Baroque Art (For Midterm)

Trionfo di Bacco e Arianna (Celebration of triumph), Annibale Carracci, part of Galleria Farnese, 1597-1601

- In the crown of the vault, a long panel representing the Triumph of Bacchus is an ingenious mixture of Raphael's drawing style and lighting and Titian's more sensuous and animated figures. It reflects Carracci's adroitness in adjusting their authoritative styles to create something of his own. -Learned by copying a lot and studying pieces from antiquity (plus Michelangelo) -Can see the first Baroque ideas of movement - details in the muscles and the weird positions -uses elements of nature and bodies to direct vision to the middle of the image

Michelangelo Merisi da Caravaggio (1571-1610)

- died at the beginning of the baroque age, had a life full of troubles and wasn't studied by art historians until 20th c. -Born in Milan, his father was a Marquis(court member) and he could have been too but decided to study painting -Parents and grandpa died from the plague so he went to Rome and his uncle got him in contact with Cardinal Del Monte

Details of Galleria Farnese, Annibale Carracci

- learned by copying a lot and studying pieces form antiquity (torso of a greek statue that everyone used as a reference) including michaelangelo -Annibale and Ludovico started an early art school in Bologna -studied to master the perfect anatomy of a person (before messing with weird positions)

Royal Staircase, Bernini, 1663-66 (Scala Regia), Rome - Vatican city

- was made to connect the cathedral to the papal palace -Light at the top makes it seem like you are climbing towards heaven -By gradually reducing distance between the columns and walls as the stairway ascends, Bernini created the illusion that the Scala Regia is of uniform width and that the aisles continue for its full length. - gives the illusion that you could walk between the wall and column all the way up -Crowned by trumpeting angels and papal arms. Brightened lighting at top of stairs. (dark to light). -Coat of arms of Chigi family. For Pope Alessandro VII Chigi 1655-1667. -To the side there is a sculpture of a man on a mounted horse, probably emporer Constantine - a throw back to the original st. Peters

Assumption of the Virgin, Annibale Carracci, 1601, s. Maria del Popolo-Cerasie Chapel

-Angels are bringing Mary directly to the sky, bright colors (pink) -Could be seen by the public-influential -Movement up and down which calls back to Rafael's "Transfiguration" - gazes of the men draw your eye to Mary and her arms create diagonal lines that do the same

Bacchino malato, Caravaggio, 1593-1594 (Young, sick Bacchus)

-Apart from its assumed autobiographical content, this early painting was likely used by Caravaggio to market himself, demonstrating his virtuosity in painting genres such as still-life and portraits and hinting at the ability to paint the classical figures of antiquity. -The three-quarters angle of the face was among those preferred for late renaissance portraiture, but what is striking is the grimace and tilt of the head, and the very real sense of the suffering; a feature that most Baroque art shares. -Countertop and grapes creates a 3d element, plays with depth using shadow as well - uses very dark background that emphasizes the subject

Testa di Medusa (sheild), Caravaggio, 1601-02 (testa di medusa), Florence-uffizi

-Blood pouring from her decapitated head. depicting the exact moment she was executed by Perseus. captures the natural expression and horror -He plays with the concept by replacing Medusa's face with his own, as an indication of his immunity to her dreadful gaze. -Due to its bizarre and intricate design, the painting is said to complement Caravaggio's unique fascination with violence and realism. -It was commissioned by Italian diplomat Francesco Maria del Monte as a means of gifting it to the Grand Duke of Tuscany (medici family)

Francesco Borromini, facade of San Carlo alle Quattro Fontane, Rome, Italy, 1665-1667

-Borromini rejected the traditional notion that a building's facade should be a flat frontispiece. He set San Carlo's facade in undulating motion, creating a dynamic counterpoint of concave and convex elements. -was finished after his death - has a double level facade and a small separate space for clergy men -lots of depth and weird movement happening

Baldacchino - Bernini, St. Peter's Vatican City, 1624-33, gilded bronze, 28m high

-Both functional and symbolic purpose. Marks St. Peter's tomb and the high altar of the church, and visually bridges human scale to the lofty vaults and dome above. -Canopy-like structure, 4 classical angels stand guard, 4 serpentine brackets, gives visual form to triumph of Christianity and papal claim to doctrinal supremacy. Uses "lost-wax process" -Baldacchino was a delicate, covered canopy over a relic or holy object -twisting columns are a throw back to the confessio in the old cathedral -Lots of brass decorations were taken from the Pantheon and melted down to be used for this 9and to make weapons too) - has bees on the columns (coat of arms) towards a sun (which is in his boat fountain as well) and along grape vines -globe on top has a cross on top - Jesus is savior of the world

Bacchus adolescent, Caravaggio, 1596-97, Florence-Uffizi

-Caravaggio is not only attempting to depict Bacchus, but also a boy dressed up as Bacchus. It Is a sensual scene inviting the viewer to succumb to their carnal desires. -The boy is youthful and handsome, round yet muscular. He barely makes an attempt to keep his robes on as he coaxes the viewer to join him with a suggestive look in his eye. -In the basket there is a bursting pomegranate as well as a rotting apple. Caravaggio uses these elements together to hint at the Vanitas theme. Youth and pleasure are fleeting. Everything must succumb to death and rot. -Again contrast of the light and dark

Fountain of the Triton, Bernini, 1624-1643, Piazza Barberini

-Commissioned by his patron, Pope Urban VIII, the fountain is located in the Piazza Barberini, near the entrance to the Palazzo Barberini. Was the first thing he made for the new pope -Barberini coat of arms (three bees) and over top is the papal tiara and the keys -emblems of the pope -Unique base for pool, not circular - The emblems of the pope are the only things not linked to the other natural elements (fish=base, shells=cap, triton=top -displays baroque idea of natural movement and open spaces -lots of movement in the shape, reflection from water, and how the wind moves the water - would have been a place for people to drink, wash feet, water animals, etc

Ecstasy of St. Theresa, Bernini, Baroque, 1645-1652, Rome-S. Maria della Vittoria-Cappella Cornaro

-Created an intensely emotional experience for worshippers -St. Theresa was the "posterchild for the counter-reformation" because her story speaks of her sway from Catholic Church toward Protestant and her return to Catholicism after she is speared with a fire-dipped arrow. -Correlated with ideas of Loyola who argued that the re-creation of spiritual experience would do much to increase devotion and piety. -Floating on a cloud, bronze rays, unseen window that gives off "heavenly" lighting. Passionate and dramatic/theatrical. Texture of the cloth makes it seem lime she is floating in a cloud -Notable combining of spiritual and physical passion, very detailed face, captured emotions -Natural, hidden light from above plays with the surfaces and the emphasis of light and dark dynamic -Right and left side show the patron family Cornaro watching the scene-connecting themselves to it - Unlike other chapels ore cathedrals where a wall is painted to look like marble, this one is filled with precious marbles from around the world. -A false painting high above the piece makes it seem as if a cloud adn angels are coming down into the room

Apollo and Daphne, Bernini, Baroque, 1622-1625, Rome-Borghese Gallery

-Depicts Daphne changing into Laurel tree (a symbol sacred to Apollo) to escape Apollo. -The sculpture was the last of a number of artworks commissioned by Cardinal Scipione Borghese. -Again very detailed as her fingers and parts of her turn to branches, expression as well as if she was yelling something at him -varying treatment of surfaces, smooth for skin, textured land, hair and clothes

The Rape of Persephone, Bernini (Ratto di Proserpina), 1621-1622, Rome-Borghese Gallery

-Depicts Plutone and Proserpina (Hades and Persephone), commissioned by Cardinal Scipione Borghese for Cardinal Ludovisi. - made for the patron of the borghese family -Others have remarked on the twisted contrapposto or figura serpentinata pose of the group. -While reminiscent of Mannerism, particularly Giambologna's The Rape of the Sabine Women, Bernini permits the viewer to absorb the scene from one single viewpoint. While other views provide further details, a spectator can see the desperation of Proserpina and the lumbering attempts of Pluto to grab her. -This was in contrast to the Mannerist sculpture of Giambologna, which required the spectator to walk around the sculpture to gain a view of each of character's expression -Obvious that bernini studied in antiquities -There is a lot a movement and details, the marble is treated as if it is skin

St. Peter's colonnade, Bernini, 1656-1667, Rome-Piazza di s. Pietro

-Dramatic gesture of embrace that Bernini's colonnade makes as worshippers enter St. Peter's piazza symbolizes the welcome the Roman Catholic Church extended its members during Counter-Reformation. Tuscan columns. -Fulfilled desire of C.R. Catholic Church to present an awe-inspiring, authoritative version of itself -Added diagonal lines on the ground to add different movement/perception -Wanted to create an open and closed system of light with the columns -main big street outside was added in 1929 after Patti Lateranensi-the piazza was meant to be enclosed but wasn't finished -The Vatican wasn't meant to be viewed from the end of the street but from the side roads stumbling upon it

Facade of St. Peter's, Carlo Maderno, 1606-1612, Rome - Vatican

-Elaborated on his design for Santa Susanna, but the 2 outer bays w/bell towers were not part of his plan and detract from the verticality he sought - makes it harder to see the dome- dont get the full impact of its magnitude (have to see it from the back) -Paul V commissioned Maderno to add 3 nave bays to the earlier nucelus because Church officials had decided the central plan was too closely associated w/pagan buildings. -Abandoned Michelangelo's design to add a new larger nave - be less like pantheon/roman buildings -The columns come out from it to add depth, also added belltowers but they weren't as prominent in the designs -old obelisk was also moved from its previous location to the center of St. Peter's square almost as a beacon for the faithful to find their way

David, Bernini, 1623-24, Rome-Borghese Gallery

-Expansive and theatrical, emotional. -Sculpture is unique in representing the combat itself. Forces viewer to think of continuum and fraction of it. This suggested continuum imparts a dynamic quality to the statue that conveys a bursting forth of the energy seen confined in Michelangelo's David. -Possibly a self portrait of the artist as well -Can be viewed from all around, very dynamic - was originally placed in a garden and seen from one angle tho -Captured the emotion and expression of concentration in the details of the lips and face - Armor at his feet suggesting his rule as king, and a harp which was a common image of David

Boy Bitten by a Lizard - Caravaggio (ragazzo morso dal ramarro), 1595-96

-For Cardinal del Monte, According to Leonard J. Slatkes, -the painting's symbolism likely derives from the Apollo Sauroktonos theme in which a poisonous salamander triumphs over the god, while the arrangement of various fruits suggests The Four Temperaments, with the salamander being the symbol of fire in Caravaggio's time.

Angels of sant' andrea delle fratte, Bernini, 1670

-For Pope Clemente IX. One of the last works of Bernini. were found in his workshop after his death -varying textures in the cloud, wings, cloth and skin - one holds a crown of thorns, the other scroll with words?

Fiumi Fountain (Fontana dei Fiumi), Bernini, 1648-1651, Rome-Piazza Navona

-For Pope Innocent X whose family palace, the Palazzo Pamphili, faced onto the piazza as did the church of Sant'Agnese in Agone of which Innocent was the sponsor. -Plays with space on the bottom, bottom was sculpted ot look like natural rocks (not always that way) -The movement of the figures on the rock are very dramatic -features and obelisk that would have been brought over from egypt (prob by romans as a sign of victory)

Pieta, Annibale Carracci, 1600, Museo Capodiante-Naples

-Inspired by Michelangelo's Pieta which he probably saw in St. Peter's Basilica, depicts a very youthful Mary illustrating the purity of the virgin -Differs from early pietas which had more space and usually made the image of the cross with the positioning (this is a lot more compact) -Gazes link characters to the viewers-body and angel facing us -Possibly got similar blowback as Michelangelo did for depicting Mary as so young

The Calling of St. Matthew; Caravaggio, 1599-1600 (Vocazione di San Matteo), Rome-Capella Conturelli-San Luigi dei Francesi

-Jesus Christ recognized by only a touch of light on the halo- his face is lit, but his body covered in darkness. -3 figures at table (including Matthew) are looking up towards God/Jesus/the light) but 2 figures have heads down toward table. Have to search for St. Matthew, he's not prominently figured -All figures dressed in contemporary clothing (God is in all times). -The stark contrast of light and dark was a key feature of Caravaggio's style. -Here, Christ, cloaked in mysterious shadow and almost unseen, summons Levi the tax collector (Saint Matthew) to a higher calling. -Chair and sword create crisscrossing lines as does the diagonal line of shadow from Jesus to Matthew -placed a window with no light coming in to fill the empty space-better composition -some similarities with the "creation of adam" with outstretched hands

The Martyrdom of Saint Matthew, martirio di san matteo, Caravaggio, 1599-1600, Cappela Contarelli-Rome-San Luigi dei Francesi

-Lots of open space in the painting. -According to tradition, the saint was killed on the orders of the king of Ethiopia while celebrating Mass at the altar. The king lusted after his own niece, and had been rebuked by Matthew, for the girl was a nun, and therefore the bride of Christ. -Cardinal Contarelli, who had died several decades earlier, had laid down very explicitly what was to be shown: the saint being murdered by a soldier sent by the wicked king, some suitable architecture, and crowds of onlookers showing appropriate emotion. -Matthew wears traditional religious clothes and they are inside a church by the altar -Diagonal lines from the shoulders to center creates it's own special space -Caravaggio probably worked with live models and moved them around in a space with some artificial/natural light

Entombment, Caravaggio, Baroque, 1603ca, Rome-Vatican

-Made for the chapel of Pietro Vittrice at Santa Maria in Vallicella. -Dramatic lighting- bright colors, feet jutting out towards viewer and sort of towards the altar. Plebian figure types. -Gave visual form to the doctrine of transubstantiation. -The jutting painted stone slab makes it seem as if Christ's body will be laid on the actual altar of the chapel. This serves to give visual form to the doctrine of transubstantiation (the transformation of the Eucharistic bread and wine into the body and blood of Christ)—a doctrine central to Catholicism that Protestants rejected. By depicting Christ's body as though it were physically present during the Mass, Caravaggio visually articulated an abstract theological precept. -Gives off the feel of a real funeral with people lamenting and crying -Under the tomb is a new plant life growing suggesting that Jesus's sacrifice will bring new life -Could be drawing from past pietas although it differs quite a lot

Young man with basket of fruit, Caravaggio, 1593-94 (Giovane con canestro), Roma-Galleria Borghese

-Nothing in the background. Strong contrast of light and dark in subject's white clothing- symbolic of purity. -The analysis indicates that Caravaggio is being realistic. By capturing only what was in the fruit basket, he idealizes neither their ripeness nor their arrangement—yet almost miraculously, we are still drawn in to look at it, for the viewer it is very much a beautiful and exquisite subject. -Lots of attention to the natural still life and details - The fruit allows you to enter into the stage with the depth

canestro di frutta, caravaggio, (basket of fruits), 1599 ca, Milano- Pinacoteca

-Observation of the natural, but the fruit itself isn't perfect (has blemishes) - made for cardinal Borromeo(helped with council of Trent) - artists had to work for the religion and find Christ even in the everyday - technically this is a scene of the every day object shadow at the bottom of the basket suggests depth -strange that he spent so much time and materials on something that isn't for religion

Facade of Santa Susanna, Carlo Maderno (1556-1629), 1597-1603, Rome

-One of the earliest manifestations of Baroque spirit, rhythm of columns and pilasters mounts dramatically toward emphatically stressed vertical axis. -Resembles Giacomo della Porta Il Gesu. Scroll buttresses- narrow and set art sharper angle, connect 2 levels (newer idea brought about during counter-reformation) -Elimination of an arch framing the pediment over the doorway. Recessed niches, contain statues, create pockets of shadow. -Artist grew up studying Michelangelo -Can see more movement in the layers and surface depth

Abduction of the sabine women, Jean da Bologna (Giambologna)(1529-1600); 1583, Loggia dei Lanzi, Florence

-One of the first true Baroque sculptures - Displays a baroque interest in full movement depictions. Goal was to achieve a dynamic spiral figure composition, movement and weird positions -Giovanni didn't care about the subject, created the group as a demonstration piece. Based on Roman history when Rome needed women so they stole them from a nearby village - Differs from Ren. art which had one pov instead of multiple

Flight Into Egypt, Annibale Carracci, 1603-1604, Galleria Doria Pamphili, Rome

-Open landscape, in contrast with tradition, uses trees as frame and zig-zag pattern. -Carracci's landscapes idealize antiquity and the idyllic life. Here, the pastoral setting takes precedence over the narrative of Mary, the Christ Child, and Saint Joseph wending their way slowly to Egypt (the characters are no longer the emphasis) -In contrast to many Renaissance artists, he did not create the sense of deep space by employing linear perspective but rather by varying light and shadow to suggest expansive atmosphere. -The countryside resembles that outside of Rome w/ Egypt in the distance (building similar to Pantheon) -Carracci had been sick in a hospital and this was his comeback painting

Madonna dei Pellegrini, 1604, Caravaggio, Rome-Sant'agostino

-Pilgrims are depicted, who worked and had dirty feet from walking all over Rome - Bernini's fountains were meant to wash your feet in -feet are again near the altar-probably not something they were happy about -Symbol of Mary is that of a simple mother although she is in a strange position as if poised to fly (like Holy house -She also stands in front of a roman house-signifying the Holy house moving to Loreto

Tomb of Pope Urban VIII, Bernini, 1627-1647, Rome - St. Peter's Basilica

-Pope Urban VIII continued the construction of San Pietro begun by Pope Julius II. -Angel of death in the middle of sculpture, under the pope, writing the Pope's name. -The Tomb of Urban VIII emphasized the pictorial aspects by employing a broad range of materials. -The luminous effect of the bronze used to cast the figure of the pope and the sarcophagus surmounted by the image of Death recall the virtuosity of the Baldacchino columns. -The design and colour of the gleaming marble surfaces that decorate the niches are reminiscent of those used in the crossing in St Peter's. It is almost as if in designing the pope's tomb, Bernini was concerned to point out the main contributions that Urban had made to St Peter's. - white angels and bronze tomb contrast each other sharply -Lot more romanticism? than baroque (with skeleton angel)

Crucifixion of St. Peter, Caravaggio, 1601 (crocifissione di san pietro), Rome-Santa Maria del Popolo- Capella Cerasi

-Strong diagonals leading toward painful expression of St. Peter. -The most striking feature of the painting is its pronounced realism: the saint is "very much the poor fisherman from Bethsaida, and the executioners, their hands heavily veined and reddened, their feet dusty, are toiling workmen". -This was the beginning of a new phase in Caravaggio's art where he concentrated on the Christian ethos of humility and salvation through suffering. -Feet are near the altar again as well as the backside of the laborer, can see their muscles and the effort it takes -There is a stone in the foreground harkening back to Peter being the foundation stone of the church

Vocazione di S. Matthew, Caravaggio, 1602, Capella conarelli-Rome-San Luigi dei francesi

-Symbol of St. Matthew is the angel. Matthew was a tax collector, not a scholar - in this one he appears more as a scholar than in the first one -Matthew's foot is jutting out to the viewer but are slightly more hidden but still barefoot -This was the second image of st. Matthew he painted, the first (St. Matthew and Angel) was rejected because his feet were so prominent and would be right near the altar, that one was destroyed in WWII, only pictures of it survive now -dressed in red which is a usually royal/important color -in conversation with the angel as he writes sort of showing the writing of the scripture

Supper at Emmaus, Caravaggio, 1600 ca, London-National Gallery

-The painting depicts the moment when the resurrected but incognito Jesus, reveals himself to two of his disciples. -The painting is unusual for the life-sized figures, the dark and blank background. -The table lays out a still-life meal. Like the world these apostles knew, the basket of food teeters perilously over the edge. -Lots of action and movement as Jesus blesses the bread and the apostles move -Creates a 3d space with the man's outstretched arms and Jesus's arms - Shadow on the wall draws a diagonal similar to the calling of St. Matthew

Francesco Borromini, San Carlo alle Quattro Fontane (view into dome) 1665-1667, Rome

-The plan of San Carlo is a hybrid of a Greek cross and an oval. The side walls pulsate in a way that reverses the facade's movement. -The molded, dramatically lit space appears to flow from entrance to altar. -In place of a traditional round dome, Borromini capped the interior of San Carlo with a deeply coffered oval dome that seems to float on the light entering through windows hidden in its base. -used longitudal line to make the weird convexes(?) -only light comes from the dome

David with the Head of Goliath, Caravaggio, 1610 (david con la testa di golia), Rome-Borghese Gallery

-The young Caravaggio (his own little Caravaggio) wistfully holds the head of the adult Caravaggio. -The wild and riotous behavior of the young Caravaggio essentially had destroyed his life as a mature adult, and he reflects with a familiar hermeticism on his own condition in a painting of a related religious subject. -Was one of the last pieces by him found in his luggage after his death -Possibly suggested that it was talking about the artists past fights and he was simply defending himself

Judith Beheading Holofernes, Caravaggio (Giuditta Oloferne) 1597-1600, Rome-Galleria Nazional Arte Antica

-Theatrical, imbalanced composition. -The widow Judith first charms the Syrian general Holofernes, then decapitates him in his tent. Captures Judith's psychological ambivalence. -Judith is in white(purity) which draws emphasis to her against the dark background (color red is also there, color of the popes) - Holofernes is the center of attention, the sword draws a line with the eye -Stoic face of judith stands in contrast to the hag next to her (youth vs age) - Shows the actual act of cutting off the head vs the aftermath like the presentation of the head of John the Baptist

Conversion of St. Paul, Caravaggio, Baroque, 1601, Rome-capella Cerasi-Santa Maria del Popolo

-Typical Roman dress on bottom figure under the horse. "Horse avoids stepping on Paul through divine intervention". -Caravaggio used perspective, chiaroscuro, and dramatic lighting to bring viewers into this painting's space and action, almost as if they were participants in Saint Paul's conversion to Christianity. -The dramatic spotlight shining down upon the fallen Paul is the light of divine revelation converting him to Christianity. -diagonal lines of his arms cut through the space and draw emphasis to his face -This is also the second painting, first one was rejected - Very big important scenes like this weren't made to be, if you didn't know the title or subject you would assume it was just a guy that had fallen off a horse(everyday life sort of thing)

Annibale Carracci, Loves of the Gods, Palazzo Farnese gallery, Rome, 1597-1601, fresco, 60x20ft

-Was painted for the wedding of the Pope's nephew's wedding (Cardinal Odoarde Farnese?) - assisted by his cousin Ludovico Carracci and brother Agostino Carracci -Modeled after sistine chapel but differs because it's not a church - gallery is meant to be walked through from one direction to other -transferred frame painting = "quadro riportato", and some blue sky like Sistine - On the shallow curved vault of this gallery in the Palazzo Farnese, Carracci arranged the mythological scenes in a quadro riportato format—a fresco resembling easel paintings on a wall. -Has lots of depth including a foreground and background around the frames

Gian Lorenzo Bernini (1598-1680)

-an artist who changed the face of Rome and throughout italy -born in naples, worked with his father who was also an artist -was a painter, sculptor, and architect

Madonna and Child with St. Anne, (madonna dei palafrenieri), Caravaggio, 1606, Rome-Borghese Gallery

-was for St. Peter's Basilica but the cardinal refused the painting -Atypical representation of the Virgin for its time, and must have been shocking to some contemporary viewers. -The allegory, at its core, is simple. The Virgin with the aid of her son, whom she holds, tramples on a serpent, the emblem of evil or original sin - fixing Adam and Eve's mess up together -Saint Anne, whom the painting is intended to honor, is a wrinkled old grandmother, witnessing the event. -Flimsy halos crown the upright; the snake recoils in anti-halos. -Both Mary and Jesus are barefoot; Jesus is a fully naked uncircumcised child. All else is mainly shadow, and the figures gain monumentality in the light. -Council of Trent made Mary a central figure in the Counter-Reformation (she isn't super important to the Protestants)

Mannersim

An artistic movement that emerged in Italy in the 1520s and 1530s; it marked the end of the Renaissance by breaking down the principles of balance, harmony, and moderation. Among the features most closely associated with Mannerism is artifice. Of course, all art involves artifice, in the sense that art is not "natural"—it is a representation of a scene or idea. But many artists, including High Renaissance painters such as Leonardo and Raphael, chose to conceal that artifice by using such devices as perspective and shading to make their art look natural. In contrast, Mannerist painters consciously revealed the constructed nature of their art. In other words, Renaissance artists generally strove to create art that appeared natural, whereas Mannerist artists were less inclined to disguise the contrived nature of art production. This is why artifice is a central feature of discussions about Mannerism, and why Mannerist works can seem, appropriately, "mannered." The conscious display of artifice in Mannerism often reveals itself in imbalanced compositions and unusual complexities, both visual and conceptual. Ambiguous space, departures from expected conventions, and unique presentations of traditional themes also surface frequently in Mannerist art.

Baroque

Describes the distinctive new style that emerged during the 17th century—a style of complexity and drama seen especially in Italian art of this period. Whereas Renaissance artists reveled in the precise, orderly rationality of classical models, Baroque artists embraced dynamism, theatricality, and elaborate ornamentation, all used to spectacular effect, often on a grandiose scale.

Girogio Vasari (1511-1574)

Father of Modern Art History - Wrote about the lives of the greatest Italian artists from Cimabue til today (1550, second edition 1588), put portraits of each artists in there too -Was an artist and architect too

Fresco

Painting applied directly to wet plaster on wall using specific technique involving humidity. Means "full of water"- humidity allows paint to be absorbed, not all colors can be used

History of Baroque

With the Church in Rome as the leading art patron in 17th-century Italy, the aim of much of Italian Baroque art was to restore Catholicism's predominance and centrality. The Council of Trent, one 16th-century Counter-Reformation initiative, firmly resisted Protestant objections to using images in religious worship, insisting on their necessity for teaching the laity. Baroque art in Italy was therefore often overtly didactic.