panel]: Garden of Eden - Bosch was an alchemist
23.2: Matthias Grünewald, Isenheim Altarpiece (top: closed; bottom: open), ca. 1512-1515. Oil on wood, center panel, each wing, predella. Shrine carved by Nikolaus Hagenauer, ca. 1505. Painted and gilt limewood. Musée d'Unterlinden, Colmar. [BOLDED]
- from the chapel of the Hospital of Saint Anthony, Isenheim, France - Function as doors and they open - Everything is very specific to the altarpiece and how it functions in its place - Monastery functioned as a Hospice - Amputations would happen in Hospice and in this piece when you open the door His limbs would be severed, sense of solidarity with Christ in that thought - Wood carving is innate in this region
24.31: Diego Velázquez, Las Meninas, 1656. Oil on canvas, 10' 5" x 9'. Museo del Prado, Madrid.
- self-portrait, royal portrait, and ascene of everyday life depicting actual identifiable residents of the palace. - Commissioned by Philip the 4th - Velazquez often has a very free brushstroke and applies paint very thickly - The canvas Velazquez is standing before in the painting is roughly the size of the actual canvas. It is thought that this is a portrait of him painting this picture (meta!!) - He is playing with different levels of reality. The mirror in the background reflects people who aren't there. Right next to the mirror is a doorway, which is part of the real world. Velaquez contrasts illusion with reality. - The mirror may also be reflecting Valequez's painting - The red cross painted on Valequez's garment was added after he died
24.17A: Caravaggio, Conversion of Saint Paul, c. 1601. Oil on canvas, 7' 6" x 5' 9". Cerasi chapel, Santa Maria del Popolo, Rome.
- was part of a group of two other paintings done in a chapel of a Roman church. The paintings done by Caravaggio were on the walls opposite of each other and the one done by Annibale Carracci was on the central wall. - A diss towards Carracci because the horse's butt is facing his painting (haha) - A depiction of the saint in the moment of his conversion. He is knocked off his horse and his eyes are closed which represents the blindness (of the light)