SPANISH (NAPLES,MADRID,SEVILLE), RUBENS, FLEMISH, DUTCH

Diego Velazquez, Immaculate Conception, 1618, National Gallery, London Spanish Naples

(compared to) Francisco Pacheco, Immuculate Conception, 16167=-17, Seville Cathedral

Jusepe di Ribera, Drunken Silenus, 1626 SPANISH NAPLES

(to compare to Drucken Silenus) Caravaggio, Bacchus, c. 1600

Johannes Vermeer, The Procuress, 1656, Gemaeldegalerie, Dresden DUTCH

Dirck van Baburen, The Procuress, 1622, Boston, Museum of Fine Arts

Diego Velazquez, Water Seller, 1618-20, Apsley House, London SPANISH - SEVILLE & MADRID you can see the drops of water on the jar Caravaggio influence strong contrast between dark and light genre scene (scene from everyday life)

Name: Water Seller of Seville Date: 1650CE Period: Southern Baroque Painting Artist: Diego Velazquez Patron: Unknown Original Location: Seville Material/Technique: Oil on Canvas Function: Genre Piece Formal Analysis: The elements of this painting are arranged with mathematical vigor. There are contrasting textures illuminated by dramatic natural light, which reacts to the surfaces. Context: In 1623 Velazquez became court painter to King Phillip IV. This shows an everyday scene.

Rembrandt van Rijn, Anatomy Lesson of Dr. Nicolaes Tulp, 1632, Mauritshuis, The Hague DUTCH Bunch of students looking at teacher teaching a lesson on the cadavers forearm standard baroque influence (contrast between light and dark) not evenly spaced foreshortened diagonal body group portrait with individualized faces commissioned by the Amsterdam Guild of Surgeons. It displays Dr. Tulp demonstrating an anatomy lesson to his colleagues on a corpse—most likely an executed prisoner. It is in a pyramidal structure and focus falls on the corpse through use of tenebrism, a style of painting characterized by high contrast between light and shade. There is umbra mortis, "shadow of death", shown on the corpse's face—half is in the light and half is shaded. The people seen paid to be included in the artwork.

Patron: Surgeon's Guild Original Location: Amsterdam Material/Technique: Oil on Canvas Function: Group Portrait Formal Analysis: Rembrandt took the group portrait and gave each member their own character. All of the people are opushe dto one side, making it unbalanced. There is tenebrism with no background. The body is placed at a diagonal. Context: Religious images are less common in the north.This has nothing to do with religion and is about science. Dr. Tulp was a known physician and he is the one giving a lecture.

Rembrandt van Rijn, Bathsheba, 1654, Louvre, Paris DUTCH

Peter Paul Rubens, Bathsheba, c. 1635, Gemaeldegalerie, Dresden Jan Steen, Bathsheba, c. 1665-70, Getty Museum, Los Angeles

Rembrandt van Rijn, Raising of the Cross, c. 1633, Alte Pinakothek, Munich DUTCH

Pieter Paul Rubens, Raising of the Cross (central section), 1610-11, Antwerp Cathedral

Johannes Vermeer, The Milkmaid, c. 1658-60, Rijksmuseum, Amsterdam DUTCH naturalistic style

detail, Vermeer's Milkmaid, footwarmer and Cupid tile Lucas van Leyden, The Milkmaid, 1510, engraving Nicolaes Maes, The Idle Servant, 1655, National Gallery, London Judith Leyster, The Proposition, 1629, Mauritshuis,The Hague