baroque art second half

when did spain give up rule of spain in the netherlands and allow for the dutch republic?

1650s: zurbaran shifts in style, tries to comete w/much more venetian style, like murillo. aiming to match zurburan, but still hard: solid, less vaporous and elegant, never recovers monumentality.

queen mariana of austria

1652, velazquez

infanta margarita teresa

1653-54, velazquez

philip iv

1654, velazquez

equestrian statue of constantine

1654-70 bernini

lamentation over the dead christ

1624-26

st theresa of avila

1625, fernandez

the head of saint john the baptist

1625, fernandez

still life with fruit and glassware

1626, juan van der hamen y leon

infante don carlos

1626, velazquez

siege of breda

1628, callot

archimedes

1630 ribera

the immaculate conception

1630, zurbaran

st casilda

1630-35, zurbaran

the martyrdom of saint bartolomew

1630s, ribera

infante baltasar carlos and a dwarf

1631, velazquez

king philip iv in brown and silver

1631, velazquez

st margaret of antioch

1631-32, zurbaran

philip iv at the hunt

1632-33, velazquez

st bruno (all white)

1632-35, pereira

still life

1633, zurbaran

st bruno

1634, montanes

baltasar carlos at the hunt

1634-35, velazquez

equestrian portrait of baltasar carlos

1634-35, velazquez

the surrender of breda, june 2nd 1625

1635, velazquez

pablo de valladolid

1637 velazquez

the prophet elijah

1638 ribera

calabacillas or don juan calabazas

1639, velazquez

the vision of brother andres salmon

1639, zurbaran

christ and mary in nazareth

1640, zurbaran

fountain of triton

1642-3, bernini

the toilet of venus (the rokeby venus)

1647-1651. velazquez

the annunciation

1650, zurbaran

scala regia, royal staircase (also a plan and drawing)

1654-70, bernini or 1663-6

habukkuk and the angel

1655-61, bernini

st peters and vatican palace

1656-67

the tapestry weavers or the fable of arachne

1657 velazquez

the immaculate conception of the escorial

1660-65, murillo

finis gloriae mundi

1670-72 valdes leal

in ictu oculi

1670-72, valdes leal

paradox: explain.

17th century for paradox. paradoxical encomium: praise of the unpraiseworthy. literary expression of opposite meanings, ironic, praise of folly is an example. praise of the flea, etc. unworthy somehow is worthy. could lend to popularity of works: nobility in humility? could be conversation pieces, intensity of his figures.

cortona ss. Martina e Luca

2 EC martyrs. in an excavation they found EC remains, Barbarini wanted to rebuilt: cult of EC saints, asserting ancientness of rome. adjacent to roman forums: pregnant reminder of ancientness and the continuity of the juxtaposition. two parts of facade are one width: not common but precedented. masses pilasters at outer ends, central bay bows out a bit forward: very different impact of massive elements, pressure from interior is pushing them out. very expressive. 3d and solid, casts shadow, catches light, central bay has symbolic vs figural ornament, i.e. martyrs palms vs people, treatment of orders is unusual, invents a non standard ionic. dome is also unusual: shape is odd at base, highly expressive treatment of classical form, opulent, rich, barberini bee under urban 8th barbarini

sleeping diana?

GET NOTES

triumph of bacchus???

GET NOTES.

tomb of alexander vii bernini

GET NOTES. kneeling in prayer, door beneath tomb has a skeleton rising from it as death, pushing drapery aside, time is up. even powerful dramatization. gentle laying of heavy marble. accompanied by charity and truth: charity was bare breasted at first but added drapery.

The Scalia Regia

GET NOTES. steps to Saint Peters from apartments? monumental. he narrowed it, makes it seem deeper and heightened. grandeur.

Rape of the Sabine Women

Giambologna 1582

the crucified christ at the expiration el cachorro

Gijon, 1682

st greg

a relic of st john the evangelist is pierced by st gregory and blood came out, efficacy of relics, reality and power. simple in its focus and concentration, clarity of its representation

cardinal laudivio

a very successful portrait creator. shows very minutia of detail, lifelike, vigor. tremendous amount of attention devoted to the fur garment wrapped around him, emphasis on the fringe. studying hair closely, attention to every wrinkle in the collar, fascinated by rendering these things. pronounced undercutting to create three dimensionality. emphasis on precision. striking comparison with bernini: plenty of detail in bernini. perhaps a death mask? lol: explains lack of expression. which one?

the gathering of manna

a work that he himself talked about, in a letter to french patron. what he was looking to do was to capture a large variety of ages of human beings and give theme each an action and emotion to express states of mind, variety of states of mind. starving israelites in the wilderness, encountering manna from heaven that sustained them. people who are starving, astonished, grateful, fighting, exalting. huge variety of emotions, physical types, all very carefully composed. triangle moving back to Moses and Aaron. thinking of it as a stage, structuring it, very composed. thoroughly intellectualized. used as an example in the french academy. art becomes more and more possible to read pictures. decorum, action/reaction. praising god, men fighting, astonished, carrying baskets with enthusiasm: meant to be read very carefully. each figure appropriate to his age/rank/station, each in proper proportion, each with appropriate expression, and provided with color that is appropriated to rank/status/clothing, etc. DECORUM!!!!! everything is appropriate to subject, sense of rationalizing approach, thinking about the nature of image making. clarity of presentation with successions of figures moving back to aaron and moses in a triangular apex. transmitted to french classicism. movement carried from figure to figure: raphael school of athens, made systematic. highly rationalized, controlled, and self conscious way of thinking about what a work is.

murilllo

absorbed titian/veronese. links with north italian tradition are important, spanish love venetian art. hazy, soft style.

goal of this clarifying/poussin characteristics?

achieving a moral impact on the viewer, aiming to move you but appeal to reason and to your understanding, not aiming to overwhelm you. moving to intrigue and appeal to sense of what is appropriate, how someone would behave in that situation, etc.

Alberti S. Maria Novella

adds scrolling to hide clear division of top and bottom, temple facade added on: combination of the old christian church form and classical structures. additive/planar: pronounced central line, flat and planar. progresses more into 16th century.

tomb of urban viii

adjacent to throne of St Peter in St Peter's Basilica. pontiff alive, blessing, in bronze. tilting behind him. figures in mourning, death as a skeleton with a funerary veil. placing a funerary plaque? (question). barbarini bee reappears.

goal of brun

aim of producing moral art that enlightens, that leads to virtue. leads to development of neoclassicism in 18th and 19th century

andrea pozzo, dome fresco in s ignazio in same church as previous

all foreshortened to be seen from below as though it were a nave with a cupola and a lantern. actually a quite shadow domical vault, shallow curve. play with illusion. pleases, delights, celebratory quality of so much of what we think of as high baroque art

prudence

allegory with mirror: looks all directions. temple of janus. grandiose celebration, allegorical figures are female in latin. grandeur, operatic gesture, billowing clothes, clouds, imagery moves/changes before eyes, protruding into our space. pope's power and barb family. space for gatherings and celebrations below.

nile (four rivers fountain)

bernini, 1648-51

rio de la plata (four rivers fountain)

bernini, 1648-51

daniel and the lion

bernini, 1655-57

st peter's, aerial view of church and piazza

bernini, 1656-67

saint peter's throne in basilica di san pietro (also a detail of saint augustine, ambrose, and athanius)

bernini, 1657-66

ponte sant'angelo (detail)

bernini, 1667-70

tomb of alexander vii

bernini, 1671-8

angels in sant'Andrea della fratte

bernini, 1688

angel with a crown of thorns

bernini, FIND DATE. 1688

lanfranco and guernico lead to

bernini, cortona, gaulli, pozzo

who decorated cornaro chapel? what's in it? discuss it.

bernini, ecstasy of st. theresa. urban died in 1644, chapel done 1645. innocent came to power, hated the barbarian family for lavish spending. bernini was out of favor, free to accept commissions: so he did. this was a commission from a venetian church family, personal family burial chapel. did the architecture, sculpture, painting, stained glass etc: full environment. st theresa was a spanish nun from a reformed carmelite order, had visions, early CR saint. canonization of reformation reformers. uses paradoxical language to describe mystical: sweetness vs intense pain, see them but don't see them. we get a vision of the vision.

cornaro chapel pavement with skeletons

bernini, gian lorenzo 1645-52

bust of scipione

bernini, the speaking likeness, caught in a split second of time. responding to somebody or something. instant of change or transformation** common in his work. mozzetta rendered with detail, buttons/folds of drapery: animation. textured hair vs skin: not an imitation but a suggestion. gunshot eyes suggest life and spark. would study sitter in sketches first and spent time with sitter, went right to work on stone. capturing in a split second of life. completed at first with a hidden flaw, then second: showmanship, revealed second after the first one was disappointing.

portrait of sun king

bernini. at versailles, the one time he left rome. interest in disguising the cut of the bust. sculpts marble to look like billowing cloak/cloth, masses of wig, add vitality. emulated alexander the great, depiction of staring off into distance,a far sighted leader. naturalism of hair, armor. elevated ideal presence. originally wanted it to be on a globe, supported by trophies of war: "too small the base": identified with the sun. sun as ruler as state, divine right, sanctity of kings. decorum/greatness like V's kings. meaning beyond appearance, heart authority of the monarch. **question: why not on globe?*

woman cooking eggs by v

bodegon, cooking for people. attentiveness to light on different materials, sense of texture and gleam, figures are precise and accurate, intensive observation of reality but funny tilt at the front: using another model of display of food/tools from antwerp/netherlands in 16th cen, peasant feast type from aeration. also related to comps derived from northern italy: campi, profusion of things in foreground lack of interaction between figures. mainly a demonstration of skill? not enough context, peculiar detachment in early works.

S Ivo della Sapienza

borromini. st ive's of wisdom, divine wisdom. church of the university of rome. at end of a courtyard, uses arcades on side on facade. 3 axes of symmetry inside, uneasy.** QUESTION bulging reflected in exterior, come to volutes, a stepped dome, a concave lantern, contracting of previous layers. uppermost spiral coming to a crown of flames and an open final with a globe and cross above it: puzzlement/possibility of metaphor for papal triple crown? holy spirit came through with tons of fire: could be an expression of wisdom, expressive. doesn't prepare to interior

the death of germanicus / rome career

breakthrough, made for barbarini. manifesto of his work. was an artist who who did not have kind of career or prominence that we are accustomed to from other artists in the course. not a courtier, he was a slow worker, was meditative, studious. lived with D for a while, studied classical antiquities with him. virtually no public commissions after one painting for st peters: painted primarily for private, not intended to be on view/for display, rather unusual for a painter who wanted to be history painting in a grand classicizing manner. artist who was looking to classicism as a vehicle for controlling and giving form to emotional intensity. seems to have felt like he needed controlled order that would give his passion meaning. how do you sustain passion? vehicle for doing this.

one final subject he was known for

images of witchcraft. witchcraft scene and the witch of endure. boschlike combination of creatures, a very different artist than anyone we've seen. real talent much more in direction of fantastic, bizarre, wild.

the resurrection

el greco, 1570s

juan de mesa jesus of great power

elaborate ornamentation of the float, juxtaposed with the hyperrealism of the figure. internal contradiction d/c it distances the figure from our world. realism vs ornament. similar in hernandez: christ in the garden of gethsemane. fernandez' i thirst. pasos as a means to reach common people: counter reformation, carried by laymen.

vincenza

elderly woman, wrinkles and marks, vigorous characterization, virtuosic treatment of the widow's hood. amazing degree of marble carving, extremely skilled.

st serapion 1628 by zurbaran

english monk. intensity of presence, front of frame: confronted by his deadness. he freed Christian slaves in exchange for his hostage, and then was disemboweled, hanged, and had his throat slit for good measure. however, in the image, there is not a sign of violence, simply religious intention and deep emotion. 3d rendering of folds, shadow. setting obliterated?** however, the cortellino in the corner appears to be on the surface, illusionist: embraces the flatness and contradicts it, making an iconic presence. **purpose of the cortellino? study in values of grey and white. turning physical into spiritual. swoop from hand to head echoed in cloth, verticals also bring compositional elements.

pentimenti

evidence of early work underneath the surface, "repented". paint goes transparent over time and reveals it

s. lorenzo by guarini interior

exterior does not prepare you for interior. full of 3d columns, vastly complex inner rooms, more than Borromini used. mathematical designs, columns indicate where it bulges forward, looking through screen into deeper spaces, unclassified. elaborate ornament, multicolored marble, different from borromini, cortona, and bernini: becomes difficult to break down and comprehend as a weight supporting structure: lends to rococo.

luisa roldan our lady of hope macarena

extreme detail, her tears are glass attached to face, heighten her presence. hyperreality

S Maria in Campitelli by Rainaldi exterior

facade has 32 columns, mass of columns and ornament, entablature at every level broken by vertical elements, subordinates columns to main bays. motivation for construction: houses image of mary c 524, said to have stopped plague in rome, but now shown to be 11th century.

tent of darius

famous painting of 17th cent. carried out teachings about nature of art and how it should be constructed in the work. used poussin's gathering of manna as a model for his lectures to the french academy and constructed this image in wake of the defeat of the persian emperor, came to the tent, where queen and daughters were staying. pic about his magnanimity, instead of raping/selling them into slavery, allowed them to keep their wealth, not a bloodthirsty way, genteel. famous for the wide range of emotion on part of the people varying with status of individuals/rank/age/class/type: much like gathering of manna. every individual face to be read in terms of response. alex as model of graciousness. queen mistook companion as alexander. expected to be killed on the spot, but he behaved with great graciousness. le burn carefully planned it out: french theorist described it. two actions apparent in his gestures: his compassion towards the princesses apparent in bearing and look in eye, open hand reveals clemency and mercy for court, other hand shows that the man is his favorite, etc. did not bend any further because at moment when he approached them, not a greek custom, also could not bend much from thigh injury from the last battle: so carefully planned and literal. thought thru in relation to text, complete rational control of the subject and its composition and the poses of every figure and their gestures and expressions and ages and clothing.... trying to get it all right. provides ideal model of comportment, and is about louis the 14th.

chapel of the most holy shroud guarini

famous relic housed here: shroud was the burial shroud of christ with an imprint on it of a man, tortured. adjacent to turin cathedral. dark lower zone, triangular support for dome (metaphor for trim), supportive dome formed in arches which build on arches below them. windows under arches rising into extraordinary dome, meant to be miraculous, extraordinary like the relic, suitable grandeur and mystery. exterior: not clarity, hard to sort out: shift away from baroque, clarity in others to a degree, hard to decipher despite geometry.

the dead christ (cristo yacente)

fernandez, 1610-1615 or 1625-30

ecce homo (behold the man)

fernandez, before 1621

most common images of murillo

immaculate conceptions, infant christs, young beggar children

how does bernini learn texture?

from his father: hair, brows, and skin all have textural difference.

describe velazquez early works

generally described as genre scenes, bodegon scenes: dive a low saloon, an eating house, etc. not a place for respectable ppl. type of part in spanish art in the 17th cen inspired partly by caravaggio's lowlife intense observation of reality lack of interaction among figures, ambiguity split composition: how the image is made

abbey church fischer

german rococo: they call it baroque but decisive shift in history. austere exterior, interior is an extravaganza. stucco, paint, etc. hard to see architectural elements, colored marble, gilt capitals on columns, decorate vs solid 3d weight bearing, disguise of architectural elements: where does wall end and vault begin? image of a mystical paradise, heaven on earth, totally unclassical with classical forms. classic seen in weight supports. pastel coloration, complex profusion, otherworldly vision.

ornament of pitti palace

gold and whit become a symbol of princely authority and state power. give lighter elegance: early manifestation that grows stronger into the 18th century.

hall of mirrors

gold leaf reflects light and gleams, mirror reflects light, also all furnishings were first polished silver to reflect light. all about idea of louis as the sun king.first structure with decorative use of mirrors to amplify reflection of light. not just for wealth and richness, but because he is a metaphor for rule of kingdom: understood to be like the sun, metaphor as king as sun: long standing history. sun with the kingdom revolving around him.

ludovico/early annibale leads to

lanfrano and guercino

question

how is caravaggio like ribalta?

landscape with a man killed by a snake

ideally beautiful, but tragic things happen regardless in this ideal world. using the classic landscape type that we saw annibale developing: large vertical element in wing, another large mass further back, something large to the center, views into depth via paths or streams leading you into depth, can be 1-3 avenues. construct is repeated again and again. version of the ideal classical landscape type is heroic: has a kind of grandeur.

new architecture

il gesse: counter reformation church, facade steps forward with pilasters, outermost bays set back. central is emphasized by two pediments, one is segmented.

fernandez dead christ

image of christ in the tomb, gave cristo yacente realism that is striking, eyes inlaid with glass, wood teeth, glass blood. meant to arouse empathy and evoke intense emotion. tactile realism. no attempt to hide his death, uses tree bark to make blood clots, tactile realism arouses viewer's devotion.

the surrender of breda is nicknamed

las lanzas

poussin landscapes

later in career

martyrdom of saint phillip by ribera

legs just above platform he'll be tortured on. low viewpoint emphasizes saint, like san gennaro. hoisting crossbar into place: speculations at time on how crucifixions happened. confronted by vulnerable body, 3d: very caravaggioesque depiction of pain., emphasized by texturing of paint: emphasized vulnerability. we are part of the onlookers, idea of confrontation with suffering. man is extraordinarily specific, individualized, model: many figures. amazing degree of specificity. sacred made tangible in paint. challenges you with evil and suffering.

the annunciation and immaculate conceptions by zurbaran vs murillo

less charming in comparison to murillo's pretty, vaporous mary. zurbaran is less elegant, trying hard to tie to venetian art but not succeeding. zurbaran doesn't adapt to changing trends. same for immaculate conceptions: ties to concept by reni. Murillo was taken to seville and it had a large impact, led to style.** QUESTION

boy with club foot by ribera

life sized beggar child, carries self with uncharacteristic jauntiness, crutch held as a gun would for a soldier on parade. full length portrait. used for kings, queens, noblemen, paradox: ennobling the unable. low viewpoint set by horizon line. monumentality to child with untreatable deformity, aplomb despite it. complete specificity, unbeautifuied by grand, composed like kings. lowly and humble as dignified: paradox.

fernandez the head of saint john the baptist

life sized, macabre, sculpture of him was supposed to have healing powers: healing power of relic/sculpture. no hiding his death: can see the gross internal structure.

mirrors

likes to play with levels of reality: mirrors can replicate or when reversed, vanish an image, playing with perception, reality, makes us self conscious of his control, very colore. **QUESTION**

self portrait

locates himself, frames himself in relationship with art. as a maker who visualizes and orders. looks over his shoulders: not a direct image, does not reveal himself, not confessions, very reserved/calculated

education of cosimo

looks sadly back at venus, as athena leads him to hercules. learned love, now strength. allegories for virtues of cosimo. very rubens. ornament is all stucco, portraits with complex ornament, part white, part gilt, extravagant visuality. in another ceiling they are accepted in the heavens and deified: shows power as king. reception into highest realms of myth and heaven

the angel with the nails

lucent after bernini, the nails used to attach christ to the cross.

st peter's interior

maderno 1616

the adoration of the magi

maino, 1610s

the adoration of the shepherds (m)

maino, 1610s

the martyrdom of st erasmus

major commission for altarpiece in st peters. legendary saint: not a real saint, martyred by having intestines wound onto a spool. roman priest demanding he sacrifice to the roman gods. stripped of bishop clothing. up to the minute baroque style: similar to burial of st petronilla by Guernica: crossing diagonals mounting up and tying together. BUT: striking because nobody is cut by picture frame. everybody is in the picture: interest in having full composition within the frame: very classicizing, striking trait. similar positioning to bologna's processes and martinian: produced at exact same time, caravaggist, although quite different. never received another public commission: misconception about his work, very few images in rome. commanded to paris by richileau and given commissions there too. retaining control.

poussin's early work v mature: early works

manera magnifica: magnificent manner, The Arcadian Shepherds is same subject. shepherds coming upon a tomb: Et in Arcadia Ego. up to reader to choose the verb and meaning. left version is peaceful, happy figures and river god in country coming upon a tomb, and the sentiment is that the message is that death exists even in this place of ideal happiness. i death exist even here, kind of a warning, characteristic of his stoicism. diagonals, movement reinforced by limbs, succession of heads, angles, trees.

magdalena ventura and her husband

ribera 1630s

san gennaro emerging from the fiery furnace

ribera 1640s

boy with a club foot

ribera 1642

the crucifixion

ribera, 1620s

the flaying of marsyas

ribera, 1637

the martyrdom of saint phillip

ribera, 1639

gaulli and pozzo lead to

rococo and romanticism

main altar of the church of the hospital of charity

roldan (sculpture) and juan de valdes leal (polychromy), 1670-73

retablo of seville, entombment of christ

roldan, 1670-73

our lady of hope macarena

roldan, 1690

sacchi

runs parallel; classicizing trend. artist who like most came out of the caracci in bologna, marked by controlled clarity, focus, simplicity, a lack of visionary intensity we associate with high baroque. visionary scenes?

domenichino and reni lead to

sac chi and poussin and algardi and duqeusnoy

the triumph of divine wisdom

sac chi in separate room, cornice with fresco vault. reference to reign of pope urban the 8th, period of the triumph of divine providence. foreshortened to be seen from below. circle becomes elongates from wrong angle .not quite a quadraripotrtato but not highly dramatized. a very different representation of an allegory: triumph of divine providence: sheer profusion of figures. sacchis are spread apart, smaller, more space in pictorial field. more dynamic sense of movement in cortona. much more contained in sac chi. giants tumblr into our space in cortona is containsd by the frame of the cornice. concentration of meaning in entire ceiling.much more simplified, lacking energy, much more uniform light effect vs shadow to animate, bursting into our space. sac chi its safety removed from us.

st casilda by zurbaran

saint who took food to christian prisoners. food was hidden in her dress, but when she was caught, they turned to harmless flowers instead. 3d on the top, 3/4 view. bottom is brocade that flattens into pic. monumental figure portrait. intense expression. 3d of saint, but odd flattening. spatial qualities of zurbaran.

how is cortona tied to venetian art?

they accompanied painting with ornamentation around painting: all gilt on wood, no stucco or fresco, too high a water table. suitable to climate of region.

how does architecture shift from the renaissance into the baroque? describe a facade as an example.

think as a counter to figurative art. christian churches are often in basilican form, tall, narrow, knave with aisles. how do we combine classical form into it? result: putting temple facades on the front of a facade, facade now seen as additive and planar: Alberti. there is a pronounced central line, clearly demarcated. develops more into the 16th century.

rocky landscapes with warriors and hunters

this kind of wild landscape was not highly valued in artistic theory of the time, saw history as most important, depictions from history/religion/myth, what was myth. would paint these subjects for markets. doesn't have same energy.

spanish sculpture

tied to polychrome wood sculpture, painted in life colors, very vivid, very spanish in the 16th and 17th centuries. characteristic of all europe but destroyed in most other places in reformation because it was seen as idolatry. in spain, the development of wood sculpture is now more realistic, less gold, hallucinatory reality, carved to suggest being caught in the moment. made for churches, to be lit to have a larger presence. level of painting along with sculpture: some painters supplied the paint and others painted the sculptures themselves. realist comp running through spanish, italian, flemish art: hals, caravaggio, bernini, carracci. taken to an extreme of verism and particularity, paint dialogue with sculptural medium

Velazquez Immaculate conception

ties to Zurburan. realism despite visionary subjects (individual faces), visionary narrative, betters version by pachecho. **QUESTION**.

compare and contrast equestrian

ties to titian/evocation of earlier time when spain was in less precarious state?? Titian's Charles V at Battle of Muhlberg vs Equestrian Portrait linking Balthazar and Phillip with great history, identifying with predecessor. equestrian as an image type: man who can control animal / kingdom/ worldly things. comes out of Renaissance ROME

describe the physical characteristics of ecstasy of saint theresa

tilting of columns: buckle open so we can look in, as if bursting out before us. light from stain glass window above, wood gilt rays, light chimney added, fresco painting designed by bernini, overlaps architecture and sculptural forms, illusionistic and theatrical. deceased family members discuss what they see in boxes, illusionistic, adds to theatrical, extreme tangibility. saint theresa seems in orgasm: controversial to us but at the time they explain it erotically, long tradition of sexuality as a metaphor for divine experience. out of body and beyond. striking drapery with life of its own, hard to sort out drapery, body annihilated by sheer mass and movement of visual drapery, visual form to her text: imagery of fire, "all on fire", covered in swirling drapery. floor is inlaid with skeletons rising from tombs and responding with astonishment: goal of every christian is the vision of god and salvation.

rape of europa

titian 1559

what titian piece does velazquez remind us of

titian's bacchanal of the andrians

bacchanal

titian, 1518

venus of urbino

titian, 1538

venus with the mirror

titian, 1555

nymph and shepherd

titian, 1570-1575

general ribera

trained under ribalta in spain, traveled to italy, familiar with rent's crucifixion, settled in naples. grooves/textural paint as vehicle for emotion expression paradoxes more realistic, responding to caravaggio, extending ideas known for martyrs, saints, spiritual anxiety, and pain. elderly martyr saints and sinews, muscle, bone. shift in style to lighter backgrounds in 1630s

unity of focus

treatment of space, subordinating v additive

1630s to mid 1630s

treatments of subjects that have a poignancy in treatment of mythical subjects, very venetian in feeling and mood. diana and endymion: shepherd that diana fell in love with and slept with, she gave him a choice: he could die on the spot or live eternally but always be asleep: a loss either way. very allegorical: dawn pulls back the curtain of night. chariot of the sun and dawn rising up through the sky. learned, intellectual allegorical setting as a place for depicting this encounter between the divine and the human. ultimately tragic, despite beauty. not a happy ending. goes through his work. even treatment of mythology points to the imperfect, sadness, melancholy.

examples of venetian art with painted wood

triumph of mordecai, the sala dei maggior consiglio

mary and christ morales

type from netherlandish tradition (massys), holy family. these works sent into spain as a market. morales responded to the type. it was also in northern italy (luini: who used smoky, hazy, sfumato, sweetly melancholy, etc, follower of leo)

previous architecture

units, seen as additive, Wolfflin: renaissance. elements between columns of bay, units separated by entablature/string course, assembly of UNITS.

old st. peter's. conjectural reconstruction

unknown

piazza st. pietro plan

unknown

morales aka

el divino

the baptism of christ

el greco 1590s-1600s

the adoration of the shepherds

el greco 1610s

the holy trinity, or the throne of grace

el greco, 1570s

jesus of the passion, good friday position

1619, montanes

waterseller of seville

1619-20, velazquez

jesus of great power

1620, juan de mesa

drunken silenus

1620s, ribera

beggar with a stick, from the beggars

1622, callot

from I Gobbi (The Hunchback), etching (3)

1622, jaques callot

luis de gongora

1622, velazquez

GET CORRECT DATE FOR DEAD CHRIST

!!

magdalena ventura and her husband by ribera

**GET NOTES: question. marvelousness, manifestation of the power of god. woman with facial hair. physical condition that gives a masculine facial feature

main altar of the church of hospitality and charity

**QUESTION: GET NOTES. roldan and valdez leal: roldan does the sculpture and leal does the polychrome.solomic columns, twisted. tying church to st peters in rome. gilt becomes elaborate, distances further from people. entombment at the center done by valdez leal: major painter who supplied color. becomes immense architecture and decorative. had to assert institutional framework in power: seen in elaborate columns. figures diminish in comparison to framework

arnolfini portrait and v

1434, mirror on back wall depicts what is in front of the picture, would be in the royal collection of the king of spain (which V curated at a time). image about the power of painting, seeing what the others saw, he is responsible for the picture. probably in process of making L.M., unresolved.

the nailing of christ to the cross

1580s, ribalta

still life (earlier)

1602, juan sanchez cotan

christ of clemency

1603, montanes

st jerome in penitence from san isidro del campo

1609-13, montanes

entry to completed basilica

1612????? HELP QUESTION. little interest in symmetry.

i thirst

1613, fernandez

main altarpiece, san miguel, jerez de frontera

1617, montanes

three men at a meal

1617-18 velazquez

what are the major characteristics of baroque architecture?

1. unity of focus 2. 3 dimensionality/plasticity, solid 3. exploitation of light and space as expressive vehicles 4. no sense of less is more, more is more: multiplicity/copiousness 5. architecture is experimental and expressive 6. tendency to treat buildings as a whole** not rlly one

old woman frying eggs

1618 velazquez

kitchen scene with christ in the house of martha and mary

1618, velazquez

standard philip iv pose

3/4 pose, at ease, one hand at side, other on desk or holding something. funny facial features from interbreeding/marrying in habsburgs (prognathous chin, large lower lip, some couldn't chew, mental problems, weakness, etc). simple surroundings, no significant settings: shadows create space without bold perspective: association with hapsburgs. presence is strong but not easy, he isn't welcoming: figure of awe who is hard to access. he is sober, straightforward, and often in all black: how he presented himself to public. unmoving presence beyond ordinary conception, as a world power, emphasizing divine right. often elongates his standing position too (9 heads tall, any taller is odd). pose is a result of face. height and elegance add grandeur to the royal/monarch.

cosimo primo

3d stucco vs illusion and frescos. white and gilt, gleaming brilliance frames paintings. chamber of venus: all foreshortened to be seen from below, but a displaced picture. each room has a theme for the virtues of cosimo di medici.

st margaret of antioch by zurbaran

ASK FOR NOTES!!! QUESTION **** contemporary costume?

Allegory of Astronomy. Full frontal view.

Allegory of Astronomy. Full frontal view. Giovanni Bologna ca. 1573

Apollo (Apollo Belvedere)

Apollo (Apollo Belvedere) Leochares c. 130 - 140 CE Roman copy of a Greek ...

trends coming out of ludo?

BOTH CLASSICIZING. just wifi idea of how: dynamic or controlled/ordered

Baldacchino, general view fr. ESE

Baldacchino, general view fr. ESE Bernini, Gian Lorenzo 1624-33

Belvedere Torso

Belvedere Torso Apollonius Copy of original dated c. 150 BCE

Tomb of Giovanni Battista Santoni

Bernini 1611-1612 ca

Pluto and Proserpina

Bernini 1621-22

Apollo and Daphne; full view;

Bernini 1622-1625

Borghese Warrior (aka Borghese Gladiator)

Borghese Warrior (aka Borghese Gladiator) original, 3rd-1st century BCE; copy, c. 200 CE

Bust of Cardinal Scipione second version: ...

Bust of Cardinal Scipione second version: ... Bernini, Gian Lorenzo, 1598-1680 1632

Bust of Louis XIV

Bust of Louis XIV Bernini, Gian Lorenzo 1665

interior of s ivo della sapienza

C > opposites: convex and concave unity. feels contradictory, sculptural. all white unity, linked by entablature, look up and see unity. as dom rises, picks up form of curative of wall but evens out as you rise to center, divergence at the lantern. resolves in a circle at center. multiplicity of something associated with earth: dark, light and dove from dark below emerge in lantern: wisdom, true to name. complexity into unity, circle understood as god.

chiesa nuova by cortona

CHIESA NUOVA : apse has image of assumption of virgins, god and christ waiting in dome, ascending through space, using entire environment, engaging space and inhabitants. gold, gilt, energy, dynamism.

Cardinal Scipione Borghese

Cardinal Scipione Borghese Gian Lorenzo Bernini 1632

building of saint peters

Carlo Maderno (Italian architect, ca. 1556 - 1629); Donato Bramante (Italian architect, 1444-1514); Michelangelo Buonarroti (Italian architect, 1475-1564); Pirro Ligorio (Italian architect, ca.1500-1583). 1506-1616

Costanza Bonarelli

Costanza Bonarelli Gian Lorenzo Bernini 1635

David

David Gian Lorenzo Bernini 1623-24

David (earlier)

David Michelangelo Buonarroti 1501-1504

calabazas by velazquez

Don gourd, basically: blockhead, dense. treated with directness and sympathy.

how does still life come into spain?

FROM THE NETHERLANDS. spanish territory at time. spanish strip down profusions of food objects to austere, small parts and omit peasant figures. also italian: campi ALSO FROM FLEMISH TRADITION: PEETERS

danube (four rivers fountain)

bernini, 1648-51

four rivers fountain

bernini, 1648-51

comp with David by M

M is less defined moment vs a specific instant. planar v non.

four rivers fountain (ganges)

bernini, 1648-51

Santa Maria della Vittoria

Moderno, 1608-20

ecstasy of saint theresa

bernini, 1645-52

Polyphemus Attacking Acis and Galatea

Polyphemus Attacking Acis and Galatea Annibale Carracci c. 1596-1597

Triton Fountain

Rome. Comes from an Ovid passage about Triton blowing his shell. Mythic sea creatures, perhaps dolphins, holding scallop shells. energy, mythology. water adds motion, energy. royal crown and keys of peter are shown:: always harnesses the barbarini family. **CHECK NOTES WITH SOMEONE ELSE** fountains originate in gardens, brought into city. a myth come to life

what happens in 1628-29 to Velazquez?

Rubens was in Spanish Court Court as some sort of Diplomat between Spain, England and the Dutch Republic. Talked to V. encouraged him to go to Italy to copy Venetian Art, decides to go in 1630

St. Bibiana

St. Bibiana Bernini, Gian Lorenzo 1624-26

Saint Longinus

St. Longinus Bernini, Gian Lorenzo 1629-38

federico and other cornaro cardinals

bernini, 1645-52

where does paint and wood develop even further?

VERSAILLES. thematic rooms, gilt and white stucco and marble and mirrors. amplified beyond cortona, vocal of authority passed on. also in CHIESA NUOVA : apse has image of assumption of virgins, god and christ waiting in dome, ascending through space, using entire environment, engaging space

Innocent x

a little monkey-like, but with great intensity. titian model of the pope, way to link to greatly admired past. x was so impressed he said it was too real. painted in a lot of rose and white, tour de force of painting, variety of paint touch, extraordinary energy / dynamism, power of suggestion in painting

san gennaro emerging from the fiery furnace ribera

altarpiece. was the patron of naples, saint januarius. condemned to death by a roasting pit. emerged unscathed, tormentors killed by the intensity of heat when he left. sharp division of saint vs howling men: sets up dynamic tension, men cower from the roasting pit. 11 ft tall, highly dramatized. prefers small groups of figures, low viewpoint, emphasizes saint.

zacharius

an angel appears to him to give him nudes that his wife will be with child.struck dumb. minimal movement and action although confrontation, minimal face shown but am image that is extremely still. different way of conveying holy power. simple composition.

apple represents (infante baltazar and a dwarf)

an orb as royal power. **QUESTION**

democritus in meditation

ancient greek philosopher in meditation. in remove crevice in mountains surrounded by manifestations of death and decay. ruined antiquities. everything has to do with the transience, lack of continuity of figure, decidedly melancholic, sunk. contemplating the ultimate end of all human achievement.

adoration of the shepherds by ribera

angel in the background is a vertical element, crossing axes, triangle of mary and crib, rather specific, highly individual shepherds. contemporary clothing and conventional mary and joseph. idea of the sacred coming to these poor people, striking juxtaposition: the sacred among the poor. finding ultimate reality in christianity

hermes angels on quattro

arc around the patron of the church

3d

arch elements become sculptural in quality, plastic, 3d modeled character vs flat.

archimedes and philosopher

archimedes is beggar-esque in rags, philosopher is probably democritus. both surrounded by objects of learning. archimedes is wild, madness: what is the purpose? both are half length. knowledge despite their knowledge/age. SENSE OF PARADOX THAT PERMEATES THE 17TH CENTURY

le brun: ten tof darius and entry of alexander the great into bab

artist who worked with poussin in rome in the 1640s, a very important figure for bringing style of poussin/codified it into french academy. major painter at the court of louis the 14th, sun king who dominated second half of 17th century in france. grandiose images with themes of alexander the great. model for career of louis the 14th, classical past as a vehicle for characterizing and validating behavior of people in 17th cent

bernini: 1647-9

assembles an army of artisans and sculptors to decorate interior: before urban comes into power. he designed it, had 39 sculptures just for the revetment: lots of medallions, over 100 doves, pompilli coat of arms (question). the entire thing was done on time, skill of organizing of bernini. 700 feet long, longer than two football fields.

golden stars in divine wisdom

astrological allegory: reign of urban the 8th: layers of meaning

bedchamber

at center of palace. rose and set every day with elaborate court ceremony. everything in the structure focuses on him

fråga philip

at scene of successful battle/seige, blurring of fabric characteristic

gijon the crucified christ, the expiring of christ

at the instant christ dies, dark glaze over eyes after death, cloth feels activated; netherlandish? wind lifts cloth but also christ, emphasizes the passing of his spirit. expressive energy

what is the story behind las hilanderas?

athena and arachne had a weaving contest

athena

athena destroys the giants, allegory of conquering protestantism. force breaks the architecture. figures on verge of coming into space, vividly lit.

the holy family with saint ann and saint catherine by ribera

austere monumental works. tenderness. mary and christ are specific, insistent individual. composition marked by vertical elements with crossing Xs. showing favorable reni? CONCENTRATION OF FOCUS IN MIDCENTURY OF BAROQUE ART.

landscape with st john on patmos

author of book of revelations, while in exile, creates book of revelations. figure is rather small, in a sunlight med landscape full of ruin. experience of revelation, but not a visionary experience with disaster and apocalypse and visionary experiences, instead what we have is a contemplation in midst of a world that is beautiful but at same time, falling into ruin. works of humans exhibiting clarity and order but also decaying and falling apart. road passion over arched bridge; become one with a nature again. sustained divine order in nature: we can participate, but in the end, time wears all things away. for contemplation and reflection. about the nature of a divine order.

the vision of constantine the great

beginning of Roman Christianity, took advantage of sight until he accepted it. dramatic, energized, diagonal. set aside? GET NOTES

ecce homo by fernandez

behold the man. could belong to a larger group. behold the man was said by pontius pilate. realized in nude, dressed. marks of suffering graphically rendered, meant to arouse sympathy, identification. seems physical, tactile, hyperrealistic to evoke. tactile realism

st andrew

bernini liked D, gave him a sculpture in st peters in crossing. got the figure of saint andrew. very similar to bernini's. speculated that bernini provided generalized models for the figures, unclear. L: concetto of moment when he says truly this is the son of god, has just pierced side. A: much more generalized treatment of saint, no narrative precision, difference. also different reaction of clothing again. st andrew's cross....... lol

cool thing besides just sculpture he did?

bernini was gifted with fountains. taking advantage of sites was his forte

chigi chapel

bernini, 1513-16

baldacchino

bernini, 1624-33

monument to urban viii

bernini, 1627-47

death and inscription on urban viii

bernini, 1628-31

cornaro cardinals & doge giovanni

bernini, 1645-52

cornaro chapel (look at vault decor too)

bernini, 1645-52

death of G

breakthrough, one of first successful works. traits of his art: composition is derived from ancient art. working in a very planar style, all of the motion is back and forth across the picture plane: roman sarcophagi death of meleagar style. G was adoptive son of emperor tiberius, grandson of caesar augustus, very successful general, handsome, good-looking, popular. aroused jealousy of tiberius. suddenly died: rumored that Tiberius ordered him to be killed. what we see is his final meeting with his roman officers, wife, and children. death bed scene. absolutely quinn. death bed scene, impacts painting for hundreds of years to come. partly derived from sarcophagus: taking over pose types. however, different from roman because composed like a stage: arranged figures on that stage. doing in relation to architecture: major arch elements coincide with major figures. also a recession coinciding with the deathbed. manipulating figures on a stage. carefully calculated and controlled in relationship to surface (compact but varied group) each figure exhibits a different kind of emotion. hand up: vowing revenge. image about loyalty, persistence, courage, revenge, death: motifs that run through poussin.

war room

brilliantly decorated interiors, richness and splendor. high baroque of cortona brought to an even fuller pitch. gleaming gold leaf, polished marble, white stucco: vocab from cortona and princely magnificence developed by venetians but expanded on by cortona. everything focused on king

high baroque

builds upon earlier baroque art, dynamism, splendor, heroic scaled human bodies, light and dark, space, illusionism. coincides with pope urban the 8th. power of the church, pleasure of belonging to the church of rome, not austere: exuberant triumphalism.

s lorenzo DOME

built up with ribs, not gothic or classical, pushing classic into unclassical direction. windows in the crossings, untraditional geometric forms to omit light. sculpture. subsidiary dome over the altar: crossing ribs again, medieval and classicalish, elaborate.

how does ribalta shift in the 1610s? overall?

bulky, 3d figures, more space filled, 3d, solid. start: harsh insistent realism that becomes the hallmark of spanish art shifts to bulky 3d figures that are more solid intensity of religious fervor taking on physical engagement hyperrealism

Ss Vincenzo ed Anastasio by Longhi the Younger

by the Trevi fountain, mass of columns, incredibly 3d and robust. beyond s. susanna. structured by columns, three distinct pediments that step forward to emphasize a central pediment and bay. idea of massing multiple columns as a way of expressive, carries meaning related to the sense of the body. pediment that stacks up, 3 dimensionality.

old st. peter's basilica plan

c 320-27/30

st jerome

caravaggio 1600s

the crucifixion of saint andrew

caravaggio 1607

drunken silenus by ribera

caretaker of bacchus, fat old man, always drunk. desumblimation of idea of greek god, unheroic nudity, taken off clothes to see potbelly, large breasts, jowly face, five o clock shadow: so specific must be a human being as well as sunburned (like in caravaggio's bacchus) no idealization. mocking? donkey braying, dionysus laughing. grooving in paint surface is a vehicle for expression. RUNS COUNTER TO HIGHLY IDEALIZED NUDE: opposite of Rubens' version, parodies notion of mythology, skepticism of myth common in Spanish Art

epitomizes a synthesis of two strands

carlo maratta. avoids illusionism, not as clarified as sacchi but not as dense with figures of cortona, no illusionism, charming figures.

pedro de mena, mary magdalene in penitence

caught in moment, clothed in wicker woven herself, intense emotion. intensity of mourning and penitence.

triumph of clemency

ceiling. combination of cortona and sacchi. compromise artist: neither as clarified and focused as sacchi nor as dense with figures as pietro da cortona, stays in frame, no illusionism protruding out of the image but also subdued.

s susanna maderno

central bay is again heavily emphasized, especially with a cornice. bold physicality. false front of s sussanah:copiousness. figural element: makes it more like a human body resonates with human body

caravaggio ----> caravaggisti ----> rembrandt

chain of caravaggio

christ of clemency montanes

characteristic of european sculpture, polychrome wood sculpture tradition, intense, caught in a moment, sacred figures with a higher degree of reality bordering on hallucinatory.

another example of exploiting space?

chigi chapel

inspirations for Bernini?

classical antiquity. Apollo Belvedere affected Daphne, Belvedere Torso affected muscles on David and Pluto, Borghese Warrior for David (diagonals), extreme muscle in conflict seen in laocoon

arch is experimental and expressive

classical not just a model but a highly codified system: turn away from standard treatment, use elements but for expressive treatment.

poussin

classicism, french who spent a lot of career in rome. influential figure for french classicism. born in normandy, modest background, first 30 years of his years are badly documented, spotty artistic training, repeated attempts to reach rome, inspired by studying prints in the french royal collection, got to rome in 1624. had bad fortune: main patron died, then another patron went on a diplomatic mission to spain. tough years early in the 1620's.

abduction of the sabine women

classicized/idealized but full, sensual, robust physicality. muscularity vs voluptuous. using same sources as bernini (? question: classical antiquity? northern art? what?), similar positioning to prosperina. classical architecture, many detail in costume, armor, weaponry, careful study of antiques in the 17th century. flow of movement. fullness, sensuous, 3d, surging: reminds us of Bernini. structured: verticals, U shaped composition, groups. figures form groups that evoke sculpture. reinforced by diagonals, actively engages. L to R in front, R to L in back. counterpart to Bernini and Rubens: sweeping movements.

angel with the crown of thorns and inscription

ecstasy of sad and sorrow, billowing, highly complex drapery, wings as vehicle for emotion as well as drapery. INRI: lost in ecstasy of sorrow. billowing drapery. elongated?

algardi

classicizing camp, influenced by reni, raphael, domenichino.. exclusively a sculptor. like mochi, was a contemporary of bernini. very capable, very able sculptor. almost exact contemp of bernini. lacks the dynamism. simple, concentrated, focused compositions. classed with sacchi and others as classicists. attentiveness to detail distinguishes him from bernini: happy to get lost in intricate detail of embroidery and complex folds. not that bernini doesn't have detail, but algardi has a sense of focus and intricacy and virtuosic rendering of specific detail.

physiognomy

classifying different facial features with animals

il gesu rome vignola and della porta

columns break the string course, sense of unity, subordinating, central bay in paramount: structure becomes focused at center. shift in architecutre: step forward of central bay, more dynamic.

still life with fruit and glassware van der hamen y leon

combines spanish and netherlands: artificial stone steps, arranged objects with careful precision, concentration/isolation.

cassiano dal Bozzo

commissioned people to draw antiquities in Rome, interest in early Christian rome and making records, a paper museum. employed de cortona, fragments/details of images: trying to capture ancient culture. quasi archaeological desire to recover. recovery of rome.

fernandez vs zurbaran: st theresa of avila

comparison of brocade vs sculpture. sculpture set into a niche for intensity, emotional expression, real presence, looking at something we don't see, caught in a moment.

disposition

composition of the work, thinking about it in terms of a stage/arranging figures on a stage

martyrdom of st paul

concentrate and simplify: two figures. martyrdom of st paul, beheaded vs crucifixion because a roman citizen. cruc seen as horrific. altarpiece in the round, mounted above the altar. figures rendered fully, 3d in the round. counterpoint between the two figures: algardi at his best. figures have a dramatic interrelationship, blow about to be struck, approaching level of bernini.

poussinistes

concentrated/clarified form

pont sant'angelo

connects rome to the vatican/mausuleum of hodrian (question). he created the angels that line the bridge because the fortress across, also known as Castel Sant' Angelo was seen in a papal vision with an angel sheathing a sword atop it, and then the plague subsided. site of the vision. EC (question)? lined with angels w weapons involved in the execution of christ (i.e, nails). the angels were aided by shop assistants.

rosa

constructed on same principles but exact opposite of claude. dramatic foil of nature for human beings, vs claude's ideal. provided two models. in brit, looked for salvatorian and claudian vistas. people learn to look at nature via art. western relationship to the natural world.

chapel with ecstasy of st theresa?

cornaro chapel

santa maria della vittoria contains what chapel?

cornaro chapel

s carlo alla quattro fontane by borromini

corner has fountain embedded into it, designed 1630s and facade finished after. small: crammed into an awkward site. novel idea for the wall: undulating, rippling, facade is much taller than interior, meant as a statement. sculptural presence. designed first in wax model: thinking beyond architecture/sculpture, cohesive like a body, not stiff: lifelike vitality. all concave/convex except windows. there is a medallion with a fresco in the front: originally for the trinitarian order: Trinity crowning Mary. *question: goal of trinitarian order? fullness, muscularity, ornament, 3d. gives emphasize to figural sculpture, flexing like a human body. organic, richness, movement, copiousness. vehicle to emphasize the entrance to the church *question who are the people? cortona: muscular, but more mph on sculpture unlike cortona

how did bellori see borromini?

corruptor of architecture, ignoramus, a shame, seen as absurd

s maria della pace

cortona. makes a new facade: notice church erected because of a plague that killed 10 per of population, asked for relief via a votive: offering to virgin mary, also threatened by french invasion. central area now extends forward into plaza, concave wing, recessive element with convex pushing from it. tore buildings down to create trapezoidal form in front of church. also made false fronts on the sides of it: architecture as an actor, setting the stage. portico has pronounced forward motion, disregard for column orders: cleric with ionic entablature (cleric is roman version), combines doric and ionic. portico extends out with free standing columns, stage for building. destroyed actual streets to achieve: that's how extra it is. facade as an actor

the crucified christ appearing to saint luke (or to an artist) by zurbaran

could be luke, who was a painter, standing by a sculpture he painted, perhaps? possibly also zurbaran himself. the gesture of the painter suggests ardent emotion/intense response, suggests work of art come to life, a pygmalion of christianity? very unclear. very iconic representation of christ.

pablo de valladolid by velazquez

court jester portrait, uses portrait type. displays his skill and virtuosity, room with no setting: figures creates his space on a grey ground. don't need walls, floors, landscape, to be 3d.

baldacchino by bernini

covers burial place of honor: st peter. canopy of honor. 100 feet tall, marks sacred spot, architecture, sculpture, cloth allusions: lapels. solomnic columns: allusion to first columns? (question), to temple of solomon, temple in jerusalem. what should it look like on top? /volutes sweep up and open, moves up in a swarm but open and light, creates upward movement into space of dome. barbarini bees. it required careful perspectival study.

guilano finelli

created a competitive borghese image, captures split second. a better likeness perhaps, every wrinkle of cloth and jewel, but bernini has more vigor, energy, dynamism, and how he wanted to be seen, overwhelmed with detail

knave vault of the church of il gesu gaulli

early CR church, huge barrel vault, HB baroque painting. richness and elaborate ornament inside but in 17th century: plainer, jesuit order was not wealthy, fresco was not completed for 100 years. now filled with structure of stucco sculpture and fresco painting, gaulli (Il Bacicccio: genoese nickname).

luis morales

el divino

when commissioned to decorate the apse of st peters, what do he do?

created the chair of saint peter: chair refers o a seat of a bishop, contains symbol of administrative office, cathedrals house cathedras. (question). relic case is chair shaped, c. 6 century, early oak chair with ivory inlays presented by HR emperor, thought to have been chair of saint peter but disproven. using bronze sculpture, plaster, stained glass, gilt, wood, etc, he creates a turbulent crowd with a heavenly host/dove bursting in. 4 great doctors of the church, unified in their support for the bishop. they testify to his authority and authenticity. elongated, energetic drapery, intense movement, taught with energy/intensity, framed by baldacchino. all planned carefully.

astonishment study

creating models of different emotions expressed in the face, tendency for mask like development, more like categories vs real emotions, types of emotions over real emotions. developed a systematic handbook of emotion. extreme studies of details, textbooks about how to make a perfect image..... perfect image can be codified and formulated, very much a part of the classicist enterprise. a study of proportions.

idea of commemorating and emphasizing the rel of church to the earliest days of christianity

cult of martyrs

the realm of flora

dancing among these figures who are myths associated with the origins of flowers. all are flowers that result from folly and blindness. suicide is the basis of carnation, sunflower comes from someone falling for the sun god, follows sun across the sky. narcissus falls for own image in vase of water gives rise to narcissus plant. adonis is gored by a boar, gives rise to red anemones. at first glance, harmonious and attractive. realize they are all victims of their own passions. runs as an undercurrent through the work of poussin. deceptively attractive.

juan de pareja

de silva and velazquez, 1650

they are behaving and acting in a way that is appropriate to the kind of emotion/subject matter.

decorum

ribera and bizarre figures: why?

depiction isn't meant as a sideshow freak but as a miracle, runs counter to ordinary nature: marvelous, wonderful, manifestation of the power of god. miracle.

las lanzas

depicts event associated with end of siege in 1625. dutch war of independence. made for hall of spanish victory. inspired by ballot print of breda, uses convention of mapping with land coming towards us, landscape/cartography. vivid: dutch commander handing keys to spanish commander de spinola. emphasis on key: framed by bodies, composed by division, dutch vs spanish, despite link by arm. the dutch commander hands they keys and stands graciously/subserviently, showing a very fair surrender, spinal is in light vs shadow. his men are more mature, reserved, older, vs younger, gesturing. there is also a vertical of lances vs a horizontal of bodies. the lances enforce stability of spanish, dutch is fewer, at angles. conveys power throughout. horse is so prominent to enforce idea that he got down from his horse, noble treatment of enemies. funny because...

state portrait type

developed in 16th century N Italians and Venetians, Titian, Charles V for example. low viewpoint is characteristic, makes the viewer feel inferior. tallness, superior presence are common: shows royal authority.

David by Bernini

diagonal crosses, twisting around axis, 3d. best seen about 110 degrees. dynamic. in an instant. spatial energy, in process of tossing rock outside of his plane: nonplanar. transient motion and expression (can't be held), familiar with M. intensity of expression/concentration, has only one throw. the moment with the MOST tension.depends on someone beyond us/behind us, our space becomes a work of art that we must complete. breaking barriers between our space and work. face modeled on own face in a mirror. not sympathetic like Caravaggio's, frozen in concentration.

borromini

does arch only. important dude. began under maderno, helped with the palazzo barbarini and the baldacchino in st peters. mortal enemy to bernini: was an art dictator of Rome. *QUESTION: why enemies?

christ and mary in nazareth by zurbaran

domestic world on point of disillusion. holy family at home. heavenly light, room vanishes, indistinct window. floor and table are not in perspective, odd: perspective seems to not be his forte. wanted to communicate spiritual intensity: he makes a crown of thorns and she looks on sadly, knowing what is to come. presence of objects with symbolic meaning vs the parametel, solid mary and christ. the objects on the table are studied carefully, have significance in their clarity (produced many still lifes). objects are symmetrical, intensely observed, reflections in pewter plate, hypnotic. simple composition, difficult to understand. monumental mary, removed from reality

styles of column and gender

doric male, ionic and corinthian as female. connection to human body

adoration of the magi main

dramatic, dynamic period in rome*? question. realism and incredible color, exuberant vitality, emotional intensity, influenced by rubens but perhaps wouldn't have seen rubens? nevertheless, the african king is clearly from rubens, a quotation from rubens. reflected light shows visual intensity/energy. unlike C, who used harsh brutal realism and color.

exploitation of light and space

dramatic, vehicle for meaning

4 rivers fountain

dramatized treatment of the obelisk from egypt: power of egypt taking over from rome (question). glorifying the church. christianity represented by paganism: GET NOTES. mounted on out cropping: danube, nile, rio de la Plata, and Ganges: rivers represent locations. in motion, astonishment, energy. left: rio, has cactus, rough assumption, celebrates triumph of river. ganges can be navigated: holding oar. head of the niles looks down: nobody knows headwaters. a celebration of pope and christianity. great displays in capital: temporary ornaments in plaster. class of public sculpture as celebratory assertions of power, experiencing belonging/citizenship of rome, amplification of pleasure and belonging. celebration of the birth of louis.

don sebastian de morra by velazquez

dwarf image, degree of sympathy, man isn't hiding, physical deformities were not treated with such dignity usually, mocked, scorned, reduced to begging: Gobbi cartoons show deformities as hunchbacks, dense men.... he shows with directness and sympathy.

Murillo

earlier he was a gentler zurbaran, softer edged style under the influence of venetian painting (titian, veronese). attractive, charming figures like Reni, humanization of the sacred, lacks realism of ribera.

In The Twinkling of An Eye

figure of a skeleton carrying a casket: grim reaper-esque. has one foot on a globe, surrounded by images of worldly power: papal tiara, symbols of knowledge, chivalry, architecture, etc. knowledge and power all fall before death; he snuffs a candle. death comes in the twinkle of an eye. skull addresses us directly. odd jumble of allegories.

st romuald

figure who founded ar religious order of monks, of brother monks ascended to heaven, simple quit ordered, arm outstretched, mirrors tree. minimal emotion. visionary experience but clear, straightforward/not which drama.

new st peters

fixed up with help of bernini. added arches, vaults, and domes. previously it was a greek cross plan (? question). shape adds to meaning, geometric was an ideal, image of the mind of god. maderno added a knave (what is it) in 1610s, and large bays.

duquesnoy

flemish artist who made his career in rome, born in brussels, artist who is a contemporary of bernini, more minor than bernini. much more classicizing than bernini. ties to hellenistic and roman sculpture.. borrows contraposto clothing

pitti palace

florence, contains chamber of venus. the art is a vocabulary of princely power: apartment named for planets, astrological bio (QUESTION).

las meninas by velazquez

focus on peripheral figures, ladies in waiting, waiting margareta, seen in other works. she is accompanied by ladies, court dwarves, a dog: everything is identifiable, down to room in palace, in reality, he painted here. realism of a split second in time: M reaches for a jug but something catches her eye, head is to the right, body to the left, eyes ahead: what's happening in the front of the picture, where we are? the ladies are mid bow, awareness of other figures perhaps, and the artist looks at us: king and queen? seen in mirror.... or is it a painting? not a painting: if it was the king would be on the inferior side, he should be on the left. there is also a gleam, probably a mirror of them or a mirror of a painting. red mass of drapery is a common motif in portraiture, adds stature, richness, dynamism (visible in van dyck's isabella brant) if you work out perspective.... would see the back of velazquez, not the royal family. using an image to make us aware of the set up, what is going on outside of frame. probably still the king and queen though. also a way to assert his courtly status: they come visit him in his studio. aware of arnolfini portrait rectangles on wall form a comp structure.

guarini

follower of borromini, shift from baroque: clarity in others to a degree hard to decipher despite geometry. expands energy/dynamism, exterior is relatively plain at saint lorenzo.

pluto and prosperina

for borghese. prosperina is the goddess of spring, flowers, etc., dragged to underworld, eats pomegranate seeds and cannot return to surface, finally allowed to return once a year for spring. here she is shown in the process of kidnap, trying to escape being dragged to underworld. the marble is dynamic, muscular, tense, works in surging forward motion, diagonal movement, energy of heads, spatial energy. pluto is exalting, element of meaning added by serburus: he guards hell, means that he has succeeded and that is why he is rejoicing: concetto. sheer naturalism: yields to hands as they press into skin, can see pressure, down to tears. remains white: set apart from world we inhabit. texture, gunshot eye to add sparkle of light: suggestion of reality. INSTANT

las hilanderas, the spinners, or the fable of arachne

foreground: spinning and winding yarn, attentive to detail, effect of a wheel spinning, materials for tapestry, ordinary people at work. brilliantly lit background pulls you through: looking through the foreground, bicomposition. reproducing a tapestry of the abduction of europa by titian, with a figure blocking the front of it. ties to venetian art again. image intrigues: requires reflecting on how parts interact, completing the image: colore. reflection of the necessity of labor in creations of refinement and beauty, rural work of goods that create the product. binary composition from flemish 16th cen painters **QUESTION: AERSTEN FLEMISH OR DUTCH*. one figure addresses us and pulls us through the space. addresses where we are... this makes us aware of the activity of viewing that we are doing and velazquez as the man who stages it. extended after a figure. foreground of direct spanish realism vs myth

the crossing of saint peters

four piers, refers to the four great relics. *question*. in this case they are the spear of saint longinus and others. pierced side of jesus: said he was the son of god. 15 feet tall, 5 different blocks of marble. looks up at baldacchino in openness, astonishment, responding to something we do not see. turbulent drapes and diagonals add drama. utilizing space to dramatize: common.experience of surging emotion lends to cloth. differentiation of texture, not imitation. enormous scale. concetto? *QUESTION*

san miguel main altarpiece montanes

four stories, relief and full sculpture, must panel. characteristic form.

claude lorrain

french artist who made entire career in rome, landscape painter. often known simply as claude. very much on pattern of classical landscape type. early work has humble scenes of daily life, fairly typical of early landscapes. artist who had two subjects that he repeated again and again through career: on one hand landscapes, on the other, seaports. his entire body of work, but varies figures and subjects of figures. less and less often depicted humble types over time and substitutes biblical, mythology, etc. always small within a larger embracing vision of nature, suffused with golden light. a med vision of an ideal harmony/unity of humans with natural world. seen in work of annibale caracci. highly sought after, imitated a lot. (the mill)

montanes saint jerome in penitence

from an altarpiece at san isidro del campo. altarpiece is multi panel/story. characteristically four stories. relief and full sculptures, clarity despite gilt. altarpiece is clear, logical, classicizing. figures are highly realistic and 3d, fully realized. in the round. can see tension and cold in his body, expressive. **QUESTION; why does montanes classicize?

st jerome by ribera

from caravaggio type. elongated arm, emaciated: an expression of intensity and spirituality. intensity in treatment of form. response to obscure last judgement: the trumpets will sound. left grooves in oil paint to denote marks/wrinkles and forms of the body, paint as a metaphor for flesh, emphasizing physical reality. using materiality to suggest physical reality of the body: **VEHICLE FOR EXPRESSION"". old men with wrinkles/puckers, could be coming from the flagellation he saw in naples from Caravaggio, who used a similar grooving of the surface. made more intense.

review:

how cortona falls under ludovico section

Cortona as a painter

got along with bernini, not a sculptor, was an architect/painter. classical/idealized, using classical antiquity, details classical architecture, careful study of antiques. surging motion, 3d, flowing movement. pictorial counterpart to rubens cortona: gilt and white stucco that emphasizes princely power, from venetians but built on it

later work (marriage)

grandeur and monumentality, same structure with avenues and verticals, but idea that controlled order expression is very characteristic, becoming more monumental and grandeur, more suffused by soft hazy light. aura of nostalgia, revery. work also often has subtle allusions to passage of time: marriage: softest indications in long shadows, water flowing over a drop in the stream, the mill is mid turn. barest indications of time passage. evanescent passing of ideal oneness/happiness. also seems to respond to nature: dancers twist along with trees, mill echoed in shape of center group, the bridge in background concretizes the form of the rocks, etc. very ideal, very united, ideal oneness. in a world suffused with glowing light. exact opposite of rosa's vision: charged with energy/drama, claude shows world that is ideally suited to human presence even in tragic circumstances.

allegory of the missionary work of the jesuit order

great HB ceiling. not frescoed until 1690s. done by pozzo, member of the jesuit order. extraordinary quadratura and dal di soto en su. architecture and foreshortening. real windows and arch but everything else is paint. in center of floor, appears to be adding an extra level to this church structure. saint ignacio is being received into heaven: the apotheosis of st loyala but not accurate, extraordinary accumulation of clouds and figures billowing and carrying him up to meet the figure of christ with the cross. populated by gigantic assemblage of figures, all to be seen from below. falls into place perfectly at specific point. everything above cornice and some below are paint. spectacular feat of illusionism. treatment of upper elements is strange unless from center: columns on their side if not. importance on addressing and the individual viewer and their responsiveness and absorption of the world. kind of decoration bernini disliked: depends on a single viewpoint. doesn't convey the kind of excitement and energy as another illusionist work.

finding of moses

great billowing clouds, seems to be in motion, uncontrolled, untrammeled, not cultivated, not an agrarian landscape, not pastoral. wild nature. however as controlled as the classical type: large mass to one side, smaller on one side, avenues into depth. protoromantic, identification of self with natural world.

the resurrection /holy trinity discuss (characteristics of early work basically)

greco. related to michelangelo's robust heroic figures. figures/space/weight disappear, crammed into undefinable spaces (mannerist spatial dissolution, parmigianino). outlined figures flatten the image out/bring the image forward. intense color. manipulates light and shadow, dramatic but not completely illogical.

el greco: about

greek born in crete, trained in byzantine style, then venetian style, and then rome's style, then spain.... all overlay. mannerist and venetian. expressive movement, dramatized. robust figures tied to michelangelo, figures/space/weight parmigianino. outlined figures flatten the image/bring forward: icon. transcendent religious feeling. intense color. more dark/outlined/flattened forward, emphasized by tall canvases. caravaggio: opposite, 2d, annihilated 3d as a vehicle.

interior of martina e luca

greek cross floor plain around a central dome. 3d inside too: freestanding but some set into walls, no corners, all white: unity in interior. cohesiveness. lower zone is uniformly dark, above is bright: expressive complexity. visual dynamic,. highly ornamental coffering in the dome. emphasis on massing, 3d, plastic treatment, very rich and full, not figural, arch as actors in a drama, equivalent, complex, rich decoration. inventive: dome. free standing columns enhance 3d of wall, some in the round. light gives wall fullness, amplitude. figural sculpture restrained in pendentives: for evangelists (? QUESTION), mostly arch forms. odd quatrefoils and coffering, very exotic and striking inside and outside of dome. lower zone is windowless, uniform color, regular under entab, as u rise becomes more complex and lighter: rising as an ascent metaphorically to light, expressive, focus of form.

diogenes

greek philosopher who was a cynic, held that human beings were provided with everything they need with life in nature, nature provides a person with everything he needs but a walking stick, a cloak and a drinking cup. he watched a young man scooping water with his hand. drops cup: nature provides even a drinking cup. about an ideal order of nature: humans can construct extraordinary architectural feats (based on the belvedere palace, which is part of the vatican, summer retreat for the popes) but in foreground are reminded of the lesson in simplicity: nature provides all, role of human life in relation to the natural world. very stoic, irony is that the greatest achievement is the simplest, greatest wisdom is in the least. poussin's art is about moral things without preaching. earnest

new entryway for st peters

guides you in without detracting. wanted moderno's facade to feel less wide. towers added to try to anchor, didn't work, fountains unstable, shame to bernini. wanted the entry to hold huge crowds of romans and visitors. two arms reach out, involved with architecture as a visitor: become a part of the sculpture. colonnades frame an elliptical space, large meeting space but visual compression. the colonnades are four columns deep. contains, but also allows for early arrival and dispersal. could accept blessing from papal palace: window overlooks it. columns have a link to the human body, surrounded, and welcomed by papacy, saint statues overhead welcome you too. welcomed into community: embraces you. wanted to add a third colonnade: movement into a space from a space of condensed to a space of focus (think about the rotunda). ran out of money. wanted to control access: reorient you on new axis, dramatic impact using EXISTING ENVIRO, from medieval streets to control/order.

young beggar / young beggars playing dice by murillo

hard edge, gritty realism, become charming young scamps instead of street rats. popular image, sentimental. hyper-cute, excessively charming.

ribalta the nailing of christ to the cross

harsh realism, becomes a hallmark of spanish art. inspired by camp's christ on the cross: same figures, seen from specific angles

new st peter's, view of construction

heemskirck, 1533

christ in the garden of gethsemane

hernandez, 1678

divide btwn B and C?

heroic naturalism, believable but highly classicized bodies.

when did velazquez make his second italy trip?

in 1649-51. spent time buying art and sending it back to philip iv. commissioned to do a portrait of innocent the x while there. elected to congress of virtues of the pantheon: indication of status/prominence.

st Veronica

in crossing of st peters, complex carving of drapery, motivated by body and motion, rushing forward and clothing responding; her drapery expresses her movement and energy. wipes the face of christ with a veil and found face of christ. counterpart to St. Longinus. A reference to one of the great relics of st peters: the lance from the crucifixion from Longinus, and the veil psuedarium of Veronica (vera icona: true icon of christ, not a scriptural event). sheer energy, unsure why she's rushing forward. undercutting of form? huh? close relationship between drapery and body that is really different, not an expressive vehicle. given one of the most major commissions by B: highly admired.

maino general/characteristics: relates to adoration of the shepherds

in rome around 1607, when C was alive, probably didn't know him. aware of figures in martyrdom of matthew, used highly realistic detail v low, ordinary beings. high key color more than C, energetic and dynamic. highly realistic detail, but high key color. reminiscent of art of rubens

how did zurbaran handle female figures

in single figures or small groups

temptation of saint jerome by zurbaran

in the chapel of saint jerome. episode when he is doing penance in a forest. the books he holds point to his writings, bible to Latin: prolific scholar who translated bible to latin. while in desert, he has a vision of roman dancing girls tempting him. oddly, in this depiction they are seriously sedate dancing girls, thoroughly clothed. response of intensity, knew riberas st jerome, finding way back into spanish tradition. gesture clearly explains rejection. pictogram of resistance. concentration of effect, simplicity, heroic intensity of focus on the figure and his expressiveness.

Apollo and Daphne

in the galleria borghese. Apollo falling for a wood nymph, she ran, called for her father for help, and he made her a laurel tree on the spot. THE INSTANT OF TRANSFORMATION, INSTANT OF A MOMENT. her body is being encased in bark, he is astonished, her fingers sprout, miraculous rendering in marble. toes grow roots, aiming to astonish with immediacy: art of becoming is very baroque. not recognizable from behind: develops as you move from side to side side, suggests transformation. hair shoots behind her as if she just stopped suddenly. control, dynamism, energy. ingenuity of B.

poussin info

influenced classicizing art in rome but also very much in paris and in development of french academy. had theories of modes: systematizing the production of art in many ways, made his art appealing to french academic artists following in a trend in 17th cen france whereby royal authorities thought to provide an organization based on reason for a great many activities including art. vehicle for providing rational justification for expression. RoF is dominated by light or color hues, airy/open composition, graceful/elegant, treatment of every aspect of the image that is consistent with every other aspect, vs plague of ashdod which is grim in every aspect, austere doric style vs subject, vs treatment of architecture, cramped, etc. all consistent. already exploring in 1620s-30s: theory of modes, consistency. art also becomes more possible to read to encourage you to study each detail (manna) or group and recognize their emotion/expression as readable/appropriate: decorum. they are behaving and acting in a way that is appropriate to the kind of emotion/subject matter.

st bruno montanes

intended for an altarpiece, polychrome, life colored, not simply painted but modeled to show effect of light. inlaid glass eyes sparkle, hyper realistic, show in action, in response to something we can't see: looking out. almost hallucinatory. sculpture/painting in competition. painted and modeled to enhance light falling. inspires and pushes painters to explore intensity and real presence. stone could be painted too: pereira st bruno: also in action but painted stone versus wood.

ad of shep

intense outlining, pulls figs into pic plane, dynamic, energized w light and dark, barely comparable to human experience

st susannah

interesting contrast w saint bibiana. susannah closer to ancient greek/roman sculpture vs bernini. has to do with the attitude towards/treatment towards drapery: not a vehicle for expressing intensity of saint's ecstasy in D, while it is for Bernini. D treats figure in a characteristic classical way: straight folds of drapery over leg that supports the body, relaxed folds over the bent knee: contraposto pose, opposition of tension and relaxation in legs and expressed by drapery. straight into ancient greek art. (ex. A Goddess, 1st century BCE-1st century CE) has a soft, sweet resignation in the pose with the tilt of the head, gesture towards the altar, much more graceful treatment. more pronounced emphasis on body under drapery: also classical. softened facial features too; almost as if they are hazy, treatment that comes out of hellenistic greek art, imitated often by romans, gives a sense of sensuousness. attractive model of female saint: more explicit relationship with classical than bernini (example: portrait bust of a woman, 275 CE)

diego de acedo, el primo by velazquez

joke: not the king's cousin, clearly. court nickname. treated with directness, sympathetic/straightforward portrayal of the man himself, direct observation/realism. compared to royal portraits: more flesh and blood. distinct from the callot depiction of dwarfs

hospital de la caridad, interior

juan de valdes leal, 1670-73

still life with sweets and containers

juan van der hamen y leon, 1627

Describe the changes of Velazquez upon his return in his art and style.

just back from Italy, new changes in paint technique. paints elaborate embroidery but not flawlessly, not detailed but there is a breadth of paint application. suggest presence but not tell you what it looks like: colore tradition, important to finish image yourself. psychologically energized vs tightly finished. liberated from task of defining exactly what it looks like. makes sense in context of career of painting royal images: images of royal power over reality, denial of reality for rank and status. more aware of construct creation, awareness of manipulation emphasized with broadness. no paint is a real representation.

infant christ with infant st john the baptist

known as children, w lamb (behold the lamb of god reference). making sacred palatable. sentimental verge: degree of pretty humanization, personalization of the divine.

who sets the stage for the high baroque?

lanfranco, guernico

salvator

many images in solicitation: st william, st humphrey humphrey is a hermit in wilderness: spent 70 years in isolation in the wilderness. on nature, great billowing clouds. trees offer a kind of shade, light, energized by world. long hair suggesting willd hair. a place where they submit to penance for sin. ISOLATED FIGURES OUT IN THE WILD.

the nativity

maratta charming. compromised style, great focus

st john the divine explaining the doctrine of the immaculate conception

maratta, non historical, mary floats above, avoids illusionism. doesn't thrust out at us, but has visual energy and dynamism. classicizing trend becoming stronger in roman art.

self portrait 1641 rosa

marked by shadow, shows he is melancholic, dominated by black bile, humoral theory. could only be a genius if you were melancholy, wanted to claim as his identity. plaque: "Be silent unless you have something to say that is better than silence". profound self consciousness and his goals, in many respects was aiming to be one of the best. was famous for/sought after by contemporaries are wild landscapes that depict cliffs, trees, shrubs, billowing clouds, nature as wild, untamed, dynamic. opposite of the ideal classical landscape. often populated by wild people: bandits, soldiers, hunters, hermits, etc.

aertsen kitchen scene

market/kitchen with objects spread out in foreground; followed by son in law: common to have a profusion in the foreground in the netherlandish tradition. ex of netherlandish tradition

santa bibiana

martyr, evidence of ancient site of Christian Rome, asserting the Roman Church again.interest in sites of early Christian martyrs, restoration and revival of christianity in rome (earliest catholicism? *question*). identity of popes under st peter, restoration of early C church, many catacombs, graves, etc discovered/reconstructed at time. young, female saint, first tim he used environment and lighting for divine light: often embraced spaces** barbarini project, pope after urban.

the judgement of solomon

mean too be contemplated, thought three, meditated on. rationality is intense. judgment of solomon: both had children, one was found daed in night, subsisted life before dead, said they could divide it in half and both have on. the real mother protested in anguish, would rather have the child live with another. obviously clear: not mom is green, bull of bile, anger, accusation, jealousy vs arm open in treaty, surrender. balanced around solomon. people responded on one side with shock and amazement of solomon. carefully thought through to portray/communicate message from the bible.

new st peter's plan

michelangelo

velazquez general characteristics

mirrors, disjointing foreground and background. dichotomies of images that don't completely reconcile, tease you, as he ages he becomes more painterly. could be growing awareness of images as representations, just images, not reality, constructed by painter. vivid, characterized, sharp painting. light and shadow.

bounarelli

mistress, vitality, life. alive with energy, dif treatment of blouse, hair, skin, differentiation of texture, fewer portraits as he got older

equestrian portrait of alessandro farnese

mochi, demonstrate skill as modeller in wax, bronze using lost wax method. highly charged/energized treatment of the equestrian portrait. interplay between the movement of the figure and the movement of the horse. sculpture of a great general, the duke of parma, of the 16th century, almost defeated the dutch in war for independence from spain. dynamic.

forerunner of bernini

mochi. emphasizes body under clothing, more direct expression of clothing responding to movement, very skilled sculptor bernini admired, lacking concetto

the nativity from san isidro del campo

montanes, 1609-13

later life works of ribera

monumental austere works *QUESTION: three phases? dark rawness to lighter palette to austere?

zurburan is known for...

monumental figure painting, scenes of monasteries and convents of people/religious orders. saints in intense prayer/ecstasy. ANNIHILATES SETTING/TIME, ICONS, REALM OF VISIONS IS MORE VIVID relationship to sculpture: hallucinatory quality careful study of objects lost the netherlands as a territory in the 1650's: shift to a more venetian style, competing with murillo

man of sorrows

morales, 1570s

virgin and child

morales, 1570s

what does his change in italy lead to?

more dynamic painterly technique, adds activity/life, makes you aware that he makes image, allows you to see the activity of painting

discuss morales

mostly half life, mannered, angular, intense, icons. tendency to look for visual ways of expressing spiritual identification. figures are extraordinary, beyond humanity, elongated, angular. intense expression of religious fervor and knowledge

tendency to treat buildings as a whole

movement analogous to human group/sculpture

abduction of sabine women v cortona

much less clarified/orderly in its representation. in poussin, has succession of figures into depth, triangular movement back, carefully constructed structure in foreground, with groups of figures: resembles cortona, but much more carefully structures. their figures quote ancient sculpture: after epigones, gallic chieftain killing himself and his wife. also uses very austere doric. gives it a heroic statue versus a brawl scene/spectacle like cortona, not grounded in intense moral purpose (poussin treats as grimly necessary for the founding of rome) in poussin, faces become increasingly mask like: sense of masks worn in classical antiquity in theater, possibly. but property where faces become increasingly typed into emotion/categorized versus individuals experiencing emotion: categorization is very much a piece of the rationalizing trend, much more clarified classicism. primarily made for private patrons after st erasmus; few in paris too (public), almost exclusively. not made for public display, made for a patron and his associates. made for private meditation, in a meditative way, everything has been meditated, thought through.

later version

much more austere. everything is rectilinear. dispose themselves in accordance w structure of tomb: less caught in a moment, much more a moment of contemplating the reality of death. death is speaking less, now turn to person in the tomb: i who once lived like you in arcadia am now dead. reading becomes even more plausible is the striking visual detail of the shadow, where the man is puzzling out the words, it points back out at him. belongs to long tradition of person in tomb speaking to the living. very sober, reflective scene on reality of death, figures form a grave, simple, noble group. limbs falling into pattern of the tomb itself: drives homes reality of mortality. underlying stoicism.

the young beggar

murillo, 1645-50

the annunciation (other)

murillo, 1650-55

the good shepherd

murillo, 1665

children eating cakes

murillo, no date

children of the shell

murillo, no date

the immaculate conception (m)

murillo, no date

young beggars playing dice

murillo, no date

what shaped spanish baroque art?

muslim conquest and the prolonged reconquest (reconquista), ending with the reconquest of the kingdom of grenada: united the iberian peninsula.

mochi

neglected sculptor, older contemporary of bernini, skill has been eclipsed. annunciate virgin, and annunciate gabriel. exquisite control, drapery as an expression of movement: different approach to thinking about drapery (bernini's internal drama is expressed in the drapery). skill in rendering expression: mary's simultaneous repulsion and attraction. incredibly forceful and dynamic treatment of the subject.

duquesnoy, algardi, sacchi, poussin lead to

neoclassicism

french classicism eventually results in

neoclassicism. highly rationalized art making associated with poussin

patron of bernini

nephew of previous pope, scipione borghese.

how does ribera change in 1635?

no more dark backgrounds, moves to lighter palettes/lighter backdrops

nobility of velazquez in las men

nobility in arms of santiago. a suitable pursuit of a nobleman, anyone who worked with hands was not noble in spain, snobbish, idea of a painter as unable. many french and dutch artists (Rubens, Van Dyck, Titian) were made noble at that type, but Spain resisted. V wanted to be in highest order of nobility: rejected many times despite king support. admitted a year before death, myth that philip painted the cross on velazquez, was shown to paint by him perhaps. personal nature of painter/painting asserts capacity and nobility of art.

velazquez triumph of bacchus

non portrait. has a nickname los borrachos (the drunkards), familiar to people. evokes bacchus revels of Venetian painting, laughing, jolly, enjoying selves: titian. but treated differently. very binary. the left is venetian, lighter, gentle, vision. Right is harshly realistic, straightforward, drinking, mugging at us: the culmination (man being crowned), commoners, highly individualized figures (like Ribera). juxtaposition of ideal world and peasants getting drunk. reflects mythological treatises in spain: when drunk, you feel like a god, happy, etc: here it is deflated: deflating a super mythic world. very spanish, like drunken silenus. once again, binary compositions that don't entirely resolve, give you something to reflect on. sense that artist controls and crafts the representation.

why is las lanzas ironic?

none of it happened. the dutch were allowed to leave, there was no exchange of keys, and they did not even encounter each other. it was simply made to indicate the superiority/greatness/nobility of spain in victory. shows construction of image with history. velazquez also developed colore tradition here: drew very little, not squared for transfer, did not prep an elaborate cartoon, X-ray shows many changes, spinal originally had two arms up, lances added later, horse at different position first.

multifigure and ribera

not a lot of large multifigure pieces

maderno's st cecilia,

not arch of st peters, different guy. EC martyr beheaded, 1600, found her body in this position with her severed head faced away, found in tomb. strikingly memorable image, very simple and direct, exquisitely carved, intensity that is quite remarkable. example of the cult of martyrs. macabre but instead given elegance despite realism.

no sense of less is more

not modernist or minimalist. MORE IS MORE. differed from idea that form follows function; sets a stage of copiousness, detail, ornament, amplifies expressive characteristics (i.e. false front has literally not function). there for effect

velazquez venus and cupid with a mirror : talk about precedent

nudes are uncommon in spanish art: prudish, frowned on for spanish artists to do it but inspired by nudes in venice. very common subject in venetian art: intimacy, love, nature, freedom of sexuality, openness: ie. venus of urbino by titian. painted from behind like Titian's nymph and shepherd: less revealing, but shows precedent. tantalizing psychological treatment. idea of venus with a mirror is also venetian: titian venus with a mirror. ironic because she's supposed to be getting ready but she's nude. odd that Vel face is so blurred: unclear presence, energy of application, continuance of mirror doesn't line up, a fiction: just an image built up.

still life by zurbaran

objects are symmetrical, intensely observed, reflections in pewter plate, hypnotic. simple composition but intense. meant to engage meditation

peeters still life with a pie

objects carefuly defined, but still a profusion. still life like a treatment of figures, carefully studied/vivid, silted to engage contemplation.

christ embracing st bernard

ribalta, 1620s

st jerome and the angel

ribera 1620s

a philosopher

ribera 1630-5

the triumph of the name of jesus

occupies entire vault, all the way to the dome. because society of jesus is "jesus" in name. developed a kind of combination of foreshortening to be seen from below: as thought central part of knave of church has opened and the chorus of heavenly hosts is flooding into church in a blast of light, angels floating on clouds. all of this gold leaf and white stucco angels: illusionistic stucco painting and sculptural modeling. what is depicted: have the abbreviation of the name of jesus: IHS: abbreviation of the greek name of jesus in blazing burst of light, referring to passage in phillipians: given a name which is above every other name. clouds appear to cast shadows but painted to give impression of shadows as clouds billow into space of church. very grandiose, dynamic, dramatic representation in spirit of bernini. closely associated with him. lower part: rep of evil and vices being cast out of heaven, shadows painted over 3d stucco. even stucco angels covered in "shadow" paint. an elaborate illusion. dal di soto in su.

water seller of seville

offering a jug, line to antwerp's beuckelaer's A Market Woman (Nephew of Aertson). derived from vision of objects. has a sort of of perspectival issue, sober, restrained dignity, do not interact. man is threadbare, set among poor (earth movers: genre painting among lower borders**QUESTION). jug pushes into our space. velazquez was master of texture thru life, but becomes more painterly. move away from extreme realism.

Cortona general

often glorifies state power, power of princes/popes

the prophet elijah by ribera

often painted prophets, old men, and seers. elijah: intense expression, light and show show intensity of inner life from exterior. metaphor for active inner life. grooves of paint and light and shadow for expression

Sant Andrea al Quirinale

on a major street, via del Quirinale, della Valle Street (question). oval again as floorplan, with a concave recess: building drives forward into it: stairwell and entablature push in: adds tension of coming forward into a recessed area, dynamism. ovals and ellipsis are more tensional, one longer axis vs perfect geometric form seen as in service to god. ovals are highly dynamic. most fully realized vision: light, types of marble, sculpture combined. altar right across from entrance.

the vision of brother andres salmeron by zurburan

one in situ at the monastery of the order of saint jerome, part of a series. zurburan was interested in depicting large scale figures, pronounced physical impression/expression. awkward space, slightly visibly abstracted. BAROQUE ICON like Reni, originate in a tradition of solidity, at same time negates it, close to pic frame, meant to engage you: can apply to other figures as well. no setting, so space/floor/wall, tornado of a cloud, light echoes his position and opens around Christ. simple but treated in a way that makes Andres seen in pure profile. he is abstracted, leaning to christ, forms flatten forward vs pivoting Jesus who is in 3/4 and moving forward. the real is more abstracted than the vision, visceral impact added with size. tension of annihilating experience vs 3d sensation.

chigi chapel: habukuk

opposite daniel. sending habukuk to david with food to save him. daniel had been caught carrying food to others (?). points across to david. exploiting what he had to work with. highly expressive drapery unrelated to motion/form. intensity of emotion.

the crucifixion of saint andrew by caravaggio

opposite of el greco: more ordinary, corporeal. reserved about works: less clearly divine 3d expression of religious intensity

salvator rosa

originally from naples, went to rome at 25 to make fortune, artist who was impacted by Ribera, picks up Caravaggio? wrote against Bernini (artistic dictator of Rome), spent a good deal of time in Florence, and then spent end of his life in Rome again. conception of personal genius that is close to romantic. wild landscapes, nature as untamed, opposite of the ideal landscape. often populated by bandits hunters etc. juxtaposed with controlled compositions. solitude, going out into the wild to reflect mythological/history: less energetic, but more valued

interior dome of sant andrea al quirinale

ovals are more dynamic, height influenced by coffering: gets smaller, adds height. windows in dome structure used to affect the scene with light and shadow. pediment breaks open into bernini designed statues, saint ascends into dome filled with angels above and into the lantern. highly theatrical. control of light.

characteristics of later el greco

overlaps with baroque, exaggeratedly mannered, very elongated, even more dramatically outlined and flattened, stretched and tall. emphasized by tall canvases. figures are ghostly, dematerialized, fall forward into pic plane. religious feeling transcends limits. opposite of caravaggio: uses 3d of body as a vehicle to capture presence of sacred, while greco annihilates 3d as a vehicle, landscape becomes abstracted as well (baptism). i.e.. baptism, adoration of the shepherds)

master of velazquez

pachecho, wrote treatise for spanish artists, stiff: little trace into velazquez. immaculate conception and saint agnes

how did he prep to paint innocent x?

painted his slave/assistant, also trained in painting

another characteristic of royal portraits?

painted many dwarfs in them and on their own

what happens to sculpture in the 18th century?

painting wood is seen as bad taste, preferred white marble, orthodox of government, good taste. anything else was not a valid art form.

describe children in royal portraits

passes on to children: princes follow same pose, royal icon is pharoahic, as if innately passing own power to young. state portrait is dynastic enterprise: wanted to identify them with the previous rulers. ex. Baltasar Carlos at the Hunt is oddly similar to Philip IV at the Hunt. children placed in unlikely and incredibly impossible tasks and positions for age.

Rebecca and Eliezar at the Well

patron wanted a composition of attractive young women. eliezar was the servant of abraham, went out to find a wife for his son isaac. rebecca was the only person who helped him: got water and camels. sign that she would be his wife, proposes to her on behalf of abraham. sense of color is exquisite. women in variety of poses/angles, carefully calculated and thought through, also shows link between architecture and the human body. ideal female body related to the proportion of jugs: thought of time, mirroring the jug. meant to be flattering.

st mary magdalen in penitence

pedro de mena, 1664

the meeting of the pope leo and attila the hun

pioneered idea of sculpture as an altarpiece. because st peters turned out to be quite damp inside, had a problem with humidity, paintings on canvas did not respond well to the environment. paintings were often replaced by mosaic copies. original paintings now in vatican museum. idea of making huge carved altarpieces. 25 feet tall, enormous. made of three large blocks of stone. extremely high relief: very different relief sculpture than donatello and 15th century florence. not that low relief. almost fully realized in the round in the foreground plane. very bold and 3d.saints peter in paul are arriving to shock and horrify attila the hun, huns turn away and leave the city of rome untouched. episode from the fifth century. highly dramatic, very dynamic. tendency to refer as classicizing..... labels break down at a point. pope addresses attila, very 3d. almost coming forward through the picture plane. spatial animation that is limited by term "classicized". very bold relief.

V St John on Patmos

portrait of a single man, mary as a perch in distance, visionary narrative of apocalypse, realism despite visionary subjects. ties to Z, perhaps? *ASK QUESTION ABOUT RELIGIOUS ICONS AND V*

how are females treated? Infanta Margareta in Blue

positioned like Queen Mariana: Austrian Hapsburg married to Spanish Hapsburg. stillness sobriety hand on chair. flatten forward in frame. same position in the child portrait: similar appliqué that flattens the image, denial of reality of body, echoing arches of composition. unmoving / unchanging: in command. iconic treatment plus looser techniques. not telling you exactly what garment looks like but suggest it, completely in colore mindset, makes it psychological act of representation

the holy family on the steps

poussin. another madonna and child with joseph, elizabeth, and st john the baptist, carefully thought thru, magnificent grandeur, calculated to be very tightly organized into a tight triangle, mary and christ are given roughly equal emphasis but a bit of extra emphasis on christ: blue of sky above his head. very carefully structured. begin to realize that all figures in old testament have their faces in shadow, christ and mary in light: old law v new. architectural presence in background is symbolic: should be understand as the temple and mary as the new temple, as the church, mary who carries christ the way the church carries christ,. steps themselves are symbolic: stairway to heaven by academics, brought christ about. St JtheB: holds apple, symbol of expiation of sin for adam and eve. reflective/meditation.

important classicist in rome

poussin. compositions from ancient art: planar. private viewing vs public, stoicism: permeates everything. very specific control of the composition, mask like faces, representation of emotion vs actual landscapes: pastoral subjects, ideal classical landscape

ribaud portrait of louis

power of monarchs and instituions, sums up art of 17th century, see him in full splendor and magnificence he meant to convey. already unusually tall, but stands in heels and wears a huge wig: meant to make him taller, more imposing, stands with easy gesture. doesn't have to convince you he is king: holds scepter upside down, from history of van dyck. embodiment of monarchy in every detail of dress and interior.

difference between chamber of jupiter?

question

pont sant'angelo angel

raggi i, bernini, 1667-72

angel with the sudarium

raggi, after bernini. miraculous image of christ, st. veronica wipes face and his likeness appears. another angel shows the nails

about bernini

raised among churchmen and nobility. father was a sculptor, he was one gen after V and Carracci. produced mostly in Rome: left once in fifty years when called to paris in 1665 by Louis the 14th. child prodigy in sculpture, more rare. carving busts at 8, we have some from 10-11: difficult because it takes strength, coordination (tomb of monsignor giovanni battista santoni) by early 20s, sculptures for important patron. painter, playwright, sculptor, executive. texture from father: suggestion emotionally charged clothing, nonplanar, in the round, influenced by classical sculpture, concetto, speaking likeness (instant)

rembrandt leads to

realism and romanticism

old st peters

redone with help of bernini, torn down and rebuilt: 1200 years old on the orders of emperor constantine (324-345) after accepting christianity as an official religion, built churches with the money of the state. st peter was the first bishop of rome: important church to the power structure. shrine to the burial place of st peter.

concetto

related to our idea of concept, conceit. core idea that is at the center of an image, extra bit that adds meaning, push, significance, etc.

zurbaran and sculpture

relationship to sculpture, true of lots of spanish painters. tied to polychrome wood sculpture, painted in life colors, very vivid, very spanish in the 16th and 17th centuries. characteristic of all europe but destroyed in most other places in reformation because it was seen as idolatry. sacred figures at higher level of reality in zurbaran carried from the nature of the sculpture he saw. crucified christ appearing to artist, vision, crucifixion: hallucinatory figures

the nativity montages

relief. classicizing angels, beautiful clarity.

characteristics in general of spanish art?

religious intensity, distinctively spanish. islamic art isn't terribly evident. golden age of art. spain came into possession of milan, the netherlands, and naples at the time, had incredible access to artistic tradition, esp N italy and netherlands, which lend to the characteristics of the golden age of art

later annibale leads to

reni and domenchino

bernini other influences?

reni as perhaps the idealized beautiful woman, bernini drapery movement of internal vs movement, coming out of tradition in italian ren? **QUESTION**

ribera the crucifixion

responding to caravaggio in spain, figures who are even more realistic, but caravaggioesque. long, lean, stretched arms against darkness, stretched muscle, spiritual intensity, all fat removed, vehicle for expression: saint with the book from Caravaggio, jerome. familiar with ribalta and reni crucifixions

de Valdes Leal

responsible for painting the sculpture of Charity

a vision of st francis

ribalta 1620s

The End of Human Glory

scales: embodiment of the seven deadly sins on one side vs objects of salvation. nimas means no more, ni menos means no less. weighed in balance in heavenly scale: virtuous side is heavier. showing what is needed to have salvation. penance and faith will save you. in the coffin there is the skull of a bishop, evocative of a decaying body/stench, insects, etc. other is a knight of santiage: the end of worldly glory and wealth in death. **importance of dead bishop? question*. odd jumble of allegories.

montanes

sculptor. painted sculpture. hallucinatory, polychrome, hyperrealism

the crucifixion of christ

sculptural presence, 3d, fully modeled in light and shadow, hallucinatory presence. dramatic, strikingly removed. confrontational and iconic. fully realized/anatomically correct, studied and detailed vs abstracted setting. **QUESTION; hallucinatory presence

jesus of the passion by montanes

seen in the good friday position: dressed in clothing, limbs movable. modulated coloring to enhance light and shadow, careful depiction of face. put into different positions in the week before easter, holy week. clothing could be replaced over time. sculptures were commonly carried on streets in pasos in a public procession by pious laymen of various charities.

figura serpentinata and what does Bernini think?

serpentine figure, ex. Gambologna, Sabine Women. Allegory of Astronomy. composed from all angles, manneristic, artifice, spiraling motion. Allegory has torsion, making difficult look easy is very mannerist. Bernini thinks that it is uninteresting: more dynamic motion and spatial energy. can't get full meaning from one side: intended to be seen against a wall from the front of a slight angle.

three men at a meal by v

set up similarly to cardsharps by c. dishonestly, cheating, etc. popular in c/followers. specificity. one blind man, some trickery is going on, has been suggested that it is a passage from a picaresque novel: form in which u have a series of adventures by picaro, have mishaps and adventures in episodes: within fifty years of the picaresque novel. disreputably adventures, low class escapades.

jointed figures fernandez

shows aim for manipulation and realism polychrome, painted shadow to create illusion, hyperrealism and ornamentation suffering: intense suffering graphic to arouse sympathy

the lamentation by ribera

slender, has undergone torture. interested in our view point: always low, as if looking from a ledge, not coming into space. body is exposed to us, made immediately available, the figures are examples for our own responsiveness. religious fervor of spanish art.

the vision of saint peter nolasco 1629 by zurbaran

small, image of 3d saint kneeling on the floor, annihilating setting. the vision, st peter, is more vivid: the realm of the visionary is more intense, alive, vivid. austere flattening of man vs saint

odd thing about ribera?

sometimes went into mythology (i.e. drunken silenus, etc). physical intensity of figures. often into painting martyrs, paradoxes, etc. texture of paint.

st bernard by ribalta discuss

st b has vision of christ reaching to embrace him, a physical embracing and engagement with christ. 3d, solid figures. his vision is shown in the 3d: his eyes are closed. hyperreality of figures is common in spanish art, may have seen caravaggio's art.

early velazquez describe

started as a realist in the spanish mode: highly detailed, bodegones, low life peasant types, early interest in split compositions i.e. in kitchen. profound change working under the king

Cotan still life

still life painter. simplification. one of earliest still lives. stone opening: ambiguity: window? suspended to keep produce from rotting. exceedingly simple groupings with intensity, distinctive focus. also has a still life with root vegetables, still life with game and vegetables, etc. superfluous groupings, studied, simplified. may have influenced Z

kitchen scene with christ in the house in of martha and mary by v

still life titled to see objects with attentiveness: still tied to the traditions of the netherlands/flemish. illustrating a story from the gospels where martha makes dinner, reproaches mary for not helping. what is it? a painting in the background? a window? **OFTEN INCLUDES A DISJOINTING DIFFERENTIATION BETWEEN FOREGROUND AND BACKGROUND**. could also be argued as a reflection in a mirror: plays with the idea of mirror images even later on: gestures with left hand, inconceivable in spain where left-handedness was negative, prejudiced. also light falls in different directions. aaertson written on mantle??? *QUESTION*. front is plenty, wealth, food desire for things of the earth vs figures thinking of ultimate truth: compositional type from the dutch. visible in the Aertson and Beuckelaer's version, but V's is harder to read. Why figures look so intently: we could be where Jesus was. takes over pictorial tactic, create an image that you explore, find yourself, must reflect up. earliest example of line of thinking of art as representation/construct

stoicism

stoicism adherent: movement to christianize ancient stoicism. conservative in emotion and art and life, stoicism reflects this. conception of a world that is beautiful and rich but also transient and fallen, living in accord with reason.

st francis in the tomb zurbaran

story that he was found in a position of prayer, standing although dead. made totally physical despite his form. light and shadow, emotional intensity, vivid. ICON, forward in pic plane.

the plague of ashdod

striking theory of linking his styles to the greek modes in music. flora is light open airy, fresh attractive vs plague scene: story from the book of samuel where arc of the covenant was placed in the temple, god struck down, people began to rot immediately. narrow architecture, everything is tight, dark, street as a trap, compressing form. doric form: austere classical order. all calculated to conform to the subject matter. every component of work is an expression of central idea. intellectualization.

the angel of the annunciation, the virgin of the annunciation

strikingly contrasted; mary is contained, controlled, drawing cloak around self. angel extravagant and full of movement and energy. coming with such force the garments slip off. so thin in carving light shines through. beautiful contrast. marble is carved very richly for both, not like bernini, emphasizes body under the clothing, clothing is a much more direct expression of the body itself and its movements. bernini thought highly enough of him: had one of major statues in crossing of st peters given to him by B

late 1620s early 1630s

style marked by great interest in venetian pastoral subjects, not a lot of patronage at all, seems to have been producing images not to specification of patrons. number of images that are strikingly sensuous, indulgence in the senses in the natural world, pastoral. harmonious union of humans and nature. ideal golden age. nude nymph has passed out, venus reclining.... complete unselfconscious nudity, oneness with the natural world. hazier treatment of the landscape and the figures themselves. painting on a red brown ground: coming out of venetian tradition. ties to titian danae: nude, titian bacchanal of the andirons, etc. sensuousness. although evocations of unselfconscious union of humans and natural world: often is a motif of spying. shepherds spy on venus, satyrs finding nymph. motif of threat or danger running through them. the world is not perfect in his vision: it is a fallen world, stoicism, a place where threat lurks. not completely easy, one. running through many images by him.

late velazquez describe

subject matter and technique changed, drop off in production in late 1640s-50s partly because he was an attendant to the king: unusual for artist. change in technique to some colore trad in 1630s after italy binary comp assertion of colore, finishing scene, recognizing it as an image that was created. assertion of mobility of art: idea that art is more than a product of the mind, requires manufacture, made my hand. unresolved. mirrors. realism as a means of reflecting art production **QUESTION** limited body of works, no repeats

s maria in campitelli interior

succession of spaces lit differently, many apses: paladian of north italy?* QUESTION. large interior free standing columns, not engaged, beautiful and sculptural, massing of members, columns/pilasters/engaged in wall. arch is almost all white, unity and massing, not broken by colored marble. brighter in the dome, apse lit from another source: light pulls you through the building to focus on the shrine.

versailles

supreme statement of this order and control. originally a small hunting lodge that is enveloped in a case by subsequent additions that initial was a central block, then added enormous wings to sides. scale of entire complex: not just the building. gigantic structure of parks and gardens on a dominant axis running through center of palace with subsidiary crossing axes. gigantic statement of ordering and control around the palace. a metaphor of the kingdom. ordering of nature as well. architecture that is not an isolated element, but one that reaches out into the world and structures environment. everything has axis relationships.

s. caterina dei funerari guidetti

temple facade, demarcated, fairly planar. pilasters. scrolling borrowed from alberti. entablature breaks the two parts evenly. aligns with wolfflin. additive, flat

pierre l, shrine to st ignacious

tendency towards greater and greater elaboration of form, very complex iconography, profusion of colored marble and stone, extravaganza of color and ornament, including details like a book: defeat of heresy by the faith, allegory. profusion of detail, inspired by bernini but also taking it further, even more dramatic even more rich.

cortonas and the palazzo barberini: ceiling

the cardinal nephew had it built. features of a rural villa on a large scale, urban palace. ceiling has entablature molding, everything above it is paint. subject is the divine triumph of providence. chose urban as pope. architectural elements are richly decorative. allegories of the virtues of pope urban (GET NOTES). virtue adds a crown to the coat of arms? divine precedent, papal keys and crown, angel with laurels allows urban as pope, allegory of power and virtue. the side walls allegorize virtue in myth. bees n papal keys.

what is st long looking at?

the crucifixion of christ

how is van dyck's state portrait different?

the king at the Hunt. different kind of state portrait, still maintains low viewpoint but is more natural, shows how naturally he is a king: at ease, arm as waist. cane as a symbol of royalty, less sober, no crown/scepter or royal robes. he doesn't have to prove it, nonchalant. seems tall, other figures made smaller, even the horse bows. the trees form a canopy: everything gives way to him. hunt was seen as a noble hobby to keep up with martial skill when not at war, common in state portraits.

rubenistes

the ludovico column

Chigi Chapel: daniel

the sculptures are mostly done by raphael for chigi, the patron family. four diagonals, pushes outward. related by a narrative: daniel thrown into a pit with lions, directing prayer up at god. they lick him instead of biting him. humorous detail. surrender, elongation, praying at mosaic god, unconfined by space. in the surroundings: raphael creates one of the first colored marble combinations in Ren. Bern uses existing space and art for narrative.

st francis in meditation zurbaran

the spanish interpreted francis as an ascetic vs a whimsical man. he was an intense zealot in their eyes. his face is hidden by hood, only nose and mouth shown, intensity of spiritual fervor. no setting, removed from space and time.

allegories in allegory of the missionary work of the jesuit order

there are allegorical representations of the four continents: allegory for the missionary work of the jesuits on four continents, each has female figure, characteristic, has at least one animal. europe has horse, imperial crown and orb indication of emp power, america is an idealized native, jaguar and parrot striking down, africa holds a tusk and has a crocodile, asia has camel. tied to bernini? who?

the sac chi cortona controversy

these two works are produced and are very much in competition with each other, two different visions of what art should be. involved in a debate in art theory at time. what should a history painting me? both knew that highest calling was history painting.two schools of thought: one said 1. cortona and bernini: art should be like an epic 2. sacchi: poussin, work of art should be like a tragedy. were thinking of literary genres as defined by actions. epic should have many figures, should be a broad huge stage, multiple scenes, multiple events going on, sweep through time, spatial complexity, and having multiple centers of attention. epic features coming into art. what cortona is in effect channeling. profusion of episodes and scenes. sac chi adheres to idea of work of art as a tragedy: few figures, concentrated, simplicity and directness of expression, unity of time and space, characteristic, not multiple scenes. contrast with each other: single focused theme. classical idea becomes ever more important in the 17th century: gives rise to neoclassicism. other view (rubens/cortona stuff) came to be an important part of romanticism. divine wisdom v divine providence

discuss interior of quattro

unusual like the exterior. funny shape like an oval that has been extended and compressed. responsible for bulging forward in outside, or so it seems. reduced scale of coffering adds depth: likes to play with perception. white unity tied with entablature, regular underneath. common. wall undulates. sweeps in at altar and entrance: complicated spatial organization. in dome, the entab is uniform, gaze rises. deeply complex coffering of crosses and shapes. windows illuminate upper level. drum is an odd oval. out of dark into abundance.hexagons, octagons, greek cross, extravagance of form, richness, usually square, metaphorical: rise into geometric purity from undulating waves. simple geometric forms are manifestations of the mind of god all the way back to pythagorus

how does bernini take from cortona?

uses bulging in his colonnade, bulges like luca, pilasters restrain bulge forward

st john on patmos

velazquez 1618-19

las meninas

velazquez 1656

the immaculate conception (v)

velazquez, 1618-19

king philip iv

velazquez, 1626-28

triumph of bacchus (the drinker)

velazquez, 1628

diego de acedo, el primo (cousin)

velazquez, 1644

don sebastian de morra

velazquez, 1644

the fraga philip

velazquez, 1644

pope innocent x

velazquez, 1650

infanta margarita teresa in blue

velazquez, 1659

sala dei maggior consiglio

venice hall of princely virtue, even more deeply tied to cortona. power of the prince and government. foreshortened and ornament. dramatic use of wood and paint for energy/dynamism carries into work.

immaculate conceptions by murillo

very charming, pretty, apocalyptic woman in Revelation: popular in Spain. soft, vaporous quality, very appealing, beautifully colored, angels deriving from Titian. elegance, refinement, warmth **WHY RENI? QUESTION*

funny thing about D

very famous for little angels, depictions of putti. Tomb of of Vryburch, etc. very charming little angels associated with inscriptions. something he specialized in, very soft, hazy. comes straight out of hellenistic antiquity, baby angels/cupids also a hellenistic invention. very much a classicist, unlike algardi who is less deeply steeped.

seaports and claude

very large paintings. often made in pairs. pairs would be typically a seaport at sunrise: nobody sets sail at night at this time. queen of sheba: monumental renaissance architecture, completely fictional, sun shining, leading out into the world, but claude likes to think in terms of pairs: dawn vs late afternoon of marriage, urban v rural, seaport vs landscape, human grandeur vs natural grandeur. same composition of landscape, only in architectural form. idealized vision of a perfected lost world, something you can grasp in a nostalgic quality. very popular over the centuries.

AC landscape

vision of ideal oneness of human nature with a glowing world that is like the world we know but better. vision of ideal world is critical to landscape art in future: brit landscape art of 18-19th art

the flaying of marsyas by ribera

vulnerability, realism, psychological, religious intensity. often shows martyrs. psychology, detailing of paint to show pain. challenging with suffering: caravaggio. being flayed by apollo: challenges to musical contest and is flayed alive when apollo loses. satyrs cover their ears. ferocious depictions of violence and martyrdom situations. taught muscles and sinews. furrowed, wrinkles, puckered skin: attentive.

the martyrdom of saint bartolomew by ribera

vulnerable martyr, old man, sharpening knife on wet stone, texture of skin with detailing of paint. psychological give/take. realism and spiritual intensity: realism as a means to communicate transcendent reality. ties to caravaggio. sinew, muscle, bone. about to be flayed. psychologically intense, composed carefully to frame, specificity/horror opposite of reni, but strong composition: admired Reni.

discuss the space of the cortano chapel

wanted to exploit the space of the chapel, small, have to get in front of chapel to see the vision. tilted blocks on both sides, must view head on. immediacy. white marble is unlike spanish tradition: adds sensuousness and distance. elaborate colored marble and roman art, rich frame for the vision, richness/opulence. opera box marble carved like cloth, multimedia: arch, sculpture, fresco, gilt wood, stained glass, light manipulated, creates comprehensive vision, allows us to join in on intensity of vision. exploiting existing locations as vehicle for adding meaning is common in bernini.

what does velazquez do in 1622? describe relationship with phillip iv

wanted to gain an appointment as painter to the king. painted gongora, a famous painter of the golden age of the spanish. vivid, sharp, characterization of the man using light and shadow, tightly pursed lips, haughty bird of prey. becomes painter to the king phillip IV, rises in his favor over time to his chamberlain who provides comforts (becomes favorite), remarkable friendship. painted him as recognizable but flattering.

bandits

was famous for/sought after by contemporaries are wild landscapes that depict cliffs, trees, shrubs, billowing clouds, nature as wild, untamed, dynamic. opposite of the ideal classical landscape. often populated by wild people: bandits, soldiers, hunters, hermits, etc.

seaport with michelangelos capital

was never near a seaport, never was a seaport near capital with rome. liberty that strikes us as odd, in 17th century is fine, not talking about reality, talking about the ideal vision.

question lol

where do the barberini fit in

ask

where does it become high baroque?

portrait of olympia

women wearing a kind of linen hood that has wires in it to hold it in place, specific to widows at the time. sister in law of pope innocent. very formidable individual. sense of this: had control of papal appointments, ran the papal household/process of making appointments with an iron hand. unsure if true. vigorous characterization, virtuoso marble carving. degree of specificity in folds and pleats. linen stretched over wire supports. a number of these.

massacre of the innocents

works out a composition in drawing that is much more violent. much more dramatic/energetic than the finished painting which is much more controlled. he uses classicism as a vehicle for control/ordering. face of shrieking woman has a mask like quality: develops more over time. figure positions coming out of carved sarcophagi.

self portrait again of salivate rosa

writing on a skull, sense of self as an artist, an intellectual, conversing with poets, great literature....looking forward to romantic conceptions. writing on skull in greek : behold, whither, when. getting at nature of things, meaning of existence: skull adds meaning to that. how he chooses to characterize himself. trying to guess larger meaning of life.

the crucified christ

zurbaran 1629 *1620s

st serapion

zurbaran, 1628

the crucified christ appearing to saint luke (or to an artist)

zurbaran, 1631-40

st francis in meditation

zurbaran, 1635-40

the temptation of saint jerome

zurbaran, 1639 (1630s)

st francis in the tomb

zurbaran, 1650-60